TENOR HORNS – BARITONES - EUPHONIUMS - TUBAS Valuesvalues & & Ttraditionraditions
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Boosey & Hawkes
City Research Online City, University of London Institutional Repository Citation: Howell, Jocelyn (2016). Boosey & Hawkes: The rise and fall of a wind instrument manufacturing empire. (Unpublished Doctoral thesis, City, University of London) This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16081/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] Boosey & Hawkes: The Rise and Fall of a Wind Instrument Manufacturing Empire Jocelyn Howell PhD in Music City University London, Department of Music July 2016 Volume 1 of 2 1 Table of Contents Table of Contents .................................................................................................................................... 2 Table of Figures...................................................................................................................................... -
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 -
A, Fl }J)-A?L~---- Dr
A SURVEY OF ACTIVE BRASS BANDS IN THE STATE OF OHIO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Diana Droste Herak, B.M.E. * * * * * The Ohio State University 1999 Master's Examination Committee: Approved by Dr. Jon Woods, Adviser Dr. Jere Forsythe __a,_fL_}j)-A?L~---- Dr. Russel Mikkelson v--- Adviser School of Music Copyright by Diana Droste Herak 1999 ABSTRACT In England, many adult amateur musicians continue playing their instruments throughout their lives in the brass band world. In contrast, American adult musicians rarely continue performing once their school days are over. By conducting a survey of the current status of active brass bands in Ohio, it is the intent of this study to offer an historical background of each band, bring more exposure to the brass band movement, and promote brass banding as a musically worthwhile activity for adult amateur musicians. Not much is known about the history and current status of the brass band movement in America. In 1992, Dr. Ned Mark Hosler completed a dissertation entitled “The Brass Band Movement in North America: A Survey of Brass Bands in the United States and Canada.” The intent of this thesis was to focus specifically on British-style brass bands in the state of Ohio. A questionnaire was administered to a sample population of British brass bands in Ohio. The categories covered in the survey included basic information, band origin, membership demographics, instrumentation, organizational structure, rehearsals/performances, public/community support, repertoire, the impact of the North American Brass Band Association, and general considerations. -
Check It out Here
www.musictrades.com DECEMBER 2017 THE GLOBAL ISSUE KANSTUL FAMILY-OWNED BRASSWINDS MAKER CARRIES ON TRADITION OF CRAFTSMANSHIP GLOBAL COMPANY PROFILES ducing a quality sound.” Trumpets have been arguably KMI’s KANSTUL highest-profile segment since that first contract to build the Besson line, yet Family-owned brasswinds maker carries on many of its other entries have found their tradition of craftsmanship own place in musical lore. KMI’s Model 1531 cornet was used by Doc Severinsen to record his famous Trumpet Spectacu- lar album, while its flagship 1525 cop- per-bell flugelhorn was used on the album Flight To Freedom by Arturo San- doval, who called it “the most incredible instrument I’ve ever played.” Three Kanstul contrabass trombones were used in Disney’s Alice In Wonderland. And as for tubas: the last major project of Zig Kanstul’s career was bringing back the York line sometimes known as the “Great American Tuba.” KMI even de- veloped an Eb tenor horn, used mostly in the U.K., so it could supply British-style brass bands with all their instruments. In one of its newest projects, KMI has re- created the iconic “Committee” trumpet played by greats including Wallace Roney, who plays a custom version of the instrument. In another new entry, it’s developed travel tubas in the key of C or Bb, both sized for modern airline re- WITH THE 1981 CLOSURE of the brasswinds company manufacturing en- quirements but drawing on the DNA of Benge brass instruments factory, a crew tirely in the United States. Although Zig classic models from the Kanstul line. -
Sound Sets in Sibelius 2
