Sir,
I only know this:
When I step on stage to play Eb in the bass staff, I press the first
valve on my Willson 2905 4-valve compensating euphonium.
If I wish to play the Eb an octave lower, I press 1and 4.
I play D in the bass staff by pressing 1 and 2.
If I then wish to play the D an octave low
John, I have been a schoolteacher also, so I am trained in having an extended
ability to understand. However this Finale list is kind of a meta-list for
musicians from very diverse backgrounds. Hence I consider it kind of dangerous
to let terms, which basically are nonsense, pass by unnoticed.
Hi, Klaus. I believe that he was saying that without a compensating
system the lowest notes combining all 4 valves will be sharp, similar
to the fact that on a Bb/F trombone the 7 positions become only 6 on
the F side. I doubt that he literally meant an "octave key," but
having played a 3-val
Sad that you persist, because you reveal ignorance about the partial system of
brass instruments. Your upper reference notes are played as third partials.
Your lower reference notes are played as second partials.
There is a fifth between the 2nd and 3rd partials. The 4th valve is one third
of t
A lot of early and mid-20th century bands would switch cornet players
to Eb tuba. They could read a non-transposed tuba part in treble clef
and use cornet fingerings!
Sent from my iPhone
On May 10, 2010, at 10:02 PM, "Williams, Jim" > wrote:
To me it is an octave key in that low register.
To me it is an octave key in that low register.
Look at the fingering:
Eb 1 low eb 1-4
d 1-2 low d 1-2-4
Db 2-3 low db 2-3-4
c 1-3 low c 1-3-4
B 1-2-3 low b 1-2-3-4
So from eb down, pressing 4 lowers the pitch an octave
Sent from my iPhone, so please pardon all the typos.
On May 10, 2010, at 10:4
The Franco-Flemish band tradition writes for Eb and BBb tubas and for
euphonium/bass trombone in transposed bass clef.
On compensating low brasses the 4th valve is not an octave key. It is a fourth
valve, as in the interval of a fourth. Like with a compensating horn the 4th
valve loop is rerout
More tuba trivia:
A four-valve non-compensating tuba is not fully chromatic in the low
register.
With an Eb tuba, 4 valves, no compensating, low a is 2-4, ab is 1-4, g
is 2-3-4, gb is 1-3-4 (and sharp), f is 1-2-3-4 and very sharp and low
e natural doesn't exist. For a BBb tuba with 4 valves,
At 5:15 PM -0700 5/10/10, Ryan wrote:
When a writing for tuba, the part should be written at sounding (concert)
pitch, correct? If the performer is using an Eb tuba, they don't need a
transposed part, do they?
Here's the situation, a group in France wants some of my band music.
However, they use
Self-reference...
Are there also BBb tuba parts?
If so you might have to do that horrendous "transposing bass clef"
abomination in which the part is transposed up a step but stays in
bass clef.
Leduc editions call this "tuba Sib."
It's still used in France & Belgium.
When I become King August
I agree. Many French E flat tubists read treble clef parts (with bari
sax transposition) just like their British brass band counterparts,
but there may be some who prefer a concert pitch bass clef part. Make
sure the part NAME states the transposition, so the librarian can
just read the par
You are best served here to give them two Eb tuba parts--one at pitch
in bass clef and one using bari sax transposition--treble clef written
middle C equals Eb below the bass staff.
You would be correct of you noticed that the parts will look alike,
but accidentals will pose problems.
Tubists
When a writing for tuba, the part should be written at sounding (concert)
pitch, correct? If the performer is using an Eb tuba, they don't need a
transposed part, do they?
Here's the situation, a group in France wants some of my band music.
However, they use Eb horns and Eb tubas. No problem to tra
Well, what a wonderful way to start the week!
Thank you to Christopher and David for their kind remarks. :)
Indeed, James, Ted Ross is available (on CD-ROM only) at
http://www.npcimaging.com/books/Books.htm
I'd add to David's list Steve Powell's book "Music Engraving Today",
which is somewhat
David W. Fenton wrote:
Has there been some change in recent versions of Finale that takes
away the 4-channels per staff that has been available in the past
(i.e., 1 for each layer)?
No, there does not seem to have been a change; I just never new of the
existence of this feature; I wish I had,
On 10 May 2010 at 0:20, Noel Stoutenburg wrote:
> Patricia Spedden wrote:
>
> > In writing two-stave, multi-layer piano scores, is it possible to
> > assign each layer to a different channel in order to control
> > voicing? If yes, how is that done? If no, is there some other way
> > to voice m
On 9 May 2010 at 21:57, Kim Patrick Clow wrote:
> I have a question about a manuscript source:
>
> http://i39.tinypic.com/2rcn2ip.jpg
>
> This is from a sinfonia by Christoph Graupner and you see
>
> staves are Trumpet 1, 2, Timpani, Violin 1, Violin 2, Viola, Continuo
>
> I'm not exactly sure
Christopher Smith wrote:
That would be "The Art of Music Engraving & Processing" or I think the
complete title might be "Teach Yourself the Art of Music Engraving &
Processing" by Ted Ross, the 3rd edition I have is copyright 1987. It is
widely considered to be one of the leading references for
actually the upper staff written an 8ve lower would sit more within
its staff than the middle voice...
an example of using symbols to keep the music as much as practicable
within the bounds of the staff. The other two sounding parts drop
from the upper portion of their respective staves, to
John Howell wrote:
At 9:39 PM -0500 5/9/10, Noel Stoutenburg wrote:
Kim Patrick Clow wrote:
I'm not exactly sure what the expression under the first violin means
"ottava bassa" or ottava basso." Or how this would impact performance.
This is the first time I've encountered this phrase in Graup
That would be "The Art of Music Engraving & Processing" or I think
the complete title might be "Teach Yourself the Art of Music
Engraving & Processing" by Ted Ross, the 3rd edition I have is
copyright 1987. It is widely considered to be one of the leading
references for points of standard n
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