Frank Holton & Co. Surviving Brass Instruments
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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. -
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 -
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. -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R. -
For Release at NAMM 2014 December 3, 2013 Conn-Selmer Is Proud to Announce Its 2014 Launch Line-Up Flutes Saxophones
For Release At NAMM 2014 December 3, 2013 Conn-Selmer is Proud to Announce Its 2014 Launch Line-Up 2014 is going to be a big Music industry year and Conn-Selmer is excited to share these newly, innovated instruments that will invigorate its core categories. Flutes Announcing the new PCR Headjoint. All flute models in the Armstrong line will have the new headjoint. PCR represents increased: Projection Clarity and Response. This new headjoint has the familiar Armstrong durability that everyone loves, with improved sound and playability. Armstrong is Made in the USA and the new headjoints on all models street price ranges from $994 - $1,449. Models are: 102, 102E, 103, 103OS, 104, 303B, 303BOS, 303BEOS, 800B, 800BOF, 800BEF, 800BOFPICC, FLSOL301 and FLSOL201G. Saxophones Revealing the new Selmer Tenor Saxophone, model TS44. This custom designed Henri Selmer Paris neck and mouthpiece comes with a BAM case. With this natural addition, it expands the highly successful 40 Series. MAP is $2,899 and also comes in black nickel (pictured) and silver plate. Both the TS44B and TS44S MAP for $3,265. Trombones Bach Artisan has extended its line of professional trombones. The Artisan Collection is customizable with fully interchangeable components and can become 81 different horns! This horn is adaptable to a variety of trombone artists. You can choose from three (3) bell material options, three (3) valve options, three (3) hand slide options and three (3) tuning slide options, to make it your own sound. It comes in standard models A47 (MAP is $2,758), A47I and A47MLR (MAP is $4,487). -
Trumpet, Cornet, Flugelhorn GRADE 6 from 2017
Trumpet, Cornet, Flugelhorn GRADE 6 from 2017 PREREQUISITE FOR ENTRY: ABRSM Grade 5 (or above) in Music Theory, Practical Musicianship or any solo Jazz subject. For alternatives, see www.abrsm.org/prerequisite. THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Albrechtsberger Larghetto: 3rd movt from Concertino (Brass Wind) 2 J. S. Bach Esurientes implevit bonis (from Magnificat). Baroque Around the Clock for Trumpet, arr. Blackadder and Gout (Brass Wind) 3 Fiala Largo (observing cadenza): 1st movt from Divertimento in D (Faber) 4 Gibbons The King’s Juell. No. 4 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 5 Handel Allegro: 2nd movt from Sonata (in A b), Op. 1 No. 11. No. 2 from Handel Two Sonatas, trans. Varasdy and Orbán (Editio Musica Budapest Z.13933) 6 Haydn Andante: 2nd movt from Trumpet Concerto in E b, Hob. VIIe/1 (Henle HN 456 or Universal HM 223: B b/E b edition) 7 Mendelssohn Allegretto grazioso only. Mendelssohn Songs without Words Nos 9 and 30, arr. Round (Wright & Round ) 8 Mozart Alleluia (from Exultate Jubilate). Trumpet in Church, arr. Denwood (Emerson E283) 9 Stanley Trumpet Voluntary, Op. 6 No. 5. No. 11 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP ) LIST B 1 Leroy Anderson A Trumpeter’s Lullaby (Alfred 41061) 2 Gershwin Theme (from Rhapsody in Blue). Concert Repertoire for Trumpet, arr. Calland (Faber) 3 Hubeau Sarabande: 1st movt from Sonata for Trumpet (Durand: B b/C edition) 4 Bryan Kelly Colonel Glib (Retired) or The Chase: No. -
Soprano Cornet
SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN (Under the Direction of Brandon Craswell) ABSTRACT The E-flat soprano cornet has served an indispensable role in the British brass band; it is commonly considered to be “the hottest seat in the band.”1 Compared to its popularity in Britain and Europe, the soprano cornet is not as familiar to players in North America or other parts of world. This document aims to offer young players who are interested in playing the soprano cornet in a brass band a more complete view of the instrument through the research of its historical roots, its artistic role in the brass band, important solo repertoire, famous players, approach to the instrument, and equipment choices. The existing written material regarding the soprano cornet is relatively limited in comparison to other instruments in the trumpet family. Research for this document largely relies on established online resources, as well as journals, books about the history of the brass band, and questionnaires completed by famous soprano cornet players, prestigious brass band conductors, and composers. 