Missenharter & Coleman Surviving Brass Instruments
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SOLDIER's MANUAL and TRAINER's GUIDE MOS 42R9F TUBA
STP 12-42R12-ASI-9F-SM-TG SOLDIER’S MANUAL and TRAINER’S GUIDE MOS 42R9F TUBA PLAYER Skill Levels 1 and 2 November 2005 DISTRIBUTION RESTRICTION: Approved for public release; distribution is unlimited. HEADQUARTERS DEPARTMENT OF THE ARMY This publication is available at Army Knowledge Online (www.us.army.mil) and General Dennis J. Reimer Training and Doctrine Digital Library at (http://www.train.army.mil). *STP 12-42R12-ASI-9F-SM-TG SOLDIER TRAINING HEADQUARTERS PUBLICATION DEPARTMENT OF THE ARMY No. 12-42R12-ASI-9F-SM-TG Washington, DC, 3 November 2005 SOLDIER'S MANUAL AND TRAINER'S GUIDE MOS 42R9F Tuba Player Skill Levels 1 and 2 TABLE OF CONTENTS PAGE Table of Contents......................................................................................................................................... i Preface ........................................................................................................................................................ iii Chapter 1. Introduction...........................................................................................................................1-1 Chapter 2. Training Guide ......................................................................................................................2-1 Chapter 3. MOS/Skill Level Tasks .........................................................................................................3-1 Skill Level 1 Subject Area 1: Musical Tasks 514-446-1302 Tune Your Tuba To A Given Pitch ...........................................................................3-1 -
Pbone Care Card
Care card pBone Customer Care Card Includes how to play, sheet music, product care information & warranty details Thank you for purchasing pBone. We hope you have many hours of fun - that’s why we created it! Here are a few tips to help get you started. How to play 1. Breathing: this is the heart and soul of trombone playing. Take a relaxed deep breath and blow out through your lips. 2. Buzz: Position the mouthpiece in the middle of your lips, create a hole in your lips and blow air through it. Slowly make the hole smaller as you blow to create a buzz - watch at: www.bit.ly/2y0Qlzy 3. Holding the pBone: Your left-hand holds the bell section. Your right-hand fingers gently hold the outer slide. 4. Moving the Slide: The trombone has seven slide positions. Moving the slide away from you creates a low note and towards you creates a high note. 5. Get Started with your FREE online lessons: we have teamed up to offer your first 9 lessons to help you learn your first steps, assemble and hold the pBone correctly, getting started on your first notes: www.musicgurus.com/course/pbone-1?aff=warwick (see the information later in this care card for more details) General Before use: Pour a small amount of lukewarm water (NEVER HOT) into slide section and work the slide, rinse and drain. Run lukewarm water through the bell section. Rinse and drain. Join the bell and slide sections together and secure them simply with resistance. The bell and slide sections should have a gap of between 5-7mm of black space between them. -
Solo and Ensemble Concert Mae Zenke Orvis Auditorium July 17, 1967 8:00 P.M
SOLO AND ENSEMBLE CONCERT MAE ZENKE ORVIS AUDITORIUM JULY 17, 1967 8:00 P.M. SOLO AND ENSEMBLE CONCERT Monday, July 17 Mae Zenke Orvis Auditorium 8:00 P.M. Program Ernst Krenek Piano Sonata No.3 (1943) Peter Coraggio, piano Allegretto piacevole Theme, Canons and Variations: Andantino Scherzo: Vivace rna non troppo Adagio First Performance in Hawaii Neil McKay Sonata for French Horn and Willard Culley, French horn Piano (1962) Marion McKay, piano Fanfare: Allegro Andante Allegro First Performance in Hawaii Chou Wen-chung Yu Ko (1965) Chou Wen-chung, conductor First Performance in Hawaii John Merrill, violin Jean Harling, alto flute James Ostryniec, English horn Henry Miyamura, bass clarinet Roy Miyahira, trombone Samuel Aranio, bass trombone Zoe Merrill, piano Lois Russell, percussion Edward Asmus, percussion INTERMISSION JOSe Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion and Men's Voices First Performance in Hawaii