Liz-Anne - E-flat Instruments

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You can listen to several other movements but let me know if you need help to find them. Tenuto Publications, , SS, 23 pages. In score format. The duets are in three groups: Dances and Canons which has 9 pieces and a duration of 7 minutes, Three Little Waltzes with a duration of 6 minutes, and finally, Andante con Variazioni which has a short Andante and five variations with a total duration of Most of these pieces are at the advanced intermediate level and will probably be of most interest to better high school students and adult amateurs.

This is a quirky set of surprises composed for flutist Cindy Anne Broz. The first and third waltz are both shorter than a minute and serve as a prelude and postlude for the large middle movement which is over 5 minutes. Composed in , the first and third movements are freely based on rhythmically-challenging waltzes that the composer wrote in high school , frequently teasing between a waltz-like accompaniment and various ways of contradicting any sense of regularity, thereby providing a happy sense of arrival whenever the rhythms get back in sync. The central second movement is a sort of backwards-constructed set of variations, in which fragments are built together and tease at congealing throughout the movement, finally climaxing in a full statement of the theme for the grand finale that reveals the full theme.

These pieces have minor updates from the versions in Old New Borrowed Blue above. Here is an audio file of the end of Waltze No. Tenuto Publications, , SS, 8 pages. The three romances are: 1. Languid Allegro pastorale , 2. Sultry Tango drammatico , and 3. Frisky Brisk allegro. The music is lyrical, tonal, and rhythmic. It will be premeried by flutist Gary Schocker with the composer on clarinet at the National Flute Association's annual convention. Duration about 8 minutes. Close on the heels paws?

The composer's program notes are as follows: "Being quite fond of my flutist-partner's two cats, I chose this opportunity to make musical portraits of Hootie, a handsome and elegant pound tuxedo cat, and Tiki, a petite bengal princess. Hootie's music is generally in a slow pulse with lyrical 16ths flowing, just as Hootie is pensive and outwardly still, while clearly being very busy inside. The final phrase is marked snoozendo poco a poco. The final measures of the Hootie movement are identical to the beginning of the Tiki movement, just as in reality one cat's end is sometimes notably close to the other's beginning.

After a 'peacefully lurking' introduction, Tiki's remarkable showcat grace and playful lightness are set as an effervescent scherzo, including some double-tonguing after all, her name is ti-ki , a bit of fluttertonguing as Tiki can sound herself, and with a regally strutted circus march in the middle of the scherzo. EditionDarok, , SS, 6 pages score format. Four pieces: I. Allegro, and IV. Tempo di Ballo. There isn't any indication if these are original works in a folksong style or actual folksongs.

The music has a range of difficulties at the intermediate level. Total duration of about 5 minutes. Ginastera's Duo is familiar and standard repertoire for most flute and oboe duos. In three movements Sonata, Pastorale, Fuga , the composer immediately found a welcoming audience in the United States, including Virgil Thomson, who proclaimed, "This is the kind of music which makes one believe and have confidence in the New World. Duration about minutes. Click on the cover image to view several pages from this piece.

Subtitled 24 Duets for Grade Musicians. This grading is on the US 6 point scale but is on the easier side of that standard. Click on the cover image to view two sample pages. Lawrence Ink is an American flutist and composer. A lyrical and playful work in three movements Allegro maestoso; Adagio; Allegro which uses a variety of modes to capture many different moods.

Click on the cover image to view the first page of the score. EditionDarok, , SS, 14 pages score format. WW Dialogues Op. Michael Kibbe, , SB, includes score and parts. This work is in three movements: I. Allegretto, II. Andante, and III. Premiered in , this revised edtion was published in late The work is in three movements: I. Briskly, II. Quietly Moving, and III. Very fast. Michael Kibbe, , includes all parts. Originally written for wind quintet, the composer has adapted this piece for two players. Baerenreiter, , SS, 5 pages in score format. Ernst Krenek was an Austrian born composer of Czech heritage who lived in the United States from on.

