DOCSLIB.ORG

The Modern Trombone the Modern Trombone

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Modern Trombone the Modern Trombone The Modern Trombone The Modern Trombone A Definition of Its Idioms NlU ML ' - t STUART DEMPSTER l,’li)iA'JAU\'SVEf;5;7/ UBRARySCHCCLOF^USiO Bi.OOf®GrcsV, IN 47405 INDIANA U N I\T R S nY LIBRARIES BLOOMINGTON . t Accura Music, Inc. Athens, Ohio To my wife, Renko Clonicnis List of Recordeii Examples.................................................................. xi A ck n o w led g m en ts.................................................................................xv Forew ord.................................................................................................... 1 I. Voice and M u ltip h o n ic s......................................................................... 5 The Voice, 5 Voice and Buzzed Lip, 6 The Scream, 8 High Register Close Double Stopping, 8 Spht Tone, 9 Buzzed Lip and Muted Vowel Harmonics, 9 Auxiliary Double or Single Reed, 1 2 II. Vowels and C o n s o n a n ts ........................................................................ 13 Buzzed Vowels, 13 Vowel Harmonics, 14 Vocal Vowels, 14 Tonguings, 15 Consonants, 16 HI. G lis s a n d o s .................................................................................................18 Normal Glissando, 18 Bent Tone, 19 Harmonic Glissando, 20 IV. M ic ro to n e s.................................................................................................24 Just Tuning, 25 Sixth Tones, 26 Quarter Tones and Eighth Tones, 26 Microtones, 27 Leaps or Skips, 27 Reverberation, 28 Doppler, 28 V. Vibratos and T r i l l s ...................................................................................29 Slide Vibrato, 29 Lip or Jaw Vibrato, 31 Tongue or Vowel Vibrato, 32 Diaphragm or Gut Vibrato, 33 Trill and Shake, 34 Tremolos, 35 Voice Vibratos, 35 Mute Vibratos, 35 vn ( O N / I N J S VIII V I, O ther H o d y .............................................................................................................................................. ...... f)u//.e(l I-lp, * lonKKC-Hu//, 4 I m Sh.pl.;nK-*c, l-lNtf/, -«■'< IridlHofial Mu((crloriK'J«, 1'/ Voicc, 3‘/ l-.iop»iaj(fal Spccdi amf f’lowd .Sound!, '♦I Throal Sound*, 42 nitk»and Iliuckt, 41 Air Sound*, 4 3 Inhaled .Sound*, 44 Circular Hreaflijn*, 44 VII. Slide and Hell l)i'>:iHScmt>iy........................................................................... Mouthpiet-c, 46 Slide Section, 47 BeJI Section, 4<> "I-” Attathment or "Triiwr," 4V Valve T rcmolo, 50 V I II . P e r c u s s iv e IJevice<> a n d A c c m o r i c * ...............................................................................51 Two Moufhpiecc*. 53 Palm on Moulhpiecc, 53 Bell F-djfe Ifittin*, 54 Vacuum, 54 Mutei, 54 Sfickn, 55 Circular Breathinj; Beater*, 55 Extra Percui«ion, 56 Scraping, 57 Water, 58 Kazoo, 58 Mouthpiece Beater, 59 IX. M u t e s ................................................................................................................... fiO Wa-wa, 61 Buzz, 6] Plunger, 62 Hat, 63 Felt, Bucket, and Hand, 63 Cup, 64 Mute Nucleui, 65 Mute Effectiveneii, 65 Mute Harmonici, 66 X. Means o f E x te n s io n ............................................................................................67 Piano Reionance, 67 KJectronici, 6<( Recommended Sound* for Amphfiaition, 70 Performance Space Revjrianc*, 70 XI. Theatrical I m p l i c a t i o n s ................................................................................ 