DOCSLIB.ORG

SYO-2022-Auditions-Clarinet-Bass-Clarinet-And-Eb-Clarinet-Excerpts-PDF.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SYO-2022-Auditions-Clarinet-Bass-Clarinet-And-Eb-Clarinet-Excerpts-PDF.Pdf 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet AUDITION INSTRUCTIONS FOR 2022 Auditions for SYO in 2022 will be held via video. See detailed recording and submission guidelines on the following page. Please read allallall information below carefully. Your video audition must contain the following elements: 1.1.1. ORCHESTRAL EXCERPTS • Excerpts are a very important part of your audition – SYO advises all musicians to take audition excerpts to their instrumental teacher as soon as they receive these materials. • Please note that your excerpt selection will depend on which orchestra you are auditioning for. Read the instructions for each excerpt very carefully. • Remember to observe all markings including, but not limited to: brackets (only play the excerpt within them), dynamics, bowings, fingerings, articulation, repetitions, how to observe rests and transposing instrument indications. • The panel will be assessing your technical ability as well as musicality. Some aspects to pay attention to include tone quality, accurate rhythm and articulation, appropriate tempo and good intonation. • Listen to numerous recordings to help your understanding of the excerpts and their context. Use services like YouTube or Spotify to find full recordings. You are also able to find most scores and full parts online at IMSLP.org to research the excerpt in depth. • Please take any tempo markings provided as a guide in conjunction to your research. An excerpt played accurately under tempo is better than the same excerpt played poorly at a faster tempo. 2.2.2. PIECE OF YOUR OWN CHOICE ––– MAXIMUM OF 3 MINUTES Choose a piece/section of a piece that you are familiar with that best displays your current musicality and technical proficiency. In your video, this piece must be played without accompaniment. It is strongly advised that this piece be from the core repertoire for your instrument or within an established examination syllabus such as AMEB, Trinity College London or ABRSM. 3.3.3. SCALESSCALES/ARPEGGIOS/ARPEGGIOS Woodwind and Brass players should prepare a B Melodic Minor Scale and Arpeggio in the following two ways: • As many octaves as possible for your instrument, staccato quavers at crotchet = 100 - 120, arpeggios to be played in triplets • As many octaves as possible for your instrument, slurred quavers at crotchet = 100 - 120, arpeggios to be played in triplets KEY DATES • Applications Open: Thursday, July 1 • Applications Close: Wednesday, September 1 • Video Submissions Deadline: Friday, October 1 • Results: Friday, December 10 For applicants undertaking HSC or University examinations, high-level instrument exams or under certain extenuating circumstances, a limited number of late auditions are available. Each application for a late audition is assessed individually. If you have applied for a late audition, you will be informed if that has been granted via e-mail on Wednesday, September 8. If your late audition is granted, your key dates will be made available via the same e-mail. If your late audition is not granted, your key dates remain as above. If you have any questions, feel free to contact the SYO Operations Team: PhonePhone: 02 9251 2422 EmailEmail: [email protected] FOR EDUCATIONAL PURPOSES ONLY Page 1 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet VIDEO RECORDING & SUBMISSION GUIDELINES Full Video Audition FAQ’s, Tips and Sample Video Auditions can be found on SYO’s Website. • OOOneOne CCContinuousContinuous SSShotShot wwwithwith no SSSoundSound or VVVideoVideo EEEditingEditing You must play all elements of your audition (Excerpts, Scales/Arpeggios, Own Choice Piece) in one continuous shot with no sound or video editing. Any detection of tampering will result in your audition being invalidated. • Video Length There is no limit to video length, as long as your submitted video contains all elements relevant to your audition (Excerpts, Scales/Arpeggios, Own Choice Piece). The only element with a time cap is your own choice piece, which must not exceed 3 minutes. • Video File Type and Size/ Recording Device Any device with audio and video capabilities can be used to record your audition. This includes digital cameras, digital recorders, mobile phones, tablets and computers. Any video format from these devices is acceptable (mov, mp4, wmv, avi, etc.). If the panel experiences any trouble opening your video audition you will be contacted via email. There is no limit on video file size. However, be aware that larger the file sizes take longer to upload. • Order of ElemenElementstststs There is no set order you