Sound sets in Sibelius 2 For advanced users only! Before attempting to create your own sound set, it is worth checking if one is already available: see the online Help Center at http://www.sibelius.com/helpcenter/resources/ for the latest additions. Disclaimer Sound sets are complex files and are not designed to be user-editable. Using a sound set with incorrect syntax may cause your copy of Sibelius to behave unpredictably or even crash. Sibelius Software accepts no responsibility for any loss of data or other problems experienced as a result of editing the supplied sound sets or creating new ones. This document is provided ‘as is’, and no warranty, implied or otherwise, covers the information contained within. Please also note that we do not offer technical support on the editing or creation of sound set files. Filenames The filename of a sound set file is insignificant (i.e. it is not shown in the Play Z Devices dialog), but we recommend that it should be fairly descriptive. It should also be 31 characters or less (including the .txt file extension) to ensure compatibility with all file systems. Sound set syntax Please refer to the General MIDI.txt file inside C:\Program Files\Sibelius Software\Sibelius 2\Sounds for an example of correct sound set syntax. In fact, you may wish to copy this file and use it as the basis of your own sound set. The sound set starts with an open brace { and ends with a closing brace }. The body of the sound set contains the following fields within the opening and closing braces as a series of ‘tree nodes’, in this order: MIDIDevice Syntax: MIDIDevice "GM (General MIDI)" The name of the device, e.g. -
Tenor Horn Diploma Repertoire List
TENOR HORN DIPLOMA REPERTOIRE LIST January 2021 edition (updated May 2021) • Candidates should compile and perform a programme displaying a range of moods, styles and tempi. • Programmes must consist of a minimum of two works. • All works should be performed complete, except where single movements are specified. • The music performed can: – be drawn entirely from the appropriate repertoire list below – combine pieces from the appropriate repertoire list with own-choice pieces* – contain only own-choice pieces* * Any programme which includes own-choice repertoire must be pre-approved. • Own-choice pieces must demonstrate a level of technical and musical demand comparable to the pieces listed in the relevant repertoire list. • Timings are as follows: Diploma Performance Exam level duration duration ATCL 32-38 minutes 40 minutes LTCL 37-43 minutes 45 minutes FTCL 42-48 minutes 50 minutes • Candidates must provide a written programme and copies of all pieces to be performed. • Face-to-face exams: the appointment form, written programme, copies of the pieces and approval letter (if applicable) should be given to the examiner at the start of the exam. • Digital exams: the submission information form, written programme, scans of the pieces and approval letter (if applicable) should be uploaded with the video. • For full details, including the process for submitting own-choice repertoire, please see the current syllabus at trinitycollege.com/performance-diplomas (face-to-face exams) or trinitycollege.com/digital-music-diplomas (digital exams). ATCL 1. Butterworth Saxhorn Sonata, 3rd movt (E♭ horn edition) Comus Chopin, Nocturne 2. Kirklees arr. Bates (from Jonathan Bates Tenor Horn Solo Album 1) 3. -
Foreword It Is the Mouthpiece Which Provides the Vital Connection
Foreword It is the mouthpiece which provides the vital connection between the musician and his or her wind instrument. Therefore, the mouthpiece must then meet the most personal and critical demands of fine adjustment in order to achieve the desired tonal color, flexibility and sense of well-being on the instrument. While a student, it became clear to me that the right choice of equipment provides decisive help in achieving musical goals. It also became apparent that I had met the prerequisites for carrying out the task of designing innovative and qualitative mouthpieces, namely; (1) having advanced musical training (Conservatory of Linz, Vienna Music University), and (2) having the proper mechanical knowledge (completed apprenticeship in a technical sector). Now, as a professional musician, I am confronted daily with meeting the challenge of making mechanical adjustments for various physical and musical demands. This being the case, it is easier for me to identify with the problems and wishes of colleagues, and to find proper solutions to their problems. The Catalog Recognizing that my developmental work is constantly proceeding – and that I can draw on the experiences of many customers – I feel that it is now necessary to select and provide an overview of the present variety of products. Special niche products are to be put to the side (but not completely cancelled) in order to present the advantages of the more popular mouthpieces. Revisions (especially on trombone mouthpieces) have been labeled, and improvements described. Now I can only hope that you can find a fitting combination among my products that meets your needs. -
