Development of the Trumpet and an Analysis of Some of Its Literature
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The Year's Music
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com fti E Y LAKS MV5IC 1896 juu> S-q. SV- THE YEAR'S MUSIC. PIANOS FOR HIRE Cramer FOR HARVARD COLLEGE LIBRARY Pianos BY All THE BEQUEST OF EVERT JANSEN WENDELL (CLASS OF 1882) OF NEW YORK Makers. 1918 THIS^BQQKJS FOR USE 1 WITHIN THE LIBRARY ONLY 207 & 209, REGENT STREET, REST, E.C. A D VERTISEMENTS. A NOVEL PROGRAMME for a BALLAD CONCERT, OR A Complete Oratorio, Opera Recital, Opera and Operetta in Costume, and Ballad Concert Party. MADAME FANNY MOODY AND MR. CHARLES MANNERS, Prima Donna Soprano and Principal Bass of Royal Italian Opera, Covent Garden, London ; also of 5UI the principal ©ratorio, dJrtlustra, artii Sgmphoiu) Cxmctria of ©wat Jfvitain, Jtmmca anb Canaba, With their Full Party, comprising altogether Five Vocalists and Three Instrumentalists, Are now Booking Engagements for the Coming Season. Suggested Programme for Ballad and Opera (in Costume) Concert. Part I. could consist of Ballads, Scenas, Duets, Violin Solos, &c. Lasting for about an hour and a quarter. Part II. Opera or Operetta in Costume. To play an hour or an hour and a half. Suggested Programme for a Choral Society. Part I. A Small Oratorio work with Chorus. Part II. An Operetta in Costume; or the whole party can be engaged for a whole work (Oratorio or Opera), or Opera in Costume, or Recital. REPERTOIRE. Faust (Gounod), Philemon and Baucis {Gounod) (by arrangement with Sir Augustus Harris), Maritana (Wallace), Bohemian Girl (Balfe), and most of the usual Oratorios, &c. -
Recommended Solos and Ensembles Tenor Trombone Solos Sång Till
Recommended Solos and Ensembles Tenor Trombone Solos Sång till Lotta, Jan Sandström. Edition Tarrodi: Stockholm, Sweden, 1991. Trombone and piano. Requires modest range (F – g flat1), well-developed lyricism, and musicianship. There are two versions of this piece, this and another that is scored a minor third higher. Written dynamics are minimal. Although phrases and slurs are not indicated, it is a SONG…encourage legato tonguing! Stephan Schulz, bass trombonist of the Berlin Philharmonic, gives a great performance of this work on YouTube - http://www.youtube.com/watch?v=Mn8569oTBg8. A Winter’s Night, Kevin McKee, 2011. Available from the composer, www.kevinmckeemusic.com. Trombone and piano. Explores the relative minor of three keys, easy rhythms, keys, range (A – g1, ossia to b flat1). There is a fine recording of this work on his web site. Trombone Sonata, Gordon Jacob. Emerson Edition: Yorkshire, England, 1979. Trombone and piano. There are no real difficult rhythms or technical considerations in this work, which lasts about 7 minutes. There is tenor clef used throughout the second movement, and it switches between bass and tenor in the last movement. Range is F – b flat1. Recorded by Dr. Ron Babcock on his CD Trombone Treasures, and available at Hickey’s Music, www.hickeys.com. Divertimento, Edward Gregson. Chappell Music: London, 1968. Trombone and piano. Three movements, range is modest (G-g#1, ossia a1), bass clef throughout. Some mixed meter. Requires a mute, glissandi, and ad. lib. flutter tonguing. Recorded by Brett Baker on his CD The World of Trombone, volume 1, and can be purchased at http://www.brettbaker.co.uk/downloads/product=download-world-of-the- trombone-volume-1-brett-baker. -
Originally Adaptated from French and Flemish Chansons, the Canzon Is a Type of Instrumental Music That Was Popularized in the 16Th and 17Th Centuries
Originally adaptated from French and Flemish chansons, the canzon is a type of instrumental music that was popularized in the 16th and 17th centuries. Most often characterized with the opening dactylic rhythm (long, short, short), the canzon da sonar (chanson to be played) became independent of earlier vocal models in the 1570s, and by 1600 had become the most important form of instrumental music in Italy. Ensemble canzoni were composed by all sorts of musicians—from the master composer/organist Giovanni Gabrieli with his multi- choired works for the ceremonies at San Marco in Venice, to lesser-known Northern European composers like Erasmus Widmann, who spent most of his career working as court musician in the region of Germany near Nuremberg. Widmann’s canzoni, included in his Gantz Neue Cantzon, Intraden, Balletten und Couranten (Nuremberg, 1618) were considered his finest instrumental works. Strikingly similar to the Venetian canzoni of earlier decades, these canzoni were described by composer Michael Praetorius—the greatest musical academic of the day—as “fresh, joyful, and fast.” While most of the Venetian canzoni of the period are written in four parts, Widmann composed his instrumental music in five parts much like the music of his contemporaries Brade and Simpson. This scoring, with two equal soprano parts, makes Widmann’s canzoni particularly well suited to adaptation by the modern brass quintet. Charles Whittenberg's Little Fantasy on Bach's Advent-Chorale: “Nun komm, der heiden Heiland” (Cantata #62) had its premiere performance at Philharmonic Hall, Lincoln Center on December 31, 1968. After a statement of the Chorale theme, Whittenberg develops the material in a brilliant fashion. -
