DOCSLIB.ORG

Hannah Kendall's the Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composer's Representation in the Repertoire

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hannah Kendall's the Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composer's Representation in the Repertoire Please do not remove this page Hannah Kendall's The Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composer's Representation in the Repertoire Wood, F. Mack https://scholarship.miami.edu/discovery/delivery/01UOML_INST:ResearchRepository/12378719190002976?l#13378719180002976 Wood, F. M. (2021). Hannah Kendall’s The Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composer’s Representation in the Repertoire [University of Miami]. https://scholarship.miami.edu/discovery/fulldisplay/alma991031569587802976/01UOML_INST:ResearchR epository Open Downloaded On 2021/09/27 07:36:10 -0400 Please do not remove this page UNIVERSITY OF MIAMI HANNAH KENDALL’S THE SPARK CATCHERS TRANSCRIBED FOR WIND ENSEMBLE: EXPANDING WOMEN COMPOSER’S REPRESENTATION IN THE REPERTOIRE By F. Mack Wood A LECTURE RECITAL ESSAY Submitted to the Faculty of the University of Miami in partial fulfillment of the requirements for the degree of Doctor of Musical Arts Coral Gables, Florida May 2021 ©2021 F. Mack Wood All Rights Reserved UNIVERSITY OF MIAMI A lecture recital essay submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts HANNAH KENDALL’S THE SPARK CATCHERS TRANSCRIBED FOR WIND ENSEMBLE: EXPANDING WOMEN COMPOSER’S REPRESENTATION IN THE REPERTOIRE F. Mack Wood Approved: ________________ _________________ Robert M. Carnochan, D.M.A. J. Steven Moore, D.M.A. Professor of Conducting Professor in Practice ________________ _________________ Jay C. Rees, M.M. Guillermo Prado, Ph.D. Professor of Music Dean of the Graduate School ________________ Dorothy Hindman, D.M.A. Associate Professor of Composition WOOD, F. MACK (D.M.A., Instrumental Performance) (May 2021) Hannah Kendall’s The Spark Catchers Transcribed for Wind Ensemble: Expanding Women Composers’ Representation in the Repertoire Abstract of a dissertation at the University of Miami. Lecture Recital essay supervised by Doctor Robert M. Carnochan. No. of pages in text. (73) This project is a transcription of The Spark Catchers (2017) by Hannah Kendall, originally scored for full orchestra, aimed at increasing representation of women composers in the wind ensemble repertoire. I will provide background information for Hannah Kendall and The Spark Catchers, discuss the transcription process, and provide a formal analysis of Hannah Kendall’s piece. The analysis is intended to guide conductors that program the transcribed version of The Spark Catchers through the form, structure, and thematic elements. Following the discussion of the transcription and analysis, a brief dialogue on the role model theory and how expanding the repertoire from women composers in the wind ensemble repertoire could increase their interest to compose for the medium. ACKNOWLEDGEMENTS I have been very fortunate in my life and career to be surrounded by a wonderful support system. Traversing through graduate school would not have been possible without the help, love, and support of many wonderful people. First, I would like to thank my teacher and mentor, Dr. Robert M. Carnochan. He has been an incredible influence on my career and artistic development dating back to my time as an undergraduate student at The University of Texas at Austin. His encouragement to always seek out high quality art and to attend conducting workshops while I was a high school band director changed the course of my life. I likely would have never considered leaving public education to attend graduate school without his encouragement and support. I’m not sure I will every be able to say thank you enough as I now have the opportunity to achieve a lifelong dream of earning a doctoral degree with his guidance and support. Along with Dr. Carnochan, I want to thank my committee at the University of Miami, Frost School of Music. Dr. J. Steven Moore has been a tremendous influence on how I consider programming for ensembles and on the use of Laban gestures in my personal conducting and in conducing courses I teach. Professor Jay C. Rees provided me opportunities to work with and serve the Frost Band of the Hour and afforded me the