Jose Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion Charles Higgins and Men's Voices William Feltz First Performance in Hawaii Brian Roberts voices San Do Alfredo lagaso John Van der Slice l Takefusa Sasamori tubes Bach Mai Huong Ta buzzers ~ Ruth Pfeiffer jaw's harps Earlene Tom Thi Hanh le William Steinohrt Marcia Chang zithers Michael Houser } Auguste Broadmeyer Nancy Waller scrapers Hailuen } Program Notes The Piano Sonata NO.3 was written in 1943. The first movement is patterned after the classical model: expo sition (with first, second, and concluding themes), development, recapitulation, and coda. However, in each of these sections the thematic material is represented in musical configurations derived from one of the four basic forms of the twelve-tone row: original, inversion, retrograde, and retrograde inversion. -
Magnus Lindberg 1
21ST CENTURY MUSIC FEBRUARY 2010 INFORMATION FOR SUBSCRIBERS 21ST-CENTURY MUSIC is published monthly by 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. ISSN 1534-3219. Subscription rates in the U.S. are $96.00 per year; subscribers elsewhere should add $48.00 for postage. Single copies of the current volume and back issues are $12.00. Large back orders must be ordered by volume and be pre-paid. Please allow one month for receipt of first issue. Domestic claims for non-receipt of issues should be made within 90 days of the month of publication, overseas claims within 180 days. Thereafter, the regular back issue rate will be charged for replacement. Overseas delivery is not guaranteed. Send orders to 21ST-CENTURY MUSIC, P.O. Box 2842, San Anselmo, CA 94960. email: [email protected]. Typeset in Times New Roman. Copyright 2010 by 21ST-CENTURY MUSIC. This journal is printed on recycled paper. Copyright notice: Authorization to photocopy items for internal or personal use is granted by 21ST-CENTURY MUSIC. INFORMATION FOR CONTRIBUTORS 21ST-CENTURY MUSIC invites pertinent contributions in analysis, composition, criticism, interdisciplinary studies, musicology, and performance practice; and welcomes reviews of books, concerts, music, recordings, and videos. The journal also seeks items of interest for its calendar, chronicle, comment, communications, opportunities, publications, recordings, and videos sections. Copy should be double-spaced on 8 1/2 x 11 -inch paper, with ample margins. Authors are encouraged to submit via e-mail. Prospective contributors should consult The Chicago Manual of Style, 15th ed. (Chicago: University of Chicago Press, 2003), in addition to back issues of this journal. -
Course Outline Symphonic Band/Wind Ensemble Is the Second Course in the Comprehensive Band Program at Hopkins JHS and Mission San Jose HS
Hopkins JHS Symphonic Band 2014-2015: Course Outline Symphonic Band/Wind Ensemble is the second course in the comprehensive band program at Hopkins JHS and Mission San Jose HS. It is an advanced level performing class. Students are expected to practice their instruments daily for at least 20-25 minutes. Private lessons are strongly encouraged for all band participants. Students in this class will continue their refinement of basic musical skills (tone production, music reading, and general musicality) through the performance of complex band music. The Hopkins bands are considered to be among the best in the Bay Area and in California! Instructor Contact Information Mr. Greg Conway, Director of Instrumental Music (510) 656-3500, ext. 38023 [email protected] (* E-mail is the best way to contact Mr. Conway) Attendance This class is part of a performance-based music program. CONCERT PERFORMANCE ATTENDANCE IS MANDATORY! Check the performance calendar below to avoid conflicts. Missed concerts will result in the final grade being lowered two full letter grades! Failure to attend a concert may prevent a student from being allowed to attend Anaheim/Disneyland trip. Performances added during the year will be announced well in advance, and will also be required. DATE TIME EVENT Wed., Dec. 17 7:00 p.m. Winter Band Concert Sat., Apr. 18 TBA CMEA Band Festival (Castro Valley HS) Thurs.-Mon., May 14-18 All Day Anaheim/Disneyland Trip & Festival Wed., May 27 7:00 p.m. Mission Area Elem. Band Concert (MSJHS) Tues., June 2 7:00 p.m. Spring Band Concert Thurs., June 11 5:00 p.m. -
