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2021-Brass-Audition-Packet.Pdf
Dear Brass Line Candidate, Thank you for your interest in the 7th Regiment Drum and Bugle Corps! This packet will serve as your primary resource for video auditions. Read everything in this booklet carefully and prepare all of the required materials to the best of your ability. VISUAL AUDITION MATERIALS Basics of Marching Technique: Our technique program is “straight leg” marching; that is, we strive for the longest line between our hip and ankle bone at all times. Allowing the leg to bend at the knee shortens that line. The following are basic definitions for those who are unfamiliar with our technique. ● We stand in first position. With your heels together you will turn your feet outward 45 degrees. This turnout will come from the hips. Make sure your knees are in line with your middle toe. ● Horn Carriage: When at playing position (or carry) create a wide triangle with your forearms and horn. ● Forward March: articulate each beat with the back of your heel as you move forward and generate the longest possible leg line on the crossing counts. ● Backwards March: articulate each beat with the platform of your foot keeping your heel low to the ground as you move backward and generate the longest possible leg line on the crossing counts. ● Crossing Counts: The point at which your ankle bones are right next to each other while marching. This should happen on the ‘& count’ when marching in a duple (4/4) meter. ● 5 Points of Alignment: generate uniform posture by keeping your ears (1), shoulders (2), hips (3), and knees (4) stacked vertically from your ankle bones (5). -
Brass Teacherõs Guide
Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips. -
Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim. -
ACCESSORIES Band & Orchestral Division Quality Yamaha Accessories
ACCESSORIES Band & Orchestral Division Quality Yamaha Accessories... Yamaha band and orchestral accessories help musicians around the world get the most out of their instruments every day. From SILENT Brass™ to premium swabs and oils, Yamaha offers an exceptional array of innovative, technologically advanced accessories that are engineered to perform. Students and professionals alike can put their trust in the quality and consistency that Yamaha accessories provide. To learn more about Yamaha, please visit our website at usa.yamaha.com. i Table of Contents Description Page SILENT Brass™ ..................................2 Brass Mouthpieces.........................4-19 Brass Accessories........................20-23 Woodwind Mouthpieces...............24-25 Woodwind Accessories ...............26-28 Maintenance Kits ............................29-30 Recorders and Pianicas..................31-32 Band Accessories.........................35-36 Percussion Accessories...............37-38 Mallets...........................................39-43 Drumheads.....................................44-45 Percussion Cases and Covers.....46-49 ii 1 SILENT Brass PM5X The new SILENT Brass systems have been completely re-designed to meet the needs of brass players, whether they're a student on their first day or an international soloist traveling the world. Using a brand new proprietary process called "Brass Resonance Modeling™," Yamaha designers have found a way to bring the natural sound characteristics to the forefront of the experience while at the same time canceling negative sound properties, ensuring a level of realistic sound not previously possible. Combine that with the new lightweight PM3X completely in-bell design of the mute and the pocket-size performance module, and you have a portable practice system to use in any situation. An external PM6X sound source can be plugged in using the AUX IN jack allowing the player to play along with their favorite tunes. -
![2014 TSHB Recording & Audition Procedures[2]](https://docslib.b-cdn.net/cover/4723/2014-tshb-recording-audition-procedures-2-794723.webp)
2014 TSHB Recording & Audition Procedures[2]