must play your audition elements in. You can choose whatever is most comfortable to you, as long as all elements relevant to your audition are present. • Announce Your Name and all Elements At the start of your video audition, you must clearly announce your Name, Age, Instrument (and any auxiliary instruments) and Orchestra Preference. Before each element, you must also announce what you are about to play, following the guidelines below: --- ExExExcerpts:Ex cerpts: State the number of the Excerpt --- Scales and Arpeggios: State the key of the scale/arpeggio you are about to play --- Own Choice Piece: State the full name of the piece and composer. Be as descriptive as possible, including movement name/number and arranger if applicable. • Framing & Lighting Your video must clearly display your instrument, face, torso and playing hands. Aim to frame your entire upper body, as this also helps with obtaining better sound quality (being too close to the camera distorts sound). If the panel cannot clearly see your playing, you may be requested to resubmit your video. • Naming your File Please name your file following the convention FirstName_LastName_Instrument_FirstName_LastName_Instrument_ OrchestraPreference prior to upload. For example, John_Doe_Clarinet_TheSYO or Jane_Doe_Clarinet_BassClarinet_SymphonicWindOrchestra. Submissions that are not named properly incur the risk of not being found by our system and therefore not being assessed. • Uploading your File One week prior to your video audition deadline, you will receive an e-mail from SYO containing a personalised submission link. Click on the link and follow instructions to upload your video. Please note uploading your video may take several minutes depending on your file size and internet speed. After submitting your video, you will also have to submit a short form indicating your own choice piece information. FOR EDUCATIONAL PURPOSES ONLY Page 2 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet EXCERPT 1 Please prepare ththisisisis excerpt if you are auditioning for WSYO, PSO, SWO, SYOP or The SYO Prepare bothbothboth excerpts 1a1a1a and 1b1b1b MOZART Symphony No.No.No. 404040 in G minor (Clarinet in Bb)1 1a.1a.1a. I. Allegro molto (h= 90 – 110) * *** Do not observe the repeat 111b1bbb.... IV. Allegro assai (h= 120 – 140) 1 Candidates auditioning for PSO and WSYO must be ableable to transpostransposeeee from C to BbBb.... Candidates auditioning for SYOP and The SYO must be able to transpose from C and AAA,A, ororor provide their own A Clarinet. Audition Excerpts for WSYO, PSO, SWO, SYOP & The SYO continue overleaf Optional Excerpts (Bass Clarinet & Eb Clarinet) can be found on Pages 7-10 FOR EDUCATIONAL PURPOSES ONLY Page 3 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet EXCERPT 2 Please prepare ththisisisis excerpt if you are auditioning for WSYO, PSO, SWO, SYOP or The SYO BRAHMS SSSymphonySymphony No. 3 in F Major II. Andante (q= 60 – 65) (Clarinet in Bb) End of Audition Excerpts for WSYO, PSO & SWO Audition Excerpts for SYOP & The SYO continue overleaf Optional Excerpts (Bass Clarinet & Eb Clarinet) can be found on Pages 7-10 FOR EDUCATIONAL PURPOSES ONLY Page 4 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet EXCERPT 3 Only prepare ththisisisis excerpt if you are auditioning for SYOP or The SYOSYOSYO RIMSKYRIMSKY----KORSAKOVKORSAKOV Capriccio Espagnol I. Alborado. Vivo e strepitoso (Clarinet in A) End of Audition Excerpts for SYOP Audition Excerpts for The SYO continue overleaf Optional Excerpts (Bass Clarinet & Eb Clarinet) can be found on Pages 7-10 FOR EDUCATIONAL PURPOSES ONLY Page 5 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet EXCERPT 4 Only prepare this excerpt if you are auditioning forfor The SYO Prepare bothbothboth excerpts 444a4aaa and 444b4bbb RIMSKYRIMSKY----KORSAKOVKORSAKOV ScheScheherazadeherazade 4a. II. The Kalandar Prince (Clarinet in A) 4b. II. The Kalandar Prince (Clarinet in Bb) End of 2022 Clarinet Audition Excerpts Optional Excerpts for Bass Clarinet & Eb Clarinet continue overleaf FOR EDUCATIONAL PURPOSES ONLY Page 6 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet OPTIONAL EXCERPT 1 (BASS CLARINET) OnlyOnlyOnly prepare ththisisisis excerpt if you wish to be considered for Bass ClarinetClarinet in SWO or SYOPSYOPSYOP TCHAIKOVSKY The Nutcracker Act II. Trépak (Bass Clarinet in Bb) Molto Vivace (q = 120 – 150) End of Bass Clarinet Excerpts for SWO & SYOP Optional Excerpts (The SYO Bass Clarinet & Eb Clarinet) continue overleaf FOR EDUCATIONAL PURPOSES ONLY Page 7 2022 Video Audition Excerpts & Instructions Clarinet, Bass Clarinet & Eb Clarinet OPTIONAL EXCERPT 2 (BASS CLARINET) OnlyOnlyOnly prepare ththisisisis excerpt if you wish to be considered for Bass ClarinetClarinet in The SYO SHOSTAKOVICH Symphony No.