International Trumpet Guild Journal
Reprints from the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet FORGING NEW PATHS : A CONVER SA TION WITH ALISON BALSOM BY PETER WOOD June 2014 • Page 6 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
Shofar Artifact Investigation
Featured Artifact: Shofar http://historyexplorer.americanhistory.si.edu/resource/?key=2425 Era 6: The Development of the Industrial United States (1870-1900) Look at the artifact presented to you. In a few sentences, respond to the following questions: Describe: Objectively describe the artifact. What do you think it is made of? What does it look like? Does it look old or new? Is it intact, or is it damaged in some way? Analyze: When, where or how do you think this item was used? What kind of person may have created or used this item? What significance do you think the object held, either for the creator or the user? Do you see words or images on the artifact that connect it to others (besides the creator and user)? ……………………………………………………………………………………………………………………… Share your conclusions with a partner, then discuss the following: Evaluate : Justify why you came to those conclusions about the artifact. What further questions do you have about the object? Of those questions, which could you solve by observing the object in person and which would you need to solve with research? …………………………………………………………………………………………………………………… Background Information The shofar, one of the earliest known musical instruments, is usually made from a ram's horn. Used in biblical times to signal important events, it is also blown on High Holy Days (10 days in the fall of the year). It is sounded many times during the services of Rosh ha-Shanah (the Jewish New Year) and once to conclude Yom Kippur (the Day of Atonement). The blasts of the instrument are meant to wake slumbering souls to review their actions of the past year, to make amends, and to renew their devotion to work for the social and communal good in the coming year. -
Trumpet, Cornet, Flugelhorn GRADE 5 from 2017
Trumpet, Cornet, Flugelhorn GRADE 5 from 2017 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Bizet Chanson bohème. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 2 J. Clarke The Prince of Denmark’s March. No. 9 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 3 Debussy The Girl with the Flaxen Hair. Winning Matrix for Trumpet, arr. Lawrance (Brass Wind: & brass edition; piano accomp. published separately) 4 John Frith Caber Dance ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 5 David A. Stowell Jam Bouree ˛ separately) 6 Gibbons Coranto (ending at Fig. D). No. 2 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 7 Hummel Romanze. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 8 Schubert Ave Maria. Trumpet in Church, arr. Denwood (Emerson E283) 9 Verdi Triumphal March (from Aida). Onstage Brass for Trumpet, arr. Calland (Stainer & Bell H430) LIST B 1 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 2 Peter Meechan Final Thought ˛ separately) 3 Barry Gray Thunderbirds. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 4 Joplin Solace: A Mexican Serenade. Concert Repertoire for Trumpet, arr. Calland (Faber) 5 Bryan Kelly Miss Slight (Spinster of this Parish): No. 4 from Whodunnit – Suite for Trumpet (Stainer & Bell H442) 6 McCabe P. B. Blues: No. 3 from Dances for Trumpet (Novello NOV120530) 7 Prokofiev March (from The Love for Three Oranges). -
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. -
Program for Meet the Plumbers (April 20
The PLUMBING FACTORY BRASS BAND Henry Meredith, Director – Meet the PLUMBERS – Music for various types of brass instruments in small and large ensembles APRIL 20, 2016 Byron United Church – 420 Boler Road (@ Baseline), LONDON, Ontario __________________________________________ TUTTI – Introducing our members according to the types of instruments they play, from the bottom up Joy, Peace & Happiness Richard Phillips (born 1962) CORNETS – The sweeter, mellower cousins of the trumpets can still sound like trumpets for fanfares! Tuba Mirum from the Manzoni Requiem (1874) Giuseppe Verdi (1813-1901), arr. H. Meredith Fanfare for Prince Henry (1984) Jeff Smallman (born 1965) BRASS BAND Instrument Predecessors –Parforce Horns for the hunt Polka Mazur & Österreichesche Jägerlied Anton Wunderer (1850-1906) Le Rendez-vous de Chasse (1828) Gioachino Rossini (1792-1868) TROMBONES – The “perfect” instrument remains basically unchanged after five centuries! Two Newfoundland Folk Songs arr. Kenneth Knowles Let Me Fish Off Cape St. Mary’s & Lots of Fish in Bonavist’ Harbor Jazz Invention No. 1 Lennie Niehaus (born 1929) More Predecessors of BRASS BAND Instruments – Valveless Trumpets - The instruments of kings Fanfares pour 4 Trompettes naturelles (1833) Sigismund Neukomm (1778-1858) Allegro & Polonaise Quartuor No. 1 – Marche François-Georges-Auguste Dauverné (1799-1874) TUBAS/ EUPHONIUMS – Bass and Baritone Horns of the Saxhorn type – Going places! Indiana Polka (from Peters’ Saxhorn Journal, Cincinnati, 1859) Edmund Jaeger, J. Schatzman Pennsylvania Polka Lester Lee (1903-1956) and Zeke Manners (1911-2000) Washington Post March (1889) John Philip Sousa (1854-1932) TUTTI – Another important place name – how the West was won Dodge City (2001) Jeff Smallman Muted CORNETS and Flugelhorns – The Pink Panther (1964) Henry Mancini (1924-1994), arr. -
