The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

i

THE ROLES OF DRUM MAJOR, MARCHING PERCUSSION INSTRUMENTS AND

FEW SELECTED BRASS INSTRUMENT IN A MARCHING BAND

BY

JUMARE JAMES (CPL)

10TH SAMARU BATTALION COMPANY ECWA BISHARA NO.1 HAYING DOGO

SAMARU ZARIA, KADUNA NIGERIA.

Mobile Number: 07067447270, 09086965961

Email: Ameyejumare@gmail.com

NOVEMBER, 2015

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

ii

DEDICATION

This project work is dedicated to God Almighty, to my two wonderful younger brothers Jumare

Jacob and Jumare Joel, to all lovers of music, and to all my fellow Boys Brigade Nigeria

Members and beyond. Love you all.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

iii

ABSTRACT

This project titled “The Roles of Drum Major, Marching Percussion Instruments and Few Selected Brass in a Marching Band” is trying to teach us the importance of all the instruments

that consist and make up a marching band. The project highlights the roles and importance of all this instruments in a marching band. This project is aimed at teaching the roles and uses of few

selected instruments that make up a marching band in details.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

iv

ACKNOWLEDGEMENT

It has not been easy but with God all things are possible. I want to use this medium to thank God

for giving me the grace to come up with something like this and for his grace to reach this far.

I want to thank the Boys Brigade, the Boys Brigade Nigeria, the Boys Brigade Kaduna State

Council, the Boys Brigade Samaru Battalion Council, if not for you I wouldn’t have reached this

level thank you so much I really appreciate you all.

I would like to thank my supervisor who has always been there for me, in person of Mr. Esthon

Emmanuel who has been a very wonderful guide and teacher to me am grateful sir for taking

your time to go through this work and make necessary correction make the lord God in heaven

continue to bless you.

Furthermore, I would like to use this medium to show my gratitude to my parents Mr. & Mrs.

Jumare M. Gujere, they have been the best parent, Dad and Mum I want to use this medium to

say am grateful for your encouragement and support am so grateful. I want to use this medium to

say thank you for making me feel special and making me known that everything is possible with

God and hard work. Thank you so much.

I want to use this medium to thank the instructors that trained me to this present stage, I want to

say thank you to Mr. David Edward, Mr. Emmanuel Ambi, Mr. Steven Ache Aku, Mr. Victor

Egwa, Mr. Aranda Avindia Musa (Arasax) and others am so grateful for the knowledge you

bestowed in me may the Lord God in his infinite mercy reward and be with you all.

I want to thank the excos of my company 10th Samaru Battalion Company, Ecwa Bishara No.1

Haying Dogo Samaru Zaria, from the chaplain to the least ranking Boy I want to say a big thank

you for believing in me am so grateful.

I want to thank my special set of friends and all my friends who were always there for me in

person of Grace Yahaya (Shamzy), Moolom Bukkaiah (Buks), Suleiman Yohanna Kafarma

(Sniper), Augustine Dashe (Mancho), Meshack John Gyes (MJ Sticks), Hosea Zachariah (B:Boi)

and to all my well wishers am grateful all.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

v

TABLE OF CONTENTS

Marching Band - - - - - - - - - 1

The Drum Major - - - - - - - - -

Role and Responsibilities of the Assistant Drum Major - - - -

Characteristics of a Successful Drum Major - - - - - -

Replacement - - - - - - - - - -

Selecting the Drum Major - - - - - - - -

The Drum Major Mace - - - - - - - -

The Marching Percussion Instruments in a Marching Band - - - -

Marching Snare Drums - - - - - - - -

Marching Tenor Drums - - - - - - - -

Marching Bass Drums - - - - - - - -

Stick Heights - - - - - - - - - -

Cymbals - - - - - - - - - -

The Role of Brass Instrument in A Marching Band - - - - -

The Brass Instrument - - - - - - - - -

Families of Brass Instrument - - - - - - - -

Trumpet as an Brass Instrument - - - - - - -

Trombone as a Brass Instrument - - - - - - -

Baritone Horn as a Brass Instrument - - - - - - -

Clarinet as a Brass Instrument - - - - - - - -

Cornet as a Brass Instrument - - - - - - - -

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

vi

Flugelhorn - - - - - - - - - -

Etymology - - - - - - - - - -

Structure and variants - - - - - - - - -

Timbre - - - - - - - - - - -

Use - - - - - - - - - - -

Saxophone as a Brass Instrument - - - - - - -

History - - - - - - - - - -

The Saxophone family - - - - - - - -

Description - - - - - - - - - -

Materials - - - - - - - - - -

Mouthpiece and reed - - - - - - - - -

Composition - - - - - - - - - -

Euphonium - - - - - - - - - -

Name recognition and misconceptions - - - - - -

History and development - - - - - - - -

Construction and general characteristics - - - - - -

Double-belled euphonium - - - - - - - -

Marching euphonium - - - - - - - - -

Five valve euphonium - - - - - - - - -

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

1

MARCHING BAND

Marching band is a sport in which instrumental musicians perform outdoors for the purpose of entertainment, exercise, and sometimes for competition. Instrumentation typically includes brass,

woodwinds, and percussion instruments. Most marching bands use some kind of uniform (often of a military style) that include the school or organization's name or symbol, shakos, pith helmets, feather plumes, gloves, and sometimes gauntlets, sashes, and/or capes.

Marching bands are generally categorized by function, size, age, gender, instruments and by the style of show they perform. In addition to traditional parade performances, many marching bands

also perform field shows at special events like competitions. Increasingly, marching bands are performing indoor concerts that implement many of the songs, traditions, and flair from outside performances.

THE DRUM MAJOR

A drum major or Field Commander is the leader of a marching band, drum and bugle corps, or

pipe band, usually positioned at the head of the band or corps. The drum major is the leader of the marching band during rehearsals and in performance. His/her job is to carry-out the instructions of the

band director and other instructional staff regarding what needs to be done with the band. The drum major, who is often dressed in more ornate clothing than the rest of the band or corps, is

responsible for providing commands to the ensemble, and leads them while marching, and directs them what to play, when to play, and what time to keep. The commands may be given either verbally, through hand gestures, using a whistle or a baton, or with a mace in the military.

Image of Drum Major

ROLES AND RESPONSIBILITY OF THE DRUM MAJOR IN A MARCHING BAND

1. Getting the band out to the rehearsal area, into the proper formation and ready to begin rehearsal.

2. Taking the band through warm-up exercises.

3. Leading the band through practice runs.

4. Helping rehearsals run smoothly and productively

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

2

5. Leading the band in performance

6. Adding to the overall showmanship of the band during performance with their performance as the drum major.

7. Setting the standard for discipline, bearing, and conduct for the members of the band to follow

8. Assisting in teaching marching to other members of the band (New Members)

9. Acting as the band’s representative at award ceremonies and special functions

THE ASSISTANT DRUM MAJOR:

The assistant drum major is the next-in-command behind the drum major. He/she assumes the drum major role whenever the drum major is not present or is unable to perform. He/she must be able to march as a regular member of the band, as well as step into the drum

major's job at a moment's notice. He/she may also be asked to help during rehearsals.

CHARACTERISTICS OF A SUCCESSFUL DRUM MAJOR

Effective drum majors have a number of things in common:

They have a good and sound understanding of music

They are skilled as a field conductor

They have developed a high level of skill with a drum major baton or mace

They have exceptional marching technique

Their vocal commands are loud and easily understood

They are highly responsible and reliable

They are dedicated to having the band succeed

They work well with both the band director and the membership of the band

They know how to teach and assist other members of the band

They have the ability to inspire the band in performance

TYPICAL TERM OF OFFICE Both the drum major and assistant drum major are selected for one year. They must tryout and

earn their positions each year. REPLACEMENT

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

3

If the director feels that any drum major is not performing their job at the level required for the

best interests of the band, they may be pulled from the job and replaced by the assistant drum major. A new assistant is then selected.

SELECTING THE DRUM MAJOR Any member of the band may tryout to become the drum major for the following year. Try-outs are held on a pre-announced date and all drum major candidates are evaluated by a qualified

panel selected by the band director.

The panel may select one person to be the drum major for all performances, or may select one

drum major for parade performances and another for field performances.

There are four sections in the tryout (with an optional 5th section). Each section is designed to show how well a student can perform the different roles of the drum major.

1. The Parade Section

The purpose of this section is to see how well a student can perform in a band review or parade

situation. This trial is held in an area 250 - 300 feet long. It place of the full band, a recording is used.

At least two-weeks prior to the tryout, the director will give all drum major candidates a cassette

recording of a march. Each student then creates their own routine.

Each candidate starts on the “Competition Begins” line. They call the band to attention. Next,

they perform an introductory routine and, following that, give the command to start the band. The march is then played and the student steps-off down the route.

About 150 feet later is the “Salute Line” where candidates salute as part of their routine. At the

end of the competition area, the student gives a mark-time/halt command. They then dismiss the band.

Drum major candidates are evaluated on their posture, bearing, twirling ability, clarity of beat, confidence, originality and ability to stay in step with the music.

2. The Field Section

The purpose of this section is to see how well a student can conduct a band in a field show situation. This section is held in an open area with a drum major's podium. If the full band isn't

available during the tryout, a recording is used.

At least two weeks prior to the tryout, the director will give all drum major candidates a cassette recording of the music that has been selected for the tryout. Each student then creates his/her

own routine.

Each candidate can start on the field or on the podium. He/she calls the band to attention, then,

executes a series of commands to get the band ready for performance.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

4

As the music plays, the drum major candidate conducts as if they had a full band in front of

them. They should make their performance as realistic as possible. After the music ends, the candidate turns and does an acknowledgement salute to the audience.

Candidates are evaluated on their musicality, clarity of beat, confidence, command presence and the loudness of their commands.

3. The Teaching Section

The purpose of this section is to see how well a candidate can teach and work with other members of the band. A group of at least six student volunteers are needed to act as a small band

for the candidates to teach.

During this section the other candidates are kept isolated until they too have completed the teaching section of the tryout. Part of this tryout section is to see how well each person "thinks

on their feet." If candidates are allowed to watch other students teach before them, they have the advantage of "learning from other's mistakes."

This section is done in an open area. The director selects a simple command or sequence of commands for the candidates to teach the group. All candidates should be given the same command or series of commands to teach. Each person then instructs the group to the best of

their ability. Students are evaluated on their confidence, clarity of instruction and ability to work with the group.

4. The Interview

The purpose of the interview is to determine the skills, expertise and attitudes each contestant has for performing as the band's leader.

The interview is done privately with each student and the selection committee. The same questions are asked of all the drum major candidates to assure that they are all being evaluated

using the same criteria.

Candidates are evaluated on their leadership potential, their ability to handle the pressures of the job and their ability to work with both the instructional staff and the band.

5. Advisory Band Vote (optional)

To provide the selection committee with feedback on the student's preferences, a vote can be

taken. Students are asked to list their first choice for drum major first, their second choice second, etc. This indicates how the students feel the drum major candidates should be ranked.

This vote is strictly advisory. Since the selection committee often has to decide based on criteria

that the full band may not know (for example, what was said in the private interview), the result of the vote is for the information of the committee only.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

5

THE DRUM MAJOR MACE

Military bands, civilian brass bands and pipe bands generally use a mace for giving signals and commands while marching. As marching bands in the United States have started to focus more

directly on halftime shows and less on parades, the traditional use of the mace has largely vanished from high school and college marching bands, in preference of hand movements, occasionally with the use of a conductor's baton or whistle.

THE MARCHING PERCUSSION INSTRUMENTS IN A MARCHING BAND

MARCHING SNARE DRUMS

Marching snare drums are deeper in size than snares normally used for orchestral or drum kit purposes. This gives the drum the big, full sound necessary for outdoor use. Standard sizes (listed as diameter x depth) are 13x11 and 14x12 inches. They can weigh anywhere from 16-

45 lb. Smaller sizes such as 13x9 have become increasingly popular in recent times with the proliferation of indoor drum lines.

The modern "high tension" snare was developed in response to the higher head tensions made possible with the development of Kevlar and other high strength fibers bonded into the drum head. These high tension drums were first developed by Legato of Australiafor pipe band snare

drums. High tension drums began and were perfected in the pipe band market and later moved into the marching band and drum corps areas. The bottom (or resonant) side of the drum has a

tightly tuned head and synthetic gut or metal snare wires, which are often secured to the drum using a strainer to limit their movement and make the sound more staccato. For outdoor use, a projector or "scoop" - a piece of curved plastic - may be attached to the back of the bottom hoop

to help project the sound forward to the audience.

Snare drums used in pipe bands are similar in construction to standard marching snare drums,

with two key differences. First, the drum has an additional set of snares, directly under the batter (top) head. Second, the snares under the bottom head are made of coiled steel wires, similar to a drumset (as opposed to the synthetic "gut" snares on a corps-style drum). These differences tend

to give the pipe drums a "snappier" snare sound, emphasizing the higher frequencies of the drum. Recently, corps-style drums have been produced with steel wire snares underneath the batter

head (while remaining the gut snares under the bottom head). These snares are able to be switched on and off separate from the bottom snares, which allows units to use the second snares as a specific effect or as a permanent modification to the sound of the drum.

The head of the snare drum can also be varied to give the drum a different sound. Depending on the music or style that the drumline plays, different brands and types of heads may be used. For

maximum volume and stick articulation, a head made of woven Kevlar fibers is used and usually tuned to a very high tension. If the player desires a slightly "softer" feel, then an aramid fiber head (such as Remo's Black Max) is a good choice. Finally, if more overtones and the softest

head-feel are desired, the player may want to consider a heavy clear head with a center reinforcement dot (such as a Remo Powerstroke 77). This type of head is rarely used today

among competitive drumlines, mostly owing to its lack of outdoor projection in comparison with Kevlar, but nonetheless it may still be used if a unique timbre is desired. One of the most famous

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

6

marching bands utilizing this head is the Ohio State University Marching Band. Though they

play difficult cadences and drum features, they still use the sling drum and Remo Powerstroke 77 head to remain as traditional and formal as possible.

Below Here are Images of Snare Drum:

MARCHING TENOR DRUMS

Modern marching bands and drum corps use multi-tenors, which consist of several single-headed

tom-toms played by a single drummer. The bottoms of the shells are open and beveled to project the sound of the drum forward. They are typically played with wooden- or aluminum-shafted mallets that have disc-shaped heads made of nylon. Mallets with felt or fleece heads, drum

sticks, drum brushes, and other implements are occasionally used to achieve different timbres. The playing technique used for multi-tenors is somewhat different from that of a snare drum, and more like that of a timpani because the drumhead is struck closer to the edge instead of in the

center. This creates a sound with more overtone, as opposed to striking the drumhead in the center, which produces a very short, dull sound with few overtones that is considered undesirable

for multi-tenors.

