DOCSLIB.ORG

Richmond Matteson: Euphonium Innovator, Teacher and Performer, with Three Recitals Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Richmond Matteson: Euphonium Innovator, Teacher and Performer, with Three Recitals Of RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER, WITH THREE RECITALS OF SELECTED WORKS BY FRESCOBALDI, BACH, SAINT-SAENS, HUTCHINSON, WHITE, AND OTHERS. Marcus Dickman, Jr., B.M.E., M.M. APPROVED: NWw V4 Major Professor 007k.00/ Committee mber Committee ember Dean of the College of Music Dean of the Robert B. Toulouse School of Graduate Studies 3~7q o'S7 RICHMOND MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER DISSERTATION Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS By Marcus Dickman, Jr., B.M.E., M.M. Denton, Texas August, 1997 Dickman, Marcus, Jr., Richmond Matteson: Euphonium Innovator, Teacher and Performer, with Three Recitals of Selected Works By Frescobaldi, Bach, Saint-Sa~ns, Hutchinson, White and Others. Doctor of Musical Arts (Performance), August, 1997, 97 pp., 23 examples, 3 tables, 3 appendices, and bibliography. An examination is conducted of the life, career and musical styles of Richmond Matteson, an influential jazz euphonium and tuba performer of the twentieth century. The study includes a brief history of the euphonium's role in concert bands. A description of Matteson's background as a musician and clinician including education, influences and career changes will also be discussed. Analysis of Matteson's improvisational style and a transcription from the recording Dan's Blues is included. A formal analysis of Claude T. Smith's Variations for Baritone is provided, as well as a brief biography of the composer. Matteson's stylistic traits which Smith employed for the composition of Variations for Baritone are illustrated. The conclusion calls for further study of jazz styles by euphoniumists with more frequent performances of Variations for Baritone. Appendices include lists of Matteson's compositions and arrangements, a selected discography and a list of clinics and performances from 1982-1992. Tape recordings of all performances submitted as dissertation requirements are on deposit in the University of North Texas Library. iii ACKNOWLEDGMENTS I would like to recognize my colleagues, friends, teachers and family who gave their expertise, encouragement and selfless dedication during the completion of my terminal degree. Special thanks are given to: Donald Little who has given freely of his time and musicianship, and for his kind hospitality; Dr. Royce Lumpkin for his proofreading and helpful advice and guidance; Eugene Corporon for serving on my DMA committee; Peggy Heinkle-Wolfe who was extremely helpful in the theoretical portions of this study; and Dr. Priscilla VanZandt for proofreading and giving invaluable editorial suggestions. I would also like to thank Dr. William Prince, Barry Greene, and Kevin Bales for their assistance in the reproduction of the musical examples contained in this paper. I would like to thank my parents, Marcus, Sr., and Janet Dickman, for their encouragement and support through the long years of my college education. To my wife Patrice, and children, Jacob and Corrine, I dedicate this treatise. Their sacrifice throughout my studies are one of the main reasons I was able to complete my degree. A musical discussion without examples is unintelligible. I wish to thank Mr. Frank Fendorf at Wingert-Jones Music, Inc. for giving me permission to reproduce selected musical examples. Last of all, a special note of gratitude to Michelle Matteson for helping me to document the remarkable life and career of her husband. iv TABLE OF CONTENTS Page ACKNOW LEDGM ENTS .................................................................. iv RECITAL PROGRAMS..........................................vii LIST OF MUSICAL EXAMPLES ..................................................... xi LIST O F TABLES ............................................................................. xiii Chapter I. INTRODUCTION .......................................................... 1 II. A BRIEF HISTORY OF THE EUPHONIUM AND ITS ROLE IN THE AMERICAN CONCERT BAND...................3 III. RICHMOND MATTESON: PERFORMER, EDUCATOR, IN N OVATO R ............................................................... 10 IV. MATTESON'S CONTRIBUTION TO TUBA AND EUPHONIUM PERFORMANCE........................................24 V. THE VARIATIONS FOR BARITONE BY CLAUDE T. SM ITH ..................................................... 