73 fiarden Ho*«, 73 Mufical Ventriloquism, 74 Theatrical CortKioutneu and Hunv^r 75 Laufh, 75 Theater Piecet, 76 Peiionality Portrayal, 76 CONTENTS IX B ackw ord.......................................................................................................... A p p e n d ic e s ..................................................................................................... I. General Speech ........................................................................... Annotations, 82 Score, 85 II. Ten Grand H oseiy ...................................................................... Stage, 90 Lighting, 90 Perform ance, 91 III. The Didjeridu ................................................................................ IV. John Cage and Frank R eh ak .................................................. V. R a n g e ............................................................................................... High Range, 98 Pedal Tories, 99 Bartok Glissando, 100 Double Trigger, 100 Tenor-Bass, 101 A lto T rom bone, 101 New Limits, i02 B ib lio g r a p h y ............................................................................................... ’ Books and Articles, 103 Music, 103 Recordings, 104 I n d e x ............................................................................................................... The examples that will be found on the compact disc that accompanics this book are listed hei^ by chaptcr. The bands on Ihe compact disc correspond to the chapter number. These examples are coordinated with the text, and ;n the margins of the text you will find the recorded example numbers adjacent to the relcvani text discussion. In the list below, follow each example, the text page number where the relevant text discussion occurs is given. C hapter I a. Voice Speaking Through the Trombone, 5 b. Voice Singing Through the Trombone, 5 c. Humsing, 6 d. Unison (on F), 6 e. “Beats” Produced by Moving Slowly from a Unison Toward a Half Step, 6 f. Unison with Alternating Dynamics, 6 g. Pitch Exchange (Glissed and Slurred), 7 h. Intervals (Chorale), 7 i. Scream (No Playing), 8 j. Scream with Playing, 8 k. Scream with Playing and Vowels, 8 1. High Register Close Double Stopping, 8 m. Spht Tone, 9 n. Split Tone During Glissando, 9 o. Multiphonic Choices on Low Bb, 10 p. Multiphonic Choices on Low F, 10 q. Multiphonic Choices with Wa-wa Mute on Middle F, 11 r. Multiphonic Choices with Wa-wa Mute on Low Bb, 11 s. Two Superimposed Vowel Harmonics (Oral Cavity Change with Wa-wa Mute), 11 t. Double Reed, 12 C hapter II a. Vowels: a, e, i, o, u, and Sometimes y, 13 b. Vowel Harmonics (See Also I.o,p,q,r), 14 c. Vocal Vowels (No Instrument), 14 d. Vocal Vowels Through Instrument (But No Playing), 15 XI K J'.COK Dt'I.X AM IM.I-.S XII Chapter III a. Nomial Glissando, 1H b. Normal C;iissan(Jo with Break. IK c. Bent Tone, 19 d Drop (Down and Up). 