A full-size set of tenors consists of 10, 12, 13, and 14-inch (360 mm) toms arranged in an arc, often with an additional one or two smaller (6 or 8-inch) toms called "gock", "spook", "shot",

"spock", or "sprock" drums inside of the arc. Because a full-sized set of tenors with a carrier can exceed 55 pounds (recently the Dynasty Quints, thought of as one of the heaviest sets, weighed

in at 32 lbs. without a carrier) smaller and lighter versions of tenors outfitted with 8, 10, 12, and 13-inch (330 mm) toms are often used by lines with smaller or younger players. All multi-tenors based on the four-drum configuration are called quads despite the fact that there may be a total

of five or six drums counting the shot drums. Sets with one gock drum are called quints, and sets with two gock drums are called sextets,"squints", hexes, or sixpacks. To produce different sounds

between gock drums with the same diameter, the head type, shell depth, and or tuning between the two drums may vary. A common name for all multi-tenors is simply, 'Tenors'. Tenor drums have often been compared to the Latin percussion Timbales, as many musicians, including Tito

Puente use a setup similar to modern marching tenors.

Modern multi-tenors evolved from horizontally mounted dual single-headed bass drums first

used by the Boston Crusaders Drum and Bugle Corps in the late 1960s. Early multi-tenors had

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

7

shells with a flat bottom. These drums sounded a lot like timpani, so they were called timp-toms.

As drum sizes got smaller, more drums began to be added to multi-tenor configurations. The largest sets of multi-tenors had 7 drums and were carried by both the 1977 and 1992 Spirit of

Atlanta Drum and Bugle Corps tenor lines.

Scottish pipe bands use a single tenor drum as part of their drum corps. Traditional marching bands and drum corps may also use single tenors, which are double-headed drums much like

snare drums without snares. Some show bands such as those at historically black colleges and universities use both single tenors and multi-tenors.

Below are images of tenor drums:

MARCHING BASS DRUMS

Bass drums used by modern ensembles come in a variety of sizes, with a 14-inch (360 mm)

"universal" depth, and diameter measured in 2-inch (51 mm) increments from 14 to 36 inches (910 mm). The heads of these drums are usually made of a smooth white PET film, which gives

a tonality that is mid-way between clear and coated heads. Unlike tenors and snares, bass drums are mounted so that the cylindrical shell of the drum is mounted on the player's harness and the two drum heads of the drum face out sideways. The player can then play on both heads, one arm

for a drum head on either side. Each drummer plays and carries one drum, and a line is created by having several people carry different-sized drums. Such drums are called tonal bass drums.

The lowest drum in a line, however, is often tuned to have a low "thump" like a traditional bass drum rather than a tone. The Cavaliers Drum and Bugle Corps were the first marching unit to use and standardize tonal bass drum tuning. Many groups try to use the largest size bass drum that is

comfortable for the physically largest bass drummer to carry as the bottom bass drum, as larger people are generally better able to carry a bigger drum for long periods of time.

In corps-style bands, each bass drummer only plays one segment of the entire bass drum part, unlike the snares and tenors. This is known as a split part. A unison refers to when all or some bass drummers play together at the same time. Lines can vary in size from as few as 3 players in

small high schools to as many as 9 in very large college marching bands. A line of 5 (with individual drum sizes ranging from 18" to 32") is the most common in a drum corps. Some

traditional groups, such as some show-style marching bands from historically black colleges and

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

8

universities continue to use a non-tonal bass line, where each drum is roughly the same size and

each drummer plays the same part.

Pipe bands and some traditional groups use a single bass drummer, who typically carries the

pulse of the group. The bass drums used by pipe bands have seen an increase in size and more of a focus on tone in recent times. Typical sizes range from 12 to 18 inches (460 mm) deep by 28 inches (710 mm) in diameter. The goal is to produced a subtle deep tone which is usually in tune

with the drones of the bagpipe. Various muffling techniques (sometimes referred to as "treatments") can be used on bass drums to achieve a desired sound. The most common of these

involve applying foam weatherstripping, either on the head directly or on the shell of the drum. Some drumhead manufacturers make heads that are "pre-muffled." These heads usually have separate pieces of PET film or other material which are set into the head's flesh hoop and touch

the head to control overtones.

Below here are images of bass drum:

STICK HEIGHTS

SNARES AND TENORS DRUMS

Marching bands in general and especially marching drum lines emphasize uniformity. To achieve absolute uniformity, every member of the drumline must play with proper stick heights. A stick height is an approximate measurement of how high the bead of the stick comes off the

drum head on any given note. Regularly used heights range from 3" to 12", with 1" and 15" being used mostly for visual effect. Snares and tenors can use this chart to establish guidelines

for stick heights, but techniques and specifications may vary between lines and can be changed depending on what the music calls for. BASS DRUMS

Bass drums do not use the same guidelines as snares and tenors. They are grouped in a different section of the battery. The most important thing to remember is that when playing at a higher

dynamic level, one is not to attempt to play with more height but with more force and through the head to get more tone and more sound. Playing correct heights is important, but if you're not getting correct sound quality this means nothing. This will naturally project the sound. Below are

the guidelines for bass drum heights. Again, techniques and specifications vary between

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

9

drumlines. (All fractions are based on the Forte / perpendicular height. Establish this height first

and then work the others around it.) Start in “set” position with the mallets about 1 inch away from the head.

Stick heights are not only important for visual reasons but they also strongly affect the sound quality. To get a uniform and consistent sound, one must play with even stick heights on the right and left hand. To practice playing with accurate stick heights, set up your drum or pad in

front of a mirror. Start with a simple exercise and watch to see if your left heights are even with your right. If you have access to a video camera, you can record yourself and watch it later. It is

easier to watch your heights and critique your performance when you are not focusing on playing.

CYMBALS

Cymbals are not played in the same manner as orchestral crash cymbals, as there is a change in the grip of the straps. The hand goes through the hoop and twists, causing the hand to be flat

against the bell of the cymbal, although variations are sometimes used for effect. Each player carries two cymbals of identical size and crashes them together, in addition to producing other sound effects by striking or rubbing the cymbals together. Cymbal players often perform

visuals – movements such as twirls and flips that are eye-pleasing and boost the general effect of the group. There is generally a 1-to-1 or 1-to-2 ratio of cymbal players to snares, as snare

drummers sometimes play on the cymbals at some point during the performance, much in the manner that hi-hat cymbals are used on a drum set. The number of cymbal players can vary according to their use. Cymbal parts are often split in the same manner as bass drum parts – each

cymbalist plays one component of a larger part. Some drum corps (or less often, marching bands) do not have marching cymbal players at all, instead choosing to march additional hornline

or color guard members, or other percussion instruments. In indoor percussion ensembles, the trend seems to be towards keeping or expanding cymbal sections.

Among many differences between marching and orchestral cymbals, there are many types of

crashes. Crash-chokes are played beginning with a normal crash, but pulled into the body at the shoulders or stomach so as to effectively stop the sound after attaining the desired crash. Slides

are played using the right cymbal to drive into the left, where the outer edge hits 1/2 way between the bell and the edge of the left cymbal. After the right cymbal slides up on the left, it is brought back straight into the body. The cymbal is stopped by catching the air pocket inside of

the cymbals. The cymbals maintain contact at all times. The desired sound is a "sizzle then choke" effect. As well as different types of crashes, cymbals can use many types of visuals,

which are only limited to the imaginations of those wielding the cymbals.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

10

THE ROLE OF BRASS INSTRUMENT IN A MARCHING BAND

THE BRASS INSTRUMENT

A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in

a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are also called labrosones, literally meaning "lip-vibrated instruments".[1]

There are several factors involved in producing different pitches on a brass instrument. Slides,

valves, crooks, or keys are used to change vibratory length of tubing, thus changing the available harmonic series, while the player's embouchure, lip tension and air flow serve to select the

specific harmonic produced from the available series.

The view of most scholars (see organology) is that the term "brass instrument" should be defined by the way the sound is made, as above, and not by whether the instrument is actually made of

brass. Thus one finds brass instruments made of wood, like the alphorn, the cornett, the serpent and the didgeridoo, while some woodwind instruments are made of brass, like the saxophone.

Families of Brass Instrument

Modern brass instruments generally come in one of two families: Valved

Brass instruments use a set of valves (typically three or four but as many as seven or more in some cases) operated by the player's fingers that introduce additional tubing, or crooks, into the

instrument, changing its overall length. This family includes all of the modern brass instruments except the trombone: the trumpet, horn (also called French horn), euphonium, and tuba, as well as the cornet, flügelhorn, tenor horn (alto horn), baritone horn, sousaphone, mellophone, and the

saxhorn. As valved instruments are predominant among the brasses today, a more thorough discussion of their workings can be found below. The valves are usually piston valves, but can be

rotary valves; the latter are the norm for the horn and are also prevalent on the tuba. Slide

Brass instruments use a slide to change the length of tubing. The main instruments in this

category are the trombone family, though valve trombones are occasionally used, especially in jazz. The trombone family's ancestor, the sackbut, and the folk instrument bazooka are also in

the slide family.

There are two other families that have, in general, become functionally obsolete for practical purposes. Instruments of both types, however, are sometimes used for period-instrument

performances of Baroque or Classical pieces. In more modern compositions, they are occasionally used for their intonation or tone color.

Natural

Brass instruments only play notes in the instrument's harmonic series. These include the bugle and older variants of the trumpet and horn. The trumpet was a natural brass instrumentprior to

about 1795, and the horn before about 1820. In the 18th century, makers developed interchangeable crooks of different lengths, which let players use a single instrument in more

than one key. Natural instruments are still played for period performances and some ceremonial

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

11

functions, and are occasionally found in more modern scores, such as those by Richard Wagner

and Richard Strauss. Keyed or Fingered

Brass instruments used holes along the body of the instrument, which were covered by fingers or by finger-operated pads (keys) in a similar way to a woodwind instrument. These included the cornett, serpent, ophicleide, keyed bugle and keyed trumpet. They are more difficult to play than

valved instruments. Bore taper and diameter

Brass instruments may also be characterised by two generalizations about geometry of the bore, that is, the tubing between the mouthpiece and the flaring of the tubing into the bell. Those two generalizations are with regard to

The degree of taper or conicity of the bore and

The diameter of the bore with respect to its length.

Cylindricality vs. Conicality

While all modern valved and slide brass instruments consist in part of conical and in part of cylindrical tubing, they are divided as follows:

Cylindrical Bore: Brass instruments are those in which approximately constant diameter tubing predominates. Cylindrical bore brass instruments are generally perceived as

having a brighter, more penetrating tone quality compared to conical bore brass instruments. The trumpet, baritone horn and all trombones are cylindrical bore. In particular, the slide design of the trombone necessitates this.

Conical Bore: Brass instruments are those in which tubing of constantly increasing diameter predominates. Conical bore instruments are generally perceived as having a

more mellow tone quality than the cylindrical bore brass instruments. The "British brass band" group of instruments fall into this category. This includes the flugelhorn, cornet, tenor horn (alto horn), horn, euphonium and tuba. Some conical bore brass instruments

are more conical than others. For example, the flugelhorn differs from the cornet by having a higher percentage of its tubing length conical than does the cornet, in addition to

possessing a wider bore than the cornet. In the 1910s and 1920s, the E.A. Couturier company built brass band instruments utilizing a patent for a continuous conical bore without cylindrical portions even for the valves or tuning slide.

Whole-tube vs. half-tube

The second division, based on bore diameter in relation to length,[2] determines whether the

fundamental tone or the first overtone is the lowest partial practically available to the player:

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

12

Neither the horns nor the trumpet could produce the 1st note of the

harmonic series ... A horn giving the C of an open 8 ft organ pipe had to be 16 ft (5 m). long. Half its length was practically useless

... it was found that if the calibre of tube was sufficiently enlarged in proportion to its length, the instrument could be relied upon to give its fundamental note in all normal circumstances. – Cecil

Forsyth, Orchestration,

Whole-Tube: Instruments have larger bores in relation to tubing length, and can play the

fundamental tone with ease and precision. The tuba and euphonium are examples of whole-tube brass instruments.

Half-Tube: Instruments have smaller bores in relation to tubing length and cannot easily or

accurately play the fundamental tone. The second partial (first overtone) is the lowest note of each tubing length practical to play on half-tube instruments. The trumpet and horn are examples

of half-tube brass instruments.

Other Brass Instruments

The instruments in this list fall for various reasons outside the scope of much of the discussion

above regarding families of brass instruments.

Alphorn (wood)

Conch (shell)

Didgeridoo (wood, Australia)

Natural horn (no valves or slides except tuning crook)

Keyed bugle (keyed brass)

Keyed trumpet (keyed brass)

Serpent (keyed brass)

Ophicleide (keyed brass)

Shofar (animal horn)

Vladimirskiyrozhok (wood, Russia)

Vuvuzela (simple short horn, origins disputed but achieved fame or notoriety through

many plastic examples in the 2010 World Cup)

Lur

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

13

Valves

There are majorly two types of valves, the piston valve and rotary valve

Piston valve Rotary valve

Rotary valve

Slide

Valves are used to change the length of tubing of a brass instrument allowing the player to reach the notes of various harmonic series. Each valve pressed diverts the air stream through additional

tubing, individually or in conjunction with other valves. This lengthens the vibrating air column thus lowering the fundamental tone and associated harmonic series produced by the instrument. Designs exist, although rare, in which this behaviour is reversed, i.e., pressing a valve removes a

length of tubing rather than adding one. One modern example of such an ascending valve is the Yamaha YSL-350C trombone,[4] in which the extra valve tubing is normally engaged to pitch the

instrument in Bb, and pressing the thumb lever removes a whole step to pitch the instrument in C. Valves require regular lubrication.