Load more

Recommended publications
  • Transposition Tutorial 1
    Transposition Tutorial 1 Open the transposition menu by clicking the radio button Defaults menus: 1st dropdown menu: To the following key; 2nd dropdown menu: C Major / A minor; Up and All Staves. Transposing by key: From the 2nd dropdown menu showing C Major/A minor, select a key and then choose Up or Down depending on the key. Up or Down indicates direction of the transposition. For best results, when transposing by key choose the direction which results in the smallest interval of change. Click OK to complete the transposition. To return to the original key, click Reload. Transpositions cannot be saved. Closing the selection or the viewer will automatically reset to the original key. Transposing for an instrument: From the 1st dropdown menu select: For a transposing instrument. From the 2nd dropdown menu, now showing Soprano Saxophone select your instrument. If your music is a Piano Vocal sheet, you may want to transpose only the melody by selecting Staff Number(s)1 through 1. You will transpose only the melody for the instrument you choose and the piano will remain in its correct key. Transposition Tutorial 2 Transposing for an Instrument (continued): Once you have transposed the melody line for a specific instrument you may choose to change the octave of just the melody line. For example, Tenor Saxophone transposes up an octave and a 2nd, and the resulting transposition may be too high for the instrument. From the 1st dropdown menu, select By Interval. From the 2nd dropdown menu now showing Minor Second, select Perfect Octave. Select the Down button and to transpose only the melody line select Staff Number(s) (Staff number 1 though 1 is the melody line).
    [Show full text]
  • Reed Instruments About Reeds
    Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb.
    [Show full text]
  • Arranging Project F2018
    Week 7 Arranging Project: Guidelines and Rubric Real-World Application: Your uncle is getting married and, having learned that you are now a music student, decides that you should arrange his favorite song (Billy Joel’s “Piano Man”) for his church string quartet. How do we go about the process of arranging a pop song for a classical ensemble? I. Dates and Times POD meetings: Monday 10/1–Thursday 10/4 (4 days), 8:00–8:50, location of your choice Presentation: Friday 10/5, 8:00–8:50: room 238 (21616), room 123 (21613) II. Project Description. Brief Description: As a POD, choose a pop song,1 transcribe it, then arrange it for an ensemble of your choosing. Play your arrangement on Friday, and talk about why you made the choices you did. Step-by-Step instructions: 1. Bring in a song. Each person of the POD comes in first thing Monday morning with an idea of a song they’d like to arrange. Be able to play these for each other, and convince your POD why they should choose yours. Decide among your POD which of the four pieces to work on (suggested completion=Monday). 2. Working together,2 transcribe the song. See below for a list of the four functional layers of most pieces of music. At minimum, you must transcribe your song’s a) the primary melodic layer and b) the functional bass layer. You must also transcribe the harmonic filler layer using your choice of: c) chord symbols,3 roman numerals, or figured bass; or d) the actual instrument parts.
