Choosing the Best Band Instrument for You FLUTE
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Au Ro Rjnqh O Ru a Chrysalis ®Iilcwwis Choirsj CONCORD COMMUNITY of CHOIRS
CONCORD COMMUNITY OF CHOIRS PRESENTS k6Rare eason - .cc-r-H>p;5";^--„l=C.'^^£! .-.flxe comes again.' cow Winter Au Ro RjnQh o Ru a ChRysalis ®iilcwWis ChoiRsj CONCORD COMMUNITY OF CHOIRS (UdcoTTic to OUR Communltg by Anne Rutherford, Council President Our Mission CONCORD To produce quality choral elebrations of the winter season take as many forms music as an instrument COMMUNITY of peace for our audience as the human beings who come together to celebrate. and ourselves, through Many of our cultures have developed traditions of a community of choirs. C ^HOIRS Our goal is to instill gathering to reverence light during the year's darkest time. concord and an awareness A consortium of choirs dedicated of one world in an ever- Aurora and Chrysahs, as well as all of the choruses that make to affirming peace through music. expanding audience. up our Concord Community of Choirs, are enriched by diversity. The image of America as a "melting pot" is challenged by the Concord Choir realization that no heritage is treated justly by being reduced to Peace through Music the lowest common denominator of homogeneity. Yet we yearn DAVID YORK, DIRECTOR for an identity we can share as people of the same nation. We Semi-professional chamber ensemble. CONCORD long for a cord that will unite but not strangle us! CHOIR Members are auditioned every spring. In the Concord Community of Choirs, one of our common "chords" is a behef in the power of voice. During this concert you'll hear the energy of voices raised collectively, and the beauty of a voice raised alone. -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
Preliminary Results Clarinet, Flute, Horn, Soprano Singer, Trumpet
Performing Arts Aerosol Study Round one preliminary results Clarinet, Flute, Horn, Soprano Singer, Trumpet Study Chairs James Weaver - NFHS Director of Mark Spede – CBDNA President, Performing Arts and Sports Director of Bands, Clemson University Lead Funders Contributing Organizations Supporting Organizations American School Band Directors Association (ASBDA) International Music Council American String Teachers Association (ASTA) International Society for Music Education Arts Education in Maryland Schools (AEMS) League of American Orchestras Association Européenne des Conservatoires/Académies de Louisiana Music Educators Association Musique et Musikhochschulen (AEC) (LMEA) Buffet et Crampon MidWest Clinic Bundesverband der deutschen Minority Band Directors National Association Musikinstrumentenhersteller e.V Music Industries Association Chicago Children's Choir Musical America Worldwide Children's Chorus of Washington National Dance Education Organization Chorus America (NDEO) Confederation of European Music Industries (CAFIM) National Flute Association (NFA) Drum Corps International (DCI) National Guild for Community Arts Education Educational Theatre Association (EdTA) National Music Council of the US European Choral Association - Europa Cantat Percussive Arts Society (PAS) HBCU National Band Directors' Consortium Save the Music Foundation High School Directors National Association (HSBDNA) WGI Sport of the Arts International Conductors Guild Lead Researchers Dr. Shelly Miller Dr. Jelena Srebric University of Colorado Boulder University -
Class Notes – October 24 Pipes with Holes; Recorders, Flutes
The Physics of Musical Instruments Class Notes – October 24 Pipes with holes; Recorders, flutes The Physics of Musical Instruments – Fall 2017 – October 24 – 1 Topics • More on acoustic impedance • The end correction for a flute or recorder • The effect of a side hole • The flute – a pipe open at both ends with side holes The Physics of Musical Instruments – Fall 2017 – October 24 – 2 More Complex Pipes • We are now beginning to consider more complex pipes and air resonators – Bottles, blown across the top (fun stuff) but more seriously… – Bells at the end (why?) – Pipes with finger holes – And, eventually, pipes with non-cylindrical bores • The concept of acoustic impedance is very helpful here, even without getting highly quantitative. The Physics of Musical