The concerto for trumpet and wind band have been overshadowed by its counterpart the concerto for trumpet and orchestra. There are many factors that have contributed to these circumstances such as the lack of performance opportunities. Unfortunately, there are not many performance opportunities for wind bands outside of the public school and university setting, which limits this genre’s reach to wide audiences. In the United States with exception to its military bands, only a few professional wind bands exist. Although many of these wind bands have provided the trumpet with new commissioned works and recording opportunities their outreach to the masses are still limited in comparison to the symphony orchestra.
Another challenge for this genre
lays in the lack of professional recordings. While only a few works from this genre consist of multiple recordings, many of them are limited. Some of the most well-known works of the trumpet repertoire received their notoriety through recordings by prominent trumpet performers. These artists provided those works with a sense of credibility within the trumpet community. Once these recordings were produced, they created a greater interest in performance and recording opportunities. This is also true for concertos for trumpet and wind band. Perhaps the most well-known work from this genre is Joseph Turrin’s Chronicles for Trumpet and Wind Symphony. This work by Turrin was written for and premiered by Phil Smith former principal trumpeter of the New York Philharmonic. Phil Smith’s performance and recording gave this work the notoriety it needed to become a work of interest for many. Due to the work of Phil Smith, this work has received numerous performance including Tom Hooten principal trumpeter of the Los Angeles Philharmonic. Artist such as these will assist concertos for trumpet and wind band in becoming mainstream within the trumpet idiom. Although concertos for trumpet and wind band are significant works, many of them do not provide piano reductions. Furthermore, many of these works are also out of print which again hinderers more performance opportunities. Despite these issues, it is important that these works for trumpet receive notoriety and begin to become an integral part of the trumpet repertoire.
Ft. Lauderdale, FL: Meredith Music Publications. Goldman, E. F. (1961) The Wind Band. Boston, MA: Allyn and Bacon, Inc. Miles, R. (1997) Teaching Music through Performance in Band.
The clarinet is a woodwind instrament consisting of a cylindrical wood, metal, or ebonite pipe with a bell-shaped opening at one end and a mouthpiece at the other end, to which a thin reed is attached. The clarinet has five different sections, the mouthpiece, the barrel, the upper section, the lower section, and the bell. The length of the entire instrument is 60 cm long. The mouthpiece section consists of a slotted cylinder, to which a reed is attached by a metal clamp called a ligature. The mouthpiece plugs into the next section which is a barrel. The barrel is simply a connecting cylinder to which the mouthpiece and the upper section plugs into. The upper section is a cylindrical pipe consisting of 4 holes and 9 keys placed in different locations along the pipe. On the back of the pipe there is a hole and a key that is used by the thumb. The lower section plugs into the upper section and is also connected via a special bridge key. This piece consists of 3 holes and 8 keys. On the inward facing side of the pipe, there is a protruding piece of metal called a thumb rest, which supports the entire clarinet. The bell plugs into the lower section. It consists of a cylinder that flares out into a bell shape and ends the clarinet.
The history of the Concert Band and Wind Ensemble will be reflected through a timeline of events, including an analysis of significant events, groups, composers, and advancements. When society envisions a Wind Ensemble, talented musicians, grand music halls, and difficult arrangements typically come to mind. However, a modern-day Wind Ensemble includes a variety of musicians, each with positive and negative aspects. In society today, music is greatly appreciated and accepted. It is considered an honor and a privilege to expose our ears to the music.
All types of music require musicians. In the H.R. (Harlem Renaissance), there were many who contributed to this new style of music known as jazz. These musicians all have their own style and form. Each of these styles has in some way influenced the evolution of jazz. Louis “Sachmo” Armstrong is recognized as the most famous trumpet player of all time.
Zorn, J (1989, Nov.). The changing role of instrumental music. Music Educators Journal. 76(3), 21-24.
Published in 1964, Gideon's Trumpet is based off a true story of one man's quest to be given the right to have a counsel appointed to him by the court. Constitution's Sixth Amendment declared he had a right to counsel and he fought hard to obtain justice. If Gideon didn't realize that he had a right to counsel, this case would have never been held and the legal sytem might still be the same today! Clarence Earl Gideon is a man that most Americans outside of the legal system, as well as within it, would not even recognize who he was. The author, Anthony Lewis, wanted this change and wanted the citizens of the United States to see the dramatic impact that the Gideon's case had on the legal system. Gideon felt like he was in an unfair situation and filled out a hand-written petition for writ of certiorari to the Supreme Court. Lewis brings to life the story of the man behind the case, preserving an important piece that has forever changed the legal and social history.
