An Investigation of Euphonium Valve System Design
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Composer Suggestions for the Euphonium
Euphonium: 3-Valve, 4-Valve, and 4-Valve Compensating Euphoniums: (The low range and intonation will differ depending on how many valves you have) *see attached chart Breath capacity Articulations: staccato, accents, slurred, legato tonguing, no marking Trills and Tremoli Double and Triple Tonguing Extended Techniques: Flutter Tonguing and Multi-phonics Mutes (You MUST allow time to put the mute in and adjust tuning slide) Composer Suggestions: “The euphonium is often called the “cello” of the band or the “shortstop” of a ball team.” Counter Melodies are great! It can be treated as an individual or be combined with the Clarinets, Horns, Saxes and other brasses. Earlier band literature treated it as an a “cello”, but more recent composers and arrangers are often treating it in a “new and lesser” role. They often give it the upper octave of the tuba part or treat it like a 3rd trombone. It has many more capabilities! The Euphoniums role changes depending on what group it is in. (Orchestras, Jazz Combos, Chamber Ensembles, and British Brass Bands) For example, in a British Brass Band it is treated in this way: The euphonium part is flexible and is often compared to that of the `cello in an orchestra. It is equally at home doubling the solo cornet line an octave down, as a melodic or counter-melodic lead, doubling the Bb bass an octave up or occasionally with the 1st trombone. The range of the part is large: most players will be comfortable over more than two octaves, from low G to top A, with the occasional higher note. -
Fluid Power, Rate Training Manual
DOCUMENT RESUME ED 070 578 SE 014 125 TITLE Fluid Power, Rate TrainingManual. INSTITUTION Bureau of Naval Personnel,Washington, D. C. REPORT NO NAVPERS-16193-B PUB DATE 70 NOTE 305p. EDRS PRICE MF-$0.65 HC-$13.16 DESCRIPTORS Force; *Hydraulics; Instructional Materials; *Mechanical Equipment; Military Personnel; *Military Science; *Military Training; Physics; *Supplementary Textbooks; Textbooks ABSTRACT Fundamentals of hydraulics and pneumatics are presented in this manual, prepared for regular navy and naval reserve personnel who are seeking advancement to Petty Officer Third Class. The history of applications of compressed fluids is described in connection with physical principles. Selection of types of liquids and gases is discussed with a background of operating temperature ranges, contamination control techniques, lubrication aspects, and safety precautions. Components in closed- and open-center fluid systems are studied in efforts to familiarize circuit diagrams. Detailed descriptions are made for .the functions of fluidlines, connectors, sealing devices, wipers, backup washers, containers, strainers, filters, accumulators, pumps, and compressors. Control and measurements of fluid flow and pressure are analyzed in terms of different types of flowmeters, pressure gages, and values; and methods of directing flow and converting power into mechanical force and motion, in terms of directional control valves, actuating cylinders, fluid motors, air turbines, and turbine governors. Also included are studies of fluidics, trouble shooting, hydraulic power drive, electrohydraulic steering, and missile and aircraft fluid power systems. Illustrations for explanation use and a glossary of general terms are included in the appendix. (CC) IDLE AV Agile 4'Aly , _ - , 141 ye ,,- I -,, FLUID POWER BUREAU OF OF NAVAL PERSONNEL .1% RATE TRAINING MANUAL NAVPERS 16,1937B PREFACE Fluid Power is written for personnel of the Navy and Naval Reserve whose duties and responsibilities require them to have a knowledge of the fundamentals of hydraulics and pneumatics. -
Douglas Yeo: Historical Instruments Vitae