WSU / Tri-State Honor Band AUDITION RECORDING PROCEDURES IMPORTANT: TO AVOID DISQUALIFICATION FOLLOW THESE INSTRUCTIONS EXACTLY • Audition recordings can be submitted ONE of two ways: Either upload your audition online (along with your online application), OR mail in your audition recording in compact disc (CD) format. NOTE: DEADLINE: Postmarked or Uploaded Online no later than Wednesday, Dec. 4, 2013 • Only 1 auditioning student per submitted recording (per Online Upload or mailed-in CD). • If mailing-in, your CD must be in a case. CLEARLY LABEL both the CD disc, and the CD case with your name, instrument, high school, city, and state. • Recordings must be clear, and of high recording quality. Please use only HIGH QUALITY CDs. We cannot “filter through” fuzzy recordings … poorly recorded submissions will be automatically disqualified. Please submit each individual recording according to the following steps: STEP 1: At the beginning of the recording, the student should state his/her name, instrument, high school, city, and state. (Trombonists: Please state whether you play tenor or bass trombone, and whether you have an F-attachment). (Euphonium/Baritone Players: Please state whether you are a treble clef or bass clef reader). STEP 2: The student should perform scales as listed below for their instrument in quarter or eighth notes at a minimum tempo of quarter = 112 mm. Students may choose to perform faster and for more than the minimum octave requirements. Flute – (Indicate if the student also plays piccolo) – C major (three octaves, -
Jam Block 1 Jam Block
Jam block 1 Jam block Jam Block Classification Hand percussion Playing range Single note Related instruments slit drum, temple blocks, Log drums, muyu, wood block A jam block is a modern, hard plastic version of the more fragile wood block, and is sometimes referred to as a "clave block", "gock block" or "tempo block". It is sturdy, designed for hard hitting and is becoming more and more popular with modern drummers and percussionists, due to its durability and sound. Jam blocks are usually attached to timbales and drum kits or are used as stand alone orchestra instruments. These blocks are often used in Salsa, Cuban, and Latin American music, although some modern drummers have made use of them in rock songs. Jam Blocks are often used in the marching percussion idiom as well. There are several manufacturers of jam blocks, though they sell them under different names. The main manufacturers include LP, Pearl, Meinl and Toca. There are various different colours of block, these colours usually represent the pitch and are different for each manufacturer. Many cheaper manufacturers use LP's Blue-Red classification system. Larger jam blocks have a lower pitch than smaller ones. Other variations of this instrument include the stealth jam block and the guiro jam block, a combination of the guiro and low pitch jam block, blast blocks, sambango bells and granite blocks. Article Sources and Contributors 2 Article Sources and Contributors Jam block Source: http://en.wikipedia.org/w/index.php?oldid=405900166 Contributors: Anty5, BigHaz, Drmies, EvanSeeds, -
Yamaha 2018 Price List
two thousand eighte2en 01 8 accessories retail price lis t effective date: July 1, 2018 TABLE OF CONTENTS BRASSWIND MOUTHPIECES 1-4 REEDS 17-21 TRUMPET 1 SOPRANO CLARINET 17 CORNET, SHORT SHANK 2 CLARINET 17 CORNET, LONG SHANK 2 ALTO CLARINET 17 FLUGELHORN 2 BASS CLARINET 18 ALTO 2 CONTRA CLARINET 18 HORN 2-3 SOPRANINO SAXOPHONE 18 MELLOPHONE 3 SOPRANO SAXOPHONE 18 TROMBONE, SMALL SHANK TENOR 3 ALTO SAXOPHONE 19 TROMBONE, LARGE SHANK TENOR 3 TENOR SAXOPHONE 19-20 BASS TROMBONE 4 BARITONE SAXOPHONE 20 EUPHONIUM 4 BASS SAXOPHONE 20 TUBA 4 DOUBLE REEDS 20-21 SILENT BRASS ™ & MUTES 5-6 WOODWIND ACCESSORIES 22-30 SILENT BRASS SYSTEMS 5 LIGATURES 21-23 SILENT BRASS MUTES 5 MOUTHPIECE CAPS 24-25 TRADITIONAL MUTES 5-6 NECKSTRAPS 25-26 INSTRUMENT OILS & LUBRICANTS 26 BRASSWIND ACCESSORIES 7-9 MAINTENANCE KITS 26 BRASS INSTRUMENT OILS & LUBRICANTS 7 POLISHES & POLISHING CLOTHS 27 BRASS INSTRUMENT MAINTENANCE KIT 7 CLEANING SWABS 27 POLISHES & POLISHING CLOTHS 7 MAINTENANCE SUPPLIES 27-28 BRASS INSTRUMENT BRUSHES & CLEANING TOOLS 8 LIP PLATE & MOUTHPIECE PATCHES 28 PREMIUM MICROFIBER BRASS SWABS 8 REED TRIMMERS & SHAPERS 29 MISCELLANEOUS BRASS INSTRUMENT ACCESSORIES 9 REED CASES & STORAGE 29 BRASS INSTRUMENT LYRES 9 MISCELLANEOUS WOODWIND ACCESSORIES 29 INSTRUMENT LYRES 30 BRASSWIND CASES 10 WOODWIND CASES 31 WOODWIND MOUTHPIECES 11-16 PICCOLO CLARINET 11 RECORDERS & PIANICAS 32-33 SOPRANO CLARINET 11 PIANICAS 32 CLARINET 11-12 20 SERIES PLASTIC RECORDERS 32 ALTO CLARINET 12 300 SERIES PLASTIC RECORDERS 32 BASS CLARINET 12 400 SERIES PLANT-BASED -
