DOCSLIB.ORG

Manual of Trumpet (Cornet) Techniques

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Manual of Trumpet (Cornet) Techniques University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1960 Manual of trumpet (cornet) techniques Jack D. Lind The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Lind, Jack D., "Manual of trumpet (cornet) techniques" (1960). Graduate Student Theses, Dissertations, & Professional Papers. 2922. https://scholarworks.umt.edu/etd/2922 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. A MANUAL OP TRUMPET (CORNET) TECHNIQUES by JACK D. LIND B,M, Montana S tate U niversity, 1956 Presented in partial fulfillment of the requirements for the degree of Master of Music MONTANA STATE UNIVERSITY I960 Approved by: tu Chairman, Board^ 'd ofo f'E Examine! x lm i Dean, Graduate School JIN 9 Date UMI Number: EP35100 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT OisMftation Publishing UMI EP35100 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProOuesf ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 TABLE OP CONTENTS CHAPTER PAGE I . THE TRUMPET IN HISTORY..................................................................1 H . SELECTION OP THE INSTRUMENT...................................................5 Bore ................................................................................5 Valves ........................................................................................ 7 Other Mechanisms ......................................................................8 The Playing T e s t ...................................................................10 I I I . THE PIRST LESSONS.........................................................................11 IV. TONGUING AND SLURRING................................................................20 T o n g u i n g .......................................................................................20 E x p e r i m e n t ............................................................................. 21 Starting the tone ...............................................................26 S l u r r i n g .................................................................................... 2 ? V. ENDURANCE AND RANGE....................................................................33 VI, THE ADVANCING STUDENT....................................................................[|.0 Additional R ange ...................................................................1^3 The Warm-Up..................................................................................I4.7 Advanced T o n g u in g ................................................................... i;8 V II. TRUMPET MATERIALS..........................................................................5l M e th o d s ............................................................................................52 E t u d e s ............................................................................................ 53 Daily D rills ..............................................................................55 CHAPTER pace S o l o s ............................................................................................56 V III. CONCLUSIONS AND RECOMMENDATIONS .................................. 6l The C o r n e t .......................................................... .... 62 The Dally Routine ................................................................... 6l(. Warm-up .......................................................................................65 Major and minor scales ......................................66 Chromatic scales ...................................................... 66 Lip s l u r s ........................................................................ 66 A r p e g g i o s........................................................................66 Single tonguing ...............................................................66 Double and tr ip le tonguing .............................. 66 S o n g s ..................................................................................67 E t u d e s ..................................................................................67 S o l o s .................................................................................. 67 Transposition .............................. 6 7 Sight reading........................ 68 Vibrato . ..........................................................68 The Checklist..............................................................................69 Recommendations ........................................................................ 71 The instrument ....................................................................71 The foundation ....................................................................72 Range and e n d u r a n c e .....................................................7ij. The warm-up and d a ily ro u tin e ..................................7lj. The duties of the student and teacher. 75 - i i i - LIST OP TABLES TABLE PAGE I. Relation of Membrane Tension to Air Pressure. , . 36 II, Advanced Techniques Together with Pitfalls. , lj.1 III. Table of Abbreviations of Publishers ^) - i v - LIST OF FIGURES PIGITRE PAGE 1. Vowel Usage In Trnmpet A r t i c u l a t i o n .................................2l|_ 2. Examples of Lip S lu rs ...................................................................30 3. Pedal Fingerings for the Trumpet. ....... 