Douglas Yeo Serpent ~ Ophicleide ~ Buccin ~ Bass Sackbut Historical Instruments Vitae Primary Positions • Professor of Trombone, Arizona State University (2012 – ) • Bass Trombonist, Boston Symphony Orchestra (1985 – 2012) • Faculty, New England Conservatory of Music (1985 – 2012) Historical Instruments Used • Church serpent in C by Baudouin, Paris (c. 1812). Pearwood, 2 keys. • Church serpent in C by Keith Rogers, Christopher Monk Instruments, Greenwich (1996). Walnut, 1 key. • Church serpent in C by Keith Rogers, Christopher Monk Instruments, Forest Hills (1998). Plum wood, python skin, 2 keys. • Church serpent in D by Christopher Monk. Sycamore. • English military serpent in C by Keith Rogers, Christopher Monk Instruments, Yaxham (2007). Sycamore, 3 keys. • Ophicleide in C by Roehn, Paris (c. 1855). 9 keys. • Buccin in B flat by Sautermeister, Lyon (c. 1830); modern hand slide after historical models by James Becker (2005) • Bass sackbut in F by Frank Tomes, London (2000). Performances with Early Instrument Orchestras 2001 Bass sackbut. Monteverdi: “L’Orfeo” (Boston Baroque) 2001 Serpent. Handel: “Music for the Royal Fireworks” (Boston Baroque) 2002 Ophicleide. Berlioz: “Symphonie Fantastique” (Handel & Haydn Society) 2002 Bass sackbut. Monteverdi: “Vespers of 1610” (Handel & Haydn Society) 2005 Ophicleide. Berlioz: “Romeo et Juliette” (Chorus Pro Musica) 2005 Serpent. Purcell: “Dido and Aeneas” (Handel & Haydn Society) 2006 Bass sackbut. Monteverdi: “L’Orfeo” (Handel & Haydn Society) 2006 Serpent and Ophicleide: Berlioz: “Symphonie Fantastique” (Handel & Haydn Society) 2008 Serpent. Handel: “Music for the Royal Fireworks” (Handel & Haydn Society) 2009 Ophicleide. Mendelssohn: Incidental music to “A Midsummer Night’s Dream” (Philharmonia Baroque, San Francisco, CA) 1 Performances with Modern Instrument Orchestras 1994 Serpent. Berlioz: “Messe solennelle” (Boston Symphony Orchestra – Ozawa) 1998 Serpent. -
Jennings: Two-Stroke Tuner's Handbook
Two-Stroke TUNER’S HANDBOOK By Gordon Jennings Illustrations by the author Copyright © 1973 by Gordon Jennings Compiled for reprint © 2007 by Ken i PREFACE Many years have passed since Gordon Jennings first published this manual. Its 2007 and although there have been huge technological changes the basics are still the basics. There is a huge interest in vintage snowmobiles and their “simple” two stroke power plants of yesteryear. There is a wealth of knowledge contained in this manual. Let’s journey back to 1973 and read the book that was the two stroke bible of that era. Decades have passed since I hung around with John and Jim. John and I worked for the same corporation and I found a 500 triple Kawasaki for him at a reasonable price. He converted it into a drag bike, modified the engine completely and added mikuni carbs and tuned pipes. John borrowed Jim’s copy of the ‘Two Stoke Tuner’s Handbook” and used it and tips from “Fast by Gast” to create one fast bike. John kept his 500 until he retired and moved to the coast in 2005. The whereabouts of Wild Jim, his 750 Kawasaki drag bike and the only copy of ‘Two Stoke Tuner’s Handbook” that I have ever seen is a complete mystery. I recently acquired a 1980 Polaris TXL and am digging into the inner workings of the engine. I wanted a copy of this manual but wasn’t willing to wait for a copy to show up on EBay. Happily, a search of the internet finally hit on a Word version of the manual. -
Fluent in French
Fluent in French A Band Director’s Guide to Understanding and Teaching the French Horn Practical Application Project #1 MUSI 6285 Jonathan Bletscher 2 Table of Contents Introduction 4 Part One: Understanding the Horn 5 Horn History 5 Rotary Valves and Anatomy of the Horn 8 - Common Rotary Valve Problems 12 - Disassembling and Reassembling a Rotary Valve 14 - Replacing Rotary Valve String 21 Horn in F and Horn in Bb: Transposing Instruments 26 The Seven Chromatic Brass Fingerings 28 The Overtone Series 30 7 Fingerings, 7 Fundamentals, and 7 Series: Filling in the Gaps 35 The Partial Grouping Method 37 Horn Fingering Tricks 41 Trouble Fitting In: Why Horns Aren’t Like Everyone Else (In the Brass Family) 45 Part Two: Teaching the Horn 47 Picking Your Horn Players 47 Equipping for Success 48 Posture and Holding the Horn 49 Making a Sound on the Horn 53 Common Problems with Horn Embouchure 56 Horn Fingerings 58 Instrument Maintenance 61 Developing as a Horn Player 63 Teaching Strategies 67 More to Learn 70 About the Author 71 Bibliography 72 3 Introduction Consider a student who is about to begin the very frst day of learning a foreign language. The student is pre- sented with very basic vocabulary, is led to dabble in speaking and writing, and very slowly begins absorbing the sound, feel, and structure of the language. This is not unlike the experience of a student learning his or her frst instrument. This slow and steady approach is designed to be the frst step in a years-long sequence of instruction and study for a student who is brand new to the subject. -