Grade First Name Last Name School Instrument Senior High Natalie
Grade First Name Last Name School Instrument Senior High Natalie Talley Rogers High School Flute Senior High Katelyn Howard Wilson High School Flute Senior High Emilee Hughes Fort Payne High School Flute Senior High Ashley Adamson Haleyville High School Flute Senior High Raven Hicks Collinwood High School Flute Senior High Kelsie Jeffreys Colbert County High Flute Senior High Hannah Jacobs Winston County High Flute Senior High Joshua Wilson Fairview High School Flute Senior High Charkie Clinton West Morgan High Flute Senior High Taylor Wilson Meek High School Flute Senior High Krystin Bonner Walker High School Flute Senior High Savannah Watkins Lexington High School Flute Senior High Sarah Faulkner West Morgan High Flute Senior High Kayla Beth Cox Lexington High School Flute Senior High Katie Bright Oakman High School Flute Senior High Kaylin Millard Fairview High School Flute Senior High Sarah Fuller Priceville High School Flute Senior High Danielle Nicole Jordi North Jackson High Flute Senior High Karla Simmons Fayette County High Flute Senior High Diamond Raines Hardin County High Flute Senior High Kenna Beth Baugus Hardin County High Flute Senior High Caroline Kirsch Austin High School Flute Senior High Brooke Calvert Cold Springs High Flute Senior High Faith Nabors Flute Senior High Dallas McIntyre Cold Springs High Flute Senior High Ifeoma Ugwueqbulam Bob Jones Flute Senior High James Traywick Clay-Chalkville High Flute Senior High Taylor Wade Oakman High School Flute Senior High Maggie Ward Lincoln High Schol Flute Senior High -
Wood Block 1 Wood Block
Wood block 1 Wood block This article is about the musical instrument. See woodblock for other meanings of the term. Woodblock Classification Hand percussion Playing range Single note. Related instruments slit drum, temple blocks, Log drums, muyu, Jam block A woodblock is essentially a small piece of slit drum made from a single piece of wood and used as a percussion instrument. It is struck with a stick, making a characteristically percussive sound. East Asian musics use a variety of wood blocks ranging from small hand-held instruments to enormous (often immovable) temple blocks which may be sounded by swinging a large log against them. Log drums made from hollowed logs, and slit drums made from bamboo, are used in Africa and the Pacific Islands. The muyu (simplified Chinese: 木鱼; traditional Chinese: 木魚; pinyin: mùyú) is a rounded woodblock carved in the shape of a fish and struck with a wooden stick. It is made in various sizes and is often used in Buddhist Tubular wood block chanting, in China as well as in other Asian nations including Japan, Korea, and Vietnam. Also in China, a small, rectangular, high-pitched wood block called bangzi (梆子) is used. In Vietnam, a slit drum called song lang is widely used. The orchestral wood-block instrument of the West is generally made from teak or another hardwood. The dimensions of this instrument vary considerably, although it is always a rectangular block of wood with one or sometimes two longitudinal cavities. It is played by striking it with a stick. Article Sources and Contributors 2 Article -
First Edition August 2017
