Guide to the Orchestra
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Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim. -
Guide to Band and Orchestral Instruments
Mater Dei College Music Department GUIDE TO BAND AND ORCHESTRAL INSTRUMENTS PICTURE INFORMATION ENSEMBLES SEE/HEAR IT The flute is part of the woodwind family. Flute Ensemble, http://www.yout FLUTE Unlike woodwind instruments with reeds, a Junior Concert ube.com/watch?v flute is a reedless wind instrument that Band, Senior =LI3wIHFQkAk&fe produces its sound from the flow of air Concert Band, ature=related across an opening. The flute produces a Solos and beautiful, light tone and is flexible enough Chamber to be used in many contexts and ensembles. Ensembles The clarinet is a very versatile instrument. It Clarinet http://www.yout CLARINET has three very distinctive ranges that it can Ensemble, Junior ube.com/watch?v produce. The lowest register is rich and Concert Band, =9CkK-LM6Oe0 hollow in sound. The middle register is Senior Concert smooth sounding. The upper register Band, Solos Jazz sounds thin and shrill. Band The oboe has been a favourite among Junior Concert http://www.yout BASS GUITAR composers for the last 300 years. The Band, Senior ube.com/watch?v appeal is the reedy sound which is good for Concert Band, =iy3V2Tl4g3s staccato melodies. The oboe unique and Swing Band one of the most interesting instruments to learn. The saxophone is a relatively recent Saxophone http://www.yout ALTO SAXOPHONE invention - it was created in the 1840's to Ensemble, Junior ube.com/watch?v bridge the tonal gap between lower Concert Band, =Ul5K9fVwsKI woodwind section and the low brass Senior Concert section. The saxophone - informally called Band, Solos Jazz sax - uses a reed in the mouthpiece, much Band like clarinets do. -
Winged Migration: Andrew Bird
Illustrated by Slava Triptih Written by Zack Ruskin Andrew Bird is many things: a virtuoso violinist, an the time he was finishing Oh! The Grandeur, the second Bowl of Fire That song began as many songs do for Bird, as an internal debate about.” Bird says the incident is absurd but also pretty funny. impeccable whistler and the man behind more than a dozen albums album, he was already itching to move on. “I was seeing that I was between his intentions and doubts for the piece of music in question. “I’m a bit like that guy,” he concedes. “I’ve got a lot going on in my of music that inventively marry the joyous with the somber. He is also going to be trapped by that if I kept at it for too long. I saw the way While Bird has rarely employed guest vocalists in a featured capacity life, and I’m impatient with some of my own internal indulgences.” never truly alone. that the popularity of music was a fleeting thing, and I didn’t want on his work, he says that in this case it made sense to ascribe one of the Bird’s impatience has also extended to his live performance style, a “There are lots of voices in my head chiming in,” he says. my music to be an accessory to someone’s lifestyle. I had more to song’s points of view to another person. By making that person female, signature of his craft for the past decade. He says he “stumbled into” the Before anyone books him a padded room, it should be noted that say than that.” he saw “Left Handed Kisses” progress into a relationship dynamic. -
Bid Awarded Item List
Bid Awarded Item List 1810 2018-2019 Music Bid Commodity Unit of Awarded Extended Code Description Vendor Measure Price Qty Price 18000010 Drum Heads: 16" MS1 White Bass, Evans, No substitutions BD16MS1W 233310-STEVE WEISS MUSIC EACH $21.31 1 $21.31 18000015 Drum Heads: 16" MX1 Black Bass, Evans, No substitutions BD16MX1BDH34516B 123468-CASCIO INTERSTATE MUSIC EACH $30.24 1 $30.24 18000020 Drum Heads: 16" MX1 White Bass, Evans, No substitutions BD16MX1WDH34516 123468-CASCIO INTERSTATE MUSIC EACH $26.94 1 $26.94 18000025 Drum Heads: 18" MS1 White Bass, Evans, No substitutions BD18MS1WDH52118 123468-CASCIO INTERSTATE MUSIC EACH $21.74 1 $21.74 18000030 Drum Heads: 18" MX1 Black Bass, Evans, No substitutions BD18MX1BDH34518B 123468-CASCIO INTERSTATE MUSIC EACH $32.24 1 $32.24 18000035 Drum Heads: 18" MX1 White Bass, Evans, No substitutions BD18MX1WDH34518 123468-CASCIO INTERSTATE MUSIC EACH $28.94 1 $28.94 18000040 Drum Heads: 20" MS1 White Bass, Evans, No substitutions BD20MS1WDH52120 123468-CASCIO INTERSTATE MUSIC EACH $23.24 1 $23.24 18000045 Drum Heads: 20" MX1 Black Bass, Evans, No substitutions BD20MX1BDH34520B 123468-CASCIO INTERSTATE MUSIC EACH $33.94 1 $33.94 18000050 Drum Heads: 20" MX1 White Bass, Evans, No substitutions BD20MX1WDH34520 123468-CASCIO INTERSTATE MUSIC EACH $30.94 1 $30.94 18000055 Drum Heads: 22" MS1 White Bass, Evans, No substitutions BD22MS1WDH52122 123468-CASCIO INTERSTATE MUSIC EACH $25.44 1 $25.44 18000060 Drum Heads: 22" MX1 Black Bass, Evans, No substitutions BD22MX1BDH34522B 123468-CASCIO INTERSTATE MUSIC -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