1|_6 i|. Examples of Rapid Tonguing Exercises ................................lj.9 -V- FOREWORD Thousands of pages have been written concerning the problems of trumpet artistry and their possible solu­ tions. This paper represents an attempt to compile some of the outstanding problems together with the solutions they demand as suggested by noted performers and clini­ cians , Obviously all aspects and all opinions could not be included in this treatise. To a certain extent the authorities were chosen at random. To another extent they were chosen selectively to assure that each is respected in his field and that his opinions are weighty. The public school instrumental teacher should find this information particularly useful as a reference for recommended methods of helping the student overcome the obstacles to musical playing. It may in some cases prove useful in the hands of the student. Whatever the occasion for its use, it is the author's wish that this treatise will help in some ways to enhance the status of public school music. jdl - v i - CHAPTER I THE TRUMPET IN HISTORY The trumpet has enjoyed a fascinating history. Before I 8OO the only trumpet was the natural trumpet, that is, one without valves or keys. Music for this instrument was one of two kinds, (1) percussive effects limited to the natural overtone series or (2) playing in the very high part of the register where the overtones form a complete scale. The latter style gave rise to the name "Clarin Trompete," also known as the "Bach Trumpet" style because of its particular popularity at the beginning of the Baroque era through the greater part of the eighteenth century.^ In the fourteenth and fifteenth centuries trumpet playing was among the carefully guarded privileges of the nobility and only court officials were permitted to play. Obvious limitations of the natural trumpet led to experimentations with devices to fill in the gaps of the scale in all registers. This was done with crooks, slide ^Willi Apel, Harvard Dictionary of Music (Cambridge Harvard University Press, 1951 ), p. 771. - 1 - — 2— mechanisms, clappers and, as in the case of Zinken, with finger holes. The Zinken (cometto) date from the fifteenth and sixteenth centuries and were among the first chromatic wind instruments. Their shapes varied. The first Zinken were straight or slightly curved but as larger, lower Instruments were added to the family the tubing had to be doubled back over itself in order that the player might be able to reach all of the finger holes. In the six tee n th century a bass size was added and bent into a clumsy serpentine shape to facilitate fingering. Because of its peculiar shape this instrument was called the "serpent," The tone of the serpent blended well with voices and strings and the instrument was favored by many composers up to the middle of the nineteenth century.^ None of the early methods of bridging the gaps in the scale was entirely satisfactory, Glogget's rotary valve, invented in 1 7 8 8 , was m echanically sound and ade­ quate for the French horn but much too inarticulate for the type of playing required of the trumpet. When the single keyed trumpet was invented in St, Petersburg in 1770 a new field of thought was opened. The inventor
Load more

Recommended publications
  • Brass Teacherõs Guide
    Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips.
    [Show full text]
  • Trumpet, Cornet, Flugelhorn GRADE 5 from 2017
    Trumpet, Cornet, Flugelhorn GRADE 5 from 2017 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Bizet Chanson bohème. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 2 J. Clarke The Prince of Denmark’s March. No. 9 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 3 Debussy The Girl with the Flaxen Hair. Winning Matrix for Trumpet, arr. Lawrance (Brass Wind: & brass edition; piano accomp. published separately) 4 John Frith Caber Dance ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 5 David A. Stowell Jam Bouree ˛ separately) 6 Gibbons Coranto (ending at Fig. D). No. 2 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 7 Hummel Romanze. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 8 Schubert Ave Maria. Trumpet in Church, arr. Denwood (Emerson E283) 9 Verdi Triumphal March (from Aida). Onstage Brass for Trumpet, arr. Calland (Stainer & Bell H430) LIST B 1 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 2 Peter Meechan Final Thought ˛ separately) 3 Barry Gray Thunderbirds. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 4 Joplin Solace: A Mexican Serenade. Concert Repertoire for Trumpet, arr. Calland (Faber) 5 Bryan Kelly Miss Slight (Spinster of this Parish): No. 4 from Whodunnit – Suite for Trumpet (Stainer & Bell H442) 6 McCabe P. B. Blues: No. 3 from Dances for Trumpet (Novello NOV120530) 7 Prokofiev March (from The Love for Three Oranges).
    [Show full text]
  • Instruments of the Orchestra
    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Trumpet, Cornet, Flugelhorn GRADE 6 from 2017
    Trumpet, Cornet, Flugelhorn GRADE 6 from 2017 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Albrechtsberger Larghetto: 3rd movt from Concertino (Brass Wind) 2 J. S. Bach Esurientes implevit bonis (from Magnificat). Baroque Around the Clock for Trumpet, arr. Blackadder and Gout (Brass Wind) 3 Fiala Largo (observing cadenza): 1st movt from Divertimento in D (Faber) 4 Gibbons The King’s Juell. No. 4 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 5 Handel Allegro: 2nd movt from Sonata (in A b), Op. 1 No. 11. No. 2 from Handel Two Sonatas, trans. Varasdy and Orbán (Editio Musica Budapest Z.13933) 6 Haydn Andante: 2nd movt from Trumpet Concerto in E b, Hob. VIIe/1 (Henle HN 456 or Universal HM 223: B b/E b edition) 7 Mendelssohn Allegretto grazioso only. Mendelssohn Songs without Words Nos 9 and 30, arr. Round (Wright & Round ) 8 Mozart Alleluia (from Exultate Jubilate). Trumpet in Church, arr. Denwood (Emerson E283) 9 Stanley Trumpet Voluntary, Op. 6 No. 5. No. 11 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP ) LIST B 1 Leroy Anderson A Trumpeter’s Lullaby (Alfred 41061) 2 Gershwin Theme (from Rhapsody in Blue). Concert Repertoire for Trumpet, arr. Calland (Faber) 3 Hubeau Sarabande: 1st movt from Sonata for Trumpet (Durand: B b/C edition) 4 Bryan Kelly Colonel Glib (Retired) or The Chase: No.