A core standard valve layout based on the action of three valves had become almost universal by

(at latest) 1864 as witnessed by Arban's Method published in that year. The effect of a particular combination of valves may be seen in the table below. This table is correct for the core 3-valve

layout on almost any modern valved brass instrument. The most common four-valve layout is a superset of the well-established 3-valve layout and is noted in the table, despite the exposition of four-valve and also five-valve systems (the latter used on the tuba) being incomplete in this

article.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

14

Valve combination and effect on pitch

Valve combination Effect on pitch Interval Tuning problems

2 1/2 step Minor second

1 1 step Major second

1+2 or 3 1½ step Minor third Flat

2+3 2 steps Major third Slightly sharp

1+3 or 4 2½ steps Perfect fourth Sharp

1+2+3 or 2+4 3 steps Tritone Very sharp

1+4 3 ½ steps Perfect fifth

1+2+4 or 3+4 4 steps Augmented fifth

2+3+4 4 ½ steps Major sixth

1+3+4 5 steps Minor seventh

1+2+3+4 5 ½ steps Major seventh

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

15

Tuning

Since valves lower the pitch, a valve that makes a pitch too low (flat) creates an interval wider than desired, while a valve that plays sharp creates an interval narrower than desired.Intonation

deficiencies of brass instruments that are independent of the tuning or temperament system are inherent in the physics of the most popular valve design, which uses a small number of valves in combination to avoid redundant and heavy lengths of tubing[5] (this is entirely separate from the

slight deficiencies between Western music's dominant equal (even) temperament system and the just (not equal) temperament of the harmonic series itself). Since each lengthening of the tubing

has an inversely proportional effect on pitch (Pitch of brass instruments), while pitch perception is logarithmic, there is no way for a simple, uncompensated addition of length to be correct in every combination when compared with the pitches of the open tubing and the other valves. [6]

Absolute Tube Length

For example, given a length of tubing equaling 100 inches when open, one may obtain the

following tuning discrepancies:

Valve combination and creation of pitch discrepancies

Valve(s) Desired pitch Necessary

valve length

Component

tubing length Difference Slide positions

Open tubing A♯/B♭ 0" – – 1

2 A 5.9" – – 2

1 G♯/A♭ 12.2" – – 3

1+2 or 3 G 18.9" 18.1" 0.8" 4

2+3 or F♯/G♭ 25.9" 24.8" 1.1" 5

1+3 or 4 E♯/F 33.5" 31.1" 2.4" 6 or T

1+2+3 or 2+4 E/F♭ 41.4" 37" 4.4" 7 or T+2

1+4 D♯/E♭

45.7"

T+3

1+2+4 or 3+4 D

52.4"

T+4

2+3+4 C♯/D♭

58.3"

T+5

1+3+4 B♯/C

64.6"

T+6

1+2+3+4 B/C♭

70.5"

T+7

Playing notes using valves (notably 1st + 3rd and 1st + 2nd + 3rd) requires compensation to

adjust the tuning appropriately, either by the player's lip-and-breath control, via mechanical assistance of some sort, or, in the case of horns, by the position of the stopping hand in the bell.

'T' stands for trigger on a trombone.

Relative tube length

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

16

Traditionally the valves lower the pitch of the trumpet, by adding extra lengths of tubing based

on a just tuning:

1st valve: 1/8 of main tube, making an interval of 9:8, a pythagorean major second

2nd valve: 1/15 of main tube, making an interval of 16:15, a just minor second

3rd valve: 1/5 of main tube, making an interval of 6:5, a just minor third

Combining the valves and the harmonics of the instrument leads to the following ratios and

comparisons to 12-tone equal tuning and to a common five-limit tuning in C:

Valves Harmonic Note Ratio Cents Cents from

12ET

Just tuning Cents from

just

○○○ 2 C 1:1 0 0 1:1 0

●●● 3 C♯/D♭ 180:167 130 30 16:15 18

●○● 3 D 60:53 215 15 9:8 11

○●● 3 D♯/E♭ 45:38 293 -7 6:5 -23

●●○ 3 E 180:143 398 -2 5:4 12

●○○ 3 F 4:3 498 -2 4:3 0

○●○ 3 F♯/G♭ 45:32 590 -10 45:32 0

○○○ 3 G 3:2 702 2 3:2 0

○●● 4 G♯/A♭ 30:19 791 -9 8:5 -23

●●○ 4 A 240:143 896 -4 5:3 12

●○○ 4 A♯/B♭ 16:9 996 -4 9:5 -22

○●○ 4 B 15:8 1088 -12 15:8 0

○○○ 4 C 2:1 1200 0 2:1 0

●●○ 5 C♯/D♭ 300:143 1283 -17 32:15 -29

●○○ 5 D 20:9 1382 -18 9:4 -22

○●○ 5 D♯/E♭ 75:32 1475 -25 12:5 -41

○○○ 5 E 5:2 1586 -14 5:2 0

Tuning compensation

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

17

The additional tubing for each valve usually features a short tuning slide of its own for fine

adjustment of the valve's tuning, except when it is too short to make this practicable. For the first and third valves this is often designed to be adjusted as the instrument is played, to account for

the deficiencies in the valve system.

In most trumpets and cornets, the compensation must be provided by extending the third valve slide with the third or fourth finger, and the first valve slide with the left hand thumb (see Trigger

or throw below). This is used to lower the pitch of the 1-3 and 1-2-3 valve combinations. On the

trumpet and cornet, these valve combinations correspond to low D, low C♯, low G, and low

F♯, so chromatically, to stay in tune, one must use this method.

In instruments with a fourth valve, such as tubas, euphoniums, piccolo trumpets, etc. that valve lowers the pitch by a perfect fourth; this is used to compensate for the sharpness of the valve combinations 1-3 and 1-2-3 (4 replaces 1-3, 2-4 replaces 1-2-3). All three normal valves may be

used in addition to the fourth to increase the instrument's range downwards by a perfect fourth, although with increasingly severe intonation problems.

When four-valved models without any kind of compensation play in the corresponding register, the sharpness becomes so severe that players must finger the note a half-step below the one they are trying to play. This eliminates the note a half-step above their open fundamental.

Manufacturers of low brass instruments may choose one or a combination of four basic approaches to compensate for the tuning difficulties, whose respective merits are subject to

debate:

Compensation System

In the Compensation system, each of the first two (or three) valves has an additional set of tubing

extending from the back of the valve. When the third (or fourth) valve is depressed in combination with another one, the air is routed through both the usual set of tubing plus the extra

one, so that the pitch is lowered by an appropriate amount. This allows compensating instruments to play with accurate intonation in the octave below their open second partial, which is critical for tubas and euphoniums in much of their repertoire.

The compensating system was applied to horns to serve a different purpose. It was used to allow a double horn in F and B flat to ease playing difficulties in the high register. In contrast to the

system in use in tubas and euphoniums, the default 'side' of the horn is the longer F horn, with secondary lengths of tubing coming into play when the first, second or third valves are pressed; pressing the thumb valve takes these secondary valve slides and the extra length of main tubing

out of play to produce a shorter B-flat horn. A later "full double" design has completely separate valve section tubing for the two sides, and is considered superior, although rather heavier in

weight.

Trigger or Throw

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

18

Some valved brass instruments provide triggers or throws that manually lengthen (or, less

commonly, shorten) the main tuning slide, a valve slide, or the main tubing. These mechanisms alter the pitch of notes that are naturally sharp in a specific register of the instrument, or shift the

instrument to another playing range. Triggers and throws permit speedy adjustment while playing.

Trigger is used in two senses:

A trigger can be a mechanical lever that lengthens a slide when pressed in a contrary direction. Triggers are sprung in such a way that they return the slide to its original

position when released.

The term "trigger" also describes a device that lengthens certain brass instruments' main length of tubing to shift its range to another playing range, as with certain trombones.

A throw is a simple metal grip for the player's finger or thumb, attached to a valve slide. The general term "throw" can describe a u-hook, a saddle (u-shaped grips), or a ring (ring-shape grip)

in which a player's finger or thumb rests. A player extends a finger or thumb to lengthen a slide, and retracts the finger to return the slide to its original position.

Mechanism

The two major types of valve mechanisms are rotary valves and piston valves. The first piston valve instruments were developed just after the start of the 19th century. The Stölzel valve

(invented by Heinrich Stölzel in 1814) was an early variety. In the mid 19th century the Vienna valve was an improved design. However many professional musicians preferred rotary valves for quicker, more reliable action, until better designs of piston valves were mass manufactured

towards the end of the 19th century. Since the early decades of the 20th century, piston valves have been the most common on brass instruments except for the orchestral horn and the tuba. [10]

See also the article Brass Instrument Valves.

Sound production in brass instruments

Because the player of a brass instrument has direct control of the prime vibrator (the lips), brass

instruments exploit the player's ability to select the harmonic at which the instrument's column of air vibrates. By making the instrument about twice as long as the equivalent woodwind

instrument and starting with the second harmonic, players can get a good range of notes simply by varying the tension of their lips (see embouchure).

Most brass instruments are fitted with a removable mouthpiece. Different shapes, sizes and styles

of mouthpiece may be used to suit different embouchures, or to more easily produce certain tonal characteristics. Trumpets, trombones, and tubas are characteristically fitted with a cupped

mouthpiece, while horns are fitted with a conical mouthpiece.

One interesting difference between a woodwind instrument and a brass instrument is that woodwind instruments are non-directional. This means that the sound produced propagates in all

directions with approximately equal volume. Brass instruments, on the other hand, are highly

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

19

directional, with most of the sound produced traveling straight outward from the bell. This

difference makes it significantly more difficult to record a brass instrument accurately. It also plays a major role in some performance situations, such as in marching bands.

Manufacture

Traditionally the instruments are normally made of brass, polished and then lacquered to prevent corrosion. Some higher quality and higher cost instruments use gold or silver plating to prevent

corrosion. A few specialty instruments are made from wood.

Alternatives to brass include other alloys containing significant amounts of copper or silver.

These alloys are biostatic due to the oligodynamic effect, and thus suppress growth of molds, fungi or bacteria. Brass instruments constructed from stainless steel or aluminiumhave good sound quality but are rapidly colonized by microorganisms and become unpleasant to play.

Most higher quality instruments are designed to prevent or reduce galvanic corrosion between any steel in the valves and springs, and the brass of the tubing. This may take the form of

desiccant design, to keep the valves dry, sacrificial zincs, replaceable valve cores and springs, plastic insulating washers, or nonconductive or noble materials for the valve cores and springs. Some instruments use several such features.

The process of making the large open end (bell) of a brass instrument is called metal beating. In making the bell of, for example, a trumpet, a person lays out a pattern and shapes sheet metal

into a bell-shape using templates, machine tools, handtools, and blueprints. The maker cuts out the bell blank, using hand or power shears. He hammers the blank over a bell-shaped mandrel, and butts the seam, using a notching tool. The seam is brazed, using a torch and smoothed using

a hammer or file. A draw bench or arbor press equipped with expandable lead plug is used to shape and smooth the bell and bell neck over a mandrel. A lathe is used to spin the bell head and

to form a bead at the edge of bell head. Previously shaped bell necks are annealed, using a hand torch to soften the metal for further bending. Scratches are removed from the bell using abrasive-coated cloth.

Ensembles

Brass instruments are one of the major classical instrument families and are played across a

range of musical ensembles.

Orchestras include a varying number of brass instruments depending on music style and era, typically:

two to five trumpets

two to eight horns

two tenor trombones

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

20

one bass trombone

one tuba

o Baroque and classical period orchestras may include valveless trumpets or bugles, or

have valved trumpets/cornets playing these parts, and they may include valveless horns, or have valved horns playing these parts.

o Romantic, modern, and contemporary orchestras may include larger numbers of

brass including more exotic instruments.

Concert bands generally have a larger brass section than an orchestra, typically:

four to seven trumpets or cornets

four to eight horns

two to four trombones

one to two bass trombones

two to three euphoniums or baritone horns

two to three tubas

Big bands and other jazz bands commonly contain cylindrical bore brass instruments.

A big band typically includes:

o four trumpets

o four tenor trombones

o one bass trombone (in place of one of the tenor trombones)

Smaller jazz ensembles may include a single trumpet or trombone soloist.

Single brass instruments are also often used to accompany other instruments or ensembles such

as an organ or a choir.

Brass instruments are also known as labrosones or lip-vibrated instruments. The pitch of brass

instruments is affected by the player's lip vibration, or embouchure, and the airflow. Other components of the instrument like crooks adjusted by slides or valves can change the length of the tubing and alter the harmonic series of some instruments. It is generally held that the

classification of instruments should be decided based on how the sound is produced rather than the material of the instrument. For this reason some brass instruments may be made of wood like

certain alp horns, cornets, and serpents. Additionally an instrument like the saxophone, while

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

21

commonly constructed out of brass, is classified as a woodwind as its sound is produced by a

vibrating reed rather than the vibration of the lips on the mouthpiece.

Early brass instruments include those in the natural or keyed families and are nearly obsolete.

Natural instruments are without valves or slides to provide key changes, so they only play the notes in their harmonic series. There are natural versions of instruments like the bugle, trumpet, and horn which are typically only played in Baroque or Romantic concerts.

The two predominant contemporary families of brass instruments are valved brass and slide brass. Valves began to be used on instruments as early as the late 18th century but were first

patented by Friedrich Bluhmel and Heinrich Stolzel in 1818. These early valves were manufactured by W. Schuster. It is common for an instrument to have three to four valves although there may be as many or more than seven. The three valve standard was published in

Arban's Method in 1864 and remains predominate today. Valved instruments make up the majority of modern brass. There are some instruments like the trombone which more commonly

falls into the slide brass family which utilize a slide to change the length of tubing and adjust the pitch rather than valves.

Brass instruments can also be classified as cylindrical bore or conical bore. Cylindrical

instruments have tubing which maintains the same diameter like the trumpet, baritone horn, and trombone. These tend to have a brighter and more penetrating tone. Big Bands contain primarily

cylindrical bore bass with trumpets and trombones. The tubing of conical instruments is constantly increasing in diameter allowing for a mellow, subdued sound as found in the cornet, tenor horn, euphonium, and tuba. British brass bands are composed entirely of conical brass

instruments such as these.

We have different series and types of brass instrument but for the cause of this study we are

going to dwell on few of the instrument.

TRUMPET AS AN BRASS INSTRUMENT

A trumpet is a musical instrument. It has the highest register in the brass family. As a signaling

device, trumpets have a very long history, dating back to at least 1500 BC; they have been used as musical instruments since the 15th century. They are played by blowing air through closed

lips, producing a "buzzing" sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, usually bent twice into a rounded oblong shape.

There are several types of trumpet. The most common is a transposing instrument pitched in B♭ with a tubing length of about 1.48 m (4 ft10 in). Earlier trumpets did not have valves, but modern

instruments generally have either three piston valves or, more rarely, three rotary valves. Each valve increases the length of tubing when engaged, thereby lowering the pitch.

A musician who plays the trumpet is called a trumpet player or trumpeter.