MUSIC FOR CONTRABASS CLARINET First Edition August 2017 Sarah Watts This catalogue of music written for and featuring contrabass clarinet is the product of a 2016 Teaching Award from the Royal Northern College of Music, UK. This PDF catalogue is freely available on my website - www.sarahkwatts.co.uk. It will be updated on a regular basis and any additions should be emailed to [email protected] My thanks go to RNCM for supporting this project, BK and Jessica Son at Silverstein works for help with designing the cover and Henri Selmer Paris, friends and colleagues for continued help and support with all of my work. Sarah Watts - July 2017 © Sarah Watts 2017 contents solo contrabass clarinet contrabass clarinet + 1 contrabass clarinet + 2 contrabass clarinet + 3 contrabass clarinet + 4 contrabass clarinet + 5 contrabass clarinet + 6 or more contrabass clarinet + electronics contrabass clarinet + orchestra/ensemble solo contrabass clarinet Andre, Mark Chrysakis, Thanos iv 7 Dark Light / Μαύρο Φως 2008 2017 Verlag/ C. F. Peters Aural Terrains 15 minutes Aperghis, Georges Solo Corbett, Sidney 2013 “ein Fremdling wie alle meine Väter …” self-published/didascalia 2010 20 minutes Edition Nova Vita www.edition-ex-tempore.de Baley, Virko 11 minutes Treny Laments 1996 Czaplowski, Philip publisher unknown Ocean Greyness 2003 Barrett, Richard Self published interference CBCL + voice & pedal drum1996-2001 Deutsch, Bernd Richard UMP Orcus Nr. 22 12 minutes Bote & Bock 10 minutes Bianchi, Oscar Alteritas Donatoni, Franco manuscript only Ombre 1984 -
5-9 Symphonic Winds Prog
Excavations of Nostalgia and Myth re-claiming the past, reexamining the present, re-imagining the future Silvestre Revueltas Sensemayá (1938) (1899-1940) Kyle Gann Sunken City: In Memoriam New Orleans, (b. 1955) Concerto for Piano and Winds (2007) I. Before (Brian Simalchik ’10, piano soloist) II. After (Noah Lindquist ’08, piano soloist) ~American premiere~ brief intermission Giya Kancheli Magnum Ignotum (1994) (b. 1935) Michael Colgrass Winds of Nagual (1985) (b. 1932) I. The desert: don Juan emerges from the mountains; Carlos meets don Juan: first conversation II. Don Genaro satirizes Carlos III. Carlos stares at the water and becomes a bubble IV. The gait of power V. Asking twilight for calmness and power VI. Juan clowns for Carlos VII. Last conversation and farewell: Carlos leaps into the unknown and explodes in a thousand views of the world No photography or recording without permission. Please turn off or mute cell phones, audible pagers, etc. Williams Symphonic Winds Steven Dennis Bodner, music director Flute/Piccolo Tenor Saxophone Percussion Molly Jackson ’10* Daniel King ’09# Alexander Creighton ‘10* Molly Klaisner ’09 Christina Lee ‘08* Meghan Ramsey ’08# Baritone Saxophone Brian Simalchik ‘10 Anne Royston ’08~ Jacob Hopkins (DHS) Scott Smedinghoff ’09 Katherine Yosua ’11 Christopher Law ’10# Hannah Wong ‘08 Benjamin Wood ’08* Alto Flute Horn Anne Royston ’08 Kimberly Elicker ‘09 Violin Katherine Yosua ’11 Peter Gottlieb ‘11~ Leo Brown ‘11* Elizabeth Irvin ’10#~ Teng-Jian Khoo ‘09* Oboe Benjamin Cohen ‘10~ Trumpet String Bass -
The Evolution of the Bugle
2 r e The evolution t p a h C of the bugle by Scooter Pirtle L Introduction activity ponders how it will adapt itself to the ceremonies, magical rites, circumcisions, When one thinks of the evolution of the future, it may prove beneficial to review the burials and sunset ceremonies -- to ensure bugle used by drum and bugle corps, a manner by which similar ensembles that the disappearing sun would return. timeline beginning in the early 20th Century addressed their futures over a century ago. Women were sometimes excluded from might come to mind. any contact with the instrument. In some While the American competitive drum and A very brief history of the Amazon tribes, any woman who even glanced bugle corps activity technically began with trumpet and bugle at a trumpet was killed. 2 Trumpets such as the American Legion following the First through the 18th Century these can still be found in the primitive World War (1914-1918), many innovations cultures of New Guinea and northwest Brazil, had already occurred that would guide the L Ancient rituals as well as in the form of the Australian evolution of the bugle to the present day and Early trumpets bear little resemblance to didjeridu.” 3 beyond. trumpets and bugles used today. They were Throughout ancient civilization, the color Presented in this chapter is a narrative on straight instruments with no mouthpiece and red was associated with early trumpets. This important events in the evolution of the no flaring bell. Used as megaphones instead could probably be explained by the presence bugle.