20 e. Rip n jp and Down), 20 f Harmonic Glissando (Usual Parameter), 2 ‘h “ u Ml«b o„d l l » Bb S l„ « and F as,, 2 , i. Almost Same Note Hannonic CJlissando Shortened, 22 j. Almost Same Note Harmonic C.lissando Lcnuthcnui, 22 CTiapter IV a. Rolling Bell on Piano Strings, 28 b. 53 Seconds from the Opening Section of Oliveros’s Theater Piece: Bell on Piano Strings and Piano Frame (See Also VIII.k.) with Garden Hose (See Also XI.a.), 28 c. Final 1 Minute 13 Seconds of Oliveros’s Theater !Hece\ Swinging Garden Hose over Head While Playing, 28 d. Middle 1 Minute 19 Seconds of Dempster’s Didjeridervish Where Instrument and Player Rotate as a Unit, 28 Chapter V a. Three Primary Vibratos: Normal Parameters of Slide, Lip, and Diaphragm, 29 b. Slide Vibrato; Variable Speed and/or Width, 30 c. Shde Vibrato: More Dennite Pitch Indication, 30 d. Slide Vibrato: Fast and Wide with Diminishing Width, 30 e. Lip or Jaw Vibrato: Variable Speed and/or Width, 31 f. Combination Slide and law Vibratos: Normal Except for Slower Jaw, 31 g. Combination Slide and Jaw Vibratos: Both Varied, 32 h. Tongue or Vowel Vibrato: Normal Parameter, 32 i. Tongue or Vowel Vibrato: Variable Speed and/or Width, 32 j. Tongue and Jaw Vibratos: Exchanging from One to the Other, 33 k. Diaphragm or Gut Vibrato: Variable Speed and/or Width, 33 I. Diaphragm or Gut Vibrato: Diagonals Indicating Crescendo or Diminuendo, 33 m. Shde, Jaw, and Diaphragm Vibratos in Combination, 33 Chapter VI a- Alternating Normal Lip Buzz with Tongue-Buzz 38 b. Tonguc-Mouth Flutter, 38 c. Tongue-Mouth Flutter: Fake Low Pedal Notes 38 d. High, Screamed Whistling or Whooshing, 3 9 e. Voice Lecture, 39 f. Quarrel, 40 g. Dog Bark, 40 Ml'« IMMil I) |! SAM I* I in xm ' 7 ,'........................................... ............................................. s ,„ h„ i,. .m. I, K p Ii 'IiImh, M I I I'unpliuurol S|ir<M li, >11 k. Stoiiiiii li t loiihlr, 'I I I, WIilttlllMK, 'I I in Klinliiu <11 Ninni kliiu, 'I.’ II. MIk.Ii K IhoIiih Soitiiil, •!.' (». riiriiiil <'IriiiliiK, »l»’ p. S|>ll, 42 (|, A lirin, Al r. V cljit(’llt k.4< %, f'onllniiniiH Vrliu, >] t I. Noii-pllt'hcd I'pcldl Tniirn, 4 t II. KimhliiK Air, A » V. I)(>K I’linl, WIilHllliiK AllriMiilliiK wllli HI(.w|ii(j. A \ w. Vocal Itilialc, 44 X. Hu/./,cil Infiiilo, 44 Chapter VII a. l,ip Uuzz, 4ri I), I,lp Muzz Into Moiitlipirip, Al»<> Ddtir wllli I'liillcilonum’. 4ri c. Moullipiccc 'I'alk. WoikinK IlitiulN In I'Voiil ol' M(»iillipliHc. 4(i (I. PliiyinK on Inside (Outer Sllile ()(T) Sluit’ Secllon Alone (With MonthpieiT). 47 c. Playinn on Slide Sciilion with Only (he 'I'op Tiihr I'.iiKaKcd. 4K f. Vacuum Smack (Crcatirifi Sucllon and hilling Outer Slide Off), 4H «. Blowing over Slide 'l uheN, A» over a Hottie, 4H h. Slide Scction Alone, Mouth on Mouthpiece and 'I'huinb (‘overinn l.owcr T uIhv Creating Suction and PrcNHure Altcrnalciy by Moving Slide Hack and I-orth, 4K i. Valve Slide Removed and Keplaced, 49 j. Valve Slide Off: Cuivr6 liffect, 50 k, Valve 7rcrnolo; Playlnit witli One Valve I'uIjc (InKaned, 50 I, Slow Valve Tremolo (Malf Valve liffect Included), 51 Chapter VIII a. Beating Two Mouthpieces Together, 5.1 b. Striking Mouthpiece with Palm, Leaving Palm On, 53 c. Strikinx Mouthpiece with Palm, HrinKlnK Palm Off Quickly, 54 d. A* in b. and c. But MovinK the Slide for Pitch Variation, 54 c- Hitting Bell hdgc with King, 54 f, Platitic-handled Percustion Stick in (Jrip Area, 55 K- Snare fJrum Brush on Hell, 55 h, Supcrball Beater on Bell: Rubhing Sounds, 55 i. Producing Rhythmi by Variation* in Circular Breathing (Sec Also IV.d.), 55 j. Scraping Bell on Ploor, 57 k. Scraping Bell on Piano Strings and Piano Frame (See Also IV.h.), 57 1. Playing with Bell near or Under Water, 5f< xiv r e c o r d e d e x a m p l e s C hapter IX a. Wa-wa Mute: Stem in All the Way, 61 b. Wa-wa Mute; Stem Half Extended, 61 c. W'a-wa Mute: Stem Fully Extended, 61 d. Wa-wa Mute: Stem Removed, 61 e. Wa-wa Mute Backwards to Produce a Buzz, 61 f.
