Courtois History & Dating Guide
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Douglas Yeo: Historical Instruments Vitae
Douglas Yeo Serpent ~ Ophicleide ~ Buccin ~ Bass Sackbut Historical Instruments Vitae Primary Positions • Professor of Trombone, Arizona State University (2012 – ) • Bass Trombonist, Boston Symphony Orchestra (1985 – 2012) • Faculty, New England Conservatory of Music (1985 – 2012) Historical Instruments Used • Church serpent in C by Baudouin, Paris (c. 1812). Pearwood, 2 keys. • Church serpent in C by Keith Rogers, Christopher Monk Instruments, Greenwich (1996). Walnut, 1 key. • Church serpent in C by Keith Rogers, Christopher Monk Instruments, Forest Hills (1998). Plum wood, python skin, 2 keys. • Church serpent in D by Christopher Monk. Sycamore. • English military serpent in C by Keith Rogers, Christopher Monk Instruments, Yaxham (2007). Sycamore, 3 keys. • Ophicleide in C by Roehn, Paris (c. 1855). 9 keys. • Buccin in B flat by Sautermeister, Lyon (c. 1830); modern hand slide after historical models by James Becker (2005) • Bass sackbut in F by Frank Tomes, London (2000). Performances with Early Instrument Orchestras 2001 Bass sackbut. Monteverdi: “L’Orfeo” (Boston Baroque) 2001 Serpent. Handel: “Music for the Royal Fireworks” (Boston Baroque) 2002 Ophicleide. Berlioz: “Symphonie Fantastique” (Handel & Haydn Society) 2002 Bass sackbut. Monteverdi: “Vespers of 1610” (Handel & Haydn Society) 2005 Ophicleide. Berlioz: “Romeo et Juliette” (Chorus Pro Musica) 2005 Serpent. Purcell: “Dido and Aeneas” (Handel & Haydn Society) 2006 Bass sackbut. Monteverdi: “L’Orfeo” (Handel & Haydn Society) 2006 Serpent and Ophicleide: Berlioz: “Symphonie Fantastique” (Handel & Haydn Society) 2008 Serpent. Handel: “Music for the Royal Fireworks” (Handel & Haydn Society) 2009 Ophicleide. Mendelssohn: Incidental music to “A Midsummer Night’s Dream” (Philharmonia Baroque, San Francisco, CA) 1 Performances with Modern Instrument Orchestras 1994 Serpent. Berlioz: “Messe solennelle” (Boston Symphony Orchestra – Ozawa) 1998 Serpent. -
The Devolution of the Shepherd Trumpet and Its Seminal
Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
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. -
Eastman School of Music DMA Oral Exam Study Guide Euphonium 1) Trace the Development of the Euphonium from the Serpent to the Pr
Eastman School of Music DMA Oral Exam Study Guide Euphonium 1) Trace the development of the euphonium from the serpent to the present day. 2) Explain, in detail, the differences and similarities between the following instruments: Ophicleide Cimbasso Tenor horn Baritone Euphonium Double-bell euphonium 3) Discuss pedagogical materials used to develop the following areas of technical proficiency on the euphonium: Clef reading Multiple tonguing High range Low range Legato style Jazz improvisation Warm-up routines 4) Identify five jazz musicians since 1950 who perform(ed) on low brass, valved instruments. Describe their contributions through live performances and recordings, as well as their historical significance. 5) Formulate a list of ten euphonium excerpts commonly found on most U.S. military band audition lists. Explain the reason(s) for including each expert on this list. 6) Discuss the invention and importance of the compensating valve system. 7) Select four American euphonium concerti from the twentieth or twenty-first century and describe the historical significance of each work. Include any biographical information about the composer; the performer who premiered the piece, the size/type of ensemble accompanying the soloist, the harmonic vocabulary of the piece, etc. 8) Doubling on other low brass instruments is a necessary skill for almost all euphoniumists. Explain the challenges and effective strategies of learning to double on the trombone and tuba, from the euphoniumist’s perspective. DMA Oral Exam Study Guide, continued Euphonium 9) Trace the development of the musical form theme and variations from the mid- nineteenth century to the present. In this discussion, include musical examples from the brass repertoire, as well as the greater collection of instrumental works. -
Performing on the Trombone: a Chronological Survey David M