    [Show full text]
  • Rāga Recognition Based on Pitch Distribution Methods
    Rāga Recognition based on Pitch Distribution Methods Gopala K. Koduria, Sankalp Gulatia, Preeti Raob, Xavier Serraa aMusic Technology Group, Universitat Pompeu Fabra, Barcelona, Spain. bDepartment of Electrical Engg., Indian Institute of Technology Bombay, Mumbai, India. Abstract Rāga forms the melodic framework for most of the music of the Indian subcontinent. us automatic rāga recognition is a fundamental step in the computational modeling of the Indian art-music traditions. In this work, we investigate the properties of rāga and the natural processes by which people identify it. We bring together and discuss the previous computational approaches to rāga recognition correlating them with human techniques, in both Karṇāṭak (south Indian) and Hindustānī (north Indian) music traditions. e approaches which are based on first-order pitch distributions are further evaluated on a large com- prehensive dataset to understand their merits and limitations. We outline the possible short and mid-term future directions in this line of work. Keywords: Indian art music, Rāga recognition, Pitch-distribution analysis 1. Introduction ere are two prominent art-music traditions in the Indian subcontinent: Karṇāṭak in the Indian peninsular and Hindustānī in north India, Pakistan and Bangladesh. Both are orally transmied from one generation to another, and are heterophonic in nature (Viswanathan & Allen (2004)). Rāga and tāla are their fundamental melodic and rhythmic frameworks respectively. However, there are ample differ- ences between the two traditions in their conceptualization (See (Narmada (2001)) for a comparative study of rāgas). ere is an abundance of musicological resources that thoroughly discuss the melodic and rhythmic concepts (Viswanathan & Allen (2004); Clayton (2000); Sambamoorthy (1998); Bagchee (1998)).
    [Show full text]
  • Pitch Bending and Glissandi on the Clarinet: Roles of the Vocal Tract and Partial Tone Hole Closure
    Pitch bending and glissandi on the clarinet: Roles of the vocal tract and partial tone hole closure ͒ Jer-Ming Chen,a John Smith, and Joe Wolfe School of Physics, The University of New South Wales, Sydney, New South Wales 2052, Australia ͑Received 9 March 2009; revised 15 June 2009; accepted 17 June 2009͒ Clarinettists combine non-standard fingerings with particular vocal tract configurations to achieve pitch bending, i.e., sounding pitches that can deviate substantially from those of standard fingerings. Impedance spectra were measured in the mouth of expert clarinettists while they played normally and during pitch bending, using a measurement head incorporated within a functioning clarinet mouthpiece. These were compared with the input impedance spectra of the clarinet for the fingerings used. Partially uncovering a tone hole by sliding a finger raises the frequency of clarinet impedance peaks, thereby allowing smooth increases in sounding pitch over some of the range. To bend notes in the second register and higher, however, clarinettists produce vocal tract resonances whose impedance maxima have magnitudes comparable with those of the bore resonance, which then may influence or determine the sounding frequency. It is much easier to bend notes down than up because of the phase relations of the bore and tract resonances, and the compliance of the reed. Expert clarinettists performed the glissando opening of Gershwin’s Rhapsody in Blue. Here, players coordinate the two effects: They slide their fingers gradually over open tone holes, while simultaneously adjusting a strong vocal tract resonance to the desired pitch. © 2009 Acoustical Society of America. ͓DOI: 10.1121/1.3177269͔ PACS number͑s͒: 43.75.Pq, 43.75.St ͓NHF͔ Pages: 1511–1520 I.