opportunity to study marching band arranging where I learned arranging techniques that have greatly impacted my arrangements. Dr. Dorothy Hindman entrusted a first-year doctoral student with the premiere of Fission for wind ensemble. I am beyond appreciative of the opportunity to rehearse and perform your music and to have been included on an album and album release. I am also very thankful to have worked with iii fantastic graduate colleagues, Jeffrey Summers and Tina DiMeglio during my time at the Frost School of Music. Prior to my time at the University of Miami, I was fortunate to work and study with amazing human beings at Louisiana State University in Baton Rouge, Louisiana. Dr. Damon S. Talley took a chance on me coming straight from teaching high school and his guidance and mentorship continues to shape me today. Dr. Dennis Llinás and Dr. Kelvin Jones were incredibly gracious and afforded me the opportunity to arrange music and drill for the LSU marching band. Their guidance and grace impacted me and really taught me how to provide opportunities for graduate students. I would also be remiss if I did not take a moment and thank Dr. Cliff G. Croomes, not just for being a great colleague and friend, but for encouraging me to take the jump into graduate school and for being a great encouragement throughout both my masters and doctoral degrees. Along with Dr. Croomes, I was blessed to work with several great graduate colleagues at LSU who I need to thank here for their friendship, Mark Bonner, Chasse Duplantis, Gary English, Joseph Meinweiser, Paul Scheffel, and Manuel Treviño. I am thankful to the friends and colleagues who have supported me along the way, but there are a few that really stand out. From my time teaching high school I want to thank Mr. Mark Poole, Mr. Adam Davis, and Mr. Jim Gist for their friendship and support as I decided to leave Texas for graduate school, and I appreciate their continued friendship. I am especially indebted to Dr. Scott Hanna from The University of Texas at Austin. He was very influential in turning my academic career around early in my undergraduate years and continued to be a great support and influence throughout my career. iv Finally, and certainly most significantly, I would like to thank my family for supporting me through this journey. Their love and support was felt across the country. I need to also take a moment and thank the two biggest supporters and my personal heroes throughout this journey, my wife Dr. Rachel E. Wood and my daughter Imogen Wood. Without hesitation, they followed me from Dallas, to Louisiana, to Miami, and now to Bloomington, Illinois. This journey would have been impossible without them and I will be eternally grateful to them for their support. v TABLE OF CONTENTS Page Chapter 1 BACKGROUND ........................................................................................... 1 2 OVERVIEW OF THE ORIGINAL COMPOSITION .................................. 4 3 FORM AND ANALYSIS ............................................................................... 6 4 OVERVIEW OF THE TRANSCRIPTION PROCESS .................................. 17 5 STARTING THE TRANSCRIPTION .......................................................... 20 6 THE TRANSCRIPTION PROCESS ............................................................ 25 7 ADDITIONAL CONSIDERATIONS ............................................................. 44 8 REPRESENTATION IN THE WIND ENSEMBLE REPERTOIRE ............. 46 Bibliography ................................................................................................. 48 Appendix ................................................................................................. 