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 -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Victorian Brass Bands: the Establishment of a 'Working Class Musical Tradition'
HERBERT 1 VICTORIAN BRASS BANDS: THE ESTABLISHMENT OF A 'WORKING CLASS MUSICAL TRADITION' Trevor Herbert y the end of Queen Victoria's reign, brass bands were one of the principal focuses of community music making in the United Kingdom. There were, if we are to believe the optimistic forecasts in one publication, 40,000 of them.1 Such a Bstatistic would indicate that the number of people playing in brass bands by the end of the century was something in the region of 800,000. At about the same time, audience attendance at open air brass band contests was, according to the highest estimate, 160,000 at a single event. This figure was quoted in the popular press following the 1900 National Brass Band Contest at the Crystal Palace. It should not, of course, be taken literally, but it is probably a good indicator of popular impression. When Queen Victoria ascended to the throne in 1837, the term '"brass band" meant nothing more than an ensemble of miscellaneous wind instruments in which brass instruments were prominent. At the end of the century the term was more closely defined. Brass bands had become the raison d'etre for a discrete but significant segment of the British music industry and for a widespread and intricate organizational structure that was largely controlled by working-class people. Since the end of the nineteenth century, the British brass band has had a standard line up of instruments - cornets in Bb (4 'solo', 2 seconds, 2 thirds plus one 'repiano'), 1 soprano cornet in Eb, 1 flugel horn in Bb, 3 tenor saxhorns in Eb, 2 baritone saxhorns in Bb, 2 euphoniums in Bb, 2 Eb basses, 2 BBb basses, 2 tenor trombones, 1 bass trombone, and percussion. -
Das Saxhorn Adolphe Sax’ Blechblasinstrumente Im Kontext Ihrer Zeit
Eugenia Mitroulia/Arnold Myers The Saxhorn Families Introduction The saxhorns, widely used from the middle of the nineteenth century onwards, did not have the same tidy, well-ordered development in Adolphe Sax’s mind and manufacture as the saxophone family appears to have had.1 For a period Sax envisag- ed two families of valved brasswind, the saxhorns and saxotrombas, with wider and narrower proportions respectively. Sax’s production of both instruments included a bell-front wrap and a bell-up wrap. In military use, these were intended for the infantry and the cavalry respectively. Sax’s patent of 1845 made claims for both families and both wraps,2 but introduced an element of confusion by using the term “saxotromba” for the bell-up wrap as well as for the instruments with a narrower bore profile. The confusion in nomenclature continued for a long time, and was exacerbated when Sax (followed by other makers) used the term “saxhorn” for the tenor and baritone members of the nar- rower-bore family in either wrap. The question of the identity of the saxotromba as a family has been answered by one of the present authors,3 who has also addressed the early history of the saxhorns.4 The present article examines the identity of the saxhorns (as they are known today) in greater detail, drawing on a larger sample of extant instruments. In particular, the consistency of Sax’s own production of saxhorns is discussed, as is the question of how close to Sax’s own instruments were those made by other makers. -
A, Fl }J)-A?L~---- Dr
A SURVEY OF ACTIVE BRASS BANDS IN THE STATE OF OHIO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Diana Droste Herak, B.M.E. * * * * * The Ohio State University 1999 Master's Examination Committee: Approved by Dr. Jon Woods, Adviser Dr. Jere Forsythe __a,_fL_}j)-A?L~---- Dr. Russel Mikkelson v--- Adviser School of Music Copyright by Diana Droste Herak 1999 ABSTRACT In England, many adult amateur musicians continue playing their instruments throughout their lives in the brass band world. In contrast, American adult musicians rarely continue performing once their school days are over. By conducting a survey of the current status of active brass bands in Ohio, it is the intent of this