Sheet music for concert band / wind band. Here is a small selection of the music in the concert band / wind band category. Browse all scores in the concert band / wind band category to see all the scores and refine by price, instrument, genre and many other options.
This is a sponsored post from Alpha Consumer Music about the best acoustic guitars. Best Acoustic Guitars All guitars have in common particular attributes that make them perform as a guitar should, and not like an instrument such as a tuba or even a violin.
It is important to understand the parts that make up an acoustic guitar, because this will allow one to successfully make music with it and properly take care of it. Musicians are always looking for acoustic guitars that will perform best, but due to a lack of knowledge they sometimes have a hard time finding the for them. If you are looking for best acoustic guitars for you, then you should read about the following models and know their basic information.
Top 4 Best Acoustic Guitars Martin D-28 The D shape models were first introduced in 1932 by C. They were few in number at that time and as a result, they became a collector’s item rather than bought for playing. The D denotes the shape, while the number indicates the style. The D-28 has Brazilian rosewood for the back and sides with the herringbone trim. The many customer reviews found online are ample testimony as to why this is a great investment.
The sound this guitar produces is sublime. It produces a big booming rhythmic sound, ideally suited for playing country music and many legendary performers such as George Jones, Hank Williams, Hank Snow and even Elvis Presley have played this guitar.
It is even called the “Flat Picker’s Dream”. Some also call it a “Yard Stick”, denoting that it is a guitar by which one measures the quality of any other guitar in its price range. According to the many testimonials, it could easily be tagged as a ‘popular choice’ by musicians from all over the globe. Martin 000-28EC The Martin 000-28EC Acoustic Guitar is an ode to Eric Clapton. When you buy a Martin Guitar, it is always made with excellent quality. Martin is a company that has been around since 1833.
The quality surrounding this brand has allowed it to survive tough economic times, like the great depression of the late 1920’s to the early 1940’s. The quality has also allowed it to garner a lot of fame and respect from musicians of every kind, including Eric Clapton.
Martin Guitar has developed a big following among musicians and a longevity that will not dwindle any time soon. In an endorsement by Eric Clapton given to the 000-28EC, he affirms that it is one of the best sounding guitars he has ever played. However, it goes far beyond that: this instrument is also one of the best looking and more reasonably priced ones in the company’s line. Hence, its sound, aesthetics and price make this one of the best instruments for guitarists at any level. The martin 000-28EC is one of the best acoustic guitars out there because this instrument is made of top of the line woods and its fine details are hand-crafted.
The much-coveted mahogany wood makes up the neck, while ebony makes up the fretboard which is embedded with Eric Clapton’s signature in mother of pearl. Quarter’s awn Sitka spruce wood is responsible for the top of this instrument while East Indian rosewood makes up the back and sides. The combination of all these woods gives the 000-28EC a clean and fresh sound while also making it look good. Martin OMJM The Martin OMJM acoustic guitars is considered one of the most beautiful guitars that the musical world has come to know in a very long time. This is for good reason: it’s designed by a musician who loves to play the guitar. John Mayer hit the charts in 2002 with a number of popular singles, which saw him take the music world by storm. At the same time, CF Martin Guitar approached him to ask for his unique take on their work.
The end result was this guitar model, which looks fantastic and plays brilliantly. It boasts a clean, crisp and clear sound which cannot be paralleled by many others. Simply put it is a musician’s dream. Sleek, beautiful, and quickly being sought after as a collector’s item, this guitar is crafted with a speedy neck which makes playing it all the more easier. But that’s not all.
It also boasts a super responsive top made of spruce by Engelmann, a one of a kind fingerboard inlay and many other features which separate this guitar from the pack. It is, in essence, an instrument which people love and cherish rather than simply pick up and play. That is not to say that this acoustic guitar is simply a collector’s piece. It has fantastic sound quality, producing clear notes and being a delight to play. It has an Indian rosewood body which reflects the sound perfectly, creating an enchanting sound as soon as the first string is plucked. Martin Backpacker The Martin Backpacker Acoustic Guitar might look a strange when you see first time. It does not have the smooth circular curves that many guitars have, but rather a sleek, straight line with a gentle blowing on it.
Indeed, many people think that the look, age and space are confused that it is even an instrument at all! However, looking beyond the strange looks – which are sure to separate one instrument from the crowd – this is a highly impressive feat of engineering. Its high-quality finish makes it ideal for people to use in any situation, not just traveling, which it is originally designed for. This instrument is compact enough to pack away while on one’s travels and bring out to serenade people around a campfire. It has a firm and resonant spruce top with a mahogany back and sides.
