Instrument Sound List

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Garritan Concert & Marching Band 2 Instrument List Flutes Euphoniums & Baritones Flute Solo (3 soloists) Euphonium (4 soloists) Flutes Group 1 (5 players) Euphoniums Group 1 (4 players) Flutes Group 2 (5 players) Euphoniums Group 2 (4 players) Flutes Group 3 (5 players) Euphoniums Group 3 (4 players) Piccolo Solo (2 soloists) Euphoniums Group 4 (4 players) Piccolos Group 1 ( 5 players) Piccolos Group 2 (5 players) Trombones Trombone (4 soloists) Clarinets Trombones Group 1 (6 players) Bb Clarinet Solo (4 soloists) Trombones Group 2 (6 players Bb Clarinet Group 1 (5 players) Trombones Group 3 (6 players) Bb Clarinet Group 2 (5 players) Trombones Group 4 (6 players) Bb Clarinet Group 3 (5 players) Bass Trombone Eb Clarinet Solo (3 soloists) Eb Alto Clarinet Tenor Horns & French Horns Bass Blarinet (3 soloists) Tenor Horn (4 soloists) Tenor Horns Group 1 (5 players) Saxophones Tenor Horns Group 2 (5 players) Alto Sax Solo (3 soloists) Tenor Horns Group 3 (5 players) Alto Sax Group 1 (5 players) French Horn (4 Soloists) Alto Sax Group 2 (5 players) French Horns Group 1 (5 players) Alto Sax Group 3 (5 players) French Horns Group 2 (5 playrs) Tenor Sax Solo (3 soloists) French Horns Group 3 (5 players) Tenor Sax Group 1 (5 players) French Horns Group 4 (5 players) Tenor Sax Group 2 (5 players) Tenor Sax Group 3 (5 players) Sousaphones, Tubas & Helicons Soprano Sax (3 soloists) Sousaphone (3 soloists) Bari Sax Solo (2 soloists Sousaphones Group 1 (5 players) Bari Sax Group 1 (5 players Sousaphones Group 2 (5 players) Bari Sax Group 2 (5 players) Sousaphones Group 3 (5 players) Bass Sax (2 Soloists) Tuba (2 soloists) Tubas Group 1 (5 players) Reeds Tubas Group 2 ( 5 players) Oboe Solo (3 soloists) Helicon (3 soloists) Bassoon Solo (3 soloists) Helicons Group 1 (4 players) Sarrusophone (2 soloists) Hellicon Group 2 (4 players) Hellicon Group 3 (4 players) Trumpets & Cornets Trumpet Solo (4 soloists) Marching Percussion Trumpets Group 1 (6 players) Bass Line* (6 players) Trumpets Group 2 (6 players) Tenor/Quad Drums* (5 payers) Trumpets Group 3 (6 players) Snare Line* (8 players) Trumpets Group 4 (6 players) Cymbals Cornet Solo (4 soloists) Field Drum Cornets Group 1 (5 players) Cornets Group 2 (5 players) Concert Percussion Cornets Group 3 (5 players) Basic Orchestral Percussion Cornets Group 4 (5 players) Concert Snare* Eb Cornet Concert Toms* Timpani Mellophones & Flugel Horns Marimba Mellophone (4 soloists) Chimes* Mellophones Group 1 (5 players) Glockenspiel* Mellophones Group 2 (5 players) Xylophone* Mellophones Group 3 (5 players) Castanets* Mellophones Group 4 (5 players) Roto Toms* Flugelhorn (4 Soloists) Police Whistle* Fluglehorns Group 1 (5 players) Impact Drum* Fluglehorns Group 2 (5 players) Flexitone Fluglehorns Group 3 (5 players) Flugle horns Group 4 (5 players) Kits & Other General MIDI Set* Finale Percussion Map* *These instruments are from the Tapspace Virtual Drumline 2 library.