In three movements: I. Allegretto comodo, II. Adagio, and III. This piece, which as written in , looks like a good piece for a college recital. The duration is about 8 minutes. Gordon Lewin was a British composer, clarinetist, and saxophonist, who studied at the Royal College of Music and performed on more than film scores. This piece has two movements: 1. Palm Tree Song and 2. Cuban Calypso Another Gordon Lewin piece that looks like a lot of fun and has finally been received in August after a lengthy wait. The three pieces are: 1.

La Chica Allegro, Valse Creole , 2. Bailecito Mexicano Allegro, Jarabe. Early college level some high school level musicians will be able to play this with the first and last pieces easier than the middle one. David Liptak is an American composer and music educator. It was revised by the composer in It is in four movements: Andante con moto, Con forza, Andante languido, and Presto. It is in score format 11 x 17 size with a copy for each performer. Kendor Music, , 5 pages in score format. The dances of the Baroque period provide challenging and rewarding repertoire for festival and concert performance.

The publisher rates this as US grade 3. It is suitable for younger but progressing high school students. Total duration Schirmer, , SS, 13 pages. Includes two copies of the six duets which are in score format. Probably early college level but might be attempted by younger players if the flutist has good command of the third octave.

Roger Nixon was an American composer, musician who had studied the clarinet , and professor of music. Duo I. Chester Music, , SS, 12 pages.


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The music is in score format. While the bassoonist faces some endurance issues in the second and third movements, this is excellent recital repertoire. Score format. Includes translations and scene descriptions.

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In addition, notes and suggestions for applying operatic lyricism through instrumental expression are provided by flutist-pedagogue Cindy Anne Broz. Upper intermediate level. Click on the cover image to see sample pages. Universal Edition, , SS, includes clarinet and alto saxophone parts in score format and a separate tenor saxophone part. Five original duets at various tempos. Four are swung, one is Latin. They include chord symbols in concert pitch.

Universal Edition, , SS, includes flute and alto saxophone parts in score format and a separate tenor saxophone part. Five original duets completely different than the book above at various tempos. All are swung. Oxford, , SS, 8 pages. One of the foremost living composers and conductors of choral music, John Rutter has also written orchestral and instrumental music. This piece for unaccompanied flute and clarinet is in three movements: Fanfare and Proclamation Vivace , Blues Andante expressivo , and Rag Allegretto. Theodore Press Co. As a teenage Schickele played both bassoon and clarinet has maintained a "fondness for the combination" ever since.

Now, years later, he was presented with the opportunity to again compose for this duo, with the resulting Six Studies, a short 9' total set of varied pieces ranging from reverent to raucous. For intermediate to advanced performers. This piece is in three short movements with a total duration of Here is a video performance of the entire piece.

Duration of about Alry Publications, , SS, includes parts and score. This is a short piece at Andante tempo suitable for students at the early intermediate level. It is describe on the publishers website as "A brief conversation between the flute and clarinet with a simple melodic flow. Marvelous for showing contrast in timbre.

Suitable for contests. WW Old Shoes Op. Trillenium Music, , SS, 13 pages. This work is in score format 2 copies which some extra pages included to avoid page turns. This work is also available for clarinet and bass clarinet C Four pieces: 1. Some Blues, 2. After Mose a down-south funk , 3. Waltz, and 4. After Cole Porter, in the style of Billy May both a show-tune and a bop. Trillenium Music, , SS, 8 pages two parts in score format. Don Stewart is an American composer and woodwind performer. This piece was written in and is one of his earliest compositions.

The first duet is a perfect canon but with contrasting sections. The second which the composer originally regarded as "flamenco" in derivation, alternates an intensive melody with a brittle rhythmic background. The third is short and formally simple but polytonal. Almitra Music Inc. Featuring an array of 15 classics for grade players, the music has been carefully chosen and edited to ensure that it is idiomatic for each pair of instruments.