1 Joseph Parisi, Personal Communication, Email with Yanbin Chen, April 15, 2019. In light of the increased interest in the brass band in North America, especially at the collegiate level, I hope this project will encourage more players to appreciate and experience this hidden gem of the trumpet family. INDEX WORDS: Soprano Cornet, Brass Band, Mouthpiece, NABBA SOPRANO CORNET: THE HIDDEN GEM OF THE TRUMPET FAMILY by YANBIN CHEN Bachelor -
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 -
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. -
A Brief History of Piston-Valved Cornets'
337 A Brief History of Piston-valved Cornets' Niles Eldredge The bewildering array of cornet design over the past 175 years or so has defied simple description, categorization, and classification. Yet major themes in cornet design readily emerge on closer study—and while no straightforward classification of comets is possible,' historical analysis of the sequence of major design changes does have the effect of reducing the welter of cornet variation to a manageably simpler picture than heretofore available. I shall restrict my analysis to B6 soprano brasswinds of approximately 41 /2 feet in length, equipped either with the earlier Stolzel valves, or with the succeeding Perinet valves— mentioning comets pitched higher (especially in E6, but also in C where designs differ from those in B6), as well as in lower pitches, only in passing.' Likewise, I consider only "mainstream" instruments most commonly used by amateur and virtuoso professional alike—but excluding such instruments as "echo bell" and "pocket" comets. Finally, in confining my gaze to comets, and thereby excluding trumpets and fluegelhorns (again, except in passing), we immediately confront the question: What, exactly, is a cornet? What Is a cornet? Conventional wisdom has it that a cornet is a soprano brasswind of some 41/2 feet of tubing that (1) has, at least ideally, approximately 2/3 of its length in conical shape, 1/3 cylindrical (the reverse being said to be optimal for trumpets4); (2) tubing coiled in two complete 360° turns (typically 11/2 such turns to the "leadpipe" section between mouthpiece and valves, and a final 180° turn after the bell tubing exits the first valve); thus cornets are usually shorter than Perinet-valved trumpets, which retain the much older single 360°-turn design of most natural trumpets; and (3) a deep, funnel-shaped cup mouthpiece—more similar to a horn, than to a trumpet, mouthpiece. -
Trumpet Ensemble Rob Frear, Director Monday, March 12, 2012 8:00Pm Gerald R
UPCOMING EVENTS • Thu, March 15, 2012: Wind Symphony and Symphonic Band, John Carnahan and Nikk Pilato, conductors 8:00pm Carpenter Performing Arts Center $10/7 • Tue, April 10, 2012: University Brass Ensemble, Rob Frear, director 8:00pm Daniel Recital Hall $10/FREE! • Sun, April 15, 2012: Brass Chamber Music, Rob Frear, director 4:00pm CONCERT BAND Daniel Recital Hall $10/FREE! • Thu, April 19, 2012: Conservatory Brass Quintet, Rob Frear, director 8:00pm Daniel Recital Hall $10/FREE! NIKK PILATO, CONDUCTOR • Thu, May 3, 2012: Wind Symphony and Symphonic Band, John Carnahan LISA CASTLEMAN, GRADUATE CONDUCTOR and Nikk Pilato, conductors 8:00pm Carpenter Performing Arts Center $10/7 RISHONA HATCHER, GRADUATE CONDUCTOR • Tue, May 8, 2012: Concert Band, Nikk Pilato, conductor 8:00pm Daniel Recital Hall $10/7 ANTHONY JOHNNY, GRADUATE CONDUCTOR TRUMPET ENSEMBLE ROB FREAR, DIRECTOR MONDAY, MARCH 12, 2012 8:00PM GERALD R. DANIEL RECITAL HALL For more information and tickets please call 562.985.7000 or visit: PLEASE SILENCE ALL ELECTRONIC MOBILE DEVICES. This concert is funded in part by the INSTRUCTIONALLY RELATED ACTIVITIES FUNDS (IRA) provided by California State University, Long Beach. PROGRAM THE UNIVERSITY CONCERT BAND Nikk Pilato—conductor TRUMPET ENSEMBLE Lisa Castleman, Rishona Hatcher, Anthony Johnny—graduate conductors ....................................................................................................... Lux Lituorum Frederick Lesseman Piccolo Bass Clarinet Horn .......................................................................................................