49 vi CHAPTER 1 – BACKGROUND Hannah Kendall (b. 1984) is a prolific composer from London, England. She studied composition with Joe Dudell at the University of Exeter, where she earned a bachelor’s degree. For her graduate studies, she obtained a master’s degree at the Royal College of Music where she studied with Kenneth Hesketh, who has several works for wind ensemble. Kendall is currently pursuing a doctoral degree at Columbia University in New York.1 Hannah Kendall has composed works for full orchestra, large ensemble, small ensemble, solo piano, small vocal, choral, musical theater/opera and open score. Her works are typically collaborations with other genres of art, especially poetry and literature.2 The Spark Catchers is composed for full orchestra and aligns thematically with a poem of the same title by Lemn Sissay (b. 1967). The piece was premiered in 2017 by Chineke! at the Royal Albert Hall, London as part of the BBC Proms. Kendall has written additional compositions for large ensemble, chamber ensemble, vocal/choral ensembles and solo works. The Knife of Dawn, a one–man solo opera written in 2016, received critical acclaim and helped propel her reputation as an exciting young artist. According to Richard Fairman, “Hannah Kendall has responded with music that is spare, as benefits the subject…The result is intricate and imaginative.”3 Stated in her biography, “Hannah is deeply committed to contemporary culture as a whole and often works collaboratively with artists from other art forms.”4 This is clearly evident in The Spark Catchers as the piece is inspired by poetry. 1 www.hannahkendall.co.uk 2 Ibid. 3 Richard Fairman. “The Knife of Dawn, Roundhouse, London: Spare and Intricate.” The Financial Times. October
Load more

Recommended publications
  • Lomax Product Sheet
    LOMAX PRODUCT SHEET Handcrafted Professional and Student Mouthpieces Professional Bb Clarinet Mouthpieces Professional Bass Clarinet Mouthpieces Classic Bb Model Mouthpiece - $300.00 Classic Bass Model Mouthpiece - $380.00 Classic BA5 Model Mouthpiece - $300.00 Rocco Parisi Model Mouthpiece $380.00 Legacy 1929 Mouthpiece - $375.00 Aria Bass Model Mouthpiece - $250.00 L’Opera Model Mouthpiece - $300.00 Chicago Model Mouthpiece - $300.00 Student Prelude Mouthpieces Andy Firth Jazz Model Mouthpiece - $300.00 Prelude Clarinet Mouthpiece - $45.00 Aria Bb Model Mouthpiece $250.00 Prelude Alto Saxophone Mouthpiece - $50.00 Prelude Tenor Saxophone Mouthpiece - $55.00 Professional Eb Clarinet Mouthpieces Prelude Bass Clarinet Mouthpiece - $150.00 Classic Eb Model Mouthpiece - $300.00 Aria Eb Model Mouthpiece - $250.00 HumidiPro Cases and Covers HumidiPro Cases HumidiPro Covers and “Ultra” Covers HumidiPro-Single Eb Clarinet - $290.00 HumidiPro Standard Small Case Cover - $120.00 HumidiPro-Single C Clarinet - $290.00 HumidiPro Standard Medium Case Cover - $150.00 HumidiPro-Single Bb Clarinet - $290.00 HumidiPro Standard Large Case Cover - $165.00 HumidiPro-Single A Clarinet - $290.00 HumidiPro “Ultra” Small Case Cover with Heating HumidiPro-A/Bb Double Clarinet - $390.00 Unit - $200.00 HumidiPro-A/Bb/Eb Clarinet Triple - $470.00 HumidiPro “Ultra” Medium Case Cover with Heating HumidiPro-Bass Clarinet to Low C, with A and Bb Unit - $230.00 Clarinet or Eb Clarinet Option - $890.00 HunidiPro “Ultra” Large Case Cover with Heating HumidiPro-Contra Eb
    [Show full text]
  • 6028-Wind Plus Ltd-A4 Leaflet
    Wind Plus Ltd WOODWIND AND BRASS ACCESSORIES Synthetic Woodwind Reeds Welcome to the world of hassle-free music with Légère synthetic reeds. Légère make both clarinet and 6.444 Clarinet swab ‘The Dryer Swab’ - saxophone reeds, used by some of the best players in the world to teach, perform, and record. They are Asymmetric shape giving maximum completely different from the plastic reeds you have tried before. The Légère synthetic woodwind reed is contact. Made from highly absorbent ready to play instantly, lasts for months, and sounds warm and woody like a great cane reed. brushed cotton. Unique Exchange/Refund policy for retail customers This unique scheme is designed to enable the player to try out or exchange reeds for a different strength at minimal cost. See inside reed package or our website for details. 6.540 Clarinet swab, brushed cotton - also Clarinet Reeds suitable for Sax crooks The warm woody sound of the Légère reed makes it the reed of choice for both professional and student musicians alike. 6.400 Clarinet swab, leather chamois Available for Bb, Eb, Bass and Contra Bass Clarinets. 6.800 Clarinet swab, cotton, handkerchief style, in four colours Student Clarinet Reeds Available in two strengths, 2 and 2.5, for Bb Clarinet. An ideal reed for the novice player. As with all Légère reeds, this reed doesn’t need moistening and is ready to play when you are. 6.001 Bass Clarinet swab, brushed cotton ‘a tune a day’ – also suitable for Sax Reeds The regular cut Sax reed is designed for a mellow sound and Alto/Tenor Sax is generally used for classical playing.