Therefore, one book will not be compatible with any other in the series. Click on the cover image to view the Table of Contents and a sample page. Chester, , SS, 14 pages now with 2 copies in score format. Szalowski was a Polish born composer who studied in Warsaw and Paris with Boulanger. While most of his work was written for strings it is his pieces for winds that are most popular today. He has been described as a neo-classicist, favoring established forms, clear musical content, and contrapuntal writing.

This is one of the more popular advanced college level flute and clarinet duets. It is in three movements: I. Allegro, II. It is in score format and has been printed without regard for page turns, so some preparation will be required for performance. Duration is about 8 minutes. EditionDarok, , SS, 30 pages score format. Fifteen Russian folk songs at the intermediate level but with a range of difficulty. WW Choros No. Eschig, , SS, 4 pages two parts in score format.

This is one of 14 numbered choros that Villa-Lobos wrote between and for a variety of instruments and combinations of instruments including orchestra. College level with a duration of about Neil A Kjos Music Co. Parts for flute and clarinet no score. Garibaldi, and Beethoven. A variety of difficulty levels from early to advanced high school. Adult players will also enjoy these duets. This piece was composed in for Leone Buyse and Michael Webster as a wedding present. The title refers to the fact that the musical lines are constantly being exchanged, inverted, expanded and contracted by both players.

In three movements: 1. Canon Breezy , 2. Dialogue Freely; like an improvisation , and Fugue Suddenly fast. Doblinger, , SS, includes parts and score. Gernot Wolfgang is an Austrian born composer who lives in Los Angeles. He received his musical education in Austria and the United States. He has written chamber and orchestral music as well as for the film and TV industries.

The three stories are: 1. Uncle Bebop very fast with straight eighth notes , 2. Rays of Light Rubato, expressive , 3. Latin Dance also very fast with straight eighth notes. Schott, , SS, 12 pages, score format. In four movements: I. Waltz in added values and Trio in false unison , and IV.

Chase in slow motion and accelerated. This is a relatively advanced work, suitable for upper division college recitals. Click on the cover image to view the second page of the first movement. Kendor Music, , SS, includes parts and piano score. Written to be enjoyed either with or without the piano accompaniment, these six grade 4 duet settings include ten of the most popular carols in traditional to modern styles, along with a couple swing settings. Click on the cover image to see see the first two pages of the piano score.

How to Transpose - a guide for Saxophones

This collection makes available eight essential clarinet methods, studies and exercises, as well as over 30 works for clarinet with instruments including duos, trios and quartets by 20 familiar and lesser known composers from the 18th, 19th and early 20th centuries. Scores and parts are included for many ensemble works. Also includes composer biographies and relevant articles from the edition of Grove's Dictionary of Music and Musicians. Click on the image cover to view the complete Table of Contents.

Peters, , SS. This work, with its unusual ensemble of three haphazard instruments--a pick-up band--attemps to digest an evening-long musical comedy in a few minutes 8 to be precise. An advanced work with some high altissimo for both instruments, but without the nasty key changes found in most musicals. Queen's Temple Publications, , SS, includes parts and piano score. This piece was written in for flute, trumpet played by the composer and piano. It is not surprising that the clarinet is now listed first on the cover as the part would be more difficult on the trumpet than the clarinet.

A sectional piece including a czardas, tango, blues, waltz and other elements. Early college level with a duration of 10 minutes. Alphonse Leduc, , SS, includes parts and piano score. A suggested piece for this combination. It is at an unhurried tempo Lento, ma non troppo and should be playable by many high school students although the flute part goes up to C7. Zimmermann, This piece has a "real" bassoon part as a featured instrument along with the oboe.

It also includes a continuo part for cello, and a realized keyboard part for harpsichord, piano, or organ. When this piece was first published, Carl Philipp Emanuel Bach was listed as the composer. More information came to light afterwards and when it was reprinted in the composer's name was corrected.

Includes performance parts for flute, bassoon, and piano which includes the other parts in the score.