Performance Practice Review Volume 9 Article 6 Number 2 Fall Performing on the Trombone: A Chronological Survey David M. Guion Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Guion, David M. (1996) "Performing on the Trombone: A Chronological Survey," Performance Practice Review: Vol. 9: No. 2, Article 6. DOI: 10.5642/perfpr.199609.02.06 Available at: http://scholarship.claremont.edu/ppr/vol9/iss2/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Performing on the Trombone: a Chronological Survey David M. Guion The trombone is one of the oldest wind instruments currently in use. The trumpet, horn, and flute have a longer history, but have changed in construction and playing technique far more than the trombone, which reached its present form sometime in the 15 century. The name "trombone," Italian for "big trumpet," is attested as early as 1439. The German word Posaune may have referred to an instru- ment with a slide as early as 1363.1 The old English word "sack- but," on the other hand, first appeared in 1495, and cognate terms appeared in Spain and France not much earlier than that. Therefore the confusing and misleading practice of referring to a baroque-style trombone as a sackbut should be abandoned. Using two words for a trombone wrongly implies two different instruments, and at times leads to the erroneous notion that the sackbut is the "forerunner" of the trombone. -
Physics of Musical Sound Shofar Corneø Serpent Sackbuts Keyed
Serpent Physics of Musical Sound Brass Instruments Class 17 Read Chapter 11 Quiz Today 8/30/01 Physics 120 8/30/01 Physics 120 Shofar Sackbuts 8/30/01 Physics 120 8/30/01 Physics 120 Corne? Keyed Bugle 8/30/01 Physics 120 8/30/01 Physics 120 Ophicleides Euphonia & Baritone 8/30/01 Physics 120 8/30/01 Physics 120 Trumpet vs. Cornet Brass Instruments • Two basic families with rather liJle difference in tone – Straight tubes with some conical or flared secons • Trumpet, Trombone, French Horn • Brighter sound. Used in orchestras where brightness is needed to cut through mass of other instruments. – Conical tubes with some flared or otherwise slightly altered secMons • Cornet, Flugel horn, alto horn, baritone, Euphonium, Tubas • Mellower sound. Used in ensembles (brass bands, silver bands) where the sound blends beJer than trumpets etc. would. 8/30/01 Physics 120 8/30/01 Physics 120 Brass Instruments • Lip reed – Player can alter tension in lip over a very wide range. Gives the player control over natural frequency and over Q not available to other reed players. • Mouthpiece – Surface to rest lips, resonator chamber with a sharply constricted opening, conical tube to match to bore of instrument • Body tube – Basically straight or basically cylindrical according to family. – Length determines pitch of instrument. As usual, the longer the tube the larger the bore to allow low frequencies to get out. • Bell – Couples tube to the outside world. 8/30/01 Physics 120 8/30/01 Physics 120 Changing the Note • Have to alter length of tube. Two methods available – Slides/Valves change physical length of tube • Trumpet, French Horn, all the Cornet/Tuba family use valves. -
The Serpent and Ophicleide As Instruments of Romantic Color In
THE SERPENT AND OPHICLEIDE AS INSTRUMENTS OF ROMANTIC COLOR IN SELECTED WORKS BY MENDELSSOHN, BERLIOZ AND WAGNER Richard Sanborn Morgan, B.M.Ed, M.A. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2006 APPROVED: Donald C. Little, Major Professor Lenora McCroskey, Minor Professor J. Keith Johnson, Committee Member Graham Phipps, Director of Graduate Studies in the College of Music James H. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Morgan, Richard Sanborn, The Serpent and Ophicleide as Instruments of Romantic Color in Selected Works by Mendelssohn, Berlioz and Wagner. Doctor of Musical Arts (Performance), December 2006, 89 pp., 5 tables, 10 musical examples, bibliography, 80 titles. Traditional scholarship has stated that the serpent and ophicleide (as well as their successor, the tuba) were developed and added to the standard orchestra to add a bass voice to the brass, allowing a tonal compass to match a similar downward expansion in the strings and woodwinds. A closer reading of the earliest scores calling for these instruments reveals a more coloristic purpose, related to timbre as much as to compass. Indeed, the fact that composers rarely wrote for serpent and ophicleide makes two points: it proves them to be inadequate choices as a brass bass, and when they were called for, they had an expressive, often descriptive purpose.. Despite his conservative musical education supervised by Carl Friedrich Zelter, the seventeen-year-old Mendelssohn, under the influence of A. B. Marx, used the Corno inglese di basso, an upright version of the serpent, in his Overture to A Midsummer Night’s Dream to give a more rustic flavor to Bottom’s ass-braying. -