    [Show full text]
  • A Performer's Guide to Multimedia Compositions for Clarinet and Visuals: a Tutorial Focusing on Works by Joel Chabade, Merrill Ellis, William O
    Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 A performer's guide to multimedia compositions for clarinet and visuals: a tutorial focusing on works by Joel Chabade, Merrill Ellis, William O. Smith, and Reynold Weidenaar. Mary Alice Druhan Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Druhan, Mary Alice, "A performer's guide to multimedia compositions for clarinet and visuals: a tutorial focusing on works by Joel Chabade, Merrill Ellis, William O. Smith, and Reynold Weidenaar." (2003). LSU Major Papers. 36. https://digitalcommons.lsu.edu/gradschool_majorpapers/36 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. A PERFORMER’S GUIDE TO MULTIMEDIA COMPOSITIONS FOR CLARINET AND VISUALS: A TUTORIAL FOCUSING ON WORKS BY JOEL CHADABE, MERRILL ELLIS, WILLIAM O. SMITH, AND REYNOLD WEIDENAAR A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Mary Alice Druhan B.M., Louisiana State University, 1993 M.M., University of Cincinnati
    [Show full text]
  • Clarinet Concertos Clarinet
    Clarinet 14CD Concertos 95787 ClaRINet Concertos 14CD CD1 Molter Concertos Nos. 1–5 CD9 Mercadante Concertino Concertos Nos. 1 & 2 CD2 Spohr Concertos Nos. 1 & 4 Sinfonia concertante No.3 CD3 Spohr Concertos Nos. 2 & 3 CD10 Hoffmeister Concerto CD4 Mozart Concerto in A K622 Sinfonie concertanti Nos. 1 & 2 Bruch Clarinet & Viola Concerto CD11 Baermann Concertstück in G minor CD5 Weber Concertino Clarinet Concertinos Opp. 27 & 29 Concertos Nos. 1 & 2 Sonata No.3 in D minor/F Busoni Concertino CD12 Finzi Concerto CD6 Crusell Concertos Nos. 1–3 Stanford Concerto Copland Concerto (1948 version) CD7 Krommer Concerto Op.36 Double Concertos Opp. 35 & 91 CD13 Nielsen Concerto Tansman Concerto Stamitz CD8 Concerto No.1 Hindemith Concerto Double Concerto Clarinet & Bassoon Concerto CD14 Rietz Concerto Rossini Introduction, theme & variations Mendelssohn Concert Pieces Opp. 113 & 114 Performers include: Davide Bandieri · Kevin Banks · Kálmán Berkes · Per Billman Jean-Marc Fessard · Henk de Graaf · Sharon Kam · Dieter Klöcker · Sebastian Manz Oskar Michallik · Robert Plane · Giuseppe Porgo · Giovanni Punzi · David Singer Tomoko Takashima · Maria du Toit · Kaori Tsutsui · Eddy Vanoosthuyse C 2018 Brilliant Classics DDD/ADD STEMRA Manufactured and printed in the EU 95787 www.brilliantclassics.com Clarinet 14CD Concertos 95787 Clarinet Concertos historical interest. The solo writing – composed for a high clarinet in D – suggests the virtuosity of Most musical instruments in use today derive from very ancient ancestors. The oboe, for example, a coloratura soprano. may be traced back to the shawm, an instrument with a double-reed and wooden mouthpiece, Louis Spohr (1784–1859), born in Brunswick, established a reputation as a violinist and conductor, used from the 12th century onwards.
    [Show full text]
  • Usic Instrument Collection of World Museum Vienna: North Africa – Part I
    usic Instrument Collection of M World Museum Vienna: North Africa – Part I Timkehet Teffera Abkürzungen: L = Länge; D = Durchmesser; B = Breite; H = Höhe,; T = Tiefe; GL = Griffloch/Grifflöcher; GLA = Grifflochabstand; D/GL = Durchmesser der Grifflöcher World Museum Vienna /Music Instrument Collection/Africa / Timkehet Teffera See also previously uploaded files in www.academia.de referring to the same topic “Music Instrument Collection of World Museum Vienna; Fieldwork Report”, however representing different countries: Ethiopia https://www.academia.edu/33714064/Timkehet_Teffera_2017_._Music_Instrument_Collectio n_of_World_Museum_Vienna_Fieldwork_Report_Ethiopia Kenya https://www.academia.edu/33740841/Timkehet_Teffera_2017_._Music_Instrument_Collectio n_of_World_Museum_Vienna_Fieldwork_Report_Kenya Somalia https://www.academia.edu/33750768/Timkehet_Teffera_2017_._Music_Instrument_Collectio n_of_World_Museum_Vienna_Fieldwork_Report_Somalia Sudan https://www.academia.edu/33816139/Timkehet_Teffera_2017_._Music_Instrument_Collectio n_of_World_Museum_Vienna_Fieldwork_Report_Sudan Tanzania Part I https://www.academia.edu/33882606/Timkehet_Teffera_2017_._Music_Instrument_Collectio n_of_World_Museum_Vienna_Fieldwork_Report_Tanzania_Part_I Tanzania Part II https://www.academia.edu/33992076/Timkehet_Teffera_2017_._Music_Instrument_Collectio n_of_World_Museum_Vienna_Fieldwork_Report_Tanzania_Part_II Uganda https://www.academia.edu/34076097/Timkehet_Teffera_2017_._Music_Instrument_Collectio n_of_World_Museum_Vienna_Fieldwork_Report_Uganda Madagascar
    [Show full text]
  • October-December 2019 Broadside