Liz-Anne scored for E-Flat Instruments - Lead Sheet

This trio was written between WW Lluna for flute, clarinet and piano by Daniel Bimbi. Emerson Edition, , SS, includes parts and piano score. Daniel Bimbi was born in Carcassonne in Southern France. He studied clarinet with Guy Deplus and more recently has been studying composition with Jan Van der Roost. Lluna was originally intended to be the theme of a Children's Opera based upon "The Child and the Moon.

College level with a duration of about 7 minutes. Rosewood Publications, , includes piano score and all parts. Alexander Brent-Smith was a British composer, author, and teacher. This work was first performed in It is in three movements I. Allegro Moderato, II. It should be playable by those at the early college level and adult amateurs.

International Music Diffusion, , SS, includes parts and piano score. Henri Bord was a teacher, composer and instrument maker who was important in the development of the oboe in France. This is a sectional piece in two main parts. The first is Maestoso which is followed by a Theme Allegretto and five variations. The oboe and bassoon parts are early college level. The piano part this is a true trio is at least that level.

International Music Company, , SS, includes parts and piano score. Ernesto Cavallini was an Italian clarinetist and composer who spent 15 years working in Russia. The piece consists of a gentle introduction followed by a simple theme, five variations, and a jaunty finale, after which the opening material returns briefly bringing this piece to its quiet finish.

This is a relatively advanced work. There are some videos of this piece on YouTube but they predate this edition. Paul Challine was a French composer and lawyer who wrote mostly chamber music. It is a substantial trio in four movements: I. Allegro moderato, II. Andante triste et grave , and IV. Finale Anime. All movements have tempo changes. Billaudot, , SS, includes parts and piano score. Guillaume Connesson is a French composer who has written for a wide variety of ensembles.

This is an advanced work which also exists in a version for 2 soprano saxophones and piano it is here. The score contains some instructions for the pianist for manipulating the strings of the piano. The duration is 5 minutes. Here is a video of this version which is being played faster than the marked duration indicates. In three movements: Allegro Moderato, Larghetto, and Allegretto polonaise. Includes extensive notes by the editor. WW Trio in B minor Op. Lauren Publications, SS, includes parts and piano score. Recently reprinted from a Hamelle edition. Edouard Destenay was a French composer and organist who was born in Algiers.

In three movements: Allegro vivace, Andante non troppo, and Presto. A wonderful arrangement of a wonderful piece originally for piano four hands. Four movements: I. En Bateau, II. Menuet, and IV. Generally college level. The duration is about This piece is one of the most popular flute solos in the repertoire, but as the arranger writes, adapting it for flute and piano has not been very successful because there is too much music to be covered by two instruments.

Adding the clarinet produces a more satisfactory result. Both A and B-flat clarinet parts are included. Tenuto Publications, , SS, includes parts and piano score. There are five movements non-programatic : I. Joyous Overture, II. Romanza, III. Scherzo, IV. Winter Prayer, and V. Spring Awakening. Accessible college level music with a duration of about 21 minutes.

Click on the cover image to view the first page of each movement. Alry Publications, , SS, includes parts and piano score. Donald Draganski is from Chicago where he worked for many years as a university music librarian in addition to being a composer and a bassoonist. Three movements based on Brazilian motives and dance styles, originally written for the Pilgrim Chamber Players in Allegro energico, II. Allegro moderato. Click on the cover image to view the a page of the score from the first movement. Josef Wienberger Ltd. Madeleine Dring was an English composer and actress.

Her biographical information on Wikipedia is worth reading. Allegro con brio, II. Andante semplice, and III. Allegro giocoso.


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College level with frequent meter changes in the first movement. Here is a performance on YouTube.

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International Music, , SS, includes parts and piano score. Flute doubles piccolo on the first movement. Clarinet in B-flat only. The dances in this suite are: I. No They may be performed individually or together. There are separate parts for piccolo and flute. Some of the flute part is in the same range as the piccolo while other portions are an octave lower. This lively, dance-filled chamber work was composed for piccoloist Jan Gippo and clarinetist Jane Carl.