Load more

Recommended publications
  • The Exotic Rhythms of Don Ellis a Dissertation Submitted to the Peabody Institute of the Johns Hopkins University in Partial Fu
    THE EXOTIC RHYTHMS OF DON ELLIS A DISSERTATION SUBMITTED TO THE PEABODY INSTITUTE OF THE JOHNS HOPKINS UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MUSICAL ARTS BY SEAN P. FENLON MAY 25, 2002 © Copyright 2002 Sean P. Fenlon All Rights Reserved ABSTRACT Fenlon, Sean P. The Exotic Rhythms of Don Ellis. Diss. The Peabody Institute of the Johns Hopkins University, 2002. This dissertation examines the rhythmic innovations of jazz musician and composer Don Ellis (1934-1978), both in Ellis’s theory and in his musical practice. It begins with a brief biographical overview of Ellis and his musical development. It then explores the historical development of jazz rhythms and meters, with special attention to Dave Brubeck and Stan Kenton, Ellis’s predecessors in the use of “exotic” rhythms. Three documents that Ellis wrote about his rhythmic theories are analyzed: “An Introduction to Indian Music for the Jazz Musician” (1965), The New Rhythm Book (1972), and Rhythm (c. 1973). Based on these sources a general framework is proposed that encompasses Ellis’s important concepts and innovations in rhythms. This framework is applied in a narrative analysis of “Strawberry Soup” (1971), one of Don Ellis’s most rhythmically-complex and also most-popular compositions. iii ACKNOWLEDGMENTS I wish to extend my heartfelt thanks to my dissertation advisor, Dr. John Spitzer, and other members of the Peabody staff that have endured my extended effort in completing this dissertation. Also, a special thanks goes out to Dr. H. Gene Griswold for his support during the early years of my music studies.
    [Show full text]
  • Contemporary Music Score Collection
    UCLA Contemporary Music Score Collection Title Fragmente über das Marionettentheater Permalink https://escholarship.org/uc/item/6dx3b44v Author Santander, Gabriel Publication Date 2020 eScholarship.org Powered by the California Digital Library University of California Score in A440 Fragmente über das Marionettentheater para Nadia Trumpet in transposition kleine dramatische Burleske mit Texten von Heinrich v. Kleist Gabriel Santander für Sopran, Schalmei, Barocktrompete, Viola da Gamba und Gong SET UP SCHALMEI TROMPETE GAMBA TUNING: A = 440Hz for all. Trumpet is written in C flat transposition. Tuning of Gamba-Frets should be taken as reference until this A, for higher tones take the meantone tuning of Schalmei. Quarter-tones are to be found approximately half-way between the corresponding chromatic steps and should be unisono among all. SOPRAN TONBAND SCHALMEI / TROMPETE GONG Use a portable tape recorder * Metaformel 1: alternate grace note motives a, b, c (any order) with with a loud STOP button, scale fragments (any direction) in rhythmic groups of 4, 9, 2 (any order) record voice on tape once always legato and loud, fast tempo. A U D I E N C E context and timing are clear, * Metaformel 2: alternate grace note motives with rhythmic groups of non recording on several takes adjacent notes from scale, staccato / legato ad lib, fast tempo. GONG is possible as long as the * Metaformel 3: alternate grace note motives with isolated notes from scale final analog tape used for repeated in rhythmic groups of 8 / 6 or only once, always staccato, fast tempo. Gong hanging from frame, amplified through contact mic on performance is continuous.
    [Show full text]
  • Johnny O'neal
    OCTOBER 2017—ISSUE 186 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM BOBDOROUGH from bebop to schoolhouse VOCALS ISSUE JOHNNY JEN RUTH BETTY O’NEAL SHYU PRICE ROCHÉ Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East OCTOBER 2017—ISSUE 186 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 NEw York@Night 4 Laurence Donohue-Greene: Interview : JOHNNY O’NEAL 6 by alex henderson [email protected] Andrey Henkin: [email protected] Artist Feature : JEN SHYU 7 by suzanne lorge General Inquiries: [email protected] ON The Cover : BOB DOROUGH 8 by marilyn lester Advertising: [email protected] Encore : ruth price by andy vélez Calendar: 10 [email protected] VOXNews: Lest We Forget : betty rochÉ 10 by ori dagan [email protected] LAbel Spotlight : southport by alex henderson US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEwS 11 by suzanne lorge money order to the address above or email [email protected] obituaries Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Robert Bush, 13 Thomas Conrad, Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, special feature 14 by andrey henkin Anders Griffen, Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, CD ReviewS 16 Suzanne Lorge, Mark Keresman, Marc Medwin, Russ Musto, John Pietaro, Joel Roberts, Miscellany 41 John Sharpe, Elliott Simon, Andrew Vélez, Scott Yanow Event Calendar Contributing Writers 42 Brian Charette, Ori Dagan, George Kanzler, Jim Motavalli “Think before you speak.” It’s something we teach to our children early on, a most basic lesson for living in a society.