    [Show full text]
  • Soprano Cornet
    SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor
    [Show full text]
  • Natural Trumpet Music and the Modern Performer A
    NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays.
    [Show full text]
  • Yamaha 2018 Price List
    two thousand eighte2en 01 8 accessories retail price lis t effective date: July 1, 2018 TABLE OF CONTENTS BRASSWIND MOUTHPIECES 1-4 REEDS 17-21 TRUMPET 1 SOPRANO CLARINET 17 CORNET, SHORT SHANK 2 CLARINET 17 CORNET, LONG SHANK 2 ALTO CLARINET 17 FLUGELHORN 2 BASS CLARINET 18 ALTO 2 CONTRA CLARINET 18 HORN 2-3 SOPRANINO SAXOPHONE 18 MELLOPHONE 3 SOPRANO SAXOPHONE 18 TROMBONE, SMALL SHANK TENOR 3 ALTO SAXOPHONE 19 TROMBONE, LARGE SHANK TENOR 3 TENOR SAXOPHONE 19-20 BASS TROMBONE 4 BARITONE SAXOPHONE 20 EUPHONIUM 4 BASS SAXOPHONE 20 TUBA 4 DOUBLE REEDS 20-21 SILENT BRASS ™ & MUTES 5-6 WOODWIND ACCESSORIES 22-30 SILENT BRASS SYSTEMS 5 LIGATURES 21-23 SILENT BRASS MUTES 5 MOUTHPIECE CAPS 24-25 TRADITIONAL MUTES 5-6 NECKSTRAPS 25-26 INSTRUMENT OILS & LUBRICANTS 26 BRASSWIND ACCESSORIES 7-9 MAINTENANCE KITS 26 BRASS INSTRUMENT OILS & LUBRICANTS 7 POLISHES & POLISHING CLOTHS 27 BRASS INSTRUMENT MAINTENANCE KIT 7 CLEANING SWABS 27 POLISHES & POLISHING CLOTHS 7 MAINTENANCE SUPPLIES 27-28 BRASS INSTRUMENT BRUSHES & CLEANING TOOLS 8 LIP PLATE & MOUTHPIECE PATCHES 28 PREMIUM MICROFIBER BRASS SWABS 8 REED TRIMMERS & SHAPERS 29 MISCELLANEOUS BRASS INSTRUMENT ACCESSORIES 9 REED CASES & STORAGE 29 BRASS INSTRUMENT LYRES 9 MISCELLANEOUS WOODWIND ACCESSORIES 29 INSTRUMENT LYRES 30 BRASSWIND CASES 10 WOODWIND CASES 31 WOODWIND MOUTHPIECES 11-16 PICCOLO CLARINET 11 RECORDERS & PIANICAS 32-33 SOPRANO CLARINET 11 PIANICAS 32 CLARINET 11-12 20 SERIES PLASTIC RECORDERS 32 ALTO CLARINET 12 300 SERIES PLASTIC RECORDERS 32 BASS CLARINET 12 400 SERIES PLANT-BASED
    [Show full text]
  • A Brief History of Piston-Valved Cornets'
    337 A Brief History of Piston-valved Cornets' Niles Eldredge The bewildering array of cornet design over the past 175 years or so has defied simple description, categorization, and classification. Yet major themes in cornet design readily emerge on closer study—and while no straightforward classification of comets is possible,' historical analysis of the sequence of major design changes does have the effect of reducing the welter of cornet variation to a manageably simpler picture than heretofore available. I shall restrict my analysis to B6 soprano brasswinds of approximately 41 /2 feet in length, equipped either with the earlier Stolzel valves, or with the succeeding Perinet valves— mentioning comets pitched higher (especially in E6, but also in C where designs differ from those in B6), as well as in lower pitches, only in passing.' Likewise, I consider only "mainstream" instruments most commonly used by amateur and virtuoso professional alike—but excluding such instruments as "echo bell" and "pocket" comets. Finally, in confining my gaze to comets, and thereby excluding trumpets and fluegelhorns (again, except in passing), we immediately confront the question: What, exactly, is a cornet? What Is a cornet? Conventional wisdom has it that a cornet is a soprano brasswind of some 41/2 feet of tubing that (1) has, at least ideally, approximately 2/3 of its length in conical shape, 1/3 cylindrical (the reverse being said to be optimal for trumpets4); (2) tubing coiled in two complete 360° turns (typically 11/2 such turns to the "leadpipe" section between mouthpiece and valves, and a final 180° turn after the bell tubing exits the first valve); thus cornets are usually shorter than Perinet-valved trumpets, which retain the much older single 360°-turn design of most natural trumpets; and (3) a deep, funnel-shaped cup mouthpiece—more similar to a horn, than to a trumpet, mouthpiece.