    [Show full text]
  • Dorico 3.1.10 Version History
    Version history Known issues & solutions February 2020 Steinberg Media Technologies GmbH Contents Dorico 3.1.10 ....................................................................................................................................................................................................... 4 Issues resolved ............................................................................................................................................................................................... 4 Dorico 3.1 ............................................................................................................................................................................................................. 8 New features ................................................................................................................................................................................................... 8 Condensing changes ............................................................................................................................................................................... 8 Dynamics lane ......................................................................................................................................................................................... 11 Bracketed noteheads ............................................................................................................................................................................ 14 Horizontal
    [Show full text]
  • Antolini, Retta Maniera Di Scivere Per Il Clarinetto (1813)
    Francesco Antolini La Retta Maniera di Scrivere per il Clarinetto (The Right Way to Write for the Clarinet) Milan (1813) Translated by Sion M. Honea 1 Translator’s Preface Antolini’s book is an interesting precursor to what would become the standard approach to the treatment of orchestration in the form of the treatises by Georg Kastner, Traité Général d’Instrumentation (1837) and Hector Berlioz Grand Traité d’Instrumentation et d’Orchestration (1843). What makes it interesting is not that it is nearly exclusively devoted to the issues of only one instrument, which was more nearly the earlier norm, but that it represents a time when the evolution of instruments of all types was happening so rapidly and with so many innovations, even so, in regard to physical development of the clarinet Antolini is conservative, advocating the five-key instrument and viewing even the six-key one skeptically. Rather, what makes Antolini’s book particularly interesting is that it is so revealing of a liminal period in which writing for these rapidly developing instruments was still for most composers so mysterious a practice and when the demand for expanded harmonic potential was accelerating. The author does give practical information about range and particular difficulties, especially those associated with different keys for an instrument only just emerging from its diatonic forebears, and for which he finds it only natural to give parallel but separate “diatonic” and “chromatic” fingering charts. The bulk of his treatment, however, centers on the mere technique of writing for the clarinet, of how to figure out the pitch level and key for the written parts of the transposing instrument, a term to which Antolini objects; indeed, it is only this preoccupation with transposition that justifies the inclusion of a section in the appendix on the horn and trumpet.
    [Show full text]
  • Transposing Instruments
    3.5 Transposing Instruments 3.5.1 Introduction What is a transposing instrument? Every instrument has a range of notes it can play. These notes donʹt always fit nice and neat on the treble clef. If we didnʹt do something about it we might end up trying to read the music on a bunch of ledger lines above or below the staff. So, by using this system of notation we can get as many notes as possible on the staff where they are easy to read. Also, if you play an instrument like a sax that comes in different sizes, itʹs nice to learn to read just once and not have to read differently for each size saxophone you pick up. If you learn the fingering for one size of sax and then use that same fingering for a different sized instrument - guess what - the note is different because the instrument is a different physical size. 3.5.2 Guitar and Banjo Are Transposing Instruments Believe it or not, the guitar and the banjo are transposing instruments! When we play the guitar or the banjo, we are not actually playing the notes as written. You may say, ʺYou gottaʹ be kidding me. When I see an ʹAʹ on the staff I play an ʹAʹ, so how can you say Iʹm not playing the note as written?ʺ The simple answer is that we are playing an octave lower than what is written. For guitar and banjo we are pretty lucky. The note names are still the same, but we are playing an octave lower than what is written.
    [Show full text]
  • Keys to Transposition a Sampler
    Keys to Transposition A Method for the Teaching & Learning of Transposition on the Horn A Sampler Pete Nowlen with Brian O’Donnell & Heidi Oros Table of Contents Introduction ...........................................................................................................3 Natural Horn Studies .............................................................................................6 Horn and Bass Clef ................................................................................................7 Scales ......................................................................................................................8 Unit 1 - Horn in C (basso) ...................................................................................10 Unit 2 - Horn in D ...............................................................................................14 Unit 3 - Horn in Eë ..............................................................................................18 Unit 4 - Horn in E ................................................................................................23 Unit 5.1 - Horn in Bë basso .................................................................................29 Unit 5.2 - Horn in Bë alto ....................................................................................35 Unit 6 - Horn in A alto ........................................................................................40 Unit 7 - Horn in G ...............................................................................................47
    [Show full text]
  • February 1943) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 2-1-1943 Volume 61, Number 02 (February 1943) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 61, Number 02 (February 1943)." , (1943). https://digitalcommons.gardner-webb.edu/etude/231 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. nMsa|f an fl ii as f [ HL'A AM WHY THE BOB JONES COLLEGE DORMITORY STUDENTS CAME AN AVE- RAGE DISTANCE OF 760 MILES THIS YEAR TO ATTEND THIS INSTITUTION If you can attend college for only one or two If You are still in high school years before entering the service of your coun- we advise you to me to the Bob try, we strongly advise your coming to Bob Jones College Academy a year or two of character our-year, Jones College for this fully-accredited high school) for preparation and intellectual and spiritual train- special Christian training before you enter ing so essential now. upon your military service. BOB JONES COLLEGE offers a wide variety of courses leading to Bachelor f A degrees,ses, anaand in tnethe Graduateuraauaie ocnooiSchool 01of neuyiunReligion courses leading s and Bachelor^ucneior ofoi Science to the Mrr t x~k'***'*, M ^ rts year of 1943-44, courses leading to the Doctor of Philosophy ^e ^ree - hi the school degree will D als^beTbe offeredff in the field of religion.