    [Show full text]
  • CURRICULUM VITAE Walter C. White
    CURRICULUM VITAE Walter C. White Home Address: 23271 Rosewood Oak Park, MI 48237 (917) 273-7498 e-mail: [email protected] Website: www.walterwhite.com EDUCATION Banff Centre of Fine Arts Summer Jazz Institute – Advanced study of jazz performance, improvisation, composition, and 1985-1988 arranging. Performances with Dave Holland. Cecil Taylor, Muhal Richard Abrahms, David Liebman, (July/August) Richie Beirach, Kenny Wheeler, Pat LaBarbara, Julian Priester, Steve Coleman, Marvin Smith. The University of Miami 1983-1986 Studio Music and Jazz, Concert Jazz Band, Monk/Mingus Ensemble, Bebop Ensemble, ECM Ensemble, Trumpet. The Juilliard School 1981-1983 Classical Trumpet, Orchestral Performance, Juilliard Orchestra. Interlochen Arts Academy (High School Grades 10-12) 1978-1981 Trumpet, Band, Orchestra, Studio Orchestra, Brass Ensemble, Choir. Interlochen Arts Camp (formerly National Music Camp) 8-weeks Summers, Junior Orchestra (principal trumpet), Intermediate Band (1st Chair), Intermediate Orchestra (principal), 1975- 1979, H.S. Jazz Band (lead trumpet), World Youth Symphony Orchestra (section 78-79, principal ’81) 1981 Henry Ford Community College Summer Jazz Institute Summer Classes in improvisation, arranging, small group, and big band performance. 1980 Ferndale, Michigan, Public Schools (Grades K-9) 1968-1977 TEACHING ACCOMPLISHMENTS Rutgers University, Artist-in-residence Duties included coaching jazz combos, trumpet master 2009-2010 classes, arranging classes, big band rehearsals and sectionals, private lessons, and five performances with the Jazz Ensemble, including performances with Conrad Herwig, Wynton Marsalis, Jon Faddis, Terrell Stafford, Sean Jones, Tom ‘Bones’ Malone, Mike Williams, and Paquito D’Rivera Newark, NY, High School Jazz Program Three day residency with duties including general music clinics and demonstrations for primary and secondary students, coaching of Wind Ensemble, Choir, Jan 2011 Jazz Vocal Ensemble, and two performances with the High School Jazz Ensemble.
    [Show full text]
  • The Influence of Berio Sequenza V on Trombone Repertoire and Technique
    The Influence of Berio Sequenza V on Trombone Repertoire and Technique K J BALDWIN PHD 2020 The Influence of Berio Sequenza V on Trombone Repertoire and Technique KERRY JANE BALDWIN A thesis submitted in partial fulfilment of the requirements of Manchester Metropolitan University for the degree of Doctor of Philosophy Awarded for a Collaborative Programme of Research at the Royal Northern College of Music by Manchester Metropolitan University 2020 CONTENTS Page Acknowledgements i Abstract ii Literature Review iii 1. 1900-1965 Historical Context: Influences on Sequenza V 1 a. Early Twentieth Century Developments 4 b. Glissando Techniques for Trombone 6 i. The False Glissando 6 ii. The Reverse Slide Glissando 10 c. Flutter Tongue 11 d. Theatrical Works 12 e. Berio & Grock 13 2. Performing Sequenza V 15 a. Introduction and Context b. Preparing to Learn Sequenza V 17 i. Instructions 17 ii. Equipment: Instrument 17 iii. Equipment: Mutes 18 iv. Equipment: Costume 19 c. Movement 20 d. Interpreting the Score 21 i. Tempo 21 ii. Notation 22 iii. Dynamics 24 iv. Muting 24 e. Sections A and B 26 f. WHY 27 g. The Third System 29 h. Multiphonics 31 i. Final Bar 33 j. The Sixth System 34 k. Further Vocal Pitches 35 l. Glissandi 36 m. Multiphonic Glissandi 40 n. Enharmonic Changes 44 o. Breathy Sounds 46 p. Flutter Tongue 47 q. Notable Performances of Sequenza V 47 i. Christian Lindberg 48 ii. Benny Sluchin 48 iii. Alan Trudel 49 3. 1966 – 2020 Historical Context: The Impact of Sequenza V 50 a. Techniques Repeated 50 b. Further Developments 57 c.