Jazz is referred as “America’s classical music,” and is one of North America’s and most celebrated genres. The history of Jazz can be traced back to the early era of the 20th century of the U.S. “A History of Jazz” presents From Ragtime and Blues to Big Band and Bebop, jazz has been a part of a proud African American tradition for over 100 years. A strong rhythmic under-structure, blue notes, solos, “call-and response” patterns, and
up of five saxophones, four trumpets, four trombones, and a four piece rhythm section (composed
Like brass band music, there was an emphasis on brass instruments and percussion. A trombone, cornet, and drums can be easily distinguished in this piece. However, a piano, clarinet, and bass also play in this work. These instruments that are not traditionally included in brass band music, but they do produce key sounds in jazz music.
That brings us to the last segment of our concert, the Modern Era. Traditoinal musical instruments in the modern period have not changed nearly as much as they have in the 18th and 19th centuries. There have been gradual iterations of musical instruments within the 1900’s, such as updates to the violin family. There were many new instruments created in the Modern Era, all of which focused around electricity. This evening’s selections do not include any such selections with electronic instruments; however, there are arrangements available for the electric instruments such as the organ, keyboard or syntehsizer, or electric guitar.
When people think of the saxophone, some items that come to mind are jazz music, golden metal, and Kenny G. The saxophone consists of these, but it is also so much more. Playing the saxophone is a great experience that everyone should try. Although playing the saxophone may take some money and time, it is a great investment because it is a unique instrument with many benefits.
In a Newsweek article called “Jazz Is Dead (Commercially). Long Live Jazz (Creatively),” Seth Colter Walls discusses the current situation surrounding jazz music. Walls says, “It 's time, finally, to separate the question of ‘Is today 's jazz good?’ from the question ‘Is today 's jazz popular?’" There are still talented musicians playing jazz. The music’s quality remains good, but there are less people enjoying the music. “Gigs, places to play, a touring circuit, and adequate remuneration for musicians have become a serious issue for the survival of jazz in America” (Nicholson 74). But this is where innovation comes in and saves jazz. By combining jazz with other genres, it widens the music’s appeal and welcomes other listeners.
Defining ‘reconciliation’ alone can be a cumbersome task. It has been defined as many things such as “a collection of lived practices – a culture, a cultural project, a sea-change in the psyche of a nation and a product of the imagination of the ‘lunar left’ (Rigney & Hemming, 2011).” The main idea one should keep in mind when reading this paper, is the discrepancies between Indigenous and Western worlds and the way in which they conceptualise music. When understanding music as a tool for reconciliation, it can be defined under any of the headings stated above. The way in which traditional and popular music is discussed in this paper can be identified as ‘a collection of lived practices – a culture (Rigney & Hemming, 2011)’. Consequently, contemporary music (for the Indigenous cause) is better described as a cultural project and an attempt for a sea-change in the psyche of a nation. Lastly, the idea of Indigenous music being incorporated into the curriculum and teacher’s pedagogy, to most, will appear as ‘a product of the imagination of the lunar left (Rigney & Hemming, 2011).’ In discussing these subjects, hopefully some clarity will be gained as to why these definitions have been accepted in each musical realm.
Music expresses what words cannot express; music reflects the improvement of the society; music calms our hearts and inspires people. Everyone enjoys music because he or she can have good moods while listening to music. Composers express their feelings in songs. Some put in their ideas about nature, politics and life, others write songs to reflect the progression of society. Popular music in the Gilded Age and jazz music in the Roaring Twenties are examples of music which correspond to the society’s movement. The rise of popular music was the result of the anti-German movement. American composers rose to replace the German culture. Also, popular music was popular because of its affordability. Every class of people could enjoy this kind of music by simply going to music halls. On the other hand, Roaring Twenties was a period of time which marks color line upheavals. Although music in Gilded Age and Roaring Twenties are quite different about their styles, genres and lyrics; popular music and jazz music were both adaptions to the society’s movement during these two periods.
Of all the instruments laid out on display, only one caught my attention. I was thirteen at the time, and naturally, my eye was drawn to the shiniest of the group. I had never heard the sound of a flute before, aside from the cheap imitation of one on my family’s electronic keyboard. Nevertheless, I picked the pretty, gleaming, easy-to-carry flute on that first day of band class. Three years later, I can’t imagine playing anything else. What started off as blind luck and an attraction to shiny objects is now a part of my life. Playing an instrument is always a worthwhile investment; you develop a skill that many people only wish they had, you have opportunities to meet other musicians, and you may even get to travel in a band setting. But in order to reap the benefits, you first have to learn how to play.