Baritone Horn Faqs
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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. -
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. -
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. -
Historic Ladies of Tuba Euphonium
American Women in Tuba and Euphonium: 19th Century Educa;on and Separate Spheres All female Chamber Ensembles, Orchestras, Wind and Brass Bands Begin With the founding of American colleges and universi;es came the opportunity for music training here at home, as opposed to Europe, which had been the standard. As women graduated, and finding no place which would allow them to audi;on, they began to form their own groups. Family Bands were a popular draw, and the vaudeville touring circuit began. Family Bands Oberlin Become College Popular Founded 1880s Accepts Helen students of May all races Butler 1835 Ladies Military Band 1891 Harvard (1636) Yale (1701) Princeton (1746) Colombia (1754) 1870 1900 Penn State (1755) Boston FadeKe Ladies Orchestra Cheyney University Boston’s New England 6,063 concerts, 550,000 Founded, first of the Conservatory of Music has 1097 miles toured, over 600 historically black female and 317 male students women earned more than colleges and enrolled, though it reserved its a half million in salary. universi;es scholarships for men 5 different women play 1837 1868 tuba with the group 1888 Oberlin, Cincinna;, Boston, and New Rounds Imperial Ladies Band, New York, c. 1900 England Conservatories Founded UNC Pembroke Founded as a Normal School for 1865-1867 Na;ve Americans enrolling men and women 1887 For more informa;on visit The Interna;onal Women’s Brass Conference hKps://www.myiwbc.org Dr. Joanna Ross Hersey, [email protected] American Women in Tuba and Euphonium: Early 20th Century Explora,on and Establishment Vaudeville, Women’s Orchestras and the Sounds of Jazz Women joined the professional workforce in greater numbers aOer the turn of the century working on the Vaudeville touring circuit and in the expansion of the American orchestral market. -
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. -
Das Saxhorn Adolphe Sax’ Blechblasinstrumente Im Kontext Ihrer Zeit
Eugenia Mitroulia/Arnold Myers The Saxhorn Families Introduction The saxhorns, widely used from the middle of the nineteenth century onwards, did not have the same tidy, well-ordered development in Adolphe Sax’s mind and manufacture as the saxophone family appears to have had.1 For a period Sax envisag- ed two families of valved brasswind, the saxhorns and saxotrombas, with wider and narrower proportions respectively. Sax’s production of both instruments included a bell-front wrap and a bell-up wrap. In military use, these were intended for the infantry and the cavalry respectively. Sax’s patent of 1845 made claims for both families and both wraps,2 but introduced an element of confusion by using the term “saxotromba” for the bell-up wrap as well as for the instruments with a narrower bore profile. The confusion in nomenclature continued for a long time, and was exacerbated when Sax (followed by other makers) used the term “saxhorn” for the tenor and baritone members of the nar- rower-bore family in either wrap. The question of the identity of the saxotromba as a family has been answered by one of the present authors,3 who has also addressed the early history of the saxhorns.4 The present article examines the identity of the saxhorns (as they are known today) in greater detail, drawing on a larger sample of extant instruments. In particular, the consistency of Sax’s own production of saxhorns is discussed, as is the question of how close to Sax’s own instruments were those made by other makers. -
September 2007 Published by the American Recorder Society, Vol
september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering. -
DOI: 156 Reimar Walthert
Reimar Walthert The First Twenty Years of Saxhorn Tutors Subsequent to Adophe Sax’s relocation to Paris in 1842 and his two saxhorn/saxotromba patents of 1843 and 1845, numerous saxhorn tutors were published by different authors. After the contest on the Champ-de-Mars on 22 April 1845 and the decree by the Ministre de la guerre in August 1845 that established the use of saxhorns in French military bands, there was an immediate need for tutors for this new instrument. The Bibliothèque nationaledeFranceownsaround35tutorspublishedbetween1845and1865forthisfamily of instruments. The present article offers a short overview of these early saxhorn tutors and will analyse both their contents and their underlying pedagogical concepts. Early saxhorn tutors in the Bibliothèque nationale de France The whole catalogue of the French national library can now be found online at the library’s website bnf.fr. It has two separate indices that are of relevance for research into saxhorn tutors. Those intended specifically for the saxhorn can be found under the index number “Vm8-o”, whereas cornet tutors are listed under “Vm8-l”. But the second index should not be ignored with regard to saxhorn tutors, because tutors intended for either cornet or saxhorn are listed only here. The most famous publication in thiscategoryisJean-BaptisteArban’sGrande méthode complète de cornet à pistons et de saxhorn. Meanwhile many of these tutors have been digitised and made accessible on the website gallica.fr. Publication periods It is difficult to date the saxhorn tutors in question. On one hand thereisthestampoftheBibliothèquenationaledeFrance,whichcannotalwaysberelied upon. On the other hand, it is possible to date some publications by means of the plate number engraved by the editor. -