    T H E A T L A N T A E A R L Y M U S I C A L L I A N C E B r o a d s I d e Volume XX # 2 October—December 2019 President’s Message Well, it looks like the weather has finally turned a corner and we will get a chance to cool off some, but while the weather may be cooling, the early music concert season is just heating up. We have already had offerings from Les Trois Voix, Amethyst Baroque, and Atlanta Baroque Orches- tra, and coming up during the next couple of months are: Lauda Musicam – November 24 at AEMA MISSION St. Bartholomew’s Episcopal Church, and Festi- It is the mission of the st Atlanta Early Music Alli- Upcoming Events val Singers of Atlanta – December 1 at North- ance to foster enjoyment side Drive Baptist Church. and awareness of the Through December 2019 historically informed ————————————————————— performance of music, Fall is usually a very busy time, with lots of with special emphasis on .Nov. 16: Amethyst Baroque Ensemble music written before 1800. family activities, sporting events, school, and Its mission will be accom- presents Baroque and Beyond, Morning- plished through dissemi- side Presbyterian Church, Atlanta. 7 p.m. holidays, as well as getting together with friends nation and coordination of Suggested admission: $20, $10 AEMA to make and enjoy music. I know that I seem to information, education and ARC members, students and seniors. and financial support. be going in three directions at once, but I hope Nov.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • Medium of Performance Thesaurus for Music
    A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
    [Show full text]
  • Clarinet in Oxford Music Online Oxford Music Online
    18.3.2011 Clarinet in Oxford Music Online Oxford Music Online Grove Music Online Clarinet article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/52768 Clarinet (Fr. clarinette ; Ger. Klarinette ; It. clarinetto ). Generic term for a wind instrument sounded by a single beating reed; in the system of Hornbostel and Sachs such an instrument is classified as an AEROPHONE : reedpipe, with a reed consisting of a single percussion lamella. The clarinet of Western art music (from which the generic term is taken) is of essentially cylindrical bore and is made in a variety of sizes and tonalities; the soprano instrument pitched in B , with the ‘Boehm system’ of keywork and fingering, is the most widely used today (see §II below). See also ORGAN STOP . I. General 1. Introduction. A clarinet consists of a closed tube with a single beating reed; such instruments are widely distributed and exist in a variety of forms. The tube is usually cylindrical, but occasionally funnel- shaped or ending in a bell. A clarinet may be idioglot, with the reed cut from the material of the tube itself and left attached at one end (the reed is sometimes held slightly away from the tube by a hair or straw inserted across the slit at the base) or heteroglot, with the reed, often made of a different material, tied or otherwise fastened on. An idioglot reed may be up-cut (with the reed cut upwards) or down-cut (towards the top of the tube, with the vibrating end facing the bottom of the tube). Janet K.
    [Show full text]
  • Techniques of Saxophone Playing Free
    FREE TECHNIQUES OF SAXOPHONE PLAYING PDF Marcus Weiss,Giorgio Netti | 188 pages | 31 Aug 2010 | Barenreiter-Verlag Karl Votterle | 9783761821145 | English, German | Germany The Techniques of Saxophone Playing/ Die Spieltechnik des Saxophons Because we all relate very intimately to the sound of a human voice, its innate ability to express the emotional part of human nature is indisputable. Of course, all of this is just my opinion, but my guess is that many of you will agree. I believe that we can hone certain skills so that when it comes time to express those powerful emotions we have engrained in our consciousness the techniques necessary to get those emotions across in the most powerful way possible. Remember when you first learned how to scoop notes? For most of us, as newcomers to the instrument, the tendency is to overdo the bending and scooping. There are countless approaches to vibrato and I could probably write an entire article on this subject Techniques of Saxophone Playing. Used by players from Dexter Gordon to David Sanborn, this is an extremely common approach to vibrato in jazz and jazz-related music. Dynamics are a great way of adding elements of depth, drama, and storytelling to your playing. But his approach of playing at a mostly loud volume was his method of deep self expression. For example, we may want to calm our listeners into a mellow trance, and then work our way up to a swift kick in the pants. To make the saxophone really sing, we need to notice the way we attack and release notes.