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Trumpet, Cornet, Flugelhorn GRADE 5 from 2017
Trumpet, Cornet, Flugelhorn GRADE 5 from 2017 THREE PIECES: one chosen by the candidate from each of the three Lists, A, B and C: LIST A 1 Bizet Chanson bohème. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 2 J. Clarke The Prince of Denmark’s March. No. 9 from Old English Trumpet Tunes, Book 1, arr. Lawton (OUP) 3 Debussy The Girl with the Flaxen Hair. Winning Matrix for Trumpet, arr. Lawrance (Brass Wind: & brass edition; piano accomp. published separately) 4 John Frith Caber Dance ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 5 David A. Stowell Jam Bouree ˛ separately) 6 Gibbons Coranto (ending at Fig. D). No. 2 from Gibbons Keyboard Suite for Trumpet, arr. Cruft (Stainer & Bell 2588: B b/C edition) 7 Hummel Romanze. Time Pieces for Trumpet, Vol. 3, arr. Harris and Wallace (ABRSM) 8 Schubert Ave Maria. Trumpet in Church, arr. Denwood (Emerson E283) 9 Verdi Triumphal March (from Aida). Onstage Brass for Trumpet, arr. Calland (Stainer & Bell H430) LIST B 1 Tom Davoren Lindy Hop! ¸ Shining Brass, Book 2 (ABRSM: / brass edition; B piano accomp. published ˝ & ? b 2 Peter Meechan Final Thought ˛ separately) 3 Barry Gray Thunderbirds. Great Winners, arr. Lawrance (Brass Wind: brass edition; B piano accomp. published & b separately) 4 Joplin Solace: A Mexican Serenade. Concert Repertoire for Trumpet, arr. Calland (Faber) 5 Bryan Kelly Miss Slight (Spinster of this Parish): No. 4 from Whodunnit – Suite for Trumpet (Stainer & Bell H442) 6 McCabe P. B. Blues: No. 3 from Dances for Trumpet (Novello NOV120530) 7 Prokofiev March (from The Love for Three Oranges).
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The Improvements of Brass Instruments from 1800 to 1850 Including Implications for Their Usage
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1965 The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age Delmar T. Vollrath Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Vollrath, Delmar T., "The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age" (1965). Masters Theses. 4300. https://thekeep.eiu.edu/theses/4300 This 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]. The Improvements of Brass Instruments from - 1800 to 1850 Including Implications for Their Usage (TITLE) BY Delmar To Vollrath THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Science in Education IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS --.12�65�- YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE JI, !f{j_ ol\ln TA.llLE OF CONTENTS Chapter I Introduction • • • • • , •• • • • • • • l JI �t ................ 4 III Cornet • • • • • • • • • , • • • • • • IV Tronlhone • • • • • • • .. • , • • •. • • • 18 v Horn • • • • • • • • • • • • • ••••• 22 VI • • • • • • • 4i •••• " • • -'II' •• JJ VII • • • • • • • . ' . .. 39 VIll BU'itone and EuphoniU111 • II •• e II e •• 43 IX Saxophone ••••• • ..... • • • • • I Conolu•ion • • • • • • • .• • • " .... r-''} . • .. APi'ii2IDTX , "' • . • • . ... ,.. BI BL!OORAP!II • • • • • • • • • • . .. The ;:mrpose o:': this stud,)' is to axwni.ne one ;:;'.:&oo of tho evolution of 111J.ls1.oal :tnstrunentsJ that oi' t',e p'1�,;ica1 isi:pr'.ive":ents of brass wind instruments !'roui 1800 to 1 ,50, i:::i the '1opc that a more hharough understanding of the :instru- 1..:ints and their back1;ro·.md will re ;:tlt.
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ACCESSORIES Band & Orchestral Division Quality Yamaha Accessories
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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.
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Recital Report
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-1975 Recital Report Robert Steven Call Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the Music Commons Recommended Citation Call, Robert Steven, "Recital Report" (1975). All Graduate Plan B and other Reports. 556. https://digitalcommons.usu.edu/gradreports/556 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. RECITAL REPORT by Robert Steven Call Report of a recital performed in partial fulfillment of the requirements for the degree of MASTER OP MUSIC in ~IUSIC UTAH STATE UNIVERSITY Logan, Utah 1975 ii ACKNOWLEDGMENTS I wish to expr ess appreciation to my private music teachers, Dr. Alvin Wardle, Professor Glen Fifield, and Mr. Earl Swenson, who through the past twelve years have helped me enormously in developing my musicianship. For professional encouragement and inspiration I would like to thank Dr. Max F. Dalby, Dr. Dean Madsen, and John Talcott. For considerable time and effort spent in preparation of this recital, thanks go to Jay Mauchley, my accompanist. To Elizabeth, my wife, I extend my gratitude for musical suggestions, understanding, and support. I wish to express appreciation to Pam Spencer for the preparation of illustrations and to John Talcott for preparation of musical examp l es. iii UTAH STATE UNIVERSITY Logan, Utah DEPARTMENT OF MUSIC 1972 - 73 Graduate Recital R.