Its fingerboard has fifteen frets, making it a fully functional instrument unlike many cut down versions of the larger version. Additionally, its steel strings are durable and long-lasting, meaning people can play on all continents without anything snapping. The sound quality, is of course, what people will be most interested in. Luckily, it produces great, quality tone, matching any other acoustic out there on the market.
All in all, it is a brilliant investment for people who want to be musical on their travels. For more great reviews, check out. Reilly Spitzfaden’s work Resonances is an interesting exploration of instrumental tone and gesture, a cat-and-mouse game of imitation. From the program notes, it becomes clear that each instrument’s first gesture, typically idiomatic to that instrument, is closely mimicked by the other instruments as best they can, until a cacophony or other conclusion. Thus the “resonance” of one instrument resonates with and through the others: “In this piece, groups of instruments (percussion/piano, winds, and strings) initiate gestures based around a quality of resonance characteristic to that group. The other instruments take on these characteristics as they inexactly replicate the original gesture.” The score can be found. There is also a YouTube video of the “live” score with its recording!
Since we have a scrolling score, one can see the notation as it is played. Therefore, hearing the score in one’s head (“mind’s ear”) becomes much easier. I would like to do something different in this post. Instead of lecturing on what the piece is, analyzing it, and telling you what to learn from it, I am asking you to listen to the piece on the YouTube link above, and ask yourself these questions. Ask more than these, of course, so that you can understand the piece better and gain a personal perspective on it. How is this piece similar and different to a theme and variations?.
What role does microtonality play as pertinent to the concept of the piece?. What resonance is being referenced at the beginning of each section?.
How would this work be different if this piece were concerned with “dissonances,” i.e. Gestures that are not idiomatic or resonant with each instrument?.
Are there any “dissonances” in this piece?. What type of ensemble is this (it is a typical one)? What “baggage” is associated with that ensemble? How does this piece refresh this ensemble type, and push it forward?. What does the recurring gesture of cresc. To a loud dynamic, with space afterwards, achieve in this piece?
What is its purpose? How does it relate to the concept?. What is the relationship between tuning and rhythm in this piece?
Are they similar or different in function?. Why are there beams over rests particularly in this piece?. In what ways is the conductor essential, and in what ways is the conductor obsolete in this piece?
Bonus question: If you didn’t know the program note, nor had seen the YouTube video, what would you think the piece is about? How would this have differed if you had seen it live at its premiere (still no program note or other viewing)? Let me know your thoughts in the comments below. Please do give this post a like and a share if you enjoyed it!
Two days ago, my fiance and I cleaned our entire apartment. We don’t own an electric vacuum, and rely on a manual sweeper to do the job. However, we borrowed a vacuum and today found out just how much dust and pet dander we were living in over the past two days (and, assuming our manual vacuum isn’t as powerful as the one we have borrowed, the past 6 months). That led me to discuss the age old question: what is the ideal workspace for a composer? It is true that many of us prefer messy spaces. They afford us the creative freedom to formulate structure out of chaos. Some of us, however, are insanely organized, with any clutter or dust banished to the wastebasket.
In truth, as long as you are not living in squalor, nor becoming obsessive with your cleanliness, you really should make your workspace fit your specific way of composing. For example, I have a desk with my studio monitors and external monitor on it, that I use for mixing.
I have a lamp, the base of which I put my external hard drive, and my audio interface. I have in that same room my audio equipment and guitars in one corner, my amp, mic stands, and some spare mics in the middle of the room, and our spare mattress, recliner, and office supplies along the far wall. I have found that I work best when I have organized myself enough to be free to make a mess and still keep things clean, and systematic. It sounds a bit paradoxical, but this balance is exactly what you should be thinking about when assessing your workspace:. How much mess stimulates my creativity?. How much mess is too much?.
How much organization helps me focus? When am I being unnecessarily clean? Answer these four questions and you will be considering your workspace from a balanced perspective.
The next steps are to drill down deeper:. Where does it fit acoustically to place my audio setup?.
Where can I practice and improvise freely on my instrument/voice?. Where can I take sample recordings to track my ideas?. Where can I print and polish my final product? Overall, try to answer these questions in all that you do regarding your workspace:. What will provide me with privacy?. What will allow me to experiment?.
What will hinder distraction?. What is feasible within my space? Start with these 3 sets of questions, and go from there, customizing and trying out your workspace until you have a good environment.
As you work in it, you will discover new modifications you need to make. No setup is perfect, and every space will have to evolve over time to meet your continually changing needs. Happy composing!
Keep organized and free. By Matthew Nunes As both a composer and performer the British brass band movement has been an inspiration. I had the privilege of substituting in a band for one year.
The literature and musicianship astounded me. However, I have perceived a lack of interest in the medium among fellow composers. I feel as though it is often ignored by these brilliant minds because opportunities are fewer and the literature is rarely known outside of those involved.