40 VI. CONCLUSION AND SUMMARY...................................57 V Appendices Page A. MATTESON'S COMPOSITIONS AND ARRANGEMENTS FOR JAZZ ENSEMBLE AND SOLOIST, FOR BRASS BAND AND SOLOIST, FOR BRASS BAND ALONE, PUBLISHED JAZZ ENSEMBLE COMPOSITIONS, AND TUBAJAZZ COMPOSITIONS AND ARRANGEMENTS......................61 B. SELECTED DISCOGRAPHY OF RICHMOND MATTESON..............................................68 C. MATTESON'S CLINICS AND CONCERTS 1982 - 1990..........70 BIBLIO G RA PH Y ............................................................................ 92 vi University of North Texas presents A Graduate Recital MARC DICKMAN, euphonium assisted by Evelyn Barthold, piano Monday, June 28, 1993 5:00 p.m. Concert Hall PROGRAM Concertino. .Julius No. Kiengel1 in B' Major, Opus 7 . arr. Leonard Falcone Canzona IIfor Basso Solo.......... Girolamo Frescobaldi LeCygne..................... Camille Saint-Saens arr. Leonard Falcone - pause - Sonatina........................... .. Warner Hutchison Barcarolle Et Chanson Bachique ........ .a ..Jules Semler-Collery Beautiful Colorado................... .' . 0Joseph DeLuca Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts vii University of North Texas present A Graduate Recital MARC DICKMAN, euphonium, bass-trombone accompanied by Evelyn Barthold, piano assisted by Larry Jones, trumpet - Bill Stowman, trumpet Tom Brantley, trombone 9 Marcia Spence, horn * John Rider, tuba Monday, June 12, 1995 5:00 pm Concert Hall Lyric Suite ...................................... Donald H. White Adagio cantabile Allegro guisto Andante sostenuto - Allegro energico Allegro Maestoso per trombone basso e pianoforte ............. Jan Koetsier Concert Variationsfor Euphonium and Piano ................... Jan Bach Var. I Capriccio Var. II Siciliano Var. III Ripresa Var. IV Scherzo Var. V Recitativo Var. VI Coro Var. VII Fuga Concerta 6 in Bb from the Violin Concert in E Major, BWV1042 ............ Johann Sebastian Bach Allegro arr. Ryohei Nakagawa Adagio Allegro assai Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts viii University of North Texas presents A Graduate Recital MARC DICKMAN, euphonium accompanied by Judi Rockey Bradetich, piano Monday, July 1, 1996 6:30 pm Concert Hall Fantasia..t.o..0...................................Gordon Jacob Pi ce en Forme de Habafiera........................MauriceRavel Morceau De Concours...............................J. Ed. Barat - pause - Le Fleurgue tu n'avaisjet. ........................... Georges Bizet Believe Me If All Those Endearing Young Charms............Simone Mantia arr. David Werden Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts ix University of North Texas -u -7 presents A Graduate Lecture Recital MARC DICKMAN, euphonium assisted by Steven Harlos, piano * Mike McGuirk, bass Rich Matschulat, drums Monday, April 14, 1997 6:30 pm Recital Hall RICHARD MATTESON: EUPHONIUM INNOVATOR, TEACHER AND PERFORMER WITH THREE RECITALS OF SELECTED WORKS.BY FRESCOBALDI, BACH, SAINT-SAENS, HUTCHINSON, AND WHITE Dan's Blues ................. Jack Petersen I (as performed by Rich Matteson on the album Easy Street, Four Leaf Records, FLC 5051, 1980) VariationsforBaritone ......... ...... Claude T. Smith Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts x LIST OF MUSICAL EXAMPLES Example Page 1. Transcription of Richmond Matteson's solo euphonium improvisation on "Dan's Blues ".....................28 2. Broken third pattern m. 1........................................................31 2a. Sequential third pattern mm. 81-83. ......................................... 31 2b. Sequential third pattern, upper range mm. 67-68.......................31 3. Use of sequence, chordal outline mm. 4-6..................................32 4. Three-note ascending motive m. 17. ......................................... 32 4a. Reuse of three-note motive with rhythmic displacement m m . 36 - 38 ............................................................................ 33 4b. Third occurrence of three-note motive mm. 65-66.......................33 5. Usage of raised and lowered ninths m. 2...................................34 5a. Repeated blues motive mm. 22-26................................................34 6. Linear ideas with chromatic approach tones mm. 7-11...............35 7. Rhythmic displacement mm. 47-51. ......................................... 35 8. Bebop scale and extreme upper register mm. 52-56. ................... 36 9. Use of extreme upper register. Ascending line to Bb5 m m . 77-80. ............................................................................... 36 10. Theme I, andante, Variations for Baritone mm. 9-19. ................ 45 10a. Theme II, allegro, Variations for Baritone, mm. 81-92...............45 11. Variations for Baritone. Entrance of soloist mm. 9-11................... 47 12. Continuation of Theme I and "Jazz Waltz" at Rehearsal B mm . 12-22 .............................................................................. 48 xi 13. Theme II, allegro mm.