Image of Various Trumpets

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

22

History

The earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from

Tutankhamun's grave in Egypt, bronze lurs from Scandinavia, and metal trumpets from China date back to this period. Trumpets from the Oxus civilization (3rd millennium BC) of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is

considered a technical wonder. The Moche people of ancient Peru depicted trumpets in their art going back to 300 AD. The earliest trumpets were signaling instruments used for military or

religious purposes, rather than music in the modern sense; and the modern bugle continues this signaling tradition.

The trumpet players were often among the most heavily guarded members of a troop, as they

were relied upon to relay instructions to other sections of the army.

Improvements to instrument design and metal making in the late Middle Ages and Renaissance

led to an increased usefulness of the trumpet as a musical instrument. The natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the

instrument.

The attempt to give the trumpet more chromatic freedom in its range saw the development of the

keyed trumpet, but this was a largely unsuccessful venture due to the poor quality of its sound.

Although the impetus for a tubular valve began as early as 1793, it was not until 1818 that Friedrich Bluhmel and Heinrich Stölzel made a joint patent application for the box valve as

manufactured by W. Schuster. The symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets. Crooks and shanks (removable tubing of various lengths)

as opposed to keys or valves were standard, notably in France, into the first part of the 20th century. As a consequence of this late development of the instrument's chromatic ability, the repertoire for the instrument is relatively small compared to other instruments. The 20th century

saw an explosion in the amount and variety of music written for the trumpet.

Types

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

23

The most common type is the B♭ trumpet, but A, C, D, E♭, E, low F, and G trumpets are also

available. The C trumpet is most common in American orchestral playing, where it is used

alongside the B♭ trumpet. Its slightly smaller size gives it a brighter, more lively sound. Orchestra trumpet players are generally adept at transposing music at sight, sometimes playing

music written for the A, B♭, D, E♭, E, or F trumpet on the C trumpet or B♭ trumpet.

Piccolo trumpet in B♭, with swappable leadpipes to tune the instrument to B♭ (shorter) or A

(longer)

The smallest trumpets are referred to as piccolo trumpets. The most common of these are built to

play in both B♭ and A, with separate leadpipes for each key. The tubing in the B♭ piccolo

trumpet is one-half the length of that in a standard B♭ trumpet. Piccolo trumpets in G, F and C are also manufactured, but are rarer. Many players use a smaller mouthpiece on the piccolo

trumpet, which requires a different sound production technique from the B♭ trumpet and can

limit endurance. Almost all piccolo trumpets have four valves instead of the usual three the fourth valve lowers the pitch, usually by a fourth, to assist in the playing of lower notes and to create alternate fingerings that facilitate certain trills. Maurice André, HåkanHardenberger,

David Mason, and Wynton Marsalis are some well-known trumpet players known for their additional virtuosity on the piccolo trumpet.

Trumpets pitched in the key of low G are also called sopranos, or soprano bugles, after their adaptation from military bugles. Traditionally used in drum and bugle corps, sopranos have featured both rotary valves and piston valves.

The bass trumpet is usually played by a trombone player, being at the same pitch. Bass trumpet is played with a shallower trombone mouthpiece, and music for it is written in treble clef. The

most common keys for bass trumpets are C and B♭. Both C and B♭ bass trumpets are

transposing instruments sounding an octave (C) or a major ninth (B♭) lower than written.

The Modern Slide Trumpet

The modern slide trumpet is a B♭ trumpet that has a slide instead of valves. It is similar to a soprano trombone. The first slide trumpets emerged during the Renaissance, predating the

modern trombone, and are the first attempts to increase chromaticism on the instrument. Slide trumpets were the first trumpets allowed in the Christian church.

The historical slide trumpet was probably first developed in the late 14th century for use in

altacapella wind bands.

The Pocket Trumpet

The pocket trumpet is a compact B♭ trumpet. The bell is usually smaller than a standard trumpet and the tubing is more tightly wound to reduce the instrument size without reducing the

total tube length. Its design is not standardized, and the quality of various models varies greatly.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

24

It can have a tone quality and projection unique in the trumpet world: a warm sound and a voice-

like articulation. Unfortunately, since many pocket trumpet models suffer from poor design as well as cheap and sloppy manufacturing, the intonation, tone color and dynamic range of such

instruments are severely hindered. Professional-standard instruments are, however, available. While they are not a substitute for the full-sized instrument, they can be useful in certain contexts. The jazz musician Don Cherry was renowned for his playing of the pocket instrument.

The Herald Trumpet

The herald trumpet is a B♭ trumpet with an elongated bell extending far in front of the player.

Due to its showy appearance, this type of trumpet is mostly used for ceremonial events such as parades and fanfares.

There are also rotary-valve, or German, trumpets, (which are commonly used in professional European orchestras) as well as alto and Baroque trumpets.

The trumpet is often confused with its close relative the cornet, which has a more conical tubing shape compared to the trumpet's more cylindrical tube. This, along with additional bends in the cornet's tubing, gives the cornet a slightly mellower tone, but the instruments are otherwise

nearly identical. They have the same length of tubing and, therefore, the same pitch, so music written for cornet and trumpet is interchangeable. Another relative, the flugelhorn, has tubing

that is even more conical than that of the cornet, and an even richer tone. It is sometimes augmented with a fourth valve to improve the intonation of some lower notes.

Fingering

On any modern trumpet, cornet, or flugelhorn, pressing the valves indicated by the numbers below produces the written notes shown. "OPEN" means all valves up, "1" means first valve, "1-2" means first and second valve simultaneously, and so on. The concert pitch that sounds

depends on the transposition of the instrument. Engaging the fourth valve, if present, drops any of these pitches by a perfect fourth as well. Within each overtone series, the different pitches are

attained by changing the embouchure, or lip-aperture size and "firmness". Standard fingerings

above high C are the same as for the notes an octave below (C♯ is 1-2, D is 1, etc.)

A step = a tone; a half step = a semitone

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

25

Each overtone series on the trumpet begins with the first overtone—the fundamental of each

overtone series cannot be produced except as a pedal tone. Notes in parentheses are the sixth overtone, representing a pitch with a frequency of seven times that of the fundamental; while this

pitch is close to the note shown, it is slightly flat relative to equal temperament, and use of those fingerings is generally avoided.

The fingering schema arises from the length of each valve's tubing (a longer tube produces a

lower pitch). Valve "1" increases the tubing length enough to lower the pitch by one whole step, valve "2" by one half step, and valve "3" by one and a half steps. This scheme and the nature of

the overtone series create the possibility of alternate fingerings for certain notes. For example, third-space "C" can be produced with no valves engaged (standard fingering) or with valves 2-3. Also, any note produced with 1-2 as its standard fingering can also be produced with valve 3 -

each drops the pitch by 1-1/2 steps. Alternate fingerings may be used to improve facility in certain passages, or to aid in intonation. Extending the third valve slide when using the

fingerings 1-3 or 1-2-3 further lowers the pitch slightly to improve intonation.

Range

The standard trumpet range extends from the written F♯ immediately below Middle C up to

about three octaves higher. Traditional trumpet repertoire rarely calls for notes beyond this

range, and the fingering tables of most method books peak at the high C, two octaves above middle C. Several trumpeters have achieved fame for their proficiency in the extreme high register, among them Maynard Ferguson, Cat Anderson, Dizzy Gillespie, Doc Severinsen, and

more recently Wayne Bergeron, Thomas Gansch, James Morrison, Jon Faddis and Arturo

Sandoval. It is also possible to produce pedal tones below the low F♯, which is a device

commonly employed in contemporary repertoire for the instrument.

Extended technique

Contemporary music for the trumpet makes wide uses of extended trumpet techniques.

Flutter tonguing: The trumpeter rolls the tip of the tongue to produce a 'growling like' tone. It is achieved as if one were rolling an R in the Spanish language. This technique is widely employed

by composers like Berio and Stockhausen.

Growling: Simultaneously humming while playing a note creates two sets of vibrations that

interfere with each other and create a characteristic 'growling' sound. Many jazz players use the technique which is different from flutter-tonguing, where the tongue modifies the sound.

Double tonguing: The player articulates using the syllables ta-ka ta-ka ta-ka

Triple tonguing: The same as double tonguing, but with the syllables ta-ta-ka ta-ta-ka ta-ta-ka or ta-ka-ta ta-ka-ta.

Doodle tongue: The trumpeter tongues as if saying the word doodle. This is a very faint tonguing similar in sound to a valve tremolo.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

26

Glissando: Trumpeters can slide between notes by depressing the valves halfway and changing

the lip tension. Modern repertoire makes extensive use of this technique.

Vibrato: It is often regulated in contemporary repertoire through specific notation. Composers

can call for everything from fast, slow or no vibrato to actual rhythmic patterns played with vibrato.

Pedal tone: Composers have written for two-and-a-half octaves below the low F♯, which is at

the bottom of the standard range. Extreme low pedals are produced by slipping the lower lip out

of the mouthpiece. Claude Gordon assigned pedals as part of his trumpet practice routines, that were a systematic expansion on his lessons with Herbert L. Clarke. The technique was pioneered by BohumirKryl.

Microtones: Composers such as Scelsi and Stockhausen have made wide use of the trumpet's ability to play microtonally. Some instruments feature a fourth valve that provides a quarter-tone

step between each note.

Mute belt: Karlheinz Stockhausen pioneered the use of a mute belt, worn around the player's waist, to enable rapid mute changes during pieces. The belt allows the performer to make faster

and quieter mute changes, as well as enabling the performer to move around the stage.

Valve tremolo: Many notes on the trumpet can be played in several different valve

combinations. By alternating between valve combinations on the same note, a tremolo effect can be created. Berio makes extended use of this technique in his Sequenza X.

Noises: By hissing, clicking, or breathing through the instrument, the trumpet can be made to

resonate in ways that do not sound at all like a trumpet. Noises may require amplification.

Preparation: Composers have called for trumpeters to play under water, or with certain slides removed. It is increasingly common for composers to specify all sorts of preparations for

trumpet. Extreme preparations involve alternate constructions, such as double bells and extra valves.

Singing: Composers such as Robert Erickson and Mark-Anthony Turnage have called for trumpeters to sing during the course of a piece, often while playing. It is possible to create a multiphonic effect by singing and playing different notes simultaneously.

Split tone: Trumpeters can produce more than one tone simultaneously by vibrating the two lips at different speeds. The interval produced is usually an octave or a fifth.

Lip Trill or Shake: By rapidly varying lip tension, but not changing the depressed valves, the pitch varies quickly between adjacent harmonics. These are usually done, and are more straightforward to execute, in the upper register.

Construction

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

27

The trumpet is constructed of brass tubing bent twice into a rounded oblong shape. As with all

brass instruments, sound is produced by blowing air through closed lips, producing a "buzzing" sound into the mouthpiece and starting a standing wave vibration in the air column inside the

trumpet. The player can select the pitch from a range of overtones or harmonics by changing the lip aperture and tension (known as the embouchure). The mouthpiece has a circular rim, which provides a comfortable environment for the lips' vibration. Directly behind the rim is the cup,

which channels the air into a much smaller opening (the back bore or shank) that tapers out slightly to match the diameter of the trumpet's lead pipe. The dimensions of these parts of the

mouthpiece affect the timbre or quality of sound, the ease of playability, and player comfort. Generally, the wider and deeper the cup, the darker the sound and timbre.

Modern trumpets have three (or infrequently four) piston valves, each of which increases the

length of tubing when engaged, thereby lowering the pitch. The first valve lowers the instrument's pitch by a whole step (2 semitones), the second valve by a half step (1 semitone),

and the third valve by one-and-a-half steps (3 semitones). When a fourth valve is present, as with some piccolo trumpets, it usually lowers the pitch a perfect fourth (5 semitones). Used singly and in combination these valves make the instrument fully chromatic, i.e., able to play all twelve

pitches of classical music. For more information about the different types of valves, see Brass instrument valves.

The pitch of the trumpet can be raised or lowered by the use of the tuning slide. Pulling the slide out lowers the pitch; pushing the slide in raises it. To overcome the problems of intonation and reduce the use of the slide, RenoldSchilke designed the tuning-bell trumpet. Removing the usual

brace between the bell and a valve body allows the use of a sliding bell; the player may then tune the horn with the bell while leaving the slide pushed in, or nearly so, thereby improving

intonation and overall response.

A trumpet becomes a closed tube when the player presses it to the lips; therefore, the instrument only naturally produces every other overtone of the harmonic series. The shape of the bell makes

the missing overtones audible. Most notes in the series are slightly out of tune and modern trumpets have slide mechanisms for the first and third valves with which the player can

compensate by throwing (extending) or retracting one or both slides, using the left thumb and ring finger for the first and third valve slides respectively.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

28

Trumpet valve bypass (depressed)

TROMBONE AS A BRASS INSTRUMENT

The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the player’s vibrating lips (embouchure) cause the air column inside the instrument to vibrate. Nearly all trombones have a telescoping slide mechanism that varies the

length of the instrument to change the pitch. Special variants like the valve trombone and superbone have three valves like those on the trumpet.

The word trombone derives from Italian tromba (trumpet) and -one (a suffix meaning "large"), so the name means "large trumpet". The trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium

and the horn. The most frequently encountered trombones are the tenor trombone and bass

trombone. The most common variant, the tenor, is a non-transposing instrument pitched in B♭,

an octave below the B♭ trumpet and an octave above the B♭tuba. The once common E♭alto

trombone became less widely used as improvements in technique extended the upper range of the tenor, but it is now enjoying a resurgence due to its lighter sonority which is appreciated in many classical and early romantic works. Trombone music, along with music for euphonium and

tuba, is typically written in concert pitch, although exceptions do occur, notably in almost all

brass-band music where tenor trombone is presented as a B♭transposing instrument, written in

treble clef.

A tenor trombone mouthpiece

Construction

Basic trombone anatomy

1. tuning slide

2. counterweight

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

29

3. mouthpiece

4. slide lock ring

5. bell

6. knob/bumper

7. water key/spit valve

8. main slide

9. second slide brace/stay

10. first slide brace/stay

11. bell lock nut

The trombone is a predominantly cylindrical tube bent into an elongated "S" shape. Rather than being completely cylindrical from end to end, the tube is a complex series of tapers with the

smallest at the mouthpiece receiver and the largest just before the bell flare. The design of these tapers affects the intonation of the instrument. As with other brass instruments, sound is

produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument.