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...................................................................................................................................... -
Magnus Lindberg Al Largo • Cello Concerto No
MAGNUS LINDBERG AL LARGO • CELLO CONCERTO NO. 2 • ERA ANSSI KARTTUNEN FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU MAGNUS LINDBERG (1958) 1 Al largo (2009–10) 24:53 Cello Concerto No. 2 (2013) 20:58 2 I 9:50 3 II 6:09 4 III 4:59 5 Era (2012) 20:19 ANSSI KARTTUNEN, cello (2–4) FINNISH RADIO SYMPHONY ORCHESTRA HANNU LINTU, conductor 2 MAGNUS LINDBERG 3 “Though my creative personality and early works were formed from the music of Zimmermann and Xenakis, and a certain anarchy related to rock music of that period, I eventually realised that everything goes back to the foundations of Schoenberg and Stravinsky – how could music ever have taken another road? I see my music now as a synthesis of these elements, combined with what I learned from Grisey and the spectralists, and I detect from Kraft to my latest pieces the same underlying tastes and sense of drama.” – Magnus Lindberg The shift in musical thinking that Magnus Lindberg thus described in December 2012, a few weeks before the premiere of Era, was utter and profound. Lindberg’s composer profile has evolved from his early edgy modernism, “carved in stone” to use his own words, to the softer and more sonorous idiom that he has embraced recently, suggesting a spiritual kinship with late Romanticism and the great masters of the early 20th century. On the other hand, in the same comment Lindberg also mentioned features that have remained constant in his music, including his penchant for drama going back to the early defiantly modernistKraft (1985). -
Tapiola Sinfonietta
MAGNUS LINDBERG VIOLIN CONCERTO PEKKA KUUSISTO, VIOLIN & DIRECTOR JUBILEES SOUVENIR MAGNUS LINDBERG, CONDUCTOR TAPIOLA SINFONIETTA 1 Magnus Lindberg 2 nstrumental qualities have always inspired Magnus Lindberg (b. 1958). However abstract his musical ideas may Ibe and however tightly constructed their subsurface structures, his music is always instrumentally idiomatic and powerful. Often his ideas develop in an instrumental direction of their own accord; sometimes they emerge from the special properties of a particular instrument, fusing musical and instrumental innovation into a single creative act. This approach is of course heightened in concertos, which constitute an important genre in Lindberg’s output. He has written two concertos for piano (1990–94; 2012) and one each for cello (1997–99), clarinet (2001–02) and violin (2006), and other works with prominent solo parts. The Violin Concerto was written to a commission from the Lincoln Center in New York together with the Barbican Centre in London, the Casa de Música–Porto and the Swedish Chamber Orchestra and was premiered at the Mostly Mozart festival in New York in August 2006. Although the commission was specifically aimed at the 250th anniversary celebration of Mozart’s birth, Lindberg did not write a tribute with Mozart elements in it. However, the situation of the premiere had an influence on the work in the way that Lindberg used a smaller orchestra than usual. There are two oboes, two bassoons and two horns plus strings – a standard Mozart orchestra, in fact. The very fact that the ensemble is so small prompted clearer and more translucent structures than in many of Lindberg’s other orchestral works. -
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 -
Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy
Magnus Lindberg —Musical Gesture and Dramaturgy ACTA SEMIOTICA FENNICA Editor Eero Tarasti Associate Editors Paul Forsell Richard Littlefield Editorial Board Pertti Ahonen Jacques Fontanille André Helbo Pirjo Kukkonen Altti Kuusamo Ilkka Niiniluoto Pekka Pesonen Hannu Riikonen Vilmos Voigt Editorial Board (AMS) Márta Grabócz Robert S. Hatten Jean-Marie Jacono Dario Martinelli Costin Miereanu Gino Stefani Ivanka Stoianova TAKEMI SOSA Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Acta Semiotica Fennica LIII Approaches to Musical Semiotics 26 Academy of Cultural Heritages, Helsinki Semiotic Society of Finland, Helsinki 2018 E-mail orders [email protected] www.culturalacademy.fi https://suomensemiotiikanseura.wordpress.com Layout: Paul Forsell Cover: Harumari Sosa © 2018 Takemi Sosa All rights reserved Printed in Estonia by Dipri OÜ ISBN 978-951-51-4187-3 (nid.) ISBN 978-951-51-4188-0 (PDF) ISSN 1235-497X Acta Semiotica Fennica LIII ISSN 1458-4921 Approaches to Musical Semiotics 26 Department of Philosophy and Art Studies Faculty of Arts University of Helsinki Finland Takemi Sosa Magnus Lindberg — Musical Gesture and Dramaturgy in Aura and the Symphonic Triptych Doctoral Dissertation Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki (the main building), in auditorium XII on 04 May 2018 at 12 o’clock noon. For my Sachiko, Asune and Harunari 7 Abstract The Finnish composer Magnus Lindberg (b. 1958) is one of the leading figures in the field of contemporary classical music. Curiously, despite the fascinating characteristics of Lindberg’s works and the several interesting subjects his mu- sic brings up, his works have not been widely researched. -
Simple Instrument Diagnostics and Repairs for Band Directors Paul Morgenroth Wind Instrument Connections [email protected] 785-840-4547
NEED A QUICK FIX? Simple instrument diagnostics and repairs for band directors Paul Morgenroth Wind Instrument Connections [email protected] 785-840-4547 Most of my issues at school are solved with these tools: (I don’t keep everything in the same place like a tool box) I have a chest of drawers in my office. TOOLS drawer: PERCUSSION drawer Mouthpiece truing tool Drum keys, bongo wrench *Rawhide Mallet Large Screwdrivers FLUTE drawer Allen wrenches Cleaning rods Dental floss Lighter DOUBLE REED drawer Weldwood contact cement Reed knife Glue pellets Reamer Sheet cork Water key corks BY PODIUM: Sand paper 220 grit *Small screwdrivers *Steel Wool #0000 *Soft Jaw Pliers *Pliers *Mouthpiece Puller Needle Nose Old silk swab DESK drawer Teflon tape General purpose tools *Electrical tape Scissors Horn String Claw hammer *Blue thread locker Vise Grips 5 minute epoxy Drill – for holes in double reed cases *Super glue Hot glue gun *Xacto knife *Paraffin canning wax (Gulfwax) TABLE BY OFFICE *Microfiber rag *Tags for repair, place to leave instrument *Used once or more a week WOODWINDS SPRINGS Do they open or close? Spring hook tool Small screwdriver LOOSE KEYS Tighten until stiff Back off until pop up JOINT FITTING Loose Dental Floss Scotch tape-Flutes KEY ADJUSTING FLUTE key wiggle CLARINET crow’s foot SAX G# test COMBINATIONS Adjustment screws are great if they turn Turn too easily? Blue threadlock, not super glue Turn until keys meet tone holes together SAX OCTAVE A little play between the neck loop and the floating lever BASS CLARINET BELL KEY Warning! PADS Torn? Wrap with Teflon tape to limp through Fell out? No seat or light seat, reglue – just use existing glue. -
Instrument-Catalogue.Pdf
CONTENTS Introduction iv Methods of Cataloguing v vi Additional Note About the Museum Numbering System The Instruments Museum number Item Page M380 00008 D Flute in C (Goulding & D'Almaine) 6 keys 17 B20 00007 Eb Flute in D b (Hawkes & Son) 8 keys 17 B21 00009 Clarinet in B b (D'Almaine) 6 keys 3 M129 00005 Bugle in C (anon) single coil 15 B18 00004 Cornet in B b (Dan Godfrey) 4 B16 00026 Cornet in A b (Besson) 1 M431 00020 Keyed bugle in E b (Charles Pace) 7 keys 10 B15 00024 Keyed bugle in C (Charles Pace) 8 keys 13 M708 00023 Flugel horn in B b (Johann Riedl) four valves 13 M.68 00003 Natural trumpet in F (anon) 2 M779 00025 Slide trumpet in F (Charles Pace) 14 M432 00027 Keyed trumpet (anon) 3 keys 15 B13 00006 Tenor cor in F (Hawkes & Son) three valves 16 B6 00013 Baritone (Leopold Uhlmann) four valves 6 B3 00021 Tenor trombone in C (anon) 11 B4 00010 Bass trombone in G (Dan Godfrey) 2 B19 00019 Serpent in C (anon) 4 keys 1 B1 00022 Ophicleide in C (Courtois) Hughes model 12 B5 00012 Euphonium (Franz Bock) four valves 5 B9 00015 Bombardon in E b (Leopold Uhlmann) four valves 7 B7 00016 Bombardon in E b (Leopold Uhlmann) four valves 8 B8 00018 Bombardon in E b (anon) four valves 9 B10 00017 BB b bass (Leopold Uhlmann) four valves 9 B11 00011 BB b bass (Courtois) three valves 4 B12 00014 BB b bass (Hawkes & Son) three valves 7 B29 Bugle mouthpiece (anon) 20 B22 Soprano comet mouthpiece (anon) 22 B17 Cornet mouthpiece (Besson) 18 B28 Cornet mouthpiece (anon) 20 B27 Comet mouthpiece (anon) 21 B26 Cornet mouthpiece (Salvation Army ?)