study to offer an historical background of each band, bring more exposure to the brass band movement, and promote brass banding as a musically worthwhile activity for adult amateur musicians. Not much is known about the history and current status of the brass band movement in America. In 1992, Dr. Ned Mark Hosler completed a dissertation entitled “The Brass Band Movement in North America: A Survey of Brass Bands in the United States and Canada.” The intent of this thesis was to focus specifically on British-style brass bands in the state of Ohio. A questionnaire was administered to a sample population of British brass bands in Ohio. The categories covered in the survey included basic information, band origin, membership demographics, instrumentation, organizational structure, rehearsals/performances, public/community support, repertoire, the impact of the North American Brass Band Association, and general considerations. -
DOI: 156 Reimar Walthert
Reimar Walthert The First Twenty Years of Saxhorn Tutors Subsequent to Adophe Sax’s relocation to Paris in 1842 and his two saxhorn/saxotromba patents of 1843 and 1845, numerous saxhorn tutors were published by different authors. After the contest on the Champ-de-Mars on 22 April 1845 and the decree by the Ministre de la guerre in August 1845 that established the use of saxhorns in French military bands, there was an immediate need for tutors for this new instrument. The Bibliothèque nationaledeFranceownsaround35tutorspublishedbetween1845and1865forthisfamily of instruments. The present article offers a short overview of these early saxhorn tutors and will analyse both their contents and their underlying pedagogical concepts. Early saxhorn tutors in the Bibliothèque nationale de France The whole catalogue of the French national library can now be found online at the library’s website bnf.fr. It has two separate indices that are of relevance for research into saxhorn tutors. Those intended specifically for the saxhorn can be found under the index number “Vm8-o”, whereas cornet tutors are listed under “Vm8-l”. But the second index should not be ignored with regard to saxhorn tutors, because tutors intended for either cornet or saxhorn are listed only here. The most famous publication in thiscategoryisJean-BaptisteArban’sGrande méthode complète de cornet à pistons et de saxhorn. Meanwhile many of these tutors have been digitised and made accessible on the website gallica.fr. Publication periods It is difficult to date the saxhorn tutors in question. On one hand thereisthestampoftheBibliothèquenationaledeFrance,whichcannotalwaysberelied upon. On the other hand, it is possible to date some publications by means of the plate number engraved by the editor. -
President's Message and News of the Field
253 PRESIDENT'S MESSAGE Jeffrey Nussbaum The HBS has continued to make great progress. Our success is quite evident by the praise that we received from other music organizations at the meeting of early- music societies at the Berkeley Early Music Festival. We have once again exceeded our previous years membership. Our paid 1992 membership is near 550. The HBS Journal is gaining an international reputation as a distinguished publication of world-class caliber. With the HBS Newsletter and the HBS Journal our Society has created an important voice in the music community. We have continued to search for the widest range of articles on early brass, including historical, scientific, biographical topics, and our series of translations of important early treatises, methods and articles. The HBSNL gives us interesting articles, interviews, reviews, and the extensive News of the Field section. In the report given in this issue on the 8th Annual Early Brass Festival, it is noted that we had over 80 people in attendance. It was not only the best Festival yet, but also the largest. I think that it is in large part because of the great interest that the HBS has sparked in the early brass field, that so many people attended EBF 8. Plans are still underway to present a large International Historic Brass Symposium in 1994 or 1995. We now plan to expand the Early Brass Festival at Amherst College for this event. It is hoped that all of the major performers, scholars, collectors, and instrument makers will be invited. Members will be informed as this event develops.