The detachable cup-shaped mouthpiece is similar to that of the baritone horn and closely related

to that of the trumpet. It has the venturi: a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece

receiver in the slide section. The slide section consists of a leadpipe, the inner and outer slide tubes, and the bracing, or stays. Modern stays are soldered, while sackbuts (medieval precursors to trombones) were made with loose, unsoldered stays (this remained the pattern for German

trombones until the mid-20th century).

The 'slide', the most distinctive feature of the trombone (cf. valve trombone), allows the player to

extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and these stockings were soldered onto the ends of the inner slide tubes. Nowadays, the stockings are

incorporated into the manufacturing process of the inner slide tubes and represent a fractional widening of the tube to accommodate the necessary method of alleviating friction. This part of

the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, and bell or back bow (U-bend). The joint connecting the slide and bell sections is furnished with a ferrule to secure the connection of the two parts of the

instrument, though older models from the early 20th century and before were usually equipped with friction joints and no ancillary mechanism to tighten the joint.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

30

The adjustment of intonation is most often accomplished with a tuning slide that is a short slide

between the neckpipe and the bell incorporating the bell bow (U-bend); this device was designed by the French maker François Riedlocker during the early 19th century and applied to French

and British designs and later in the century to German and American models, though German trombones were built without tuning slides well into the 20th century. However, trombonists, unlike other instrumentalists, are not subject to the intonation issues resulting from valved or

keyed instruments, since they can adjust intonation "on the fly" by subtly altering slide positions when necessary. For example, second position "A" is not in exactly the same place on the slide

as second position "E." Many types of trombone also include one or more rotary valves used to increase the length of the instrument (and therefore lower its pitch) by directing the air flow through additional tubing.

Like the trumpet, the trombone is considered a cylindrical bore instrument since it has extensive sections of tubing, principally in the slide section, that are of unchanging diameter. Tenor

trombones typically have a bore of 0.450" (small bore) to 0.547" (large or orchestral bore) after the leadpipe and through the slide. The bore expands through the backbore to the bell, which is typically between 7" and 8½". A number of common variations on trombone construction are

noted below.

History

Etymology

"Trombone" is the Italian word for the sackbut, the earliest common form of trombone, and is derived from trumpet in the Latin tromba or drompten, used in the Low Countries. The first

records of it being used are around 1440, but it is not clear whether this was just a nickname for a trumpet player. In 1487 a writer links the words trompone and sacqueboute and mentions the

instrument as playing the contratenor part in a danceband.

Twentieth century

20th-century orchestras

In the 20th century the trombone maintained its important place in the orchestra with prominent parts in works by Richard Strauss, Gustav Mahler, Arnold Schoenberg, Alban Berg, Maurice

Ravel, Darius Milhaud, Olivier Messiaen, Igor Stravinsky, Dmitri Shostakovich, Sergei Rachmaninov, Sergei Prokofiev, Ottorino Respighi, Edward Elgar, Gustav Holst, Ralph Vaughan Williams, Benjamin Britten, William Walton, Jean Sibelius, Carl Nielsen,

LeošJanáček, George Gershwin, Aaron Copland, Leonard Bernstein and BélaBartók.

With the rise of recorded music and music schools, orchestral trombone sections around the

world began to have a more consistent idea of a standard trombone sound. British orchestras abandoned the use of small bore tenors and G basses in favor of an American/German approach

of large bore tenors and B♭ basses in the 1940s. French orchestras did the same in the 1960s.

Contemporary Use

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

31

Today, the trombone can be found in wind ensembles/concert bands, symphony orchestras,

marching bands, military bands, brass bands, and brass choirs. In chamber music, it is used in brass quintets, quartets, or trios, or trombone trios, quartets, or choirs. The size of a trombone

choir can vary greatly from five or six to twenty or more members.

Trombones are also common in swing, jazz, merengue, salsa (e.g., Jimmy Bosch, Luis Bonilla, and Willie Colón), R&B, ska (e.g., Don Drummond), and New Orleans brass bands.

Types

The most frequently encountered trombones today are the tenor and bass, though as with many

other Renaissance instruments, the trombone has been built in sizes from piccolo to contrabass.

Trombones are usually constructed with a slide that is used to change the pitch. Valve trombones use three valves (singly or in combination) instead of the slide. The valves follow the same

schema as other valved instruments-the first valve lowers the pitch by 1 step, the second valve by 1/2 step, and the third valve by 1-1/2 steps.

Some slide trombones have one or (less frequently) two rotary valves operated by a left-hand thumb trigger. The single rotary valve is part of the F attachment, which adds a length of tubing

to lower the instrument's fundamental pitch from B♭ to F. Some bass trombones have a second

trigger with a different length of tubing. The second trigger facilitates playing the otherwise

problematic low B.

Technique

Basic Slide Positions

The modern system of seven chromatic slide positions on a tenor trombone in B♭ was first described by Andre Braun circa 1795. In 1811 Joseph Fröhlich wrote on the differences between

the modern system and an old system where four diatonic slide positions were used and the trombone was usually keyed to A. To compare between the two styles the chart below may be

helpful (take note for example, in the old system contemporary 1st-position was considered "drawn past" then current 1st) In the modern system, each successive position outward (approximately 3.25") will produce a note which is one semitone lower when played in the same

partial.

New system 1 2 3 4 5 6 7

Old system - 1 - 2 - 3 4

Partials and intonation

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

32

Trombone first position harmonic series, "where additional overtones may be used to stretch the

upper range a bit higher."

Trombone seventh position harmonic series

As with all brass instruments, progressive tightening of the lips and increased air pressure allow

the player to move to different partial in the harmonic series. In the first position (also called

closed position) on a B♭ trombone, the notes in the harmonic series begin with B♭2 (one

octave higher than the pedal B♭1), F3 (a perfect fifth higher than the previous partial), B♭3 (a perfect fourth higher), D4 (a major third higher), and F4 (a minor third higher).

F4 marks the sixth partial, or the fifth overtone. Notes on the next partial, for example A♭4 (a

minor third higher) in first position, tend to be out of tune in regards to the twelve-tone equal

temperament scale. A♭4 in particular, which is at the seventh partial (sixth overtone) is nearly

always 31 cents, or about one third of a semitone, flat of the minor seventh. On the slide trombone, such deviations from intonation are corrected for by slightly adjusting the slide or by

using an alternate position.[9] It should be noted that though much of Western music has adopted the even-tempered scale, it has been the practice in Germany and Austria to play these notes in

position, where they will have just intonation (see harmonic seventh as well for A♭4).

The next higher partials B♭4 (a major second higher), C5 (a major second higher), D5 (a major

second higher) do not require much adjustment for even-tempered intonation, but E♭ (a minor

second higher)is almost exactly a quarter tone higher than it would be in twelve-tone equal

temperament. E♭ and F5 (a major second higher) at the next partial are very high notes; a very

skilled player with a highly developed facial musculature and diaphragm can go even higher to

G5, A♭5, B♭5 and beyond.

Trombone with F attachment slide position second harmonics

The higher in the harmonic series any two successive notes are, the closer they tend to be (as

evidenced by the progressively smaller intervals noted above). A byproduct of this is the

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

33

relatively few motions needed to move between notes in the higher ranges of the trombone. In

the lower range, significant movement of the slide is required between positions, which becomes more exaggerated on lower pitched trombones, but for higher notes the player need only use the

first four positions of the slide since the partials are closer together, allowing higher notes in alternate positions. As an example, F4 (at the bottom of the treble clef) may be played in first,

fourth or sixth position on a B♭ trombone. The note E1 (or the lowest E on a standard 88-key

piano keyboard) is the lowest attainable note on a 9' B♭ tenor trombone, requiring a full 2.24 m

of tubing. On trombones without an F attachment, there is a gap between B♭1 (the fundamental

in first position) and E2 (the first harmonic in seventh position). Skilled players can produce "falset" notes between these, but the sound is relatively weak and not usually used in performance. The addition of an F attachment allows for intermediate notes to be played with

more clarity.

Pedal Tones

Trombone slide position "pedal tones"

The pedal tone on B♭ is frequently seen in commercial scoring but much less often in

symphonic music while notes below that are called for only rarely as they "become increasingly

difficult to produce and insecure in quality" with A♭ or G being the bottom limit for most

trombonists.[9]

Valve Attachments

The Thayer valve is an advanced, conically shaped rotary valve that has become very popular in recent trombone design due to the open air flow it allows. The Thayer valve bends the air

flowing through the trombone as little as 25 degrees.

The Hagmann valve is a rotary valve variation that has become popular in recent years. It was invented following the Thayer valve as a response to maintenance issues of the Thayer valve.

Many trombones have valve attachments to aid in increasing the range of the instrument while also allowing alternate slide positions for difficult music passages. In addition, valve attachments make trills much easier. Valve attachments appear on alto, tenor, bass, and contrabass

trombones. It is rare on the alto, but when the instrument does have it, the valve attachment

changes the key of the instrument from E♭ to B♭, allowing the alto trombone to play in the

tenor trombone range. Tenor trombones commonly have valve attachments, the most common

being the F-attachment, which changes the pitch of the instrument from B♭ to F, increasing the

range of the instrument downward and allowing alternate slide positions for notes in 6th or 7th

position.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

34

Bass trombones also very commonly have F-attachments, which serve exactly the same function

as on the tenor trombone. Some single valve bass trombones have E-attachments instead of F-attachments, or sometimes there is extra tubing on the F-Attachment to allow it to be used as an

E-attachment if desired. However, many bass trombones have a second valve attachment instead, which increases their range downward even more. The most common second valve attachment is

the G♭-attachment, which changes the instrument's key to D when used in combination with the

F-Attachment (or D♭ if used with the less common E-attachment). There are other

configurations other than the G♭-attachment however.

The two valves on a bass trombone can either be independent or dependent. Double rotor dependent valve bass trombones were created in the late 1950s, and double rotor independent valve bass trombones were created in the late 1960s/early 1970s. Dependent means that the

second valve only works when used in combination with the first, as it is located directly on the F- or E-Attachment tubing. Newer bass trombones have independent (in-line) valves instead,

meaning that the second valve is located on the neckpipe of the instrument and can therefore operate independently of the other.[13] Contrabass trombones also can have valve attachments.

Contrabass trombones in the key of F typically have two valves tuned to C and D♭ respectively.

Contrabass trombones in BB♭ on the other hand typically only have one valve, which is tuned

to F, though some have a second valve tuned to G♭.

Valves

Some trombones have valves instead of a slide (see valve trombone). These are usually rotary valves, or piston valves.

A cross section of a valve trombone

Tubing

More often than not, tenor trombones with an F attachment, or trigger, have a larger bore through the attachment than through the 'straight' section (the portion of the trombone through which the air flows when the attachment is not engaged). Typically, for orchestral instruments, the slide

bore is 0.547" and the attachment tubing bore is 0.562". A wide variety of valve attachments and combinations are available. Valve attachment tubing usually incorporates a small tuning slide so

that the attachment tubing can be tuned separately from the rest of the instrument. Most B♭/F tenor and bass trombones include a tuning slide long enough to lower the pitch to E with the

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

35

valve tubing engaged, enabling the production of B2. Whereas older instruments fitted with

valve attachments usually had the tubing coiled rather tightly in the bell section (closed wrap or traditional wrap), modern instruments usually have the tubing kept as free as possible of tight

bends in the tubing (open wrap), resulting in a freer response with the valve attachment tubing engaged. While open-wrap tubing does offer a more open sound, the tubing sticks out from behind the bell and is more vulnerable to damage. For that reason, closed-wrap tubing remains

more popular in trombones used in marching bands or other ensembles where the trombone may be more prone to damage.

Tuning

Some trombones are tuned through a mechanism in the slide section rather than via a separate tuning slide in the bell section. This method preserves a smoother expansion from the start of the

bell section to the bell flare. The tuning slide in the bell section requires two portions of cylindrical tubing in an otherwise conical part of the instrument, which affects the tone quality.

Tuning the trombone enables it to play with other instrumentswhichare essential for the trombone. Slides

Common and popular bore sizes for trombone slides are 0.500", 0.508", 0.525" and 0.547" for tenor trombones, and 0.562" for bass trombones. The slide may also be built with a dual bore

configuration, in which the bore of the second leg of the slide is slightly larger than the bore of the first leg, producing a step-wise conical effect. The most common dual bore combinations are 0.481"-0.491", 0.500"-0.508", 0.508"-0.525", 0.525"-0.547", 0.547"-0.562" for tenor trombones,

and 0.562"-0.578" for bass trombones. Mouthpiece

The mouthpiece is a separate part of the trombone and can be interchanged with similarly sized trombones from different manufacturers. Available mouthpieces for trombone (as with all brass instruments) vary in material composition, length, diameter, rim shape, cup depth, throat

entrance, venturi aperture, venturi profile, outside design and other factors. Variations in mouthpiece construction affect the individual player's ability to make a lip seal and produce a

reliable tone, the timbre of that tone, its volume, the player's subjective level of comfort, and the instrument's playability in a given pitch range. Mouthpiece selection is a highly personal decision.

BARITONE HORN AS AN BRASS INSTRUMENT

A bass trombone Cross section of trombonist presenting

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

36

The baritone horn is a low-pitched brass instrument. It is a piston valve brass instrument with a

predominantly cylindrical bore like the trumpet and uses a wide-rimmed cup mouthpiece like that of its peers the trombone and euphonium. Like the trombone and the euphonium, the

baritone can be considered either a transposing or non-transposing instrument.

In the UK the baritone is frequently found in brass bands. The baritone horn in the United States is common in school and university bands, the baritones found in school inventories often being

older models as the instrument over time is yielding in popularity to the euphonium.

Furthermore, marching baritone horn are specially wrapped versions of the baritone horn they

have been created for use in marching bands and drum and bugle corps. They have three valves and a front-facing bell and are the tenor voice of a drum and bugle corps, below the soprano voice of the trumpet, the alto voice of alto horn or mellophone, and above the low tubas.

Some high school and college bands do not use marching baritones and continue to use upright-bell front baritone horns on the field, and some marching bands substitute a section of baritones

for the trombone or euphonium section.

A person who plays a baritone horn is a baritone (horn) player or baritonist.

Below here are images of a baritone horn and a marching baritone horn

Baritone Horn Marching Baritone Horn

Construction and general characteristics

The baritone, like the trombone and euphonium, is a nine-foot brass tube. Valves are most often

piston-style. It is predominately of cylindrical bore, in contrast to the more conical bore of the euphonium, rendering its attack more distinct than the rounder attack of the euphonium.