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]
  • Johnny Hodges: an Analysis and Study of His Improvisational Style Through Selected Transcriptions
    HILL, AARON D., D.M.A. Johnny Hodges: An Analysis and Study of His Improvisational Style Through Selected Transcriptions. (2021) Directed by Dr. Steven Stusek. 82 pp This document investigates the improvisational style of Johnny Hodges based on improvised solos selected from a broad swath of his recording career. Hodges is widely considered one of the foundational voices of the alto saxophone, and yet there are no comprehensive studies of his style. This study includes the analysis of four solos recorded between 1928 and 1962 which have been divided into the categories of blues, swing, and ballads, and his harmonic, rhythmic, and affective tendencies will be discussed. Hodges’ harmonic approach regularly balanced diatonicism with the accentuation of locally significant non-diatonic tones, and his improvisations frequently relied on ornamentation of the melody. He demonstrated considerable rhythmic fluidity in terms of swing, polyrhythmic, and double time feel. The most individually identifiable quality of his style was his frequent and often exaggerated use of affectations, such as scoops, sighs, and glissandi. The resulting body of research highlights the identifiable characteristics of Hodges’ style, and it provides both musical and historical contributions to the scholarship. JOHNNY HODGES: AN ANALYSIS AND STUDY OF HIS IMPROVISATIONAL STYLE THROUGH SELECTED TRANSCRIPTIONS by Aaron D. Hill A Dissertation Submitted to The Faculty of the Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2021 Approved by __________________________________ Committee Chair 2 APPROVAL PAGE This dissertation written by AARON D. HILL has been approved by the following committee of the Faculty of The Graduate School at The University of North Carolina at Greensboro.
    [Show full text]
  • Magenta Cyan Yellow Black Dvd Booklet Page 1 Page 12
    MAGENTA CYAN YELLOW BLACK DVD BOOKLET Credits Executive Producer: Brett Baker Producer / Sound Engineer / Editor: Richard Scott of RAS Audio Services Accompanist: John Wilson Recorded at: Peel Hall, the Crescent University Salford 3rd-5th September 2012 Photography: John Stirzaker Program Notes: Joanna Cambray-Young Design: GK Graphic Design Thanks My thanks go to John Wilson for his expert playing, Duncan Winfield and Richard Rock for the use of Peel Hall at Salford University. I would like to thank Steve Dillon and Ron Holz for helping me source the music and the many bands in the USA, Australia and New Zealand who allowed me to trawl through their extensive libraries in search of this rare material. I would like to thank my good friend Gerard Klaucke for his inspired designs and I would also like to thank my family and friends for putting up with all the practice. Finally I would like to thank Michael Rath and Chris Beaumont for their continued support in this project. Instruments Rath R4 rose brass bell, yellow bass tuning slide, heavy valve cap, and 41b lead pipe. The Baroque Sackbut is based upon a version made by Anton Drewelwelz in 1595 in Nuremburg Germany. “Brett Baker plays exclusively Michael Rath Brass Instruments” PAGE 12 PAGE 1 MAGENTA CYAN YELLOW BLACK DVD BOOKLET Introduction the United States, he maintained a home in Newcornerstown, Ohio, and for many This CD is a celebration of rarely played trombone years served as the conductor of the Hyperion Band. solos from the beginnings of virtuoso playing on the sackbut, Yingling was also a composer of band music.