    [Show full text]
  • A Catalog of Compositions for Unaccompanied Clarinet Published Between 1978 and 1982, with an Annotated Bibliography of Selected Works David H
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2005 A Catalog of Compositions for Unaccompanied Clarinet Published Between 1978 and 1982, with an Annotated Bibliography of Selected Works David H. Odom Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC A CATALOG OF COMPOSITIONS FOR UNACCOMPANIED CLARINET PUBLISHED BETWEEN 1978 AND 1982, WITH AN ANNOTATED BIBLIOGRAPHY OF SELECTED WORKS By DAVID H. ODOM A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2005 Copyright © 2005 David H. Odom All Rights Reserved The members of the Committee approve the treatise of David H. Odom defended on November 3, 2005. ________________________________ Frank Kowalsky Professor Directing Treatise ________________________________ Jane Piper Clendinning Outside Committee Member ________________________________ Eric Ohlsson Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii TABLE OF CONTENTS List of Tables ...........................................................................................iv Abstract ....................................................................................................v 1. INTRODUCTION ................................................................................1 Format of Bibliography .......................................................................4
    [Show full text]
  • The CCFCS Collection of Musical Instruments: Volume One, Aerophones" by Roy W
    APPENDIX LIST OF CATALOGUE ENTRIES CATALOGUE NUMBER DESIGNATION PAGE 1 tung-hsiao 3 2 shakuhachi 6 3 shakuhachi 6 4 shakuhachi 6 5 tanso 10 6 yak 10 7 t'ongso 11 8 t'ongso 11 9 zubivka 14 10 zubivka 14 11 zubivka 14 12 zubivka 14 13 zubivka 14 14 zubivka 14 15 skudutis 17 16 panpipes 19 17 so 22 18 syrinx 25 19 ti-tzu 28 20 ti-tzu 28 21 ti-tzu 28 22 ti-tzu 29 23 ti-tzu 29 24 ti-tzu 29 25 ti-tzu 29 26 ryuteki 34 140 Appendix CATALOGUE NUMBER DESIGNATION PAGE 27 Chi 36 28 So gum 38 29 Chunggum 38 30 Taegum 39 31 Chilitli 41 32 Globular flute 44 33 Globular flute 44 34 Hun 46 35 Sopilka 48 36 Sopilka 48 37 Sopilka 48 38 Sopilka 48 39 Sopilka 48 40 Shepherd's pipe 52 41 Penny whistle 55 42 Tin whistle 55 43 Txistu 57 44 1'ujara 60 45 English flageolet 63 46 English flageolet 63 47 Dvoynice 66 48 Double flageolet 68 49 Whistling water pot 71 50 Bird whistle 71 51 Assobio 71 52 Chain whistle 74 53 Cuckoo whistle 74 54 Horse whistle 77 55 Deer whistle 77 56 Cocoloctli 77 57 Ocarina 77 Appendix 141 CATALOGUE NUMBER DESIGNATION PAGE 58 Ocarina 77 59 Shong 81 60 Sheng 81 61 Sheng 81 62 Concertina 89 63 Tangp'iri 90 64 Hyangp'iri 90 65 Sep'iri 90 66 Sojfer 92 67 T'aep'yongso 94 68 Shehnai 97 69 Shehnai 97 70 Shehnai 97 71 Sona 101 72 Sona 101 73 Sona 101 74 Sona 101 75 Sona 101 76 Bombarde 104 77 Bombarde 104 78 Scottish Highland Bagpipe 106 79 Scottish Highland Bagpipe 106 80 Birbyne 111 81 Birbyne 111 82 Siesienki 115 83 Koziol 115 84 Dudy 115 85 Shofar 121 86 Shofar 121 87 Shofar 121 142 Appendix CATALOGUE NUMBER DESIGNATION PAGE 88 Hora 125
    [Show full text]