Key

The baritone is pitched in concert B♭, meaning that when no valves are in use, the instrument

will produce partials of the B♭harmonic series. Music for the baritone horn can be written in either the bass clef or the treble clef. When written in the bass clef, the baritone horn is a non-

transposing instrument. However, when written in the treble clef, it is often used as transposing instrument, transposing downward a major ninth, so that written middle C for the baritone is

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

37

concert B♭ below low C, with the fingerings thus matching those of the trumpet but sounding

an octave lower. It is often used to play parts written for the similarly pitched tenor trombone or

euphonium.

Range

The baritone is part of the tenor section of a band. Its second partial with no valves pressed is

concert B♭ on the second line from the bottom of the bass clef (B♭2 in scientific pitch

notation). The eighth partial with no valves pressed is concert B♭ in the center of the treble clef

(B♭4). Experienced amateur players can often reach a fifth above that to the concert F at the top

of the treble clef (F5), with higher notes reachable by the virtuoso.

Tone

The baritone sounds with a timbre between the brightness of the trombone and the more mellow tone of the euphonium.

CLARINET AS AN BRASS INSTRUMENT

CLARINET AS A BRASS INSTRUMENT

The clarinet is a family of woodwind instruments that have a single-reed mouthpiece, a straight

cylindrical tube with an approximately cylindrical bore, and a flaring bell. A person who plays any type of clarinet is called a clarinetist or clarinettist.

The word clarinet may have entered the English language via the Frenchclarinette (the feminine diminutive of Old Frenchclarin or clarion), or from Provençalclarin, "oboe". It "is plainly a diminutive of clarino, the Italian for trumpet", and the Italian clarinetto is the source of the name

in many other languages. According to Johann Gottfried Walther, writing in 1732, the reason for the name is that "it sounded from far off not unlike a trumpet". The English form clarinet is

found as early as 1733, and the now-archaic clarionet appears from 1784 until the early years of the 20th century. Johann ChristophDenner invented the clarinet in Germany around the turn of the 18th century by adding a register key to the earlier chalumeau. Over time, additional

keywork and airtight pads were added to improve the tone and playability.

The term clarinet now normally refers to the B♭ clarinet (alsoB♭soprano clarinet). However,

the clarinet in A, just a semitone lower, is commonly used in orchestral music. Since the middle

of the 19th century the bass clarinet (nowadays invariably in B♭ but with extra keys to extend

the register down a few notes) has become an essential addition to the orchestrat. The clarinet

family ranges from the (extremely rare) BBB♭octo-contrabass to the A♭piccolo clarinet.

Today, the clarinet is commonly used in classical music (such as concert bands, orchestras,

chamber music, and solo repertoire), military bands, marching bands, klezmer, and jazz.

Image of a Clarinet

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

38

Characteristics

Sound

The cylindrical bore is primarily responsible for the clarinet's distinctive timbre, which varies

between its three main registers, known as the chalumeau, clarion, and altissimo. The tone quality can vary greatly with the musician, the music, the instrument, the mouthpiece, and the reed. The differences in instruments and geographical isolation of players in different countries

led to the development, from the last part of the 18th century onwards, of several different schools of clarinet playing. The most prominent were the German/Viennese traditions and the

French school. The latter was centered on the clarinetists of the Conservatoire de Paris. The proliferation of recorded music has made examples of different styles of clarinet playing available. The modern clarinetist has a diverse palette of "acceptable" tone qualities to choose

from.

Construction

Materials

Clarinet bodies have been made from a variety of materials including wood, plastic, hard rubber, metal, resin, and ivory. The vast majority of clarinets used by professional musicians are made

from Africanhardwood, mpingo (African Blackwood) or grenadilla, rarely (because of diminishing supplies) Honduran rosewood and sometimes even cocobolo. Historically other

woods, notably boxwood, were used.

Most modern, inexpensive instruments are made of plastic resin, such as ABS. These materials are sometimes called resonite, which is Selmer's trademark name for its type of plastic. Metal

soprano clarinets were popular in the early 20th century, until plastic instruments supplanted them; metal construction is still used for the bodies of some contra-alto and contrabass clarinets,

and for the necks and bells of nearly all alto and larger clarinets. Ivory was used for a few 18th-century clarinets, but it tends to crack and does not keep its shape well.

Buffet Crampon's Greenline clarinets are made from a composite of grenadilla wood powder and

carbon fiber. Such instruments are less affected by humidity and temperature changes than wooden instruments but are heavier. Hard rubber, such as ebonite, has been used for clarinets

since the 1860s, although few modern clarinets are made of it

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

39

Mouthpieces are generally made of hard rubber, although some inexpensive mouthpieces may be

made of plastic. Other materials such as crystal/glass, wood, ivory, and metal have also been used. Ligatures are often made out of metal and plated in nickel, silver or gold.

Reed

The instrument uses a single reed made from the cane of Arundodonax, a type of grass. Reeds may also be manufactured from synthetic materials. The ligature fastens the reed to the

mouthpiece. When air is blown through the opening between the reed and the mouthpiece facing, the reed vibrates and produces the instrument's sound.

Basic reed measurements are as follows: tip, 12 millimetres (0.47 in) wide; lay, 15 millimetres (0.59 in) long (distance from the place where the reed touches the mouthpiece to the tip); gap, 1 millimetre (0.039 in) (distance between the underside of the reed tip and the mouthpiece).

Adjustment to these measurements is one method of affecting tone color.

Reeds come in varying degrees of hardness, generally indicated on a scale from one (soft)

through five (hard). This numbering system is not standardized reeds with the same hardness number often vary in hardness across manufacturers and models. Reed and mouthpiece characteristics work together to determine ease of playability, pitch stability, and tonal

characteristics.

Keywork

Theobald Boehm did not directly invent the key system of the clarinet. Boehm was a flautist who created the key system that is now used for the transverse flute. Klosé and Buffet applied Boehm's system to the clarinet. Although the credit goes to those people, Boehm's name was

given to that key system because it was based on that used for flute.

The current Boehm key system consists of generally 6 rings, on the thumb, 1st, 2nd, 4th, 5th and

6th holes, a register key just above the thumb hole, easily accessible with the thumb. Above the 1st hole, there is a key that lifts two covers creating the note A in the throat register (high part of low register) of the clarinet. A key at the side of the instrument at the same height as the A key

lifts only one of the two covers, producing G♯ a semitone lower. The A key can be used in

conjunction solely with the register key to produce A♯/B♭.

History

The clarinet has its roots in the early single-reed instruments or hornpipes used in Ancient Greece, old Egypt, Middle East and Europe since the Middle Ages, such as the albogue, alboka, and double clarinet.

Around the turn of the 18th century, the chalumeau was modified by converting one of its keys into a register key to produce the first clarinet. This development is usually attributed to German

instrument maker Johann ChristophDenner, though some have suggested his son Jacob Dennerwas the inventor. This instrument played well in the middle register with a loud, shrill sound, so it was given the name clarinetto meaning "little trumpet" (from clarino + -etto). Early

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

40

clarinets did not play well in the lower register, so players continued to play the chalumeaux for

low notes. As clarinets improved, the chalumeau fell into disuse, and these notes became known as the chalumeau register.

Clarinets were soon accepted into orchestras. Later models had a mellower tone than the originals. Mozart (d. 1791) liked the sound of the clarinet (he considered its tone the closest in quality to the human voice) and wrote numerous pieces for the instrument, and by the time of

Beethoven (c. 1800–1820), the clarinet was a standard fixture in the orchestra. Pads

The next major development in the history of clarinet was the invention of the modern pad. Because early clarinets used felt pads to cover the tone holes, they leaked air. This required pad-covered holes to be kept to a minimum, restricting the number of notes the clarinet could play

with good tone. In 1812, Iwan Müller, a Russian-born clarinetist and inventor, developed a new type of pad that was covered in leather or fish bladder. It was airtight and let makers increase the

number of pad-covered holes. Müller designed a new type of clarinet with seven finger holes and thirteen keys. This allowed the instrument to play in any key with near-equal ease. Over the course of the 19th-century makers made many enhancements to Mueller's clarinet, such as the

Albert system and the Baermann system, all keeping the same basic design. Modern instruments may also have cork or synthetic pads.

Arrangement of Keys and Holes

Oehler system clarinets use additional tone holes to correct intonation (patent C♯, low E-F

correction, fork-F/B♭ correction and fork B♭ correction). The final development in the modern design of the clarinet used in most of the world today was introduced by Hyac in the Klosé in

1839. He devised a different arrangement of keys and finger holes, which allow simpler fingering. It was inspired by the Boehm system developed for flutes by Theobald Boehm. Klosé

was so impressed by Boehm's invention that he named his own system for clarinets the Boehm system, although it is different from the one used on flutes. This new system was slow to gain popularity but gradually became the standard, and today the Boehm system is used everywhere

in the world except Germany and Austria.

CORNET AS A BRASS INSTRUMENT

The cornet is a brass instrument very similar to the trumpet, distinguished by its conical bore, compact shape, and mellower tone quality. The most common cornet is a transposing instrument

in B♭ though there is also a soprano cornet in E♭. Both are unrelated to the renaissance and

early baroque cornet.

Below is an image of cornet

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

41

History

The cornet was initially derived from the post horn around 1820 in France. Among the first manufacturers of modern cornets was Parisian Jean Asté in 1828. Cornets first appeared as

separate instrumental parts in 19th century French compositions. This instrument could not have been developed without the improvement of piston valves by Heinrich Stölzel and Friedrich Blühmel. In the early 19th century these two instrument makers almost simultaneously invented

the valves still used today. They jointly applied for a patent and were granted this for a period of ten years. The first notable virtuoso player was Jean-Baptiste Arban, who studied the cornet

extensively and published La grandeméthodecomplète de cornet à piston et de saxhorn, commonly referred to as the Arban method, in 1864. Up until the early 20th century, the trumpet and cornet coexisted in musical ensembles. Symphonic repertoire often involves separate parts

for trumpet and cornet. As several instrument builders made improvements to both instruments, they started to look and sound more alike. The modern day cornet is used in brass bands, military

bands, marching bands,concert bands, and in specific orchestral repertoire that requires a more mellow sound. The name cornet derives from corne, meaning horn, itself from Latin cornus. While not

musically related, instruments of the Zink family (which includes serpents) are named "cornetto- " with a tonal or pitch related Latin word following the hyphen to describe the particular variant.

The 11th edition of the Encyclopædia Britannica referred to serpents as "old wooden cornets".The Roman/Etruscan cornu (or simply "horn") is the lingual ancestor of these. It is a predecessor of the post horn from which the cornet evolved and was used like a bugle to signal

orders on the battlefield.

Playing technique

Like the trumpet and all other modern brass wind instruments, the cornet makes a sound when the player vibrates ("buzzes") the lips in the mouthpiece, creating a vibrating column of air in the tubing. The frequency of the air column's vibration can be modified by changing the lip tension

and aperture or "embouchure", and by altering the tongue position to change the shape of the oral cavity, thereby increasing or decreasing the speed of the airstream.

Without valves, the player could only produce a harmonic series of notes like those played by the bugle and other "natural" brass instruments. These notes are far apart for most of the instrument's range, making diatonic and chromatic playing impossible except in the extreme high register.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

42

The valves change the length of the vibrating column and provide the cornet with the ability to

play chromatically.

Ensembles with cornets

Brass band

British style brass band ensembles consist completely of brass instruments (except for the percussion section). The cornet is the leading melodic instrument in this ensemble and trumpets

are never used. The ensemble consists of about thirty musicians, including nine B♭ cornets and

one E♭ cornet (soprano cornet) in the higher registers. In England, companies such as Besson and Boosey and Hawkes specialized in these instruments. In America, 19th century

manufacturers such as Graves and Company, Hall and Quinby, E.G. Wright and the Boston Musical Instrument Manufactury built lines of instruments for this format of ensemble.

Concert Band

Early American concert band pieces, particularly those written or transcribed before 1960, often feature distinct, separate parts for trumpets and cornets. Cornet parts are rarely ever included in

later pieces, however. The cornet also features in the British-style concert band, unlike the contemporary American concert band or wind band, where it is replaced by the trumpet. This slight difference in instrumentation derives from the British concert band's heritage in military

bands, where the highest brass instrument is always the cornet. There are usually four to six B♭

cornets present in a concert band, but no E♭ instrument, as this role is taken by the E♭ clarinet.

FLUGELHORN AS A BRASS INSTRUMENT

The flugelhorn (fluːɡəl.horn, or flügelhorn from German, wing horn, German pronunciation: [ˈflyːɡl̩hɔʁn]) is a brass instrument that resembles a trumpet but has a wider, conical bore. Some

sources falsely consider it to be a member of the saxhorn family developed by Adolphe Sax (who also developed the saxophone). Other historians assert that it derives from the valve bugle designed by Michael Saurle (father) in Munich in 1832 (Royal Bavarian privilege for a

"chromatic Flügelhorn" 1832), which predates Adolphe Sax's work.

ETYMOLOGY

The German word Flügel translates into English as wing or flank. The instrument was used on the battlefield to summon the flanks of an army.

Image of flugelhorn:

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

43

STRUCTURE AND VARIANTS

The flugelhorn is built in the same B♭ pitch as many trumpets and cornets. It usually has three piston valves and employs the same fingering system as other brass instruments, but four-piston

valve and rotary valve variants also exist. It can thus be played without too much trouble by trumpet and cornet players, though some adaptation to their playing style may be needed. It is

usually played with a more deeply conical mouthpiece than either trumpets or cornets (though not as conical as a horn mouthpiece).

Some modern flugelhorns feature a fourth valve that lowers the pitch a perfect fourth (similar to

the fourth valve on some euphoniums, tubas, and piccolo trumpets, or the trigger on trombones). This adds a useful low range that, coupled with the flugelhorn's dark sound, extends the

instrument's abilities. More often, however, players use the fourth valve in place of the first and third valve combination, which is somewhat sharp (compensated for on trumpets and cornets and some three-valve flugelhorns by a slide for the first or third valve).

A pair of bass flugelhorns in C, called fiscorns, are played in the Catalan cobla bands which provide music for sardana dancers.

TIMBRE

The tone is "fatter" and usually regarded as more "mellow" and "dark" than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a

French horn, whereas the cornet's sound is halfway between a trumpet and a flugelhorn. The flugelhorn is as agile as the cornet but more difficult to control in the high register (from

approximately written G above the staff), where in general it "slots" or locks onto notes less easily. It is not generally used for aggressive or bright displays as trumpets and cornets often are, but tend more towards a softer and more reflective role.

