The only difference is that brass instruments, with mouthpiece alone,
can play pretty nearly any pitch that the instrument can (extremes are
iffy.)
Usually, though, when brass mouthpiece alone is specified, the pitch is
unspecified, so a cluster results.
Raymond Horton
Bass Trombonist,
Louisville Orchestra
Andrew Stiller wrote:
On Jan 19, 2009, at 2:43 PM, Dennis Bathory-Kitsz wrote:
On Mon, January 19, 2009 2:39 pm, Robert Patterson wrote:
Can the down-arrowhead be an outline for a dotted-half value?
I don't know. He only identifies the solid version of each symbol, which
is typical throughout the book. Since the book is 1966 (DE) 1972
(EN), I'd
imagine things might have been clarified since.
Dennis
Speaking as a bassoonist, I can assure you that any notation you use
will be unfamiliar, and so *must* be accompanied with a verbal
instruction such as "reed only" or the like. As a composer, I would
use X-shaped noteheads, add the instruction "with reed only", and
place the notes on the middle line of the staff. On any subsequent
recurrences, I would shorten the instruction just to "reed." If I
wanted the buzz to vary in pitch, I would eliminate the staff lines
and place the various (X-shaped) noteheads at higher or lower levels
within the blank space.
I would use this same notation for the oboe, and for
clarinet/sax/brass mouthpiece played alone (except of course that the
instruction would be "mouthpiece alone").
Andrew Stiller
Kallisti Music Press
http://www.kallistimusic.com/
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