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The Composer's Guide to the Tuba
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Trumpet Ensemble Rob Frear, Director Monday, March 12, 2012 8:00Pm Gerald R
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Hearts Irving Remote Learning Packet NB: Please keep all work produced this week. Details regarding how to turn in this work will be forthcoming. April 6-10, 2020 Course: Music Teacher(s): Mr. Zuno [email protected] Weekly Plan: Monday, April 6 ⬜ Read Ch 2 - Pitch, Dynamics, and Tone Color (pp. 12-18) for 12 minutes ⬜Summarize: Write a summary for 8 minutes (instructions below). ⬜Check your work: Also, please go through the Week 1 answers and check your work for accuracy. If you have any questions, please let me know so I can explain or clarify. Tuesday, April 7 ⬜ Read: Ch 2 - Pitch, Dynamics, and Tone Color (pp. 18-24) for 12 minutes ⬜Summarize: Write a summary for 8 minutes (instructions below) Wednesday, April 8 ⬜ Listen to WRR 101.1 for 15 minutes and follow the next step. ⬜ Write a short paragraph on the music you heard on the radio (instructions below). Thursday, April 9 ⬜ Please answer the questions about For the Beauty of the Earth. ⬜ Please answer the questions about Morning Has Broken. Friday, April 10 No school! Statement of Academic Honesty I affirm that the work completed from the packet I affirm that, to the best of my knowledge, my is mine and that I completed it independently. child completed this work independently _______________________________________ _______________________________________ Student Signature Parent Signature Details for each assignment: Monday, April 6 1) Read Ch 2 - Pitch, Dynamics, and Tone Color (pp. 12-18) for 12 minutes Look for terms like: frequency, pitch, and noise, as well as amplitude, forte, piano, mezzo, tone color, and timbre.
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Euphonium, Baritone, Or ??? by David Werden (From
Euphonium, Baritone, or ??? by David Werden (from www.dwerden.com) When I was in high school, my parents decided to buy a new instrument for me to replace the student model I had been using. The music store showed me a top of the line King 3-valve "baritone." The salesman said it was a fine instrument, but if I was a serious player, I should spend another $80. For the extra money I would get not a mere baritone, but a genuine ***E*U*P*H*O*N*I*U*M***. When I asked what the difference was he explained that a baritone has three valves, while a euphonium has four. He also told me that a euphonium has a different bore, and sounds nicer that a baritone. I ordered the more expensive instrument. As the years passed, I learned that the only difference between those two horns was the extra valve. The salesman wasn’t trying to mislead me--he was simply as confused as most people about the difference between a baritone and a euphonium. Over the years I have heard many incorrect explanations of this difference. Some are: a euphonium has four valves, a baritone three; if it’s in a bass clef it’s a euphonium, if it’s in treble clef it’s a baritone; a baritone is little euphonium; a baritone has the bell pointed forward, a euphonium points up; and (attributed to Robert King) a euphonium is a baritone played well. This confusion of names may contribute to the somewhat anonymous nature of my chosen instrument.
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The learning of trumpet, cornet and flugelhorn A reasoned method by J.A. Monfort put on-line : end of 2014 last updating : 15 / 02 / 2016 Preliminary remarks The author of this method is not a professional : he is neither a teacher, nor a performer or a « virtuoso », « master »,... Simple private individual, self-taught person, amateur and passionate musician, he began to practice relatively late (at about 13-14 yo). A « slight » habit with piano also allowed him to be aware of the differences between melodic instruments and harmonic instruments. The piano, as well as other keyboard instruments (organ, hapsichord, etc), are nearly the only instruments allowing « sticking » chords on (one say « a piano amounts to an entire orchestra » ?) : these harmonic forms endow them an musical enrichment which is important to know : the user of a melodic instrument (woodwind, non stringed, etc) can found advantageous the practice, in parallel, of such an instrument. The informations incorporated in this method result from personal reflections accumuled since several years. These reflections have thus been cleaned up, and this was made easier by the profile of the the author (statistician as well as economist), and allowed the implementation of an methodic mind concerning the approach and the use of this instrument. This method constitutes thus a synthesis of several other methods (cf appendix 4, bibliography in fine), of the listening of the great performers (even outside the brass players) and of a personal practice, sometimes unfortunately interrupted, of this magnificent instrument. Every basis of knowledge necessary for the carrying out have, in this way, been systematically listed and matured : (a) their respective role has been « isolatedly » analysed and tested ; (b) interactions between these elements have been studied : combinations, simultaneities, precedences, accumulations, impossibilities.
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