Tutti Brassi
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Leonard Scott
LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming. -
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. -
Lip-Blown Instruments of Ireland Before the Norman Invasion
DOWNEY 75 LIP-BLOWN INSTRUMENTS OF IRELAND BEFORE THE NORMAN INVASION Peter Downey t is generally assumed that metal lip-blown instruments were introduced into Europe by the Arabs and Moors during the Middle Ages as the result of the Crusades and other Ibelligerent contacts. This assumption requires subscribing to the belief that, with the fall of the Roman Empire, all knowledge of the manufacture and use of lip-blown instruments, such as the Roman tuba and comu or the Gallic carnyx, was lost in the turmoil and destruction of the Dark Ages. Serious doubts have been cast on the concept recently, most notably by Don Smithers.1 The arguments have been presented in a quite persuasive manner. However, what has been missing to date is "test-case" evidence from a part of Europe in which there can be shown a continuity of manufacture and use of lip-blown instruments throughout the period under scrutiny, and whose history shows that: 1) they remained outside the Roman Empire; 2) they were cushioned from the events of the Dark Ages that followed the fall of that empire in the west; 3) they did not participate in the early confrontations between Christian and Muslim. One such example is actually to be found on the fringe of Western Europe, namely, Ireland. Aspects of Ireland's testimony have been mentioned briefly in various texts, but much misunderstanding and misrepresentation has accompanied and clouded the clarity of that evidence. What follows is the first stage of an attempt to dispel some of those clouds by bringing into clearer focus the material riches preserved in Ireland from its long-lasting cultural independence.2 Because many readers may be unfamiliar with Ireland's prehistory and early history, short overviews of the historical situation are also included as appropriate to provide a contact for the instruments described. -
Ney'in Tarihi Gelişimi Ve Dini Musikimizdeki Yeri
FATiH KOCA • ısı Dini Araştırmalar, Ocak-Nisan 2002, C. 4, s. ı2, ss. ıBl-196. Ney'in Tarihi Gelişimi ve Dini Musikimizdeki Yeri Fatih KOCA* Abstract In thi.s article, the progress of the ney, predominant instrument in the religious music, throughout the known human history i.s shortly investigated. Although the past forms of the ney i.s not very sim ilar to to day's modem one, it i.s di.scussed that the ney was in use in past. Moreover, finding answer to the question of how ney has taken place in the religious music i.s alsa in the vicinity of the main interests of the article. After ney completed its histarical progress with Kutb-i Nô.yi Osman Dede, it has taken place in the religious music with Mevlana and master of neyzen 's Hamza Dede. Apart from the fact that the ney is capable of giving all the sounds in nature, it i.s alsa most likely instrument to the humari voice. Even though ney is made of reed and looks simple, it affects the human saul dramatically, eve n in the first hearing. Thi.s i.s, of course, the proof of the fact that its effect to the universal saul. Keywords: religious music, reed, universal saul of music. Ney'in Kısaca Tarihteki Yeri İlk insan"Hz. Adem (a.s) yaratıldığından bu yana ses varolduğuna göre, musiki de ilk insanla beraber varolmu~tur. İnsanoğlunu diğer canlılardan ayıran özellik sadece dü~ünme duygusu değildir. insanda yüksek hisler deni- * Öğr. Gör., Ankara Üniversitesi İlahiyat Fakültesi Türk Din Mıisikisi Anabilim Dalı e-mail: m_fatih_ [email protected]. -
Prepared Objects, Compositions That Use Them, and the Resulting Sound Dr
Prepared objects, compositions that use them, and the resulting sound Dr. Stacey Lee Russell Under/On Aluminum foil 1. Beste, Incontro Concertante Buzzing, rattling 2. Brockshus, “I” from Greytudes the keys Cigarette 1. Zwaanenburg, Solo for Prepared Flute Buzzing, rattling paper 2. Szigeti, That’s for You for 3 flutes 3. Matuz, “Studium 6” from 6 Studii per flauto solo 4. Gyӧngyӧssy, “VII” from Pearls Cork 1. Ittzés, “A Most International Flute Festival” Cork is used to wedge specific ring keys into closed positions. Mimics Bansuri, Shakuhachi, Dizi, Ney, Kaval, Didgeridoo, Tilinka, etc. Plastic 1. Bossero, Silentium Nostrum “Inside a plastic bag like a corpse,” Crease sound, mimic “continuous sea marine crackling sensation.” Plastic bag 1. Sasaki, Danpen Rensa II Buzzing, rattling Rice paper 1. Kim, Tchong Buzzing, rattling Thimbles 1. Kubisch, “It’s so touchy” from Emergency Scratching, metallic sounds Solos Inside Beads 1. Brockshus, “I” from Greytudes Overtone series, intonation, beating the tube Buzzers 1. Brockshus, “III” from Greytudes Distortion of sound Cork 1. Matuz, “Studium 1” from 6 Studii per flauto Overtone series, note sound solo octave lower than written 2. Eӧtvӧs, Windsequenzen 3. Zwaanenburg, Solo for Prepared Flute 4. Matuz, “Studium 5” from 6 Studii per flauto solo 5. Fonville, Music for Sarah 6. Gyӧngyӧssy, “III” from Pearls 7. Gyӧngyӧssy, “VI” from Pearls Darts 1. Brockshus, “II” from Greytudes Beating, interference tones Erasers & 1. Brockshus, “I” from Greytudes Overtone series, intonation, Earplugs beating Plastic squeaky 1. Kubisch, “Variation on a classical theme” Strident, acute sound toy sausage from Emergency Solos Siren 1. Bossero, Silentium Nostrum Marine signaling, turbine spins/whistles Talkbox 1.Krüeger, Komm her, Sternschnuppe Talkbox tube is hooked up to the footjoint, fed by pre- recorded tape or live synthesizer sounds © Copyright by Stacey Lee Russell, 2019 www.staceyleerussell.com [email protected] x.stacey.russell Towel 1. -