Instruments – Fall 2017 – October 24 – 3 Energy Transfer • When the impedance changes along an acoustic pipe, there can be a reflection • If one of the impedances is exactly zero, ALL OF THE ENERGY IS REFLECTED. • We used this idea to analyze the open end of an ideal pipe The Physics of Musical Instruments – Fall 2017 – October 24 – 4 A Finite Discontinuity • Consider a discontinuity in pipe radius • Energy reflection in this case is 1/9 or 11% The Physics of Musical Instruments – Fall 2017 – October 24 – 5 Add a Transition Piece • With a transition segment added, the impedance discontinuity is reduced, and there is less reflection • Only 6% is reflected The Physics of Musical Instruments – Fall 2017 – October 24 – 6 A Tapered Transition • The impedance is lowered gradually left -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
Organ Registration: the Organist’S Palette—An Orchestra at Your Fingertips by Dr
Organ Registration: The Organist’s Palette—An Orchestra at Your Fingertips By Dr. Bradley Hunter Welch I. Basic Review of Organ Tone (see www.organstops.org for reference) A. Two types of tone—flue & reed 1. Flue a. Principals (“Principal, Diapason, Montre, Octave, Super Octave, Fifteenth”) & Mixtures b. Flutes (any name containing “flute” or “flöte” or “flauto” as well as “Bourdon, Gedeckt, Nachthorn, Quintaton”) c. Strings (“Viole de Gambe, Viole Celeste, Voix Celeste, Violone, Gamba”) 2. Reed (“Trompette, Hautbois [Oboe], Clarion, Fagotto [Basson], Bombarde, Posaune [Trombone], English Horn, Krummhorn, Clarinet”, etc.) a. Conical reeds i. “Chorus” reeds—Trompette, Bombarde, Clarion, Hautbois ii. Orchestral, “imitative” reeds—English Horn, French Horn b. Cylindrical reeds (very prominent even-numbered overtones) i. Baroque, “color” reeds— Cromorne, Dulzian, some ex. of Schalmei (can also be conical) ii. Orchestral, “imitative” reeds—Clarinet (or Cor di Bassetto or Basset Horn) Listen to pipes in the bottom range and try to hear harmonic development. Begin by hearing the prominent 2nd overtone of the Cromorne 8' (overtone at 2 2/3' pitch); then hear 4th overtone (at 1 3/5'). B. Pitch name on stop indicates “speaking” length of the pipe played by low C on that rank II. Scaling A. Differences in scale among families of organ tone 1. Flutes are broadest scale (similar to “oo” or “oh” vowel) 2. Principals are in the middle—narrower than flutes (similar to “ah” vowel) 3. Strings are narrowest scale (similar to “ee” vowel) B. Differences in scale according to era of organ construction 1. In general, organs built in early 20th century (1920s-1940s): principals and flutes are broad in scale (darker, fuller sound), and strings tend to be very thin, keen. -
What Hetman Do I Need?
What Hetman Do I Need? French Horn Trumpet Trombone Tuba Euphonium Baritone #1 Light Piston Schmidt-wrap piston valves* piston valves* piston valves* piston valves* piston valves with little wear horns* #2 Piston Schmidt-wrap piston valves piston valves piston valves piston valves piston valves with some wear horns #3 Classic Piston Schmidt-wrap piston valves piston valves piston valves piston valves piston valves with significant wear horns #4 Light Slide Oil 1st and 3rd slides with little wear valve slide #5 Slide Oil 1st and 3rd slides with some wear valve slide #6 Heavy Slide Oil 1st and 3rd slides with significant wear valve slide #6.5 Light Slide Gel tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides slides with little wear #7 Slide Gel tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides slides with some wear #8 Premium Slide Grease tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides slides with significant wear #9 Ultra Slide Grease vintage horns with corroded slide tuning slides tuning slides tuning slides tuning slides tuning slides tuning slides tubes that might split or crack * #1 can be used instead of #11 or #12 in brand-new rotary valves with extremely tight clearances. French Horn Trumpet Trombone Tuba Euphonium Baritone #11 Light Rotor Oil rotary valves rotary valves rotary valves rotary valves rotary valves with little wear #12 Rotor Oil rotary valves rotary valves rotary valves rotary valves rotary valves with some wear #13 -
Recorders & More