    [Show full text]
  • Boosey & Hawkes
    City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures......................................................................................................................................
    [Show full text]
  • ELLINGTON '2000 - by Roger Boyes
    TH THE INTERNATIONAL BULLETIN22 year of publication OEMSDUKE ELLINGTON MUSIC SOCIETY | FOUNDER: BENNY AASLAND HONORARY MEMBER: FATHER JOHN GARCIA GENSEL As a DEMS member you'll get access from time to time to / jj£*V:Y WL uni < jue Duke material. Please bear in mind that such _ 2000_ 2 material is to be \ handled with care and common sense.lt " AUQUSl ^^ jj# nust: under no circumstances be used for commercial JUriG w «• ; j y i j p u r p o s e s . As a DEMS member please help see to that this Editor : Sjef Hoefsmit ; simple rule is we \&! : T NSSESgf followed. Thus will be able to continue Assisted by: Roger Boyes ^ fueur special offers lil^ W * - DEMS is a non-profit organization, depending on ' J voluntary offered assistance in time and material. ALL FOR THE L O V E D U K E !* O F Sponsors are welcomed. Address: Voort 18b, Meerle. Belgium - Telephone and Fax: +32 3 315 75 83 - E-mail: [email protected] LOS ANGELES ELLINGTON '2000 - By Roger Boyes The eighteenth international conference of the Kenny struck something of a sombre note, observing that Duke Ellington Study Group took place in the we’re all getting older, and urging on us the need for active effort Roosevelt Hotel, 7000 Hollywood Boulevard, Los to attract the younger recruits who will come after us. Angeles, from Wednesday to Sunday, 24-28 May This report isn't the place for pondering the future of either 2000. The Duke Ellington Society of Southern conferences or the wider activities of the Ellington Study Groups California were our hosts, and congratulations are due around the world.
    [Show full text]
  • Baritones and Euphoniums*
    OpenStax-CNX module: m12650 1 Baritones and Euphoniums* Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 1.0 1 Introduction Baritones and euphoniums are aerophones in the brass family. They are closely related instruments, both fairly large and with a medium-low range. They are generally not considered orchestral instruments, but are an important part of the Western band tradition. 2 The Instruments Like other instruments in the brass family, baritones and euphoniums are played by buzzing the lips against a cup mouthpiece. The air then moves through the brass tubing and leaves through the bell at the other end of the instrument. The valves change the playing length of the instrument, making it possible to play several harmonic series that together allow the instrument to play any chromatic note in its range. For more on how brass instruments work, please see Wind Instruments: Some Basics, Standing Waves and Wind Instruments, and Harmonic Series.) Baritones and euphoniums are valved brass instruments that have a range similar to the slide trombone, higher than a tuba and about an octave below the trumpet. The valved tenor-range brass instruments are a slightly confusing group of instruments. They are usually held upright, with the bell pointing either straight up or up-and-forward, but they may also be shaped like a very large trumpet, held horizontally with the bell pointing forward. They may have three, four, or sometimes even ve valves. Baritone and euphonium are recognized in Britain as being two dierent instruments, but in the U.S.
    [Show full text]
  • The Improvements of Brass Instruments from 1800 to 1850 Including Implications for Their Usage
    Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1965 The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age Delmar T. Vollrath Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Vollrath, Delmar T., "The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age" (1965). Masters Theses. 4300. https://thekeep.eiu.edu/theses/4300 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Improvements of Brass Instruments from - 1800 to 1850 Including Implications for Their Usage (TITLE) BY Delmar To Vollrath THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Science in Education IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS --.12�65�- YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE JI, !f{j_ ol\ln TA.llLE OF CONTENTS Chapter I Introduction • • • • • , •• • • • • • • l JI �t ................ 4 III Cornet • • • • • • • • • , • • • • • • IV Tronlhone • • • • • • • .. • , • • •. • • • 18 v Horn • • • • • • • • • • • • • ••••• 22 VI • • • • • • • 4i •••• " • • -'II' •• JJ VII • • • • • • • . ' . .. 39 VIll BU'itone and EuphoniU111 • II •• e II e •• 43 IX Saxophone ••••• • ..... • • • • • I Conolu•ion • • • • • • • .• • • " .... r-''} . • .. APi'ii2IDTX , "' • . • • . ... ,.. BI BL!OORAP!II • • • • • • • • • • . .. The ;:mrpose o:': this stud,)' is to axwni.ne one ;:;'.:&oo of tho evolution of 111J.ls1.oal :tnstrunentsJ that oi' t',e p'1�,;ica1 isi:pr'.ive":ents of brass wind instruments !'roui 1800 to 1 ,50, i:::i the '1opc that a more hharough understanding of the :instru- 1..:ints and their back1;ro·.md will re ;:tlt.