My aim of this article is to provide key information for how the ensemble works – from keys, to clefs, and representative examples of each instrument. There will also be a reference for the standard set-up of the ensemble. Next I will provide examples from different periods in the medium’s development that I hope will prove reliable for study. Lastly, I have provided a few further resources that I urge composers to visit. I hope it is a useful guide to getting started on your very own brass band work. If you are not ready now I hope that you will be inspired sometime in the future to contribute your skills to the repertoire such as Gustav Holst, Malcolm Arnold, Ralph Vaughn Williams, and many more have.
But first here is an exciting work that showcases some of the strongest capabilities of the brass band: Paul Lovatt-Cooper – Enter the Galaxies Step One: Understand the Band The brass band medium evolved from the mid nineteenth century through Salvation Army recruiters as well as employers (such as mining facilities) looking to give their personnel something to look forward to. Instrumentation of the group wavered for years and included clarinets and saxophones mixed in with the brass during development. It was not until 1913 with the Crystal Palace National Championships in Great Britain that the scoring of the ensemble became standardized thanks to Percy Fletcher’s Labour and Love – one of the first original works for the medium. Contests soon required competing bands to adhere to these instrumentation requirements.
There are many great virtual instrument libraries out there. They can take old 80s synths for your violins and make them sound a million times better.
They and all other MIDI playback devices can bring life to a piece. But, beware the MIDI. It can provide you with a more realistic sound, but not a very realistic sound. Don’t get sucked into believing that what is playing through your computer speakers is what the end result will be.
![Concerto For Bass Trombone Derek Bourgeois Pdf: Full Version Software Concerto For Bass Trombone Derek Bourgeois Pdf: Full Version Software](/uploads/1/2/5/4/125446920/973734697.jpg)
Here are some ways in which most MIDI I’ve encountered skews the sound of a piece (as compared to real performance with human players):. Presence: the MIDI signal is usually too dry. This creates a more nasal, focused, piercing sound that doesn’t decay naturally. This is an increase in the tone’s pithiness, and leads to a feeling that certain instruments might sound brighter or louder than they actually are. Reverb: the reverberation automatically added to MIDI is oftentimes like a cathedral times ten. This creates a much more voluminous sound, with unrealistic decay times (note that #1’s lack of decay is overcompensated by this #2’s exceedingly long decay).
This can also counterbalance #1 in its depriving the instruments/voices of tone color and presence they might naturally have. Beginnings/attacks: these elements are often overly precise, and depending on the synth/virtual instrument you’re using, can be too sudden or have too long of an attack, leading to a too precise (unhumanly so) or too elongated (eg. String attacks) beginning. This can throw of the timing of a piece. Endings: the cutoff of a whole note in 4/4 is not the same in MIDI and human performance.
Human players will often cut it short, fade to niente, or cut off on beat 1 of the next bar (overlapping the barline). MIDI doesn’t do this; when the 4 beats are up, only reverb can save the sound from sudden demise. Synchronicity and preciseness: this is true in increasing amounts as the size of your ensemble grows.
It is extremely hard for large ensembles to synchronize complex “hits” (although they do this quite well despite the acoustic odds against them), and MIDI will generally give hits and unison preciseness that will not happen in a large ensemble (where synchronized timings will be more fluid). Range: in the case of non-sampled sounds, the range of an instrument may be smaller than the sounds that you get–don’t push those trombones too low or those french horns too high!!. Balance: many instruments stick out of the texture or are hidden unnaturally in MIDI for a few reasons. The first is that they may be a naturally loud or naturally soft instrument, but MIDI doesn’t take this into account. The second is that most instruments sound louder or softer depending on the register (try throat tone clarinets sounding loud, or soft oboe on a low Bb–it fails to match up). The third is through doublings and orchestration–2 flute staves a due may not stick out as much as the MIDI makes them, but motion in power-chord-like fifths and fourths in the horns may be hidden. Percussion: I’ve found that metallic percussion is generally too loud in MIDI, and skin percussion, esp.
Bass drums, is too soft. Marimbas have also been problematic in either sustaining too long on being too loud. Voice: voices generally sound more like hollow reverb tubes than human voices. (I’m sure you’ve encountered examples of this in your musical life.). Difficulty: MIDI can play back extremely complex tuplets, huge leaps, extremely fast passages, or other non-idiomatic passages with no problem. The problem, however, lies in performers not being computers and therefore being unable to execute certain passages (or being very angry with you when given said passages to play/sing). If you have questions about a passage’s playability, ask a performer, not the MIDI.
MIDI and playback realization are great things. But, don’t fall prey to relying on the sound as the “final product”. I’ve made that mistake, and I hope by writing this other people can enjoy their playback, but understand its faults, limitations, and hear things with a grain of salt.
Thanks for reading!