Instrument Making of the Salvation Army
30 The Galpin Society Journal LXXIII (2020) ARNOLD MYERS Instrument Making of the Salvation Army he Salvation Army was formed as such in contribute to Army events across Britain; in 1880 the September 1878 as a development of the first corps (local congregation) band was established: earlier Christian Mission in the East End of 14 instrumentalists at Northwich.2 The 1880s were a London,T with origins in the Methodist Church, and period of remarkable growth of the Salvation Army became a separate Christian church. It was primarily across Britain (and overseas), and saw brass bands evangelical, and adopted military organisational develop an essential role for the Army in recruitment structures and metaphorical language as an effective and worship. The Salvation Army brass band stratagem. The poor were seen as neglected by the tradition and repertoire have been discussed in depth established churches, and converting the poor to by Boon,3 Herbert,4 Holz5 and Cox,6 allowing us to Christianity was the chief aim of the Salvation Army. focus here on instruments. Conversion was largely brought about by preaching Playing in brass bands was a widely practised the gospel in meetings, and people were attracted pastime for many, so the recruits to the early to meetings by street demonstrations and open- Salvation Army were often already brass band air acts of witness. These demonstrations featured musicians. Some brought their own instruments gospel singing which was usually accompanied by which they then had to sell to the local Army corps: instruments of different kinds. Brass instruments for the others the corps provided instruments which proved to be particularly effective, and the had to be bought from Headquarters. -
The History and Usage of the Tuba in Russia
The History and Usage of the Tuba in Russia D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By James Matthew Green, B.A., M.M. Graduate Program in Music The Ohio State University 2015 Document Committee: Professor James Akins, Advisor Professor Joseph Duchi Dr. Margarita Mazo Professor Bruce Henniss ! ! ! ! ! ! ! ! ! ! ! ! Copyright by James Matthew Green 2015 ! ! ! ! ! ! Abstract Beginning with Mikhail Glinka, the tuba has played an important role in Russian music. The generous use of tuba by Russian composers, the pedagogical works of Blazhevich, and the solo works by Lebedev have familiarized tubists with the instrument’s significance in Russia. However, the lack of available information due to restrictions imposed by the Soviet Union has made research on the tuba’s history in Russia limited. The availability of new documents has made it possible to trace the history of the tuba in Russia. The works of several composers and their use of the tuba are examined, along with important pedagogical materials written by Russian teachers. ii Dedicated to my wife, Jillian Green iii Acknowledgments There are many people whose help and expertise was invaluable to the completion of this document. I would like to thank my advisor, professor Jim Akins for helping me grow as a musician, teacher, and person. I would like to thank my committee, professors Joe Duchi, Bruce Henniss, and Dr. Margarita Mazo for their encouragement, advice, and flexibility that helped me immensely during this degree. I am indebted to my wife, Jillian Green, for her persistence for me to finish this document and degree. -
MUTES by You Do BESSON That 'DEAL' Better If You with Th·E Deal
PER AA ANNUAL SU3SCRIPTION REGISTERED FOR LIVERPOOL, FEBRU ARY 1, 1946 PRICE POST�· • No. 773 TRANSMISSION ABROAD 3d. Post Free 4/- QUARTETS POPULAR CORNET SOLOS BESSON FOR BRASS INSTRUMENTS NOW AVAILABLE (With Pianoforte Accompaniment) WILL BU Y YOUR ACCESSORIES s. d. 15 3 SURPLU S INSTRUMENTS Complete with Score and Parts New Standard Cornet Mouthpiece ... ... ... ... of 3 5 3 H. Moss "Mosquito" Trombone Valve Springs for Cornet, " N.V. A." ... per set 2 CORNETS 2 TROMBONES Valve Springs made of phosphor bronze- H. Moss " The Joker " Send particulars to : The Phantom Brigade . .. 2 6 3 6 Trumpets-Cornets-Horns ... ... ... set of I Demande et Reponse .. .. 2 6 Sutton " The Joy Wheel " BESSON, Department 19, West Street Baritone and Euphonium, 3 valve . ... ... 