For advanced performers. Duration of about 22 minutes. Here is the first movement of the flute version with the composer at the piano. Here is the first movement of the piccolo version. WW Dolly Op. International Music, , SS. The Dolly suite was written for piano four hands between and with additional movements added on Dolly's birthdays. Michael Webster writes that the nature of the original composition makes it well suited for this instrumentation. Six movements: I. Berceuse, II. Le Jardin de Dolly, IV. Ketty - Valse, V.

Tendresse, VI. Le Pas Espagnol. For the first and third movements, A clarinet is preferred but alternate parts for B-flat clarinet are provided the other movements are for B-flat clarinet. College level with a duration of about 15 minutes. This transcription combines elements of both. There are two versions included. The version for A clarinet is in the original key of F-sharp minor.

For B-flat clarinet the concert key is G minor the clarinet parts are the same with the other parts transposed. Peters, , SS, includes parts and piano score. Before turning to composing, he led his own groups as a jazz performer. Written in Andantino, and III. An advanced work with a duration of about 15 minutes. The first and last movements are for bass clarinet with some notes in the extended range. This technically demanding tour de force begins with a delicate exposition which Edition Peters, , includes parts and piano score.

Harald Genzmer was a German composer and music educator who studied with Hindemith. This work was written in but was not published until recently. This piece is in Genzmer's typical style while given the instrumentalists the opportunity to cooperate in contrapuntal textures and demonstrate their virtuosic ability.

Duration is about Music Rara, , SS. This is a major work that brings out the best qualities of each instrument. The clarinet and bassoon parts are not especially difficult but it requires an excellent pianist. Louis Moreau Gottschalk was an American composer and pianist, best known as a virtuoso performer of his own romantic piano works.

He spent most of his working career outside of the United States. It is the earliest example the arranger has found of a habenera as the form of a concert piece. These pieces are at an advanced college level. Souvenir de Cuba A clarinet opens and closes with tropical languor, but is actually a mazurka with remarkable similarities to Chopin's Op. Grande Tarantelle B-flat clarinet is probably Gottschalk's most famous work for piano. WW Norwegian Dances Op. The famous set of dances by Norway's greatest composer were written for piano duet. Grieg later created a piano solo version, but refused to orchestrate the set.

After some study of Grieg and his music, Michael Webster has arranged the four dances for Flute, Clarinet, and Piano in a faithful setting, using the piano duet version as a guide. This lively Grieg classic will be a welcome new addition to performance programs. For advanced performers college level with a duration of about 18 minutes.

Click on the cover image to view a sample page from the score. This is an intermediate duet with an easy piano part. The flute part goes to a high G while the clarinet part does not go higher than a B above the staff and is frequently in the lower register. Emerson Edition, , SS, includes piano score and individual parts. David Henderson is an English composer and musician who emigrated to Australia in Above her was a canopy of cloth of gold, decorated with gilt statues and silver bells, and carried by the barons of the Cinque Ports.

Following the Queen were her chamberlain, Lord Borough, and her master of the horses, William Coffin, then her ladies clothed in crimson velvet and cloth of gold and tissue. She then gave thanks to lords, ladies and Mayor, and retired for the night. She must have been exhausted after the procession, but she still had a big day ahead of her. He used calfskin vellum, with illustrations done in ink with raised and silver gold leaf. You can see photos of it at Photobucket. Did many of the ordinary people turn out for her coronation? Was there celebration in the streets for Anne given that she was unpopular at the time?

Could someone tell please? Thank you. With wine running from fountains and pageants and entertainment, the people of London definitely turned out for the procession. Far from it; the authorities had managed in such a short space of time to organise an impressive and respectable affair. No one publicly booed Anne; as Ives states, those who witnessed the event were more curious about the proceedings than anything else.

