READ THE ARTICLE FIRST IN IT ENTIRETY !!!!!! This article is one of the most ridiculous I have read on this debate. So this guy is the authority on which pitched instrument is to be used outside and which inside? HAHAHA this is so funny ! It is interesting in all the orchestras and Brass quintets I have ever played in many different keyed instruments were used depending on the music and what key it was written for especially in the case of trumpets. This idea of taping the third valve down and adjusting slides is idiocy to say the least because it throws all of the acoustical nodal points off and is very stuffy on top of that. """While in Belgium, Schilke became acquainted with the acoustical ideas of eighteenth century instrument designer and acoustical scientist Victor Mahillon. His theories described nodal points in a resonating tube that would dramatically affect the final pitch produced. Schilke used mathematics and measurements taken with a contact microphone and oscilloscope to identify these key nodes for each pitch in his horns. By making adjustments to the diameter of the tubing, or by eliminating intrusions into the geometric progression at these points, he improved the overall intonation. Schilke also studied metallurgy and the physics of sound production. He experimented with different alloys, formulating and then testing theories as to the effects of utilizing different alloys in different parts of the horn on intonation and timbre. Schilke took the scientific approach to answering the question of plating versus lacquering or bare brass - finding that the inelastic lacquer masked the ductility of most alloys resulting in the resonation of the metal itself being increased relative to the resonation of the air column whereas plating was indistinguishable from bare brass as it was merely a thin layer of equally ductile material. Like his neighbor and fellow Chicago Symphony trumpeter Elden Benge, as well as Vincent Bach, Jerome Callet and Ernst Couturier, Schilke used his knowledge of machining and the science of sound to address his dissatisfaction with the instruments available to him by building his own. The instruments have an actual formula for the length such as B flat or , D or E flat etc. Use of both all that extra tubing and extra bends in the tubing it is quite stuffy and not usable. As outspoken as I have been on the direction of the activity mainly dominated by wacko visual types whose only concern is filling their own pockets financially and the need to be called " ARTISTS " when they are far from anything creative I actually am for the B Flat instruments. Yes that is right because they are superior in terms of good intonation potential in the case of the KONTRABASS TUBEN - Contrabass Tubas ( English ) which have 4 valves usually in corps which leads to far better intonation possibility and more chromatic lines mat be played . If you would Add a 5th valve to the Kontrabass Tuben they could then play straight down Chromatically to the pedal range. The vastly INFERIOR g two valve instruments were very difficult to play in tune in the Contrabass instrument. In the upper brass it is especially tinny sounding and too much treble and with the incessant use of mellophones in corps now even more treble in the horn lines . The lower French Horn sonority is missing .This all really cones down to what each individuals concept or tone is . In my case I seek a world class beautiful sound in every voice of the horn line characteristic of what the instrument is called and sounds like out of the realm of corps. Baritones and Euphoniums should sound like that not a treble cousin . I still remain with the points I have tried to make over and over again to the G bugle proponents that it is the way they are being taught in many cases to play , it is more of a wind ensemble mentality where as in the old days it was honk and play as loud as you could with horrible intonation and really nasty tone . There is much to be said for so called " Brass Techs" a horrible name for a person who teaches the ART of brass performance, who rarely if ever play for the kids and say " This is how it should sound" I did this when I taught PR all the time and I convinced the smarter Brass Instructors to do the same . Albert Lo was one person I encouraged to play for the kids and it really helped regiment in that regard for many years. Jim sorry to go on so long but you are correct that few brass instrument makers would re tool to make g two valved bugles there might only be one who is prepared to manufacture g two valve bugles again. Finally Pete Bond former regiment member , Instructor and caption head for PR in the past and Metropolitan Opera Orchestra trumpet player for many years wrote a piece in favor of g pitched instrument for corps . I just do not think the sound is correct or has enough beauty outside with a g bugle. You see it comes back to personal concept and taste. drumcorpsworld/?p=5433#more
Posted on: Sat, 13 Jul 2013 01:46:19 +0000
Trending Topics
Recently Viewed Topics
© 2015