    [Show full text]
  • A Whole New Meaning to “Campus Going Green”
    STUDENT RUNS FOR MAYOR NEWS Page 3 (lie— ANGELA DAVIS ON CAMPUS NEWS Page 3 MAIN STREET UPDATE l i l \ I NEWS Page 5 The University of Delaware’s Independent Student Newspaper Since GH ® @udrevie\U TUESDAY, FEBRUARY 26, 2019 VOLUME 145, ISSUE 16 A whole new meaning to COLLEGE UNCOVERED A pristine facade: “Campus Going Green” behind one student KRISTINE CASTORIA as well," said Andrew, a junior, leader’s battle with Staff Reporter from California, who requested pressure, mental illness that his last name not be used. br an international student, "It is actually beneficial to most and self-medication moving onto campus students for the high anxiety and KATHERINE NAILS freshman year can be quite the stress levels of college." Managing News Editor Fculture shock. Farah, a junior, who According to the Drug requested that her last name not Enforcement Agency study he field of geology examines be used, noticed how normalized "Preventing Marijuana Use more than just chunks marijuana is in the United States Among Youth and Young Adults," of rock— it zeroes in on and how different the views are "One in every 22 college students T Earth's physical architecture and compared to her home country of use marijuana daily, or near daily. the processes that make up Saudi Arabia. Almost 38% of college students its complex, corporeal system. "I would not want to live said they use marijuana in 2015 One of the most fundamental in the Christiana Towers," said as compared to 30% in 2003." geological concepts that affects Farah. "It would really bother me First State Compassion these mechanisms is the certainty because I'm the outsider and like Center was the first dispensary that, beneath the seemingly 90 percent of those students who to open their doors in 2015 in solid ground, seas of boiling, live there do it, and peer pressure Wilmington.
    [Show full text]
  • Recital Report
    Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R.
    [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]
  • Homer Rodeheaver: Reverend Trombone Douglas Yeo Historic
    Homer Rodeheaver: Reverend Trombone Douglas Yeo Historic Brass Society Journal (peer-reviewed) Volume 27, 2015 The Historic Brass Society Journal (ISSN1045-4616) is published annually by the Historic Brass Society, Inc. 148 W. 23rd Street, #5F New York, NY 10011 USA YEO 1 Homer Rodeheaver: Reverend Trombone Douglas Yeo Introduction Since his death in 1955, Homer Rodeheaver (1880–1955) has slipped into obscurity, an astonishing fact given that he played the trombone for as many as 100 million people in his lifetime. While not nearly so accomplished as the great trombone soloists of the nineteenth and early twentieth centuries such as Arthur Pryor, Simone Mantia, and Leo Zimmerman, Rodeheaver’s use of the trombone in Christian evangelistic meetings—par- ticularly during the years (1910–30) when he was song leader for William Ashley “Billy” Sunday—had an impact on American religious and secular culture that continues today. Rodeheaver’s tree of influence includes many other trombone-playing evangelists and song leaders, including Clifford Barrows, song leader for the evangelistic crusades1 of William Franklin “Billy” Graham. While Homer Rodeheaver was one of the most successful publishers of Christian songbooks and hymnals of the modern era—he owned copyrights to many of the most popular gospel2 songs of the first half of the twentieth century—and was the owner of and a recording artist with one of the first record companies devoted primarily to Christian music, the focus of this article is on Rodeheaver as trombonist and trombone icon, his use of the trombone as a tool in leading large congregations in singing, the particular instruments he used, his trombone recordings, and his legacy and influence in inspiring and encouraging others to utilize the trombone as a tool for large-scale Christian evangelism.
    [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]