The Modern Tuba: the Evolution of the Instrument, Key Compositions and Extended Techniques
The Modern Tuba: The Evolution of the Instrument, Key Compositions and Extended Techniques Nimrod Haim Ron 1 Listaháskóli Íslands Tónlistardeild Hljóðfæraleikur The Modern Tuba: The Evolution of the Instrument, Key Compositions and Extended Techniques Nimrod Haim Ron Leiðbeinandi: Áskell Másson 2014 2 Abstract The primary goal of this paper is to study the use of the tuba in contemporary music through the history of its repertoire, the evolution of the instrument, and to explore the extended techniques specific to the tuba. In the process of choosing a piece to perform one should ask them how, why, and when it was written. This paper will focus on the historical evolution of the tuba from the Serpent to the Ophicleide concluding with the transition from to the bass tuba. 3 Table of contents The History of the Tuba: Predecessors ....................................................................................... 5 Serpent ........................................................................................................................................ 5 Ophicleide ................................................................................................................................... 7 Bass Tuba .................................................................................................................................... 8 Wagner Tuba ............................................................................................................................. 10 Composers who wrote for the Tuba ......................................................................................... -
An Investigation of Euphonium Valve System Design
AN INVESTIGATION OF EUPHONIUM VALVE SYSTEM DESIGN Jonathan Watkins Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2020 APPROVED: David Childs, Major Professor Andrew Trachsel, Minor Professor Donald Little, Committee Member Natalie Mannix, Interim Chair of the Division of Instrumental Studies Felix Oscholfka, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Watkins, Jonathan. An Investigation of Euphonium Valve System Design. Doctor of Musical Arts (Performance), May 2020, 61 pp., 5 figures, 2 appendices, bibliography, 59 titles. The four-valve automatic compensating system as developed by David James Blaikley has become an integral part of the professional euphonium in use today. While the Blaikley system was designed to allow a euphonium to play chromatically down to the fundamental pitch of the instrument, it was hardly the only design to do so. Using a historical analysis of euphonium valve systems, the case is made for why Blaikley’s design has been widely adopted in the face of criticism about the four-valve automatic compensating system. The analysis also clarifies the viability of Blaikley’s, as well as others’, euphonium valve system designs based upon the four factors of intonation, range, intuitiveness of use, and weight. These factors are further explored in a rubric in order to quantify the results of the analysis. Copyright 2020 by Jonathan Watkins ii ACKNOWLEDGEMENTS The completion of this dissertation would not be possible without the wonderful insight, direction, and guidance of my committee: Professor David Childs, Professor Donald Little, and Dr. -
Serpent Newsletter
Serpent Newsletter Serpent Newsletter P.O. Box 954 Mundelein, Illinois 60060 USA Newsletter for Serpent Enthusiasts April 1, 2015 A Note from the Editor Workshops Here is the latest newsletter, one that almost did not happen. ● While the date is fast approaching, this is a reminder that Getting close to the editorial deadline, I had only enough Nigel Nathan and Thelma Griffiths will host the 2015 material for perhaps two pages, which would be a record for Serpentarium at Boswedden House in Cape Cornwall, from smallest edition and scarcely worth bothering with. Hoping Friday the 22nd through Monday the 25th of May. Phil that I must have missed a few things, I sent out an