USE The flugelhorn appears mainly in jazz, brass band music, and popular music, though it appears

occasionally in orchestral music. Famous orchestral works with flugelhorn include Igor Stravinsky's Threni, Ralph Vaughan Williams's Ninth Symphony, Danzon no. 2 by Arturo Marquez, and Michael Tippett's third symphony. The flugelhorn is sometimes substituted for the

post horn in Mahler's Third Symphony. In HK Gruber's trumpet concerto Busking (2007) the soloist is directed to play a flugelhorn in the slow middle movement. The flugelhorn figured

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

44

prominently in many of Burt Bacharach's 1960s pop song arrangements. It is featured in a solo

role in Bert Kaempfert's 1962 recording of "That Happy Feeling". Flugelhorns have occasionally been used as the alto or low soprano voice in a drum and bugle corps.

SAXOPHONE AS A BRASS INSTURMENT

The saxophone (also referred to as the sax) is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet.

The saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. Adolphe Sax wanted to create a group or series of instruments that would be the most powerful

and vocal of the woodwinds, and the most adaptive of the brass that would fill the vacant middle ground between the two sections. He patented the saxophone on June 28, 1846, in two groups of seven instruments each. Each series consisted of instruments of various sizes in alternating

transposition. The series pitched in B♭ and E♭ , designed for military bands, have proved extremely popular and most saxophones encountered today are from this series. Instruments

from the so-called "orchestral" series, pitched in C and F, never gained a foothold, and the B♭ and E♭ instruments have now replaced the C and F instruments when the saxophone is used in

the orchestra.

The saxophone is commonly used in classical music (such as concert bands, chamber music, and solo repertoire), military bands (such as military concert bands, marching bands, etc.), marching

bands, and jazz (such as big bands, jazz combos, etc.). Saxophone players are called saxophonists.

HISTORY The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist,

and clarinetist born in Dinant and originally based in Brussels, he later moved to Paris to establish his musical instrument business. Prior to his work on the saxophone, he had made

several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then popular Ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with

these two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing

an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblew at the octave, would have identical fingering for both

registers.

Sax created an instrument with a single reed mouthpiece like a clarinet, conical brass body like

an ophicleide, and the acoustic properties of both the French horn and the clarinet.

Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846. The patent encompassed 14 versions of the

fundamental design, split into two categories of seven instruments each, and ranging from

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

45

sopranino to contrabass. Although the instruments transposed at either F or C have been

considered "orchestral", there is no evidence that Sax intended this. As only 3 percent of Sax's surviving production were pitched in F and C, and as contemporary composers used the E♭ alto

and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between

E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). The C soprano saxophone was the only instrument to sound at concert pitch. All the instruments were given an initial written range from

the B below the treble staff to the F, one space above the three ledger lines above staff, giving each saxophone a range of two and a half octaves.

Sax's patent expired in 1866; thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra

key to extend the range downwards by one semitone to B♭ .

Adolphe Sax, the inventor of the saxophone

USES OF SAXOPHONE IN MILITARY BANDS

The saxophone first gained popularity in one of the uses it was designed for: the military band. Although the instrument was studiously ignored in Germany at first, French and Belgian military

bands took full advantage of the instrument that Sax had designed. Most French and Belgian military bands incorporate at least a quartet of saxophones comprising at least the E♭ baritone,

B♭ tenor, E♭ alto and B♭ soprano. These four instruments have proved the most popular of all of Sax's creations, with the E♭ contrabass and B♭ bass usually considered impractically large

and the E♭ sopranino insufficiently powerful. British military bands tend to include at minimum two saxophonists on the alto and tenor. Today, the saxophone is used in military bands all around

the world.

The saxophone was subsequently introduced into the concert band, which generally calls for the E♭ alto saxophone, the B♭ tenor saxophone, and the E♭ baritone saxophone. The typical high-

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

46

level concert band includes two altos, one tenor, and one baritone. The B♭ soprano saxophone is

also occasionally used, in which case it is normally played by the first alto saxophonist. The bass saxophone in B♭ is called for in some concert band music (especially music by Percy Grainger).

The saxophone is used in chamber music, such as the saxophone quartet, reed quintet, and other chamber combinations of instruments.

The classical saxophone quartet consists of the soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone. There is a repertoire of classical compositions and arrangements for the SATB instrumentation dating back to the nineteenth century, particularly

by French composers who knew Adolphe Sax. The saxophone is a member of the reed quintet. The reed quintet consists of an oboe, a clarinet, a saxophone, a bass clarinet, and a bassoon.

In the 20th and 21st centuries, the saxophone has found increased popularity in the symphony orchestra. In one or other size, the instrument has also been found as a useful accompaniment to genres as wide-ranging as opera and choral music. Many musical theatre scores include parts for

the saxophone, sometimes doubling another woodwind or brass instrument. In this way, the sax serves as a middle point between other woodwinds and the brass section, helping to blend the two sections.

THE SAXOPHONE FAMILY

The primary (military band) saxophone family alternates instruments in B♭ and E♭ . The other

(orchestral) family patented by Sax, alternating instruments in C and F, has always been marginal, although some manufacturers tried to popularise the soprano in C (or C soprano saxophone), the alto in F (or mezzo-soprano saxophone), and the tenor in C (or C melody

saxophone) early in the twentieth century. The C melody enjoyed some success in the late 1920s and early 1930s as a parlor instrument. One company has recently revived production of the C

soprano and C melody. Instruments in F are rare.

S/N Key Saxophone Sounds an octave lower than Sounds an octave higher than

1. Sopranissimo B♭ ## Soprano

2. Sopranino E♭ ## Alto

3. Soprano B♭ Sopranissimo Tenor

4. Alto E♭ Sopranino Baritone

5. Tenor B♭ Soprano Bass

6. Baritone E♭ Alto Contrabass

7. Bass B♭ Tenor Subcontrabass

8. Contrabass E♭ Baritone ##

9. Subcontrabass B♭ Bass ##

DESCRIPTION The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip

to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups), containing soft leather pads, which are closed to produce an

airtight seal. At rest some of the holes stand open and others are closed. The keys are activated

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

47

by keytouches pressed by the fingers, either directly on the pad cup or connected to it with

levers, either directly or with joints called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a

neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system, and is very similar to the flute or the upper register of the clarinet.

MATERIALS

Most saxophones, both past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wood reed, not the player's lips against a mouthpiece as in a brass instrument, and because

different pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to

return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have 'key touches' (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Recently, some

saxophones are offered with abalone or stone keytouches.

Other materials have been tried with varying degrees of success, such as the 1950s Grafton

plastic alto saxophone and its recent successor, the polycarbonate saxophone, VibratoSax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen use higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most

common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from

the brass 901 and 991 models of identical design. Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction

are lacking.

Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic

lacquer, or silver plate, over the bare brass. The lacquer or plating serves to protect the brass from oxidation, and maintains its shiny appearance. It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced. Plating

saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold.

MOUTHPIECE AND REED

The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made

of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano

saxophonists use clarinet reeds on the soprano saxophone. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Players experiment with reeds of different strength (hardnesses) and

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

48

material to find which strength and cut suits their mouthpiece, embouchure, physiology, and

playing style.

The saxophone mouthpiece is larger than that of the clarinet, has a wider inner chamber, and

lacks the cork-covered tenon of a clarinet mouthpiece because the saxophone neck inserts into the mouthpiece whereas the clarinet mouthpiece piece is inserted into the barrel. Saxophone and clarinet embouchures differ from each other in firmness, position of the lower lip, and range of

entry angles.

Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called

hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone.

Early mouthpieces were designed to produce a warm and round sound for classical playing.

Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some

saxophonists. Most saxophonists who play different styles have a mouthpiece suited for each style.

Composition

The extension in C major of the military soprano, alto, tenor and baritone when playing a B♭

major scale.

Music for most saxophones is usually notated using treble clef. The standard written range

extends from a B♭ below the staff to an F or F♯ three ledger lines above the staff. Most, if not all, intermediate and professional saxophones made today are built with F♯ keys, with F♯ included on even student instruments.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

49

There are many models of soprano saxophone that have a key for high G, and most modern

models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot

or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using

advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to

a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

Images of saxophone and some of it components

EUPHONIUM AS A BRASS INSTRUMENT

The Euphonium is a conical-bore, baritone-voiced brass instrument that derives its name from

the Greek word euphonos, meaning "well-sounding" or "sweet-voiced" (eu means "well" or "good" and phonos means "of sound", so "of good sound"). The euphonium is a valved

instrument; nearly all current models are piston valved, though rotary valved models do exist. The euphonium is a non-transposing instrument known for its distinctive tone color, wide range, variety of character and agility. A person who plays the euphonium is sometimes called

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

50

aeuphoniumist, euphophonist, or a euphonist, while British players often colloquially refer to

themselves as euphists, or euphologists. Similarly, the instrument itself is often referred to as eupho or euph.

Image of Euphonium

NAME RECOGNITION AND MISCONCEPTIONS

The euphonium is part of the family of brass instruments. It is sometimes confused with the baritone horn. The euphonium and the baritone differ in that the bore size of the baritone horn is typically smaller than that of the euphonium, (leading to a "darker" tone from the euphonium and

a brighter sound from the baritone horn) and the baritone is primarily cylindrical bore, whereas the euphonium is predominantly conical bore. The two instruments are easily interchangeable to

the player, with some modification of breath and embouchure, since the two have identical range and essentially identical fingering. The cylindrical baritone offers a brighter sound and the conical euphonium offers a mellower sound.

History and development

This image represents the range for the instrument as it is commonly played.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

51

As a baritone-voiced brass instrument, the euphonium traces its ancestry to the ophicleide and ultimately back to the serpent. The search for a satisfactory foundational wind instrument that could support masses of sound above it took some time. While the serpent was used for over two

centuries dating back to the late Renaissance, it was notoriously difficult to control its pitch and tone quality due to its disproportionately small open finger holes. The ophicleide, which was

used in bands and orchestras for a few decades in the early to mid-19th century, used a system of keys and was an improvement over the serpent but was still unreliable, especially in the high register.

With the invention of the piston valve system c. 1818, the construction of brass instruments with an even sound and facility of playing in all registers became possible. The euphonium is said to

have been invented, as a "wide-bore, valved bugle of baritone range", by Ferdinand Sommer of Weimar in 1843, though Carl Moritz in 1838 and Adolphe Sax in 1843 have also been credited. While Sax's family of saxhorns were invented at about the same time and the bass saxhorn is

very similar to a euphonium, there are also differences.

CONSTRUCTION AND GENERAL CHARACTERISTICS

The euphonium, like tenor trombone, is pitched in concert B♭ . For a valved brass instrument like the euphonium, this means that when no valves are in use the instrument will produce partials of the B♭ harmonic series. It is generally orchestrated as a non-transposing instrument

like the trombone, written at concert pitch in the bass clef with higher passages in the tenor clef. Treble clef euphonium parts transposing down a major ninth are included in much concert band

music: in the British-style brass band tradition, euphonium music is always written this way. In continental European band music, parts for the euphonium may be written in the bass clef as a B♭ transposing instrument sounding a major second lower than written.

Professional models have three top-action valves, played with the first three fingers of the right hand, plus a "compensating" fourth valve, generally found midway down the right side of the

instrument, played with the left index finger; such an instrument is shown at the top of this page. Beginner models often have only the three top-action valves, while some intermediate "student"

models may have a fourth top-action valve, played with the fourth finger of the right hand.

The serpent, the oldest ancestor of all low brass instruments

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

52

The euphonium has an extensive range, comfortably from E2 to about B♭4 for intermediate

players (using scientific pitch notation). In professional hands this may extend from B0 to as

high as B♭ 5. The lowest notes obtainable depend on the valve set-up of the instrument. All instruments are chromatic down to E2, but 4-valved instruments extend that down to at least C2. Non-compensating four-valved instruments suffer from intonation problems from E♭ 2 down to

C2 and cannot produce the low B1; compensating instruments do not have such intonation problems and can play the low B-natural From B♭ 1 down lies the "pedal range", i.e. the

fundamentals of the instrument's harmonic series. They are easily produced on the euphonium as compared to other brass instruments, and the extent of the range depends on the make of the

instrument in exactly the same way as just described. Thus, on a compensating four-valved instrument, the lowest note possible is B0, sometimes called double pedal B, which is six ledger lines below the bass clef.

As with the other conical-bore instruments, the cornet, flugelhorn, horn, and tuba, the euphonium's tubing gradually increases in diameter throughout its length, resulting in a softer,

gentler tone compared to cylindrical-bore instruments such as the trumpet, trombone, sudrophone, and baritone horn. While a truly characteristic euphonium sound is rather hard to define precisely, most players would agree that an ideal sound is dark, rich, warm, and velvety,

with virtually no hardness to it. On the other hand, the desired sound varies geographically; European players, especially British ones, generally use a faster, more constant vibrato and a

more veiled tone, while Americans tend to prefer a more straightforward, open sound with slower and less frequent vibrato.

Though the euphonium's fingerings are no different from those of the trumpet or tuba, beginning

euphoniumists will likely experience significant problems with intonation, response, and range compared to other beginning brass players. In addition, it is very difficult for students, even of

high-school age, to develop the rich sound characteristic of the euphonium, due partly to the instrument models used in schools and partly to the lack of awareness of good euphonium sound models.

DOUBLE-BELLED EUPHONIUM

A creation unique to the United States was the double-bell euphonium, featuring a second smaller bell in addition to the main one; the player could switch bells for certain passages or

even for individual notes by use of an additional valve, operated with the left hand. Ostensibly, the smaller bell was intended to emulate the sound of a trombone (it was cylindrical-bore) and

was possibly intended for performance situations in which trombones were not available. The extent to which the difference in sound and timbre was apparent to the listener, however, is up for debate. Harry Whittier of the Patrick S. Gilmore band introduced the instrument in 1888, and

it was used widely in both school and service bands for several decades. Harold Brasch brought the British-style compensating euphonium to the United States c. 1939, but the double-belled

euphonium may have remained in common use even into the 1950s and 1960s. In any case, they have become rare (they were last in Conn's advertisements in the 1940s, and King's catalog in the 1960s), and are generally unknown to younger players.

MARCHING EUPHONIUM

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

53

A marching version of the euphonium may be found in marching band, though it is often

replaced by its smaller, easier-to-carry cousin, the marching baritone (which has a similar bell and valve configuration to a trumpet). Marching euphoniums are used by marching bands in

schools, and in Drum and Bugle Corps. March all-euphonium sections rather than only marching Baritone or a mix of both. Depending on the manufacturer, the weight of these instruments can be straining to the average marcher and require great strength to hold during practices and

performances, leading to nerve problems in the right pinky, a callous on the left hand, and possibly back and arm problems. Another form of the marching euphonium is the convertible

euphonium. Recently widely produced, the horn resembles a convertible tuba, being able to change from a concert upright to a marching forward bell on either the left or right shoulder. These are mainly produced by Jupiter or Yamaha, but other less expensive versions can be

found.

