Preliminary Results Clarinet, Flute, Horn, Soprano Singer, Trumpet
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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. -
Clarinet Quarter-Tone Fingering Chart
Clarinet Quarter-Tone Fingering Chart 1st Edition rev.1 2017 Jason Alder www.jasonalder.com ii Author’s Note This clarinet quarter-tone fingering chart developed as a continuation of my initial work of one for bass clarinet, which grew from my extensive playing of contemporary music and study of South-Indian Karnatic music. My focus had been primarily on bass clarinet, so the development of this chart for soprano clarinet didn’t come to realization until some years later as my own need for it arose, occurring simultaneously with a decision to rework the initial bass clarinet chart into a second edition. The first edition for clarinet therefore follows the same conventions as the second edition bass clarinet fingering chart. This first revision revisits a few quarter-tone fingerings around the “break” after I discovered some better ones to use. Jason Alder London, 2017 iii Guide to the Fingering Chart This fingering chart was made using a Buffet R13 clarinet, and thus the fingerings notated are based on the Boehm system. Because some differences may exist between different manufacturers, it is important to note how this system correlates to your own instrument. In some fingerings I have used the Left Hand Ab//Eb key, which not all instruments have. I’ve included this only when its use is an option, but have omitted the outline when it’s not. Many notes, particularly quarter-tones and altissimo notes, can have different fingerings. I have notated what I found to be best in tune for me, with less regard for ease and fluidity of playing. -
Class Notes – October 24 Pipes with Holes; Recorders, Flutes
The Physics of Musical Instruments Class Notes – October 24 Pipes with holes; Recorders, flutes The Physics of Musical Instruments – Fall 2017 – October 24 – 1 Topics • More on acoustic impedance • The end correction for a flute or recorder • The effect of a side hole • The flute – a pipe open at both ends with side holes The Physics of Musical Instruments – Fall 2017 – October 24 – 2 More Complex Pipes • We are now beginning to consider more complex pipes and air resonators – Bottles, blown across the top (fun stuff) but more seriously… – Bells at the end (why?) – Pipes with finger holes – And, eventually, pipes with non-cylindrical bores • The concept of acoustic impedance is very helpful here, even without getting highly quantitative. The Physics of Musical Instruments – Fall 2017 – October 24 – 3 Energy Transfer • When the impedance changes along an acoustic pipe, there can be a reflection • If one of the impedances is exactly zero, ALL OF THE ENERGY IS REFLECTED. • We used this idea to analyze the open end of an ideal pipe The Physics of Musical Instruments – Fall 2017 – October 24 – 4 A Finite Discontinuity • Consider a discontinuity in pipe radius • Energy reflection in this case is 1/9 or 11% The Physics of Musical Instruments – Fall 2017 – October 24 – 5 Add a Transition Piece • With a transition segment added, the impedance discontinuity is reduced, and there is less reflection • Only 6% is reflected The Physics of Musical Instruments – Fall 2017 – October 24 – 6 A Tapered Transition • The impedance is lowered gradually left -
Volume 58, Number 01 (January 1940) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1-1-1940 Volume 58, Number 01 (January 1940) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 58, Number 01 (January 1940)." , (1940). https://digitalcommons.gardner-webb.edu/etude/265 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. January THE ETUDE 1940 Price 25 Cents music mu — 2 d FOR LITTLE TOT PIANO PLAYERS “Picuurl cote fa-dt Wc cocUcUA. Aeouda them jot cJiddA&i /p ^cnJUni flidi ffiTro JEKK1HS extension piano SHE PEDAL AND FOOT REST Any child (as young as 5 years) with this aid can 1 is prov ided mmsiS(B mmqjamflm® operate the pedals, and a platform Successful Elementary on which to rest his feet obviating dang- . his little legs. The Qualities ling of Published monthly By Theodore presser Co., Philadelphia, pa. Teaching Pieces Should Have EDITORIAL AND ADVISORY STAFF THEODORE PRESSER CO. DR. JAMES FRANCIS COOKE, Editor Direct Mail Service on Everything in Music Publications. TO PUPIL Dr. Edward Ellsworth Hipsher, Associate Editor /EDUCATIONAL POINTS / APPEALING William M. Felton, Music Editor 1712 Chestnut Street, Philadelphia, Pa. -
Glen Tetley: Contributions to the Development of Modern
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Reproduced with with permission permission of the of copyright the copyright owner. owner.Further reproductionFurther reproduction prohibited without prohibited permission. without permission. GLEN TETLEY: CONTRIBUTIONS TO THE DEVELOPMENT OF MODERN DANCE IN EUROPE 1962-1983 by Alyson R. Brokenshire submitted to the Faculty of the College of Arts and Sciences Of American University In Partial Fulfillment of The Requirements for the Degree Of Masters of Arts In Dance Dr. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