However much Anne was disliked by many within London for the simple fact that she replaced Katherine of Aragon, they also appreciated a spectacle. The Imperial ambassador claimed that the Hanseatic merchants had taken the opportunity to publicly insult Anne by displaying the Imperial Eagle within the Holbein display on Gracechurch Street. But Chapuys was wrong, as the eagle displayed was not the double-headed Imperial one of Charles V. Thinking about when you stand today waiting for floats and open top bus parades on great celebrations; I am guessing that with the crowds and the stops that the parade got behind schedule.

Band programs have literature written in most keys. It's not that difficult. If the flutes are in C, the trumpets are in D. It's just a non-issue. I suppose you might be less likely to write something in E because it would put trumpets in F , but that's not impossible either.

Now, more generally about timbre and range. The key of the horn mostly decides what the lowest possible note is. That's the largest range issue that eventually led to filling out voices. Additionally, in early days due to there not being valves a lot of the literature was either "timpani parts" or very high due to the limitations of the harmonic series on period instruments. Interchangeable slides would be utilized with a lot of literature to literally change the key of what was essentially a bugle, but they were still limited to the first several harmonics in most situations timpani parts.

Something like Haydn's "The Creation" shows this. Every section is written in C, but above it it will say which key the trumpet should be in. Modern players just transpose, but a period instrumentalist would've changed slides. These days it's more of a fluke of history that the current instruments have stuck around and that we've gotten used to their particular timbres. There are some changes here and there obviously. Ironically, Herbert L. Clarke famous cornet soloist of Sousa's band though the trumpet was a silly non-solo instrument for the inferior "jaz" music.

He thought that cornet would rule it the long run when people got over their silly phase. He was very wrong.

Why Do We Need Transpositions?

The timbre subtleties are pretty extreme. Most people can't tell them apart, but they exist. Also, on modern instruments it's amazing how much control a brass player can have over their timbre just with their lips Arturo Sandoval demonstrates this well. That said, there is still a difference. I can usually pick out a C versus a Bb. I can usually tell a cornet from trumpet. I can certainly hear any of the other stuff. But it's true even for other families. A tenor and alto sax playing in the exact same range will have a different timbre.

My wife is better at woodwinds, but both of us can tell which sax is being played at a given time. Same with oboe, English Horn, or even oboe d'amore. If you want the example of where timbre matters, listen to the opening of Rite of Spring. The composer could easily have written in for oboe or EH, but the almost strained upper register of the bassoon sounds completely different. So basically different horns of different ranges have different timbres. The "why" just has a lot to do with accidents of history and people developing a taste for a certain timbre. There are also some technical concerns from a construction standpoint.

The 5th partial tuning of any C trumpet is more temperamental than Bb. Different horns have different quirks that way and some keys would just be harder to tune. Piccolo trumpet is particularly difficult just because of the lack of tubing to adjust. Another fun fact is that trombone and most low brass really is technically a Bb instrument. It's fundamental is Bb. But it is written and reads in C. Just a historical quirk of when it came into its own as an instrument. Saxophone, also a late comer, while still using consort keys like clarinet is designed smartly to break at the octave rather than at the 12th like clarinet.

This means the fingering system is much more intuitive as it more or less mirrors at the octave. However, it keys the Eb Bari, Bb Tenor, Eb Alto, Bb Soprano scheme of the clarinet because it's means the performer can play and read for all saxes with a single fingering system. Unfortunately, trumpets and horns are just required to transpose more often. It's pretty much just an expected part of playing those instruments. But even if you don't play in orchestra, it's a useful skill to have and not terribly difficult in most cases usually reading a C part on a Bb instrument.

I'll stop now. I feel like I could talk about this for days, but I'm just doing this stream-of-consciousness so it's very disorganized I'd be happy to follow up if you want more clarification though. Just wanted to add, since it's a tidbit I learned recently-- in the Philippines, trombone is treated as a Bb treble clef instrument. Presumably some other places as well. Source: I have two Filipino friends who are trombonists. On a Bb trumpet, the pitch you'll hear if you buzz your lips in the mouthpiece at fundamental pressure with the valves all up closed is Bb.