2014 TSHB Recording & Audition Procedures[2]
WSU / Tri-State Honor Band AUDITION RECORDING PROCEDURES IMPORTANT: TO AVOID DISQUALIFICATION FOLLOW THESE INSTRUCTIONS EXACTLY • Audition recordings can be submitted ONE of two ways: Either upload your audition online (along with your online application), OR mail in your audition recording in compact disc (CD) format. NOTE: DEADLINE: Postmarked or Uploaded Online no later than Wednesday, Dec. 4, 2013 • Only 1 auditioning student per submitted recording (per Online Upload or mailed-in CD). • If mailing-in, your CD must be in a case. CLEARLY LABEL both the CD disc, and the CD case with your name, instrument, high school, city, and state. • Recordings must be clear, and of high recording quality. Please use only HIGH QUALITY CDs. We cannot “filter through” fuzzy recordings … poorly recorded submissions will be automatically disqualified. Please submit each individual recording according to the following steps: STEP 1: At the beginning of the recording, the student should state his/her name, instrument, high school, city, and state. (Trombonists: Please state whether you play tenor or bass trombone, and whether you have an F-attachment). (Euphonium/Baritone Players: Please state whether you are a treble clef or bass clef reader). STEP 2: The student should perform scales as listed below for their instrument in quarter or eighth notes at a minimum tempo of quarter = 112 mm. Students may choose to perform faster and for more than the minimum octave requirements. Flute – (Indicate if the student also plays piccolo) – C major (three octaves, -
Music and Physics
Music and Physics A brief lesson in the instruments that make up a modern concert band. The Woodwind Family • The woodwind family consists of piccolos, flutes, oboes, english horns, clarinets, bassoons, and saxophones. • With the exception of the piccolo and flute, the sound is produced by a vibrating reed. • Different pitches are produced by opening and covering holes along the instrument The Brass Family • The brass family typically consists of trumpets, (french) horns, trombones, euphoniums, and tubas. • Sound is produced by forcing air through the mouthpiece. • With the exception of the trombone, pitches are altered by pressing or releasing valves. • All brass players also tighten or relax their lips to change pitch. The Percussion Family • The percussion family contains the most instruments. Some of the standard instruments include the bass drum, snare drum, timpani, bells, cymbals, and the triangle. • Sound is produced by striking some part of the instrument with a mallet, stick, or hands. • Not all percussion instruments can produce multiple pitches. In most cases the pitch of the instrument is dependent on the size of the instrument. • The piccolo is the highest pitched instrument in the band. • The tuba is the lowest pitched instrument commonly found in bands. – The contrabassoon can actually produce lower tones than the tuba, but it is not commonly found in bands. How is the pitch of instruments determined? • As was mentioned earlier, the biggest determining factor in the pitch an instrument produces is the size of the instrument. • The distance that air travels in the instrument also determines the pitch. Generally… • The larger and longer an instrument is, the lower the pitch. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
Epic Tunes & Alpine Horns