    [Show full text]
  • The Microtones of Bharata's Natyashastra
    The Microtones of Bharata’s Natyashastra John Stephens N about 200 CE, Bharata and Dattila penned closely related Sanskrit treatises on music in I the Natyashastra and Dattilam, respectively (Ghosh 1951, lxv). Inside, they outline the essential intervals and scales of Gandharva music, a precursor to the Hindustani and Carnatic traditions. Their texts are the first known documents from south Asia that attempt to systematically describe a theory of intonation for musical instruments. At the core of their tonal structure is a series of twenty-two microtones, known as sruti-s.1 The precise musical definition of the twenty-two sruti-s has been a topic of debate over the ages. In part, this is because Bharata does not explain his system in acoustically verifiable terms, a hurdle that all interpretations of his text ultimately confront. Some authors, such as Nazir Ali Jairazbhoy and Emmie te Nijenhuis, suggest that Bharata believed the sruti-s were even (twenty-two tone equal temperament, or 22-TET), though they were not in practice (Jairazbhoy 1975, 44; Nijenhuis 1974, 14–16). Jairazbhoy concludes that it is impossible to determine the exact nature of certain intervals in Bharata’s system, such as major thirds. Nijenhuis (1974, 16–19) takes a different approach, suggesting that the ancient scales were constructed using interval ratios 7:4 and 11:10, so as to closely approximate the neutral seconds and quarter tones produced by 22-TET. Prabhakar R. Bhandarkar (1912, 257-58) argues that Bharata’s 22-TET system was approximate and still implied the use of 3:2 perfect fifths and 5:4 major thirds.
    [Show full text]
  • APPROVE): La Minor Fro Feasor Iran of Fcha Sehoosf
    vest HISTORY OF THS rssntm TMMM THE MROQIIB » APPROVE): la Minor Fro feasor *jyuj Iran of fcha SehooSf '®T Ifuaic at* School THE nmmm of mm THSKPET FM MMMA THKSIS Presented to tim Sraiwat® Council of tfao Horth Tmi Stmt® College la Partial FulfilJUMmt of th* Requirement* For fcho Degree of MASTER OF MCSIC by Robert S. Douglaee, B* tf« 1/ Br®@fe®urlig®» Texaa August» 1953 /. ^ PREFACE The purpose of this study is to present the development of the trumpet from the primitive lip-vibrated instruments of aneient cultures to the baroque trumpet 011 which were performed the astounding parts composed by the culminating figures of that period, Baoh and Handel# The considerable interest displayed in the music of the baroque period and the recent revival of mch of it in modern performance demands an investigation of the instru- ments upon which it was performed, among which one of the least understood is the trumpet. It is desirable for modem performers using modern instruments in rendering these parts to understand the resouroes and limitations of the instru- ment contemporary with the music* ili TABLE OP CONTENTS fag® nmes . ifi LIST OF ILLtfSTKATIOSS v LIST OF PLATES Chapter I. AHTIQUITY AW THE MIDDLE AOSS ~-o. li^OO) . 1 II. THE RKUAISSAHCK (®. li*00-l600) 28 III* THJS BAROQUE ERA (l600-XT50) |^. IV. MODERN PERFORMANCE OF MSOQl® TRUMPET PARTS . , 138 Appendix I. HOJflJNCLATtJRg OP THB TRUMPKT AS) MOOTHPISCB . Xl|3 II. TABLR OP THE WORKS OF KAHDKL T7SING THUMP® . III. TABLE OF TIES 80BKS OP BACH USING 7RUSEPKT . ISO IV. DIGEST OF 140150 PSE IMPAHARE A SONARS CI TBGSBA.
    [Show full text]