2019 S.E. Shires Maintenance
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE
BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No. -
Open Research Online Oro.Open.Ac.Uk
Open Research Online The Open University’s repository of research publications and other research outputs Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 Conference or Workshop Item How to cite: Smith, David and Blundel, Richard (2016). Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75. In: Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG) Joint Conference, 27-29 May 2016, Humbolt University, Berlin. For guidance on citations see FAQs. c 2016 The Authors https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://ebha.org/public/C6:pdf Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Joint Conference Association of Business Historians (ABH) and Gesellschaft für Unternehmensgeschichte (GUG), 27-28 May 2016, Humboldt University Berlin, Germany Disruptive Innovation in the Creative Industries: The adoption of the German horn in Britain 1935-75 David Smith* and Richard Blundel** *Nottingham Trent University, UK and **The Open University, UK Abstract This paper examines the interplay between innovation and entrepreneurial processes amongst competing firms in the creative industries. It does so through a case study of the introduction and diffusion into Britain of a brass musical instrument, the wide bore German horn, over a period of some 40 years in the middle of the twentieth century. -
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 -
Care & Maintenance
Care and Maintenance of the Euphonium and Piston-Valve Tuba You Will Need: 1) Soft cloth (cotton or flannel) 4) Valve brush 2) Flexible brush (also called a “snake”) 5) Tuning slide grease 3) Mouthpiece brush 6) Valve Oil Daily Care 1) Never leave your instrument unattended. It takes very little time for someone to take it. 2) The safest place for your instrument is in the case. Leave it there when you’re not playing. 3) Do not let other people use your instrument. They may not know how to hold and care for it. 4) Do not use your case as a chair, foot rest or step stool. It is not designed for that kind of weight. 5) Lay your case flat on the floor before opening it. Do not let it fall open. 6) Do not hit your mouthpiece, it can get stuck. 7) Do not lift your instrument by the valves. Use the bell and any large tubes on the outside edge. 8) No loose items in your case. Anything loose will damage your instrument or get stuck in it. 9) Do not put music in your case, unless space is provided for it. If you have to fold it or if it touches the instrument, it should NOT be there. 10) Avoid eating or drinking just before playing. If you do, rinse your mouth with water before playing. 11) You may not need to do it every day, but keep your valves running smooth with valve oil. Put the oil directly on the exposed valve, not in the holes on the bottom of the casings. -
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. -
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. -
Band Director's Catalog
BAND DIRECTor’s CATALOG We make legends. A division of Steinway Musical Instruments, Inc. P.O. Box 310, Elkhart, IN 46515 www.conn-selmer.com AV4230 1 TABLE OF CONTENTS Eb Soprano, Harmony & Eb Alto Clarinets ....... 10 Bb Bass, EEb Bass & BBb Bass Clarinets ........... 11 308 Student Instruments Step-Up & Pro Saxophones .............................. 12-13 Step-Up & Pro Bb Trumpets .............................. 14 Piccolos & Flutes ...................................................... 1 Step-Up & Pro Cornets ..................................... 14 Oboes & Clarinets .................................................... 2 C Trumpets, Harmony Trumpets, Flugelhorns .... 15 Saxophones .............................................................. 3 Step-Up & Pro Trombones ................................ 16-17 204 Trumpets & Cornets .................................................. 4 Alto, Valve & Bass Trombones .......................... 18 Trombones ............................................................... 5 Double Horns .................................................. 19 PICCOLOS Single Horns ............................................................ 5 Baritones & Euphoniums .................................. 20 Educational Drum, Bell and Combo Kits .................. 6 BBb Tubas - Three Valve .................................... 21 ARMSTRONG Mallet Instruments .................................................... 6 BBb & CC Tubas - Four Valve ............................ 21 204 “USA” – Silver-plated headjoint and body, silver-plated -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
So You Want to Buy a Horn
So, You Want to Buy A Horn! Recommended brands: DOMESTIC Holton (Farkas 179, 180; H-188, H-105, H-190, H-191, Merker 175) Conn (8D, 8DY, 8DR, 10D, 10DR, 11D, and 11DR) King (Eroica) Yamaha (667, 667V, 668, 668V) FOREIGN Hoyer (6801 –Kruspe wrap; 6801K-Geyer wrap) Alexander (103, 200) Paxman (25, 23; the most popular bell sizes are L or A) Finke PRESTIGE HORNS Englebert Schmid Lawson Lewis Geyer Lechniuk Hill Rausch Berg McCraken Patterson Atkinson Kuehn OK, WHAT IS THE DIFFERENCE BETWEEN THESE INSTRUMENTS? It really all depends on what you are looking for. Domestic instruments, as well as some foreign instruments, are massed produced. This means that during a manufacturing ‘run,’ many instruments are coming off the assembly line in close succession. With regard to domestic makers, this is even more so as demand for instruments is greater than supply so there may be a waiting period for delivery of instruments. Thus, the manufacturer is concerned with meeting up with the supply. This means that there is not enough time to detail out the instrument, making sure that slides and valves are fitted properly or are in good alignment. When buying a new massed produced instrument, often the instrument will need a professional preparation, to bring it up to normal standards. It is an unfortunate circumstance, but often this is a common fact nowadays. Some mass produced instruments, such as the Conn 8D, have had a storied history. At certain times during their manufacture, these instruments were of superior quality and have many desired response traits. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
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. -
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.