A New Species of Instrument: the Vented Trumpet in Context
1 A NEW SPECIES OF INSTRUMENT: THE VENTED TRUMPET IN CONTEXT Robert Barclay Introduction The natural trumpet is the one instrument not yet fully revived for use in the performance of Baroque music. A handful of recordings are available and very rarely a concert featuring solo performances on the instrument is given, but to a great extent the idiosyncrasies of the natural harmonic series are still considered to be beyond reliability in the recording studio or in live performance. Most current players have taken to using machine-made instruments with as many as four fi nger-holes placed in their tubing near to pressure nodes, so that the so-called “out-of-tune harmonics” of the natural series (principally f’/f#’, and a” ) will not be unpleasant to modern sensitivity. The vented instruments that have resulted from this recent “invention of tradition” are often equipped with so many anachronistic features that the result is a trumpet which resembles its Baroque counterpart only superfi cially, whose playing technique is quite different, and whose timbre is far removed from that expected for Baroque music. Among publications that deal with the compromises made to natural instruments in modern practice, those of Tim Collins, Richard Seraphinoff, and Crispian Steele-Perkins deserve especial mention. Collins provides an excellent summary of the characteristics of the natural trumpet, and an analysis of the current state of playing of the instrument.1 Seraphinoff concentrates on the early horn, and discusses the pros and cons of the use of vent holes in so-called historical performances.2 Steele-Perkins summarizes the develop- ment of the modern Baroque trumpet and provides practical advice on the selection of instruments3 All three authors highlight the tension that has arisen within the fi eld of early brass performance. -
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions)
Studies in Instrumentation and Orchestration and in the Recontextualisation of Diatonic Pitch Materials (Portfolio of Compositions) by Chris Paul Harman Submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Music School of Humanities The University of Birmingham September 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract: The present document examines eight musical works for various instruments and ensembles, composed between 2007 and 2011. Brief summaries of each work’s program are followed by discussions of instrumentation and orchestration, and analysis of pitch organization. Discussions of instrumentation and orchestration explore the composer’s approach to diversification of instrumental ensembles by the inclusion of non-orchestral instruments, and redefinition of traditional hierarchies among instruments in a standard ensemble or orchestral setting. Analyses of pitch organization detail various ways in which the composer renders diatonic -
RIMSKY-KORSAKOV Orchestral Works Including SHEHERAZADE
Kees Bakels RIMSKY-KORSAKOV Orchestral works including SHEHERAZADE BIS-CD-1667/68 MALAYSIAN PHILHARMONIC ORCHESTRA / KEES BAKELS BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 2 RIMSKY-KORSAKOV, Nikolai (1844–1908) Disc 1 [74'34] Sheherazade 43'28 Symphonic Suite after the ‘Thousand and One Nights’, Op. 35 (1888) 1 I. The Sea and Sinbad’s Ship 9'02 2 II. The Tale of the Kalender Prince 12'00 3 III. The Young Prince and the Young Princess 10'22 4 IV. Festival in Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion 11'50 Markus Gundermann violin solo Symphony No. 2 (Symphonic Suite), ‘Antar’ 30'01 Op. 9 (1868/75/97) 5 I. Largo – Allegro – Allegretto – Largo 11'29 6 II. Allegro 4'38 7 III. Allegro risoluto 5'22 8 IV. Allegretto – Adagio 8'09 2 BIS-CD-1667/68 RK:booklet 15/6/07 11:48 Page 3 Disc 2 [76'42] Capriccio espagnol, Op. 34 (1887) 15'00 1 I. Alborada. Vivo e strepitoso 1'12 2 II. Variazioni. Andante con moto 4'38 3 III. Alborada. Vivo e strepitoso 1'14 4 IV. Scena e canto gitano. Allegretto 4'39 5 V. Fandango asturiano – Coda. Vivace assai – Presto 3'15 6 Piano Concerto in C sharp minor, Op.30 (1882–83) 14'06 Noriko Ogawa piano The Tale of Tsar Saltan, Suite, Op. 57 (1899–1900) 19'49 7 I. The Tsar’s Farewell and Departure. Allegro – Allegretto alla Marcia 4'44 8 II. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.