Soprano Recorder Fingering Chart & Product Leaflet
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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 -
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. -
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. -
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. -
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. -
Recorder Basics
Recorder Basics Unit 7 | 27 Now it’s time for the soprano recorder! Learn how to breathe, hold the recorder, and play notes between low C and high D for simple melodies, such as “Hot Cross Buns” and “Au Claire de la lune.” Authors Contributing Editors Design Associate Audio Production Kirstin Anderson James Blachly David Silva Managing Editor Leszek Wojcik Richard Mannoia Sue Landis Lora Dunn Audrey Sherer Illustration Marte Siebenhar Sophie Hogarth Nina Stern © 2009 The Carnegie Hall Corporation. All rights reserved. ACKNOWLEDGMENTS “A Simple Melody,” music and lyrics by Nick Scarim, © 2000 Nick Scarim, 2008 Carnegie Hall. Performed by Sue Landis and Michael Mizrahi. “Tideo,” traditional American song. Performed by Sue Landis and Shane Schag. “De Colores,” traditional Mexican song. Performed by Sue Landis and Shane Schag. “Ode to Joy” by Ludwig van Beethoven. Adapted by John Whitney. Performed by Sue Landis and Shane Schag. “Au Claire de la lune” by Claude Debussy. Arranged by Richard Mannoia. Performed by Sue Landis. “Hot Cross Buns,” traditional American song. Performed by Sue Landis. All songs © 2009 Carnegie Hall, except where noted. LinkUP! is made possible through the generous annual support of The Marie Baier Foundation, Wachovia, The Rose M. Badgeley Residuary Charitable Trust, The Seth Sprague Educational and Charitable Foundation, and The Barker Welfare Foundation. 81 Unit 7: Recorder Basics Elvis: I don’t know about you, Violet, but I am ready to play the recorder. Violet: Hey, did you know that there are many different types of recorders? There’s a whole family of them! Composer: Recorders are in the woodwind family, but because there are so many sizes of recorders, each one with its own range of notes and its own name, we can group them in a family of their own, the recorder family. -
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. -
Of Extended Techniques: Annotated Performance Guides to Sofia Gubaidulina’S Bassoon Works
Solving the “Problems” of Extended Techniques: Annotated Performance Guides to Sofia Gubaidulina’s Bassoon Works A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Performance Studies Division of the College‐Conservatory of Music by Amy Marinello Pollard May 2012 Advisor: Dr. Terence Milligan, DMA B.M., Louisiana State University, 2004 M.M., The University of Cincinnati College‐Conservatory of Music, 2006 ABSTRACT This study focuses on the utilization and execution of extended techniques in the bassoon works of Sofia Gubaidulina: the Duo Sonata for Two Bassoons, the Concerto for Bassoon and Low Strings, and Quasi Hoquetus for viola, bassoon, and piano. There is an historical background presented for the development of extended techniques for woodwind instruments, focusing on the bassoon in particular. Furthermore, the extended techniques used in each of Gubaidulina’s bassoon works are described and performance suggestions are provided for these sonorities. Each extended technique is supplemented by fingering options and ideas about changes to embouchure pressure, air pressure, and embouchure position in order to successfully achieve each effect. The study is designed to assist performers in their negotiation of contemporary techniques that are unfamiliar and make Gubaidulina’s works more accessible to bassoonists. iii iv ACKNOWLEDGEMENTS I offer my sincere appreciation and deepest gratitude to my committee, Dr. Terence Milligan, Dr. Miguel Roig‐Francoli, and Professor William Winstead. Your guidance and support throughout this process has been phenomenal. I especially thank you for your willingness to work with me long‐distance and for being so flexible with your time as a result. -
Lessons from Inventories and Sales of Flutes and Recorders, 1650-1800
DAVID LASOCKI Lessons from inventories and sales of flutes and recorders, 1650-1800 In 2003, I was invited to give a lecture at the Utrecht Symposium on "The Renais• sance Flute and Recorder Consort". In order to prepare myself for that symposium, I compiled some lists relating to the instruments: surviving music, surviving instru• ments, early and modern writings, and performers. Eventually, I remembered that I had seen some inventories mentioned in books and articles that contained entries relating to flutes and recorders. I started from there, with the famous inventories - Henry VIII's in London, Madrid, Stuttgart, Innsbruck - which modern writers seemed to have cited largely for the total number of flutes or recorders present, as if owning instruments was some kind of European Cup competition. Puzzled by why courts and cities would want to own dozens of instruments, I had a feeling that the detail of the inventories would prove more interesting and more revealing. So I set to work to find as many inventories as possible, then transcribe and translate the entries relating to flutes and recorders. Soon I discovered that references to pur• chases of instruments were equally valuable. For the Utrecht symposium, I began in the Middle Ages (with what I thought was the first reference to the purchase of a recorder in 1388)1 and went through to 1630 (when I believed that the Renaissance recorder consort had died out).2 Eventually, my listing of entries from inventories and purchases, along with English translations, took up more than 100 pages in the published proceedings of the Utrecht symposium, which appeared in 2005.3 The listing also appears on my website,4 and will be kept up to date there.