Enjoy the recorder New Models Denner Alto Denner-Edition Alto 442/415 Denner-Line Alto 415 Denner Bass Cap Dream-Edition Recorders & more for beginners to professional players Recorders Accessories Recorder Clinic Recorder-World Museum, Seminars www.mollenhauer.com Useful information / Maintenance / Oiling Editorial Enjoy the Recorder Come on in … “Mollenhauer Recorders” is more than just a workshop. It is a lively meeting point for performers of every age, from hobby- ists to pros, from all around the world. Over the years, many thousands of recorder players have visited our workshops, our Recorder-World Museum and our seminars! Our journal, “Windkanal”, is a well-known and respected forum presenting the colourful world of the recorder in all its diversity. Our website is a valuable resource for information about the recor- der and is used by friends of the recorder the world over. Ours is an open workshop. We strive to bring you the fascinat- ing world of recorder making while at the same time entering into a dialogue with you – about our instruments, about ideas, about visions … Communication at a personal level is important to us. Part- nership and cooperation are central to how we operate ... not only within our own team: we welcome your questions! Since we see cooperation and innovation as being very closely related, we seek out and form partnerships with especially cre- ative people such as recorder makers Maarten Helder, Friedrich von Huene, Adriana Breukink, Nik Tarasov and Joachim Paetzold. Furthermore, we consider each and every recorder player, teacher and music dealer that shares with us their experiences and ideas – thus sharing in the further development of our instruments as well – to be our partners. -
Wye---A-History-Of-The-Flute.Pdf
A History of the Flute Trevor Wye 1. Whistles What a daunting prospect to write a simple flute history without missing anything. Looking at a pamphlet a few years ago, it stated that in the South Pacific Islands, those tiny islands south of Hawai, there are about 1300 different named flutes. Our modern flute is just one of thousands of flutes worldwide of all shapes and sizes from miniature ocarinas to giants like the Slovakian Fujara. A sensible way to begin would be to understand how flutes are made to emit sound and so we will look at the four main varieties. These are Endblown where the player blows across the end of the tube; Sideblown as in our modern flute; a Fipple or encapsulated such as is found in a referee's whistle and a Globular flute such as in ocarinas and gemshorns. In all cases, the air is directed against a sharp edge which causes the air to alternate between entering the tube where it meets resistance, then shifting to going outside the tube. This alternation takes place at great speed causing the air inside the tube or vessel to vibrate and so make a sound. In the endblown flute shown below, the tube is held upright and the air directed across the cutaway top of the tube. The fipple flute is sounded by the player directing air through a tube or windway against the sharp edge. An example is the recorder and the pitch is changed by covering the holes down the tube in succession. Globular flutes are sounded either by blowing across a hole or via the fipple which is connected to the 'globe' shown above, though the way the instrument responds is unlike the whistle; the notes can be changed by uncovering any hole, no matter in what position it is placed. -
Instrumental Recruiting Booklet
WE WANT YOU.... IN INSTRUMENTAL MUSIC!! Sunrise Ridge Band Information Packet To Interested Parents & Students: What an exciting time for your students! You are moving on to a new school and a time for more exciting classes. We would like to invite you to be a member of the Sunrise Ridge Band program. You will have many great experiences such as learning an instrument, performing in concerts for friends and family, and learning to enjoy all types of music. Band offers many unique opportunities that you won’t want to miss. As you heard today, band is exciting and fun. This booklet contains information on each instrument of the band. Each page contains price ranges of the instrument, physical considerations, and needs at the school. Please take time to look through