    [Show full text]
  • Beg. Brass Supplies List
    NEW BRAUNFELS I.S. D. MIDDLE SCHOOL BRASS INSTRUMENT LIST List of Recommended Instruments and Required Maintenance Supplies Required Required Instrument Brand/Model Mouthpiece Maintenance Supplies TRUMPET Yamaha YTR200AD Bach 5C Al Cass Valve Oil Yamaha YTR 2335 (older Model) Slide Grease(chapstick style) mouthpiece brush CORNET Yamaha YCR2310 non-chemical polish cloth King 603 Ed Sueta Band Method for Cornet/Trumpet *Bach S180-37(Step-up/Professional Trumpet) Optional: Wire Folding Music Stand Optional: Cleaning “Snake” for Cornet/Trumpet ** Pre-packaged supplies are not recommended. There are items in these packages we do not use. FRENCH HORN Provided by school Farkas MC Valve Oil Slide Grease (chapstick style) mouthpiece brush non-chemical polish cloth( Laquer) Ed Sueta Band Method for Cornet/Trumpet Optional: Wire Folding Music Stand ** Pre-packaged supplies are not recommended. There are items in these packages we do not use. TROMBONE Yamaha YSL200AD Bach 6 1/2 AL- Small Shank Yamaha YSL-354 Yamaha Trombone Slide Lubricant Bach TB600 Slide Grease (chapstick style) cleaning "snake" *Yamaha Xeno (Step-up/Professional Trombone) mouthpiece brush or Ed Sueta Band Method for Trombone *Bach 42BO(Step-up/Professional Trombone) non-chemical polish cloth w/ Bach 6 1/2 AL Large shank mouthpiece. Optional: Wire Folding Music Stand ***SuperSlick Water Bottle may not break as easily as other brands. ** Pre-packaged supplies are not recommended. There are items in these packages we do not use. **Please do not purchase slide oil or valve oil for trombone. EUPHONIUM Provided by school Schilke 51D--SMALL SHANK Al Cass Valve Oil Slide Grease(chapstick style) mouthpiece brush non-chemical polish cloth (laquer) Ed Sueta Band Method for Baritone B.C.
    [Show full text]
  • Mouthpiece Catalog
    14 A CUP DIAMETER RIM CONTOUR CUP VOLUME 4 a BACKBORE Model mm inches Description A small cup diameter with shallow “A” cup 5A4 15.84 .624 and semi-flat rim offers comfort and resistance in the upper register. A shallow “A” cup with cushion #4 rim for 6A4a 15.99 .630 extreme high register work. Excellent for the player with thin lips. A #4 rim 7B4 16.08 .633 provides good endurance with a brilliant tone. The slightly funnel-shaped cup at the entrance 8A4 16.25 .640 to the throat provides a good tone and the #4 semi-flat rim gives superior endurance. The deep funnel-shaped cup provides 8E2 16.15 .636 a smooth tone and is very flexible in all registers. Recommended for cornet players. Standard characteristics allow for a full 9 16.33 .643 penetrating tone quality. Like the 9, however the #4 semi-flat rim 9C4 16.36 .644 provides excellent endurance. The combination of the shallow “A” cup, semi- 10A4a 16.43 .647 flat #4 rim and tight “a” backbore assists with upper register work. Same as the 10A4a but with a standard “c” 10A4 16.43 .647 backbore, which offers less resistance. A medium-small funnel-shaped “B” cup offers 10B4 16.43 .647 both a quality sound and support in the upper register. This rim size and contour is similar to the 11 11A 16.51 .650 but with a shallower “A” cup. This model was developed for the Schilke piccolo trumpets. The “x” backbore improves the 11Ax 16.51 .650 ease of playing and opens up the sound on the piccolo.
    [Show full text]