Mouthpiece Catalog
14 A CUP DIAMETER RIM CONTOUR CUP VOLUME 4 a BACKBORE Model mm inches Description A small cup diameter with shallow “A” cup 5A4 15.84 .624 and semi-flat rim offers comfort and resistance in the upper register. A shallow “A” cup with cushion #4 rim for 6A4a 15.99 .630 extreme high register work. Excellent for the player with thin lips. A #4 rim 7B4 16.08 .633 provides good endurance with a brilliant tone. The slightly funnel-shaped cup at the entrance 8A4 16.25 .640 to the throat provides a good tone and the #4 semi-flat rim gives superior endurance. The deep funnel-shaped cup provides 8E2 16.15 .636 a smooth tone and is very flexible in all registers. Recommended for cornet players. Standard characteristics allow for a full 9 16.33 .643 penetrating tone quality. Like the 9, however the #4 semi-flat rim 9C4 16.36 .644 provides excellent endurance. The combination of the shallow “A” cup, semi- 10A4a 16.43 .647 flat #4 rim and tight “a” backbore assists with upper register work. Same as the 10A4a but with a standard “c” 10A4 16.43 .647 backbore, which offers less resistance. A medium-small funnel-shaped “B” cup offers 10B4 16.43 .647 both a quality sound and support in the upper register. This rim size and contour is similar to the 11 11A 16.51 .650 but with a shallower “A” cup. This model was developed for the Schilke piccolo trumpets. The “x” backbore improves the 11Ax 16.51 .650 ease of playing and opens up the sound on the piccolo. -
President's Message and News of the Field
253 PRESIDENT'S MESSAGE Jeffrey Nussbaum The HBS has continued to make great progress. Our success is quite evident by the praise that we received from other music organizations at the meeting of early- music societies at the Berkeley Early Music Festival. We have once again exceeded our previous years membership. Our paid 1992 membership is near 550. The HBS Journal is gaining an international reputation as a distinguished publication of world-class caliber. With the HBS Newsletter and the HBS Journal our Society has created an important voice in the music community. We have continued to search for the widest range of articles on early brass, including historical, scientific, biographical topics, and our series of translations of important early treatises, methods and articles. The HBSNL gives us interesting articles, interviews, reviews, and the extensive News of the Field section. In the report given in this issue on the 8th Annual Early Brass Festival, it is noted that we had over 80 people in attendance. It was not only the best Festival yet, but also the largest. I think that it is in large part because of the great interest that the HBS has sparked in the early brass field, that so many people attended EBF 8. Plans are still underway to present a large International Historic Brass Symposium in 1994 or 1995. We now plan to expand the Early Brass Festival at Amherst College for this event. It is hoped that all of the major performers, scholars, collectors, and instrument makers will be invited. Members will be informed as this event develops. -
The Benefits of Orchestration for the High School Orchestra Conductor Robert D
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1953 The Benefits of Orchestration for the High School Orchestra Conductor Robert D. Climer Eastern Illinois State College Recommended Citation Climer, Robert D., "The Benefits of Orchestration for the High School Orchestra Conductor" (1953). Masters Theses. 4502. https://thekeep.eiu.edu/theses/4502 This Dissertation/Thesis 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]. r -, THE BENEFITS OF ORCHESTRATION FOR THE HIGH SCHOOL ORCHESTRA CONDUCTOR -i<- An Independent Paper by Robert D. Climer L _J THE BENEFITS OF ORCHESTRATION FOR THE HIGH SCHOOL ORCHESTRA COND UCTOR by ROBERT D. CLIMER An Independent Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in Education at the Eastern Illinois State College Charleston, Illinois April 24, 1953 PREFACE In partial fulfillment of the requirements for the degree, Master of Science in Education, the author has prepared the following paper which surveys the high school orchestra and points out the benefits of a program of orchestration study for the high school orchestra conductor. Accompanying this paper is an orchestration, " " Lotus Land, Cyril Scott, which is also submitted. " Originally conceived by the composer for piano, Lotus " Land has been transcribed by the writer for the orches- tra. The first transcription was prepared for an or- chestra of semi-symphonic proportions such as would be found only in the larger and the more progressive pros perous high schools.