For ease of learning, both of those notes are marked on the music sheet at Middle C, but the French Horn has more tubing in a bore that flares out through its length more than a trumpet's, giving it a more mellow sound. What if that same bore was made on a trumpet's length of tubing? You get a fluegelhorn, which sounds brighter than a French Horn because of less tubing but not as bright as a trumpet. So, length of tubing can cause the sound to be bright or mellow, as well as the shape of the tubing before it reaches the bell.

The trumpet's bowl mouthpiece bright compared to the French Horn cone mouthpiece mellow contributes a little bit to this tone as well. Instrument makers experimented with these principles, that ended with a lot of trumpets in Bb and a lot of French Horns in F, because longer horns sounded too mellow, shorter trumpets too bright, and so on. Oddly enough, bass clef readers learn that same all valves up note on euphonium and tuba as Bb. It's confusing, but some very experienced players relearn the fingerings so they can read the same fake book as the pianist or guitarist.

C trumpets are commonly used in orchestras. They have a brighter sound that cuts through the strings better. The length of the tube only affects the pitches available, not the tone. The difference between a trumpet and a fluegelhorn is the shape of the tubing. A trumpet is cylindrical until the flare of the bell, the cornet is conical, and the fluegelhorn even broader conical. No, the length of tubing absolutely effects the tone.

The trombone and the trumpet are both cylindrical-bored and in Bb and clearly sound very different because the trombone is twice as long as the trumpet an octave lower. Same thing with a trumpet to a piccolo trumpet. These are the most exaggerated examples, but the exact same principle applies from a C trumpet to a Bb trumpet—the C trumpet is just a little brighter.

Most horn concerti of the classical era, when the horn was still played with crooks because valves weren't around yet, were in the key of Eb because it was widely accepted that horns in Eb had the most noble, rich tone. A couple centuries later when valved horns became standardized, we ended up just a whole step higher in F, likely as a compromise between wanting the tone of an Eb horn but making the upper register a little easier. The length changes the pitch, you said so yourself: an octave lower. The C trumpet is "brighter" because it is higher in pitch.

Trumpets and cornets are the same pitch same length , but have a different tone because the bore is shaped differently. The same is true of trombones and euphoniums: same pitch, different bore shape and tone. Playing the same pitch on my piccolo trumpet, C, and Bb all with similar bores will not have the same timbre. There is a different mass of metal vibrating, thus different overtones being exaggerated or reinforced.

The length of tubing does primarily determine the range, but it also somewhat affects the tone, timbre, and intonation of the instrument. But the difference isn't just in pitch. The length of a trombones tubing means the fundamental pitch of the instrument is an octave lower, but a trombone's upper range and a trumpet's lower range overlap a LOT and they sound completely distinct on identical notes. Even the trombone and the piccolo trumpet can play many of the same pitches, and those would send VERY different. Similarly, a C trumpet and a Bb trumpet sound slightly different on the same notes.

This is literally not up for debate--why else would hundreds of professional trumpet players around the world frequently choose to perform parts written for Bb trumpet on C trumpets? It's because it creates a brighter, clearer tone which is in many cases more appropriate for the piece of music. Of course, where in the instruments range you are playing affects the tone. Playing the same note on a trumpet and a trombone will have different tone. Playing the same partial on each instrument will produce notes an octave apart with basically the same tone. The tube length can slightly change the tone, but not nearly as much as other factors.

If you believe that is totally true, it is still just so far removed from practicality to be relevant.

Learn to Transpose, Step by Step

We are discussing why one would use an instrument in a particular key, so if the C trumpet sounds different from the Bb trumpet on the same pitch, then the instruments sound different. I just answered this question kind of but basically, heavier instruments are duller and blend more, so it's a compromise between that, the keys available and Ab instrument would play in F if a piece was written in D and the size of the instrument as it affects playability. As someone else already said, my question was more about the "number of reasons pertaining to timbre and range" that you mentioned.



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