FIVE VALVE EUPHONIUM

The five valve euphonium (non-compensating) is an extremely rare variation of the euphonium manufactured in the late 19th and early 20th centuries by Britain's Besson musical instrument company and Highams of Manchester Musical Instrument Company. Besson and Highams's

Clearbore five valve vintage euphoniums are among the rarest and most valuable in existence.

The Besson five valve euphonium featured the standard three piston valves horizontally on top,

but had an additional two piston valves off the side. The standard euphonium has eight possible fingering and non-fingering positions by which sound is produced. The Besson and the Highams 'clearbore' model rare fourth and fifth extra 'side' valves change the possible fingering and non-

fingering positions from eight to thirty-two.

The term 'five valve euphonium' does not refer to variations of the double bell euphonium made

by various brass instrument companies during the same time period. Some of the double-bell euphoniums had five valves, with the fifth valve either on top with the other four, or by itself off to the side, but the double-bell fifth valve was used for switching the sound to the second smaller

trombone-sized bell, and not for changing the fingering pitch of the instrument. Also, Cerveny Musical Instruments manufactures several euphoniums with five vertical rotary valves today, but

this is an unrelated recent development.

Image of marching euphonium

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

54

REFERENCES

Acoustics of Brass Instruments from Music Acoustics at the University of New South Wales.

Advertisement for the "King" Large Bore Model Cornet, H.N. White Company, Cleveland,

Ohio, 1911

Advertisement for the "King" Long Model Cornet, H.N. White Company, Cleveland, Ohio, 1911

Alan David Perkins. The History of the Flugelhorn. AlsMiddleBrassPages.com. Retrieved 2014-

04-01.

Apel, Willi (1969), Harvard Dictionary of Music, Cambridge:: Belknap Press of Harvard

University Press, 1972., pp. 105–110 Arban, Jean-Baptiste (1894, 1936, 1982). Arban's Complete Conservatory Method for trumpet.

Carl Fischer, Inc. ISBN 0-8258-0385-3.

Artist profile: Toru Miura, Jeju International Wind Ensemble Festival 2007, at http://jiwef.org/english/competition/sub_01_07_view.php?jd_no=31&jd_typ=15&PHPSESSID=06d3bdf28359df449e07590a1deac751 , retrieved 4/12/2011

BărbuceanuValeriu, "Dictionary of musical instruments", Second Revised Edition, Teora Press,

Bucharest, 1999. Barclay, Robert. The Art of the Trumpet-Maker: The Materials, Tools and Techniques of the

Seventeenth and Eighteenth Centuries in Nuremberg ,Oxford University Press, 1992, ISBN 0-19-816223-5

Baritone History, North Dakota State University, at http://www.nd.edu/~baritone/history.html

retrieved 10/15/2011

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

55

Bate, Philip. The Trumpet and Trombone: An Outline of Their History, Development, and

Construction, Ernest Benn, 1978, ISBN 0-393-02129-7

Berlioz, Hector (1844). Treatise on modern Instrumentation and Orchestration.Edwin F. Kalmus, NY, 1948.

Berrin, Katherine &Larco Museum.The Spirit of Ancient Peru:Treasures from the

MuseoArqueológico Rafael Larco Herrera. New York: Thames and Hudson, 1997. Bierley, Paul A., The Incredible Band of John Philip Sousa, Board of Trustees of the University

of Illinois, Urbana, IL. 2006

Bone, Lloyd E., The Euphonium Sourcebook, University of Indiana Press, 2007 edition, P.7 Bouldersdome, H. J., The Late Mr. A. J. Phasey, The British Bandsman, November 1888, Derby,

England, P.33 Brian Bowman Euphonium, The Instrumentalist, Volume 63, 2008, P.34

Brownlow, James Arthur. The Last Trumpet: A History of the English Slide Trumpet , Pendragon

Press, 1996, ISBN 0-945193-81-5

Campos, Frank Gabriel. Trumpet Technique, Oxford University Press, 2005, ISBN 0-19-516692-

2 Cassone, Gabriele. The Trumpet Book, pages 352+CD, illustrated, ZecchiniEditore, 2009, ISBN

88-87203-80-6

Cyrille Rose, Artistic Studies, Book 1.ed. David Hite. San Antonio: Southern Music, 1986. D. J. Blaikley, "How a Trumpet Is Made. I. The Natural Trumpet and Horn", The Musical Times,

January 1, 1910, p. 15.

Dr. Colin Bloch (August 1978). "The Bell-Tuned Trumpet" .Retrieved 25 February 2010.

Dr. Jeff Edwards (2005). DCI Musical Athletes (Television production). Naperville, IL: ESPN. Dudgeon, Ralph T.; Streitwieser, Franz X. (2004). The Fluegelhorn (in English and German)

(Bochinsky ed.). Bergkirchen. ISBN 3-932275-83-7.

Edward Tarr, The Trumpet (Portland, Oregon: Amadeus Press, 1988), 20-30.

Euphonium fingering chart

Euphonium.com Focused on the IEI, new repertoire, a forum for the euphonium, and the

activities of Adam Frey.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

56

Chicago Symphony Orchestra – Glossary – Brass instruments.cso.org. Retrieved 2008-05-03.

Cornell University Big Red Marching Band Mb.bigredbands.org. Retrieved 2014-05-21.

David Thornton biography from Perfect People Retrieved 2011-04-24. Drum Major Clinics Smith Walbridge. 2005. Retrieved 13 December 2010.

Euphonium. Merriam-Webster.Retrieved 2012-05-26.

F. Geoffrey Rendall, The Clarinet.Second Revised Edition. London: Ernest Benn Limited, 1957.

FabrizioMeloni, Il Clarinetto, ill., 299 pages, ZecchiniEditore, zecchini.com Italy, 2002, ISBN

88-87203-03-2. Forsyth, Cecil (1922). Orchestration. republished online at Google Books. p. 165.

Ferguson, Maynard. Encyclopedia of Music in Canada. The Canadian Encyclopedia. Retrieved

2008-01-02. Flugelhorn. Dictionary.com.

Fundamentals of Musical Acoustics by Arthur H. Benade, Dover Publishing.

Gibson, Dawn (17 February 2013). "Military band at Gulf exhibition". The Fiji Times.Archived

from the original on 13 March 2013.Retrieved 13 March 2013.

Greenwald-Gonella, Haley. "Musicians as Athletes".Halftime Magazine.Retrieved 19 July 2012.

Grove, George (January 2001). Stanley Sadie, ed. The New Grove Encyclopædia of Music and

Musicians (2nd ed.). Grove's Dictionaries of Music.Volume 18, pp534–539.ISBN 1-

56159-239-0.

Herbert L. Clarke (1984). Technical Studies for the Cornet, C. Carl Fischer, Inc. ISBN 0-8258-0158-3.

History of Marching Bands: A Brief Overview". Italia Marching Show Bands.Retrieved 2008-10-08.

History of the flugelhorn. RickCarlson.com. Archived from the original on 2007-02-08.

Retrieved 2007-06-23.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

57

History of the Trumpet (According to the New Harvard Dictionary of Music).petrouska.com.

Archived from the original on 2008-06-08. Retrieved 2014-12-17.

History. George N. Parks Drum Major Academy. 2005. Retrieved 22 September 2010.

Horwood, Wally (1992) [1983].Adolphe Sax, 1814–1894: His Life and Legacy ((Revised edition) ed.). Herts: Egon Publishers. ISBN 0-905858-18-2.

Howe, Robert (2003). Invention and Development of the Saxophone 1840–55. Journal of the American Musical Instrument Society.

http://halftimemag.com/articles/03-2009/03-2009-features/marching-outside-the-box.html

http://lowbrassnmore.com/euponiumhistory.htm Retrieved on 28 January 2008 http://www.docstoc.com/docs/2198574/history-of-the-baritone-and-the-euphonium

http://www.euphonium.com

http://www.nikknakks.net/euphonium/ Retrieved on 28 January 2008

Hugh Chisolm (ed.), Encyclopaedia Britannica, NY, NY, 1911, p. 675

IngentaConnect More about Renaissance slide trumpets: fact or fiction?.ingentaconnect.com. Retrieved 2008-05-03.

Ingham, Richard (1998). The Cambridge Companion to the Saxophone. Cambridge: Cambridge

Univ. Press. ISBN 0-521-59348-4. Jack Brymer, Clarinet. (Yehudi Menuhin Music Guides) Hardback and paperback, 296 pages,

Kahn & Averill. ISBN 1-871082-12-9.

Jennifer Ross, "Clarinet", "Ohio: Hardcover Printing Press, 1988. Joseph Wheeler, "Review: Edward H. Tarr, Die Trompete" The Galpin Society Journal, Vol. 31,

May, 1978, p. 167.

Keith Anderson, liner notes for Naxos CD 8.550243, Famous Trumpet Concertos, "Haydn's concerto, written for Weidinger in 1796, must have startled contemporary audiences by its novelty. At the first performance of the new concerto in Vienna in 1800 a trumpet

melody was heard in a lower register than had hitherto been practicable."

Kent Wheeler Kennan, The Technique of Orchestration, Prentice Hall, NY, NY 1952

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

58

Kool, Jaap (1931). Das Saxophon (in German). Leipzig: J. J. Weber. (translated to English as

Gwozdz, Lawrence (1987). The Saxophone.Egon Publishers Ltd.)

Kotchnitsky, Léon (1985) [1949].Sax and His Saxophone (Fourth ed.). North American Saxophone Alliance.

Lehman, Arthur, A Quick Analysis of Simone Mantia's Artistry On the Euphonium, 2008, http://www.dwerden.com/eu-articles-lehman-Mantia2008.cfm, retrieved 4/1/2011

Life and Work of Leonard Falcone, Myrna Delford Welch, University of Illinois Press, 1973

Lindemeyer, Paul (1996). Celebrating the Saxophone. William Morrow & Co. ISBN 0-688-13518-8.

Marching Band and Sports On Level Playing Field". Medical News Today.MediLexicon

International. Retrieved 19 July 2012.

Marzi, Mario (2009). IlSaxofono. The Expression of Music 4 (in Italian). Varese, Italy:

ZecchiniEditore (Zecchini Publisher). p. 468.ISBN 978-88-87203-86-8. Method for Trumpet, Jean-Baptiste Arban, Carl Fisher & Co, NY, NY 1982

Michigan State University Archives - Leonard Falcone Collection

https://www.msu.edu/unit/msuarhc/falcone1.htm retrieved 4/24/2011

Miles Davis, Trumpeter, Dies; Jazz Genius, 65, Defined Cool". Nytimes.Com. Retrieved 2008-

05-03.

Morin, Alexander J., Classical music: the listener's companion, Backbeat Books, SanFrancisco CA, 2002, Page 1113

Nicholas Bessaraboff, Ancient European Musical Instruments. Boston: Harvard University Press, 1941.

Nicholas Shackleton, "Clarinet", Grove Music Online, ed. L. Macy (accessed 21 February 2006),

grovemusic.com (subscription access).

Rauscher, Megan (2 June 2009). "Marching in the band as tough as playing sports".Reuters.

Retrieved 19 July 2012. Rendall, F. Geoffrey (1971). The Clarinet: Some Notes upon Its History and Construction (3rd

ed.). New York: W. W. Norton & Company Inc. SELMER Paris : the clarinet family

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

59

Robert Donington, "The Instruments of Music", (pp113 ffThe Family of Bugles) 2nd ED.,

Methuen London 1962

Roy Newsome, The Modern Brass Band: From the 1930s to the New Millennium , Ashgate Publishing, Ltd., 2006, p. 252. ISBN 0-7546-0717-8.

Sadie, Stanley; Tyrrell, John, eds. (2001). "Flugelhorn". The New Grove Dictionary of Music and Musicians (2nd ed.). London.

Schudel, Matt (2009-06-28). "Arthur W. Lehman, 91, Retired Sergeant Played Euphonium With

the Marine Band". The Washington Post.http://www.washingtonpost.com/wp-

dyn/content/article/2009/06/27/AR2009062702268.html. Retrieved 2/24/2011

Segell, Michael (2005). The Devil's Horn: The Story of the Saxophone, from Noisy Novelty to King of Cool. Farrar, Straus and Giroux.ISBN 0-374-15938-6.

Sherman, Roger. Trumpeter's Handbook: A Comprehensive Guide to Playing and Teaching the Trumpet, Accura Music, 1979, ISBN 0-918194-02-4

Skardinski, Stan. You Can't Be Timid With a Trumpet: Notes from the Orchestra, Lothrop, Lee &

Shepard Books, 1980, ISBN 0-688-41963-1

Smithers, Don L. The Music and History of the Baroque Trumpet Before 1721, Syracuse

University Press, 1973, ISBN 0-8156-2157-4. W.C. Hubbard (ed.), The American History and Encyclopedia of Music "Musical Instruments",

George W. Andrews, Irving Square, NY, NY, 1924

The International Tuba-Euphonium Association, a professional organization for tubists and euphonists.

Thiollet, Jean-Pierre (2004). Sax, Mule & Co. Paris: H & D. ISBN 2-914266-03-0.

Trumpet, Brass Instrument. dsokids.com. Retrieved 2008-05-03. Tuba News, a free monthly online publication for tuba and euphonium players.

Tuba-Euphonium Press, publishing house for new euphonium and tuba music.

Vassily Brandt Orchestral Etudes and Last Etudes. ISBN 0-7692-9779-X.

Virginia Tech Multimedia Music Dictionary: Baritone Horn

Werden, David. "Euphonium, Baritone, or ???". Retrieved 2008-01-29.

The Roles of Drum Major, Percussion Instrument and Few Selected Brass Instrument In a Marching Band

Written & Compiled By Jumare James [Corporal]

Email: ameyejumare@gmail.comMobile Number: 07067447270 Page

60

Werden, David. "Euphonium, Baritone, TubaEuph.com. Retrieved 8 June 2015.

What is a baritone Horn?.Wise GEEK.Retrieved 2012-05-26. Wikipedia Page Leonard Falcone International Tuba and Euphonium Festival

William Benton, Chicago Illinois, Encyclopedia Britannica, Micropedia, Volume III, 1974, p.

156