Musical Instruments
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2021-Brass-Audition-Packet.Pdf
Dear Brass Line Candidate, Thank you for your interest in the 7th Regiment Drum and Bugle Corps! This packet will serve as your primary resource for video auditions. Read everything in this booklet carefully and prepare all of the required materials to the best of your ability. VISUAL AUDITION MATERIALS Basics of Marching Technique: Our technique program is “straight leg” marching; that is, we strive for the longest line between our hip and ankle bone at all times. Allowing the leg to bend at the knee shortens that line. The following are basic definitions for those who are unfamiliar with our technique. ● We stand in first position. With your heels together you will turn your feet outward 45 degrees. This turnout will come from the hips. Make sure your knees are in line with your middle toe. ● Horn Carriage: When at playing position (or carry) create a wide triangle with your forearms and horn. ● Forward March: articulate each beat with the back of your heel as you move forward and generate the longest possible leg line on the crossing counts. ● Backwards March: articulate each beat with the platform of your foot keeping your heel low to the ground as you move backward and generate the longest possible leg line on the crossing counts. ● Crossing Counts: The point at which your ankle bones are right next to each other while marching. This should happen on the ‘& count’ when marching in a duple (4/4) meter. ● 5 Points of Alignment: generate uniform posture by keeping your ears (1), shoulders (2), hips (3), and knees (4) stacked vertically from your ankle bones (5). -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
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. -
A Comparison of the Piano and Guitar Versions of Isaac Albéniz's Spanish Suite Op
A COMPARISON OF THE PIANO AND GUITAR VERSIONS OF ISAAC ALBÉNIZ'S SPANISH SUITE OP. 47 by YI-YIN CHIEN A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts November 2016 2 “A Comparison of the Piano and Guitar Versions of Isaac Albéniz’s Spanish Suite, Op. 47’’ a document prepared by Yi-Yin Chien in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This document has been approved and accepted by: Jack Boss, Chair of the Examining Committee Date: November 20th, 2016 Committee in Charge: Dr. Jack Boss, Chair Dr. Juan Eduardo Wolf Dr. Dean Kramer Accepted by: Director of Graduate Studies, School of Music and Dance © 2016 Yi-Yin Chien 3 CURRICULUM VITAE NAME OF AUTHOR: Yi-Yin Chien PLACE OF BIRTH: Taiwan DATE OF BIRTH: November 02, 1986 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, School of Music and Dance Peabody Institute of the Johns Hopkins University Tainan National University of Arts DEGREES AWARDED: Doctor of Musical Arts, 2016, University of Oregon Master of Music, 2011, Peabody Institute of the Johns Hopkins University Bachelor of Music, 2009, Tainan National University of Arts AREAS OF SPECIAL INTEREST: Piano Pedagogy Music Theory PROFESSIONAL EXPERIENCE: College Piano Teaching, University of Oregon, School of Music and Dance, 09/2014 - 06/2015 Taught piano lessons for music major and non-major college students Graduate Teaching -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
Following the Science
November 2020 Following the Science: A systematic literature review of studies surrounding singing and brass, woodwind and bagpipe playing during the COVID-19 pandemic Authors: John Wallace, Lio Moscardini, Andrew Rae and Alan Watson Music Education MEPGScotland Partnership Group MEPGScotland.org @MusicEducation10 Table of Contents Overview 1 Introduction Research Questions Research Method 2 Systematic Review Consistency Checklist Results 5 Thematic Categories Discussion 7 Breathing Singing Brass playing Woodwind playing Bagpipes Summary Conclusions 14 Recommended measures to mitigate risk 15 Research Team 17 Appendix 18 Matrix of identified papers References 39 Overview Introduction The current COVID-19 situation has resulted in widespread concern and considerable uncertainty relating to the position of musical performance and in particular potential risks associated with singing and brass, woodwind and bagpipe playing. There is a wide range of advice and guidance available but it is important that any guidance given should be evidence- based and the sources of this evidence should be known. The aim of the study was to carry out a systematic literature review in order to gather historical as well as the most current and relevant information which could provide evidence-based guidance for performance practice. This literature was analysed in order to determine the evidence of risk attached to singing and brass , woodwind and bagpipe playing, in relation to the spread of airborne pathogens such as COVID-19, through droplets and aerosol. -
Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis 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 Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1. -
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.