TRINITY LABAN SCHOOL CONCERT (KEY STAGE 2): EPIC TUNES & ALPINE HORNS Symphony No. 1 by Johannes Brahms Home Education Resource Pack Resource Pack Author: Kay Charlton Concert Presenter: Lucy Drever Conductor: Holly Mathieson INTRODUCTION ABOUT THE COMPOSER This Resource Pack was originally produced What is a composer? A composer is a for schools attending our concert ‘Epic person who writes or creates music. Tunes and Alpine Horns!’ at Blackheath Halls on Thursday 26 March 2020. The piece Johannes Brahms (pronounced ‘Brarms’) of music that would have been performed is was born in 1833 in Germany. He was 43 Brahms Symphony No. 1. This Classroom when he wrote his Symphony No. 1, and Resource Pack has subsequently been he followed in the footsteps of famous adapted into a home education tool that can composers such as Mozart and Beethoven. be used to provide an introduction into the Brahms wrote four of these symphonies in world of the orchestra. total throughout his life. Keeping the orchestra on track is the job of Brahms had a very musical family- his father the conductor — they make sure the that all played the double bass in an orchestra in of the musicians on stage are playing the Hamburg and he himself started playing the same part of the music at the same time piano at the age of 7. By the time Brahms so that no one gets lost! The conductor became a teenager, he had a job playing the of this concert would have been Holly piano at local inns (or bars as they would Mathieson. -
Winter 2021 U.S. Department of the Interior Pmb
JourneysWINTER 2021 U.S. DEPARTMENT OF THE INTERIOR PMB Administrative Services AVSO BAD CADR IBC OFAS OHA Our Vision: To Deliver Outstanding Products and Customer Service While Actively Creating and Sustaining a Respectful Focus Message from the Deputy Assistant Secretary February 2021 Dear Administrative Services Team, I’m delighted to present to you our Winter issue of Journeys. As we move to a quarterly publication schedule, our hope is that Journeys remains an enjoyable and informative oasis, an opportunity to take a few moments to connect with your colleagues in the Department. Here are just a few highlights: • Julie Lucero celebrates DOI’s impressive contributions to the Combined Federal Campaign (page 4) • Justin Wade explains how supply chain security risks can be mitigated (page 6) • In a continuing series focusing on our trust responsibilities to Tribal Nations,Teresa Stella features extraordinary photos from some of our favorite challenges us to consider how we can strengthen our photographers: Daniel J. Boits, Jr., Doug Sanchez, nation-to-nation relationships (pages 7 and 8) Patrick Rodden, Evan Wexler and Kaiulani Rees, whose photos of foxes in the Alaskan wilderness are sure to • Tonianne Baca-Green guides us in finding balance delight. Enjoy! using mindfulness techniques (page 9) The Journeys team welcomes and values your • Shaun House experiments with a gratitude journal suggestions - please don’t hesitate to reach out (page 10) anytime. We look forward to hearing from you. • Gary Bremen shares a story about connecting to As always, stay safe and be well. memories through National Parks (pages 11 and 12) Respectfully, • Abby True reveals how running is her “True North” (page 13) Jacqueline M. -
The Caravan Playlist 147 Friday, March 18, 2016 Hour 1 Artist Track
The Caravan Playlist 147 Friday, March 18, 2016 Hour 1 Artist Track CD/Source Label Andrew Bird Natural Disaster Noble Beast Fat Possum - c 2009 Lamb Chop I Can Hardly Spell My Name Is A Woman Merge Records - c 2002 David Darling Solitude Cello Blue Hearts of Space - c 2001 Caroline Fenn Monsters Fragile Chances ECR Music Group - c 2012 Erin Mckeown Easy Baby Monday Morning Cold TVP Records - c 1997 Buddy Flett I Got Evil (Don't You Lie To Me) Mississippi Sea Out Of The Past - c 2007 Moby Grape Never Grape Jam Sundazed Music - c 2007 Janis Joplin Ball and Chain Monterey Pop Festival 1967 Rhino - c 1997 Steppenwolf Monster Live Steppenwolf MCA - c 1971 Mammas and Pappas California Dreamin' Monterey Pop Festival 1967 Rhino - c 1997 Janis Joplin Try Woodstock Anniversary Collection Atlantic - c 1994 Hour 2 Artist Track Concert Source Choir Of Young Believers NYE no TRE Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers These Rituals of Mine Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Action/Reaction Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers NYE no ET Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Why Must it Always Be This Way Guitar Showroom at SXSW NPR Music - c 2010 Choir Of Young Believers Hollow Talk Guitar Showroom at SXSW NPR Music - c 2010 Yeah Yeah Yeahs Under The Earth NPR Music's SXSW at Stubbs NPR Music - c 2013 Yeah Yeah Yeahs Gold Lion NPR Music's SXSW at Stubbs NPR Music - c 2013 Yeah Yeah Yeahs Subway NPR Music's SXSW at Stubbs NPR Music