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The Radio 3 Boards > The Music Boards > Music Through The Ages > Baritone horns + euphoniums
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Author Topic: Baritone horns + euphoniums  (Read 2318 times)
Notoriously Bombastic
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Never smile at the brass
« Reply #75 on: 17:50:53, 21-07-2007 »
Quote from: oliver sudden on 14:02:23, 21-07-2007
Although this chap made up for it by giving the bass trombone a rather special noise. You all know the piece of course.

Afraid I don't Ollie, but it looks like I should.  That is a splendiferous piece of scoring (although I wonder if anybody actually plays the slur?)
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Notoriously Bombastic
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Never smile at the brass
« Reply #76 on: 21:30:35, 23-07-2007 »
Nothing interesting to report on double stopping - different vowel sounds change the tone but not pitch, as expected.

A few posts back there was a snippet about the role of the tuba in chamber music.  I would say that this is one of the cornerstones of the repertoire:

http://windmusicplus.safeshopper.com/334/4247.htm?30
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oliver sudden
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« Reply #77 on: 21:42:29, 23-07-2007 »
Quote from: Notoriously Bombastic on 17:50:53, 21-07-2007
Quote from: oliver sudden on 14:02:23, 21-07-2007
Although this chap made up for it by giving the bass trombone a rather special noise. You all know the piece of course.

Afraid I don't Ollie, but it looks like I should. 

Perhaps if I were to post the page before?  Smiley
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marbleflugel
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« Reply #78 on: 11:50:16, 25-07-2007 »
Quote from: harmonyharmony on 23:52:10, 20-07-2007
Actually I was just about to ask about vowel sounds. Does it change the colour of a pitch very much if a trombonist (and this is the instrument I'm really interested in here) is making a different vowel sound, or does this affect the pitch too...
Would be interested to know about this on the recorder too.

I've been away so apols for late contribution but hope this is useful?

HH:Yep- Berio's Sequenza 5 makes great use of this. In a more subtle way
it crops in jazz technique of course, but the use of the plunger mute-maleable like apair of large rubbery lips-to
distort the sound at the production end is far more effective. 'Tricky' Sam Nanton probably the master here, conjuring  all manner of garrulousness, possibly also Steve Turre recently(who also incorporates blown conch shells as vocal effects).

 Autoharp re: baritone: euphonium, I think you're right to say that they have differing performing traditions but I think I'm right in saying that they fulfill paralell functions in the military: concert band set-up.

Richard, a useful place to explore these matters could be the Horniman Museum in Forest Hill where many of the historic saxhorns and tubas are still playable.They have some archived recordings I think ,and you used to be able to arrange to try things outby appointment.
« Last Edit: 12:03:53, 25-07-2007 by marbleflugel » Logged
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Arnold Brown
richard barrett
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« Reply #79 on: 12:11:33, 25-07-2007 »
Quote from: marbleflugel on 11:50:16, 25-07-2007
Richard, a useful place to explore these matters could be the Horniman Museum in Forest Hill where many of the historic saxhorns and tubas are still playable.They have some archived recordings I think ,and you used to be able to arrange to try things outby appointment.
They'll soon terminate that service if I turn up there. Harmonyharmony might recall taking me and my coconspirator to a museum in Durham where the university gamelan was kept so that we could record isolated sounds from the instruments for use in a piece of electronic music. To our surprise the instruments were in a public space and the museum was open, but we went ahead and circumnavigated the gamelan on hands and knees with a portable DAT recorder, hitting each gong a few times with different materials and so on, neither attempting to nor succeeding in producing anything which might be called music. At one point a punter who'd been watching us for a few minutes plucked up the courage to ask "Does this have anything to do with the Buddha?"

But thanks for the tip, Marble. I haven't visited the Horniman since I was a student.
« Last Edit: 12:13:26, 25-07-2007 by richard barrett » Logged
marbleflugel
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« Reply #80 on: 13:11:46, 25-07-2007 »
 Grin

It'd be ironic isnt it in this age of interactivity and poking things practicioners might find it more difficult to get at the things. If you need embouchure(s) for the task there seem to be at least 3 brass players lurking hereabouts including myself.
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Arnold Brown
time_is_now
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« Reply #81 on: 18:10:22, 25-07-2007 »
To my shame I've never been inside the Horniman Museum, although it's about 12 minutes' walk from my front door and 3 minutes from the night-bus stop.

Maybe we should have a group outing and take sandwiches and fizzy drinks. Wink
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oliver sudden
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« Reply #82 on: 18:18:11, 25-07-2007 »
Quote from: richard barrett on 12:11:33, 25-07-2007
Quote from: marbleflugel on 11:50:16, 25-07-2007
Richard, a useful place to explore these matters could be the Horniman Museum in Forest Hill where many of the historic saxhorns and tubas are still playable.They have some archived recordings I think ,and you used to be able to arrange to try things outby appointment.
They'll soon terminate that service if I turn up there.

Maybe they saw you coming, Richard...

"Normally instruments are not played in order to ensure that they are preserved for future generations. The music that the instruments make will be made available to visitors via accompanying recordings alongside the gallery displays, recitals and performances."

Still, worth a try. I'd be up for a group outing but I don't know when I'm next over your way...

Oh look, they have a "barret action cor anglais". Ah, some of that Barret action.
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Notoriously Bombastic
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Never smile at the brass
« Reply #83 on: 22:21:28, 25-07-2007 »
If you do pop into the Horniman, say hi to Bradley for me.  She's always good for a chat about wierd brass intruments.

The Bate in Oxford is a playing collection

NB
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harmonyharmony
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« Reply #84 on: 17:45:02, 22-08-2007 »
Quote from: richard barrett on 12:11:33, 25-07-2007
They'll soon terminate that service if I turn up there. Harmonyharmony might recall taking me and my coconspirator to a museum in Durham where the university gamelan was kept so that we could record isolated sounds from the instruments for use in a piece of electronic music. To our surprise the instruments were in a public space and the museum was open, but we went ahead and circumnavigated the gamelan on hands and knees with a portable DAT recorder, hitting each gong a few times with different materials and so on, neither attempting to nor succeeding in producing anything which might be called music. At one point a punter who'd been watching us for a few minutes plucked up the courage to ask "Does this have anything to do with the Buddha?"
A very memorable experience. I was placating the museum's education officer at the time.
What was the answer, re: the Buddha?
I also remember the trip when you performed OMNIVM and I crammed you, Paul, Kees Tazelaar and his partner into my rusty old Daihatsu to get to the venue.
Have you considered writing something for gamelan? (sorry this is in the wrong thread really isn't it? Wink)
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autoharp
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« Reply #85 on: 18:12:19, 09-09-2007 »
Mahler 7 prom on 2nd September.

A euphonium was used.

The BBCTV person told us it was a tenor horn.
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David_Underdown
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« Reply #86 on: 11:15:34, 11-09-2007 »
Well the score does actually specify (in German) tenor horn in Bb, so probably just a little linguisitc confusion.
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David
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« Reply #87 on: 11:26:00, 11-09-2007 »
Quote from: David_Underdown on 11:15:34, 11-09-2007
Well the score does actually specify (in German) tenor horn in Bb
Not quite. If you read the first post in this thread and various bits of the subsequent fascinating discussion you'll realise that things are not so simple ... Wink
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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