all-points- Humphries will once again be the leader. If you have not bulletin to many in the serpent community, and was already signed up and want to see about attending, contact rewarded by a flood of information on recordings, concerts, Nigel by email, phone or mail using the information website changes, new activities, and more. provided in this newsletter in the About the Organization section. This proves once again that there is a lot going on in the serpent world, but it also highlights how easy it can be for serpentists to neglect the arduous task of writing up their ● On February 16th, a group made up from members of the activities and discoveries, and then sending that stuff in so it Chicago chapter of the American Recorder Society and can be shared with others in the community. Don’t be guests participated in a four hour musical history workshop shy…..write any old thing up and send it in. -
US Army Band Section Leader Handbook
TC 12-44 Army Band Section Leader Handbook MAY 2005 Headquarters, Department of the Army DISTRIBUTION RESTRICTION: Approved for public release; distribution is unlimited. This publication is available at Army Knowledge Online (www.us.army.mil) and the General Dennis J. Reimer Training and Doctrine Digital Library at (www.train.army.mil). TC 12-44 Training Circular 12-44 *TC 12-44 Headquarters Department of the Army Washington, DC, 23 May 2005 ARMY BAND SECTION LEADER HANDBOOK TABLE OF CONTENTS PREFACE ................................................................................................ iv CHAPTER 1 MUSICAL INSTRUMENTS ............................................. 1-1 BRASS GROUP....................................................................................................... 1-1 Trumpet ............................................................................................................ 1-1 Euphonium/Baritone ......................................................................................... 1-2 French Horn ...................................................................................................... 1-3 Trombone.......................................................................................................... 1-4 Tuba.................................................................................................................. 1-6 WOODWIND GROUP ............................................................................................... 1-9 Flute ................................................................................................................ -
Composer, Conductor, Cornetist: a Biography of Jean-Baptiste
COMPOSER, CONDUCTOR, CORNETIST: A BIOGRAPHY OF JEAN-BAPTISTE SCHILTZ (FL.1831-1868) AND A SURVEY OF HIS WORKS FOR CORNET AND PIANO A Dissertation Submitted to the Graduate Faculty of the North Dakota State University of Agriculture and Applied Science By Kenneth Leroy Jimenez, Jr. In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS Major Department: Music May 2016 Fargo, North Dakota North Dakota State University Graduate School Title COMPOSER, CONDUCTOR, CORNETIST: A BIOGRAPHY OF JEAN- BAPTISTE SCHILTZ (FL.1831-1868) AND A SURVEY OF HIS WORKS FOR CORNET AND PIANO By Kenneth Leroy Jimenez, Jr. The Supervisory Committee certifies that this disquisition complies with North Dakota State University’s regulations and meets the accepted standards for the degree of DOCTOR OF MUSICAL ARTS SUPERVISORY COMMITTEE: Dr. Jeremy Brekke Chair Dr. Matthew Patnode Dr. John Miller Dr. Jeanne Hageman Approved: 5/24/2016 Dr. John Miller Date Department Chair ABSTRACT In its heyday, the cornet was a popular instrument and the brass instrument of choice for virtuosi worldwide. Cornet soloists such as Jean-Baptiste Arban (1825–1889) and Herbert Lincoln Clarke (1867–1945) impressed audiences with their technical prowess, and the solos they composed for cornet are in wide use today. However, the story of the cornet did not start with Arban or Clarke; an entire generation of cornetists had come before them, and they too wrote their own solos. This generation of cornetists was crucial in the development of the instrument. As performers, they helped to refine the cornet from a musical experiment to an immensely popular instrument, and as composers, their solos helped to propel the cornet on this popular path and inspired later virtuosi like Arban and Clarke.