this information. STUDENTS - when you register for 6th grade, YOU WILL NEED TO KNOW WHAT INSTRUMENT YOU WANT TO PLAY!! Band is divided into Brass (trumpet, trombone), Woodwind (clarinet, flute) or Percussion. It is important that you register for the correct class that corresponds with the instrument you want to play. PARENTS - if you have any questions, please don’t hesitate to contact me!! ****It is NOT recommended to go out and buy a brand new instrument. It is a large investment and you want to ensure your student is truly interested to own an instrument. All of the music stores in town offer rent to own programs. Please do not purchase an instrument online without talking to Mrs. Wood FIRST. Many online instruments are not reliable. Thanks and we look forward to seeing you in band next year! Mrs. -
AE-30 Scene List /シーン・リスト
AE-30 Scene List /シーン・リスト 01: Synth Hard Lead 03: Synth Pad/Strings 06: Brasswinds 08: Ethnic 10: Guitar/Bass No Scene Name No Scene Name No Scene Name No Scene Name No Scene Name 01 AE Hard Lead 01 Synth Stack 01 Trumpet 1 01 Pan Flute MT 01 M Distort Split 02 Modulator 02 Synth Strings 02 Trumpet 2 02 Pan Flute Duo 02 Dist Guitar 03 ST Hard Lead 03 Sweep Synth St 03 Mariachi Tp Vib 03 80's PanFl Synth 03 Searing Guitar 04 Saws Hard Lead 04 Synth Strings KI 04 ClassicalTrumpet 04 5th Africa Flute 04 PM Jazz Guitar 05 AE Harm Saw 05 JUNO Strings 05 HM Mute Tp 05 Pan Flute 05 Jazz Guitar 06 Classic Saw ! 06 JP8 Strings 06 Mute Trumpet 1 06 Shakuhachi 1 06 Clean Guitar 07 Lyrical Lead 1 07 JP8 Reso Str 07 Mute Trumpet 2 07 Shakuhachi 2 07 Nylon Guitar 08 M Rotate 1 08 Tuned Nz 08 Straight Mute Tp 08 Shaku Bamboo 08 Folk Guitar 1 09 M Rotate 2 09 Healing Pad 09 Cup Mute Tp 09 Ryuteki 09 Folk Guitar 2 10 UFO Synth Lead 10 AE Trip 2 Mars 10 Flugel Horn 10 Uilleann Pipes 1 10 Comp'Steel 11 Harajuku Lead 1 11 Trombone 11 Uilleann Pipes 2 11 Acoustic Bass 12 Jupiter AP 04: Synth Brass/Bass 12 Cup Mute Tb 12 Bag Pipes 1 12 Fretless Bass MT 13 Sentimental Ld 13 French Horn 13 Bag Pipes 2 13 Fretless Bass AP 14 Sync Lead 1 No Scene Name 14 Mute French Horn 14 Duduk 14 Fretless Bass 15 Sync Lead 2 01 Fat Brass 15 Euphonium 15 Tin Whistle 15 Slap Bass AP 16 Huge 02 Synth Brass 16 Tuba 16 Qudi 16 Finger Bass 17 Mod Swallow 03 80's Synth Brass 17 Biggie Brass 17 Bangdi 17 Pick Bass 18 Taking Lead 04 Breath Brass 18 Big Brass Band 18 Bawu 1 19 CR Hard -
Aerophones in Flatland: Interactive Wave Simulation of Wind Instruments
Aerophones in Flatland: Interactive Wave Simulation of Wind Instruments Andrew Allen Nikunj Raghuvanshi Microsoft Research Figure 1: Wave fields for 2D wind instruments simulated in real-time on a graphics card. A few examples are shown, which are simplified virtual models of (a) trumpet, (b) clarinet, and (c) flute. Our interactive wave solver lets the user design and instantly perform such virtual instruments, promoting experimentation with novel designs. Dynamic changes such as opening and closing tone holes or manipulating valves automatically changes the resulting sound and radiation pattern. Synthesized musical notes can be heard in the accompanying demonstrations. Abstract nism, such as a trumpet player’s buzzing lips, undergoing coupled oscillation with the resonant cavity formed by the body of the in- We present the first real-time technique to synthesize full- strument. This two-way coupling is essential to their operation, bandwidth sounds for 2D virtual wind instruments. A novel inter- irreducible to a feed-forward model. For instance, the sound of os- active wave solver is proposed that synthesizes audio at 128,000Hz cillating lips filtered through a trumpet’s resonant acoustic response on commodity graphics cards. Simulating the wave equation cap- results in a comb-filtered buzzing sound, not a steady musical note. tures the resonant and radiative properties of the instrument body The complex physics underlying their behavior has naturally invited automatically. We show that a variety of existing non-linear excita- enduring curiosity from physicists [Helmholtz 1885]. Ever since tion mechanisms such as reed or lips can be successfully coupled to the rise of digital computers, the musical acoustics community has the instrument’s 2D wave field.