2 3 valve . .. 2 9 Clough "Winning Spurt" Charing 4 CORNETS Euphonium, 4 Cross Road, LONDON, W.C. 2 .. ... .. 2 9 Bal Masque 2 6 Eb and BBb Bass, 3 valves . .. Hartman "Facilita " Cornet . .. .. 3 3 Eb and BBb Bass, 4 valves .. .. TROMBONES 6 6 Percy Code "Lucille " 4 Waterkey Springs for all of above ... ... ... doz. Awake, Aeolian Lyre inside and outside, · · · · · above, complete sets "Zanette" · 2 o Corks for all of Percy Code Band Teachers, Adjudicators and Soloists Comrades in Arms } cork ... ... .. ... ... 2 6 including waterkey "Zelda" The Box of Soldiers ... ... 2 6 ... doz. 2 9 Percy Code Corks for waterkey, shellaced ready for fixing Baby's Sweetheart .. ... ... 2 6 11 "Triple Trumpeter" WILLIAM POLLAR Corks for waterkey, plain ... ... ... ... ... doz. I Grant D ... ... ... ... 10 3 2 CORNETS, HORN and EUPHONIUM Shanks for Cornet, Bb, silver-plated Templeton " Sonia" CORNET SOLOIST, BAND TEACHER, bottle I 6 Valve Oil .. -
The Brass Instrument Collection of the Metropolitan Museum of Art in New York
113 THE BRASS INSTRUMENT COLLECTION OF THE METROPOLITAN MUSEUM OF ART IN NEW YORK HERBERT HEYDE The Metropolitan Museum of Art houses a large, comprehensive collection of musical instruments. Managed by one of seventeen curatorial departments, the Musical Instruments Department, it contains approximately 4,500 instruments. Roughly forty percent of them are of western, the rest of non-western origin. The Egyptian, Islamic, Arms and Armor, Medieval Departments, and a few other departments, house some additional instruments. Another resource consists of iconographic representations of musical instruments that are to be found in almost all departments. They are included in The Performing Arts Index of RIdIM.1 The western brass, or “lip-vibrated” instruments of the Musical Instruments Department amount to only 283 items—an indication that this fi eld was never a priority of the museum’s collecting activities. The basis of The Metropolitan Museum of Art musical instruments collection was provided by Mary Elisabeth Adams Brown (1842-1918), who donated her collection from 1889 in successive installments in the name of her husband, John Crosby Brown. Beginning with 276 instruments in 1889, the gift ultimately amounted to more than 3400 items in 1918. To be precise, before Brown’s donation there was already a collection of forty-four instruments in the museum, given by Joseph William Drexel (1833-1888), a wealthy amateur musician and philanthropist in New York. The Brown family, of British origin, engaged in international banking and graciously supported American culture, including education and theology. Besides musical instruments, Mrs. Brown collected lace, embroidery, and portraits of musicians, which are now kept in the Prints and Drawings Department of The Metropolitan Museum of Art.2 A few years after the Crosby Brown collection began to arrive in 1889, the museum provided gallery space for its public display. -
Concerto for Tenor Horn and Brass Band Dr
CYAN MAGENTA YELLOW BLACK DOY CD225 ©Carl Fisher USA Herbert Lincoln Clarke 4.50 1. Bride of the Waves ©Prima Vista Musikk Paul Lovatt-Cooper 3.50 2. An Untold Story M/s 3. Variations sur la Thema FavoriJean Baptiste Arban arr. Farr 6.48 ©Studio Music Karl Jenkins arr. Small 3.57 4. Salm O ©DewiWright & Round Sant Rodney Newton 9.42 5. Fugitive ©R. Smith & Co. Peter Kneal 7.19 6. Variations on a Welsh©Mostyn Theme Music Charles Miller arr. Collinson 5.30 7. Banks and Braes ©Kirkless Music 8. Finale from Violin Concerto Felix Mendelssohn arr. Hopkinson 3.23 ©Prima Vista Musikk 9.-11. Concerto9. I. for Allegro Tenor 5.34Horn and Brass BandGareth Wood 16.43 10. II. Adagio 6.43 11. III. Finale 4.26 Total CD Playing Time 62.46 Code No. Booklet-Pgs6& CYAN MAGENTA YELLOW BLACK Cory Band Soprano Cornet Michelle Ibbotson 2nd Baritone Geraint Chamberlain Principal Cornet Ian Williams Euphonium David Childs Solo Cornet Christopher Turner Matthew Jenkins Darren Thomas Solo Trombone Chris Thomas John Southcombe 2nd Trombone Suzanne Hathaway Shamus Gallagher Bass Trombone Andrew Williams Repiano Cornet Richard Davies Eb Bass Oliver Browne 2nd Cornet Lisa Childs Austin Davies Phil Harris Bb Bass Fraser Bish 3rd Cornet Laura Davies John Prosser Travis Griffiths Percussion Alun Horgan Flugel Horn Joanne Childs Dave Danford Solo Horn Owen Farr Adam Davies 1st Horn Lynne Turner Alun Hathaway 2nd Horn Lucy Rogers Graham Bradley 1st Baritone Susan Thomas To all my friends at the Cory SpecialBand for their Thanks support, humour and exceptional talent.