Clarinet Tips
Teacher’s Guide by the late Nilo HoveyClarinet Nilo W. Hovey The late Nilo W.Hovey was actively engaged in the school band movement since 1925. From 1926 to 1944 he was Director of School Instrumental Music in the Hammond, Indiana, public schools. From 1944 to 1957 he was Chairman of the Music Education Department and Director of the Concert Band at Butler University, Indianapolis, Indiana. During this period he was the recipient of the J.I. Holcomb award for his contribution to the advancement of the University and the Arthur W. Baxter award for superior teaching. Hovey served as lecturer, clinician, adjudicator and guest conductor in all sections of the United States and in Ontario, Canada. In the latter capacity he appeared with the United States Navy Band, the United States Army Band, the Canadian Air Force Band, and many Intercollegiate and All-State High School Bands. Numerous instrumental methods and books of instructional material written or edited by Hovey are widely used in the schools of the United States and Canada. Hovey was an active member of the American Bandmasters Association for over twenty years and served as its President in 1970-71. He was President of the Music Industry Council in 1962-64. He was an honorary member of the Canadian Bandmasters Association, of Kappa Kappa Psi and Phi Beta Mu. Hovey was also a member of Phi Kappa Phi,Honorary scholastic fraternity,Phi Delta Kappa, fraternity of men in education, and Phi Mu Alpha (Sinfonia). Publications The following Clarinet materials have been written or edited by Mr. -
The Structure and Movement of Clarinet Playing D.M.A
The Structure and Movement of Clarinet Playing D.M.A. DOCUMENT Presented in Partial Fulfilment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Sheri Lynn Rolf, M.D. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee: Dr. Caroline A. Hartig, Chair Dr. David Hedgecoth Professor Katherine Borst Jones Dr. Scott McCoy Copyrighted by Sheri Lynn Rolf, M.D. 2018 Abstract The clarinet is a complex instrument that blends wood, metal, and air to create some of the world’s most beautiful sounds. Its most intricate component, however, is the human who is playing it. While the clarinet has 24 tone holes and 17 or 18 keys, the human body has 205 bones, around 700 muscles, and nearly 45 miles of nerves. A seemingly endless number of exercises and etudes are available to improve technique, but almost no one comments on how to best use the body in order to utilize these studies to maximum effect while preventing injury. The purpose of this study is to elucidate the interactions of the clarinet with the body of the person playing it. Emphasis will be placed upon the musculoskeletal system, recognizing that playing the clarinet is an activity that ultimately involves the entire body. Aspects of the skeletal system as they relate to playing the clarinet will be described, beginning with the axial skeleton. The extremities and their musculoskeletal relationships to the clarinet will then be discussed. The muscles responsible for the fine coordinated movements required for successful performance on the clarinet will be described. -
Duo Sonatas and Sonatinas for Two Clarinets, Or Clarinet and Another Woodwind Instrument: an Annotated Catalog
DUO SONATAS AND SONATINAS FOR TWO CLARINETS, OR CLARINET AND ANOTHER WOODWIND INSTRUMENT: AN ANNOTATED CATALOG D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Yu-Ju Ti, M.M. ***** The Ohio State University 2009 D.M.A Document Committee: Approved by Professor James Pyne, co-Advisor Professor Alan Green, co-Advisor ___________________________ Professor James Hill Co-advisor Professor Robert Sorton ___________________________ Co-advisor Music Graduate Program Copyright by Yu-Ju Ti 2009 ABSTRACT There are few scholarly writings that exist concerning unaccompanied duet literature for the clarinet. In the late 1900s David Randall and Lowell Weiner explored the unaccompanied clarinet duets in their dissertations “A Comprehensive Performance Project in Clarinet Literature with an Essay on the Clarinet Duet From ca.1715 to ca.1825” and “The Unaccompanied Clarinet Duet Repertoire from 1825 to the Present: An Annotated Catalogue”. However, unaccompanied duets for clarinet and another woodwind instrument are seldom mentioned in the academic literature and are rarely performed. In an attempt to fill the void, this research will provide a partial survey of this category. Because of the sheer volume of the duet literature, the scope of the study will be limited to original compositions entitled Sonata or Sonatina written for a pair of woodwind instruments which include at least one clarinet. Arrangements will be cited but not discussed. All of the works will be annotated, evaluated, graded by difficulty, and comparisons will be made between those with similar style. -
Clarinet Technique