Funderburk, Jeff, "The Man and His Horn", T.U.B.A. JOURNAL May, 1988 P 43
Funderburk, Jeff, "The Man and his Horn", T.U.B.A. JOURNAL May, 1988 p 43 This fabulous tuba was reportedly designed by Bill Johnson, design engineer for the J.W. York Band Instrument Company of Grand Rapids, Michigan. According to the story, Leopold Stokowski, conductor of the Philadelphia Orchestra in the 1930s, approached the orchestra's tubist, Phillip Donatelli, and requested that he obtain a tuba that would provide a true organ like quality to the bass register of the orchestra. Mr. Donatelli consulted with the York Instrument Company, a firm noted for excellent tubas. Two instruments pitched in CC were built to order. These incorporated a medium-large piston valve section (larger than any built today!) and a large bore rotary fifth valve into the body of a Kaiser tuba with a 20-inch bell diameter. As fate would have it, Mr. Donatelli did not feel comfortable with these instruments. One reason for this was the very short leadpipe used on the instruments. Mr. Donatelli was overweight to the point that when he breathed, the instrument was forced away from him. There was no room on the chair for the two of them! Consequently, the instruments were sold. One instrument was sold to Arnold Jacobs, a student at Curtis Institute, for the price of $175, to be paid off at a rate of $5 per week. Mr. Jacobs and his tuba were so well liked by the orchestra director at the Curtis Institute - Fritz Reiner - that a limousine was sent on rehearsal days to collect the two of them from home. -
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). -
Baritones and Euphoniums*
OpenStax-CNX module: m12650 1 Baritones and Euphoniums* Catherine Schmidt-Jones This work is produced by OpenStax-CNX and licensed under the Creative Commons Attribution License 1.0 1 Introduction Baritones and euphoniums are aerophones in the brass family. They are closely related instruments, both fairly large and with a medium-low range. They are generally not considered orchestral instruments, but are an important part of the Western band tradition. 2 The Instruments Like other instruments in the brass family, baritones and euphoniums are played by buzzing the lips against a cup mouthpiece. The air then moves through the brass tubing and leaves through the bell at the other end of the instrument. The valves change the playing length of the instrument, making it possible to play several harmonic series that together allow the instrument to play any chromatic note in its range. For more on how brass instruments work, please see Wind Instruments: Some Basics, Standing Waves and Wind Instruments, and Harmonic Series.) Baritones and euphoniums are valved brass instruments that have a range similar to the slide trombone, higher than a tuba and about an octave below the trumpet. The valved tenor-range brass instruments are a slightly confusing group of instruments. They are usually held upright, with the bell pointing either straight up or up-and-forward, but they may also be shaped like a very large trumpet, held horizontally with the bell pointing forward. They may have three, four, or sometimes even ve valves. Baritone and euphonium are recognized in Britain as being two dierent instruments, but in the U.S. -
The Improvements of Brass Instruments from 1800 to 1850 Including Implications for Their Usage
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1965 The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age Delmar T. Vollrath Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Vollrath, Delmar T., "The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age" (1965). Masters Theses. 4300. https://thekeep.eiu.edu/theses/4300 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Improvements of Brass Instruments from - 1800 to 1850 Including Implications for Their Usage (TITLE) BY Delmar To Vollrath THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Science in Education IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS --.12�65�- YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE JI, !f{j_ ol\ln TA.llLE OF CONTENTS Chapter I Introduction • • • • • , •• • • • • • • l JI �t ................ 4 III Cornet • • • • • • • • • , • • • • • • IV Tronlhone • • • • • • • .. • , • • •. • • • 18 v Horn • • • • • • • • • • • • • ••••• 22 VI • • • • • • • 4i •••• " • • -'II' •• JJ VII • • • • • • • . ' . .. 39 VIll BU'itone and EuphoniU111 • II •• e II e •• 43 IX Saxophone ••••• • ..... • • • • • I Conolu•ion • • • • • • • .• • • " .... r-''} . • .. APi'ii2IDTX , "' • . • • . ... ,.. BI BL!OORAP!II • • • • • • • • • • . .. The ;:mrpose o:': this stud,)' is to axwni.ne one ;:;'.:&oo of tho evolution of 111J.ls1.oal :tnstrunentsJ that oi' t',e p'1�,;ica1 isi:pr'.ive":ents of brass wind instruments !'roui 1800 to 1 ,50, i:::i the '1opc that a more hharough understanding of the :instru- 1..:ints and their back1;ro·.md will re ;:tlt. -
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. -
The Sackbut and Pre-Reformation English Church Music
146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another. -
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.