    [Show full text]
  • 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
    [Show full text]
  • The Creative Application of Extended Techniques for Double Bass in Improvisation and Composition
    The creative application of extended techniques for double bass in improvisation and composition Presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy (Music) Volume Number 1 of 2 Ashley John Long 2020 Contents List of musical examples iii List of tables and figures vi Abstract vii Acknowledgements viii Introduction 1 Chapter 1: Historical Precedents: Classical Virtuosi and the Viennese Bass 13 Chapter 2: Jazz Bass and the Development of Pizzicato i) Jazz 24 ii) Free improvisation 32 Chapter 3: Barry Guy i) Introduction 40 ii) Instrumental technique 45 iii) Musical choices 49 iv) Compositional technique 52 Chapter 4: Barry Guy: Bass Music i) Statements II – Introduction 58 ii) Statements II – Interpretation 60 iii) Statements II – A brief analysis 62 iv) Anna 81 v) Eos 96 Chapter 5: Bernard Rands: Memo I 105 i) Memo I/Statements II – Shared traits 110 ii) Shared techniques 112 iii) Shared notation of techniques 115 iv) Structure 116 v) Motivic similarities 118 vi) Wider concerns 122 i Chapter 6: Contextual Approaches to Performance and Composition within My Own Practice 130 Chapter 7: A Portfolio of Compositions: A Commentary 146 i) Ariel 147 ii) Courant 155 iii) Polynya 163 iv) Lento (i) 169 v) Lento (ii) 175 vi) Ontsindn 177 Conclusion 182 Bibliography 191 ii List of Examples Ex. 0.1 Polynya, Letter A, opening phrase 7 Ex. 1.1 Dragonetti, Twelve Waltzes No.1 (bb. 31–39) 19 Ex. 1.2 Bottesini, Concerto No.2 (bb. 1–8, 1st subject) 20 Ex.1.3 VerDi, Otello (Act 4 opening, double bass) 20 Ex.
    [Show full text]
  • Claimed Studios Self Reliance Music 779
    I / * A~V &-2'5:~J~)0 BART CLAHI I.t PT. BT I5'HER "'XEAXBKRS A%9 . AFi&Lkz.TKB 'GMIG'GCIKXIKS 'I . K IUOF IH I tt J It, I I" I, I ,I I I 681 P U B L I S H E R P1NK FLOWER MUS1C PINK FOLDER MUSIC PUBLISH1NG PINK GARDENIA MUSIC PINK HAT MUSIC PUBLISHING CO PINK 1NK MUSIC PINK 1S MELON PUBL1SHING PINK LAVA PINK LION MUSIC PINK NOTES MUS1C PUBLISHING PINK PANNA MUSIC PUBLISHING P1NK PANTHER MUSIC PINK PASSION MUZICK PINK PEN PUBLISHZNG PINK PET MUSIC PINK PLANET PINK POCKETS PUBLISHING PINK RAMBLER MUSIC PINK REVOLVER PINK ROCK PINK SAFFIRE MUSIC PINK SHOES PRODUCTIONS PINK SLIP PUBLISHING PINK SOUNDS MUSIC PINK SUEDE MUSIC PINK SUGAR PINK TENNiS SHOES PRODUCTIONS PiNK TOWEL MUSIC PINK TOWER MUSIC PINK TRAX PINKARD AND PZNKARD MUSIC PINKER TONES PINKKITTI PUBLISH1NG PINKKNEE PUBLISH1NG COMPANY PINKY AND THE BRI MUSIC PINKY FOR THE MINGE PINKY TOES MUSIC P1NKY UNDERGROUND PINKYS PLAYHOUSE PZNN PEAT PRODUCTIONS PINNA PUBLISHING PINNACLE HDUSE PUBLISHING PINOT AURORA PINPOINT HITS PINS AND NEEDLES 1N COGNITO PINSPOTTER MUSIC ZNC PZNSTR1PE CRAWDADDY MUSIC PINT PUBLISHING PINTCH HARD PUBLISHING PINTERNET PUBLZSH1NG P1NTOLOGY PUBLISHING PZO MUSIC PUBLISHING CO PION PIONEER ARTISTS MUSIC P10TR BAL MUSIC PIOUS PUBLISHING PIP'S PUBLISHING PIPCOE MUSIC PIPE DREAMER PUBLISHING PIPE MANIC P1PE MUSIC INTERNATIONAL PIPE OF LIFE PUBLISHING P1PE PICTURES PUBLISHING 882 P U B L I S H E R PIPERMAN PUBLISHING P1PEY MIPEY PUBLISHING CO PIPFIRD MUSIC PIPIN HOT PIRANA NIGAHS MUSIC PIRANAHS ON WAX PIRANHA NOSE PUBL1SHING P1RATA MUSIC PIRHANA GIRL PRODUCTIONS PIRiN