The Theory and Practice of Clarinet Technique “In theory, theory and practice are the same. In practice they are not” PART A: THEORY of clarinet technique 1. Embouchure - we clarinets are different! The “external” embouchure: a) It’s well-known that chin must be flat. This helps to stretch flesh under the reed so that vibrations are not dampened. This is different from all the other reed instruments which sound best with some degree of cushioning (softer lip) around reed. b) The amount of mouthpiece taken in the mouth affects the tone. Most students don’t take in enough mouthpiece because it makes a bigger sound which feels insecure if they don’t have control of the “internal” embouchure. The “internal” embouchure: It’s perhaps less well-known that the oral cavity must be small. The syllable “eee” not “aah.” This helps to deliver a focused air stream before it enters the mouthpiece. This is different from all the other reed instruments which sound best with some degree of open-ness to the oral cavity (especially in the low notes). 2. Fingers - more of a problem for clarinets Good sealing of holes is vitally important and very difficult for young players. This is different from all the other reed instruments which either have smaller holes or don’t require fingers to cover the actual holes, but just to press pearls etc. PART B: My “view from here” as a college professor Being a band director is a much more difficult job that being a professor (!), and putting the above pedagogical theory into practice seems challenging. -
Organ Registration: the Organist’S Palette—An Orchestra at Your Fingertips by Dr
Organ Registration: The Organist’s Palette—An Orchestra at Your Fingertips By Dr. Bradley Hunter Welch I. Basic Review of Organ Tone (see www.organstops.org for reference) A. Two types of tone—flue & reed 1. Flue a. Principals (“Principal, Diapason, Montre, Octave, Super Octave, Fifteenth”) & Mixtures b. Flutes (any name containing “flute” or “flöte” or “flauto” as well as “Bourdon, Gedeckt, Nachthorn, Quintaton”) c. Strings (“Viole de Gambe, Viole Celeste, Voix Celeste, Violone, Gamba”) 2. Reed (“Trompette, Hautbois [Oboe], Clarion, Fagotto [Basson], Bombarde, Posaune [Trombone], English Horn, Krummhorn, Clarinet”, etc.) a. Conical reeds i. “Chorus” reeds—Trompette, Bombarde, Clarion, Hautbois ii. Orchestral, “imitative” reeds—English Horn, French Horn b. Cylindrical reeds (very prominent even-numbered overtones) i. Baroque, “color” reeds— Cromorne, Dulzian, some ex. of Schalmei (can also be conical) ii. Orchestral, “imitative” reeds—Clarinet (or Cor di Bassetto or Basset Horn) Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Cromorne 8' (overtone at 2 2/3' pitch); then hear 4th overtone (at 1 3/5'). B. Pitch name on stop indicates “speaking” length of the pipe played by low C on that rank II. Scaling A. Differences in scale among families of organ tone 1. Flutes are broadest scale (similar to “oo” or “oh” vowel) 2. Principals are in the middle—narrower than flutes (similar to “ah” vowel) 3. Strings are narrowest scale (similar to “ee” vowel) B. Differences in scale according to era of organ construction 1. In general, organs built in early 20th century (1920s-1940s): principals and flutes are broad in scale (darker, fuller sound), and strings tend to be very thin, keen. -
Recorders & More
Enjoy the recorder New Models Denner Alto Denner-Edition Alto 442/415 Denner-Line Alto 415 Denner Bass Cap Dream-Edition Recorders & more for beginners to professional players Recorders Accessories Recorder Clinic Recorder-World Museum, Seminars www.mollenhauer.com Useful information / Maintenance / Oiling Editorial Enjoy the Recorder Come on in … “Mollenhauer Recorders” is more than just a workshop. It is a lively meeting point for performers of every age, from hobby- ists to pros, from all around the world. Over the years, many thousands of recorder players have visited our workshops, our Recorder-World Museum and our seminars! Our journal, “Windkanal”, is a well-known and respected forum presenting the colourful world of the recorder in all its diversity. Our website is a valuable resource for information about the recor- der and is used by friends of the recorder the world over. Ours is an open workshop. We strive to bring you the fascinat- ing world of recorder making while at the same time entering into a dialogue with you – about our instruments, about ideas, about visions … Communication at a personal level is important to us. Part- nership and cooperation are central to how we operate ... not only within our own team: we welcome your questions! Since we see cooperation and innovation as being very closely related, we seek out and form partnerships with especially cre- ative people such as recorder makers Maarten Helder, Friedrich von Huene, Adriana Breukink, Nik Tarasov and Joachim Paetzold. Furthermore, we consider each and every recorder player, teacher and music dealer that shares with us their experiences and ideas – thus sharing in the further development of our instruments as well – to be our partners.