    [Show full text]
  • 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.
    [Show full text]
  • Metamorphosis a Pedagocial Phenomenology of Music, Ethics and Philosophy
    METAMORPHOSIS A PEDAGOCIAL PHENOMENOLOGY OF MUSIC, ETHICS AND PHILOSOPHY by Catalin Ursu Masters in Music Composition, Conducting and Music Education, Bucharest Conservatory of Music, Romania, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the Faculty of Education © Catalin Ursu 2009 SIMON FRASER UNIVERSITY Fall, 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Declaration of Partial Copyright Licence The author, whose copyright is declared on the title page of this work, has granted to Simon Fraser University the right to lend this thesis, project or extended essay to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. The author has further granted permission to Simon Fraser University to keep or make a digital copy for use in its circulating collection (currently available to the public at the “Institutional Repository” link of the SFU Library website <www.lib.sfu.ca> at: <http://ir.lib.sfu.ca/handle/1892/112>) and, without changing the content, to translate the thesis/project or extended essays, if technically possible, to any medium or format for the purpose of preservation of the digital work.
    [Show full text]
  • Digital Concert Hall
    Digital Concert Hall Streaming Partner of the Digital Concert Hall 21/22 season Where we play just for you Welcome to the Digital Concert Hall The Berliner Philharmoniker and chief The coming season also promises reward- conductor Kirill Petrenko welcome you to ing discoveries, including music by unjustly the 2021/22 season! Full of anticipation at forgotten composers from the first third the prospect of intensive musical encoun- of the 20th century. Rued Langgaard and ters with esteemed guests and fascinat- Leone Sinigaglia belong to the “Lost ing discoveries – but especially with you. Generation” that forms a connecting link Austro-German music from the Classi- between late Romanticism and the music cal period to late Romanticism is one facet that followed the Second World War. of Kirill Petrenko’s artistic collaboration In addition to rediscoveries, the with the orchestra. He continues this pro- season offers encounters with the latest grammatic course with works by Mozart, contemporary music. World premieres by Beethoven, Schubert, Mendelssohn, Olga Neuwirth and Erkki-Sven Tüür reflect Brahms and Strauss. Long-time compan- our diverse musical environment. Artist ions like Herbert Blomstedt, Sir John Eliot in Residence Patricia Kopatchinskaja is Gardiner, Janine Jansen and Sir András also one of the most exciting artists of our Schiff also devote themselves to this core time. The violinist has the ability to capti- repertoire. Semyon Bychkov, Zubin Mehta vate her audiences, even in challenging and Gustavo Dudamel will each conduct works, with enthusiastic playing, technical a Mahler symphony, and Philippe Jordan brilliance and insatiable curiosity. returns to the Berliner Philharmoniker Numerous debuts will arouse your after a long absence.
    [Show full text]
  • Characterization And' Taxonomy Acoustical Standpoint
    Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care.
    [Show full text]