1 Classical Music Exploration & AppreciationWeek 2

2 Review from Week 1 Elements of Music Tempo

3 Review from Week 1 Elements of Music Dynamics

4 Review from Week 1 Elements of Music Texture

5 Review from Week 1

6 Review from Week 1 Active Listening Music is meant to:Trigger Reactions Invite Reflection Awaken Feelings Activate Memories Touch the Heart

7 Review from Week 1 Music & Your Brain Key concepts:Music can enhance cognitive function Music can help people suffering from Alzheimer’s, dementia, epilepsy, and even Parkinson’s. Theories include it relaxes and helps with focus – reduces anxiety, and so on. It can be any type of music. Thank you to Judy for passing along this video that demonstrates music’s effect for a man with Parkinson’s. PLAY CLIP #1.

8 Review from Week 1 Active and Successful AgingKEY POINTS: Engaged – don’t be passive! Education – continue for your lifetime! Most of all, don’t be afraid to try new things – and in the case of this class, musically. You’ll be hearing a wide variety of music throughout this course, some of which you may like, some maybe not so much – but I encourage you to give it at least one more try outside of class – and apply active listening to the music – to get out of it everything you can.

9 This Week: Music for WindsNow, on to this week’s subject: Music for Winds. This is a really broad category and we could spend an entire course on this alone. So, today, you’re going to get an overview of wind instruments and music. I want to take this opportunity to remind you that I have a variety of supplemental learning things on the class web site for your further exploration. Specifically, the book I wrote for an online course a few years ago, is available – it’s organized by musical period in history, and then various genres within each historical section.

10 How Brass Instruments Make SoundBrass instruments make sound by blowing air through – and it’s a forceful blowing, since the wind from your body is being channeled through a mouthpiece and into a narrow tube. In modern instruments, pitches are altered or changed by pressing keys or valves – the trombone uses a slide to alter its pitches In addition, brass players can use their lips to change pitch. DEMONSTRATE – the depth of breath, the blowing and buzzing – including making actual tonal sounds by buzzing.

11 How Woodwind Instruments Make SoundWoodwind instruments also use wind to make sound by blowing into a mouthpiece, but for many of the instruments, the sound is also produced thanks to vibrating reed. You’re going to learn more about this in the 2nd hour when I’m joined by my musical sister Charlotte.

12 Brass Instruments Some fun facts about brass instruments:LONG, COILED TUBES – HOW LONG?! Pitch/Length/Examples B♭4 or A4 2.25, 2.12 ft (69, 65 cm) piccolo trumpet E♭ ft (95.3 cm) soprano cornet, soprano trumpet B♭3 4.5 ft (1.4 m) trumpet, cornet, flugelhorn, soprano trombone E♭ ft (1.91 m) alto horn, alto trombone, alto trumpet B♭2 9 ft (2.7 m) tenor and bass trombone, baritone horn, euphonium, B♭ horn, bass trumpet F2 12 ft (3.7 m) French horn E♭2 or F2 13.5, 12 ft (4.1, 3.7 m) bass tuba B♭1 or C2 18, 16 ft (5.5, 4.9 m) contrabass tuba Horns have been used throughout history for various signals and fanfares due to their loud noise. The first horns were not made of brass, but used natural elements such as conch shells and animal horns. Trumpets were used as long ago as Ancient Egypt, however, it was in 1820 that the valve was invented and added to the trumpet design we know today. This allows the player to change the length of the tube that the air travels through and enables him to play more notes. Mutes are used to soften and lower the sound from a brass instrument. Mutes are put into the flared end at the bell. Different shapes of mutes can create different sounds. Most of the sound comes out the end of a brass instrument making the sound very directional. This is unlike many other instruments including woodwinds. There are two main types of trombones, the tenor trombone and the bass trombone. The bass trombone plays lower notes. The tenor trombone is what most people are talking about when they just say trombone. The tuba generally plays the lowest notes in the brass section. Some large bass tubas that are used in marching bands, called sousaphones, are partially made from fiberglass to make them lighter and easier to carry and march with. Curving the tubes of the brass instrument make them easier to hold and play. Even a small trumpet would be over 6 feet long if stretched out!

13 Haydn Trumpet ConcertoThere are countless works for brass instruments. Today, we’re going to be exploring and ultimately appreciating the Haydn Trumpet Concerto – one of my personal favorites, and a masterpiece from the Classical Era. I’m going to teach this as an active listening exercise, so you’re going to get a LOT of background on the work before you listen to it. Let’s start with the composer: Franz Joseph Haydn was among the creators of the fundamental genres of classical music, and his influence upon later composers is immense. Haydn’s most celebrated pupil was Ludwig van Beethoven, and his musical form casts a huge shadow over the music of subsequent composers such as Schubert, Mendelssohn and Brahms to name but a few.

14 Brass Instruments The left side of this slide shows you the parts of the modern trumpet – a familiar instrument to most of you. HIGHLIGHT PARTS… The right side shows the Weidinger or keyed trumpet of Haydn’s time. Original instrument – a KEYED TRUMPET Anton Weidinger developed a keyed trumpet which could play chromatically throughout its entire range. Before this, the trumpet was valveless and could only play a limited range of harmonic notes by altering the vibration of the lips; also called by the name of natural trumpet. Most of these harmonic notes were clustered in the higher registers, so previous trumpet concertos could only play melodically with the high register (e.g., Bach's Brandenburg Concerto No. 2). Haydn's concerto includes melodies in the middle and lower register, exploiting the capabilities of the new instrument. There were attempts all over Europe around the mid-classical era to expand the range of the trumpet using valves, but Weidinger's idea of drilling holes and covering them with flute-like keys was not a success as it had very poor sound quality. Thus the natural trumpet still had continual use in the classical orchestra while the keyed trumpet had barely any repertoire. The valved trumpets used today were first constructed and used in the 1830s.

15 Haydn Trumpet ConcertoWHAT IS A CONCERTO? a musical composition for a solo instrument or instruments accompanied by an orchestra, especially one conceived on a relatively large scale. Form of the concerto The work is composed in three movements (typical of a Classical period concerto), they are marked as followed: I. Allegro (sonata) II. Andante (A-B-A) III. Allegro (rondo) In addition to the solo trumpet, the concerto is scored for an orchestra consisting of strings, 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 (presumably natural) trumpets (which generally play in support of the horns or timpani rather than the solo trumpet), and timpani.

16 Haydn Trumpet ConcertoSIDE BAR: Now, of course, an orchestra isn’t always available to accompany a soloist. And so, the Piano Reduction or Piano Transcription became a norm for especially popular works. A piano reduction or piano transcription is sheet music for the piano (a piano score) that has been compressed and/or simplified so as to fit on a two-line staff and be playable on the piano. You can see a version of this on the screen – these are always quite the workout for the pianist, since you’re covering all the really good parts of the orchestral score with just your two hands and a piano keyboard! Play a little of it for reference….

17 The Soloist Now, let’s meet the soloist in the recording we’re about to hear. Wynton Learson Marsalis (born October 18, 1961) is a trumpeter, composer, teacher, music educator, and artistic director of Jazz at Lincoln Center in New York City, United States. Marsalis has promoted the appreciation of classical and jazz music often to young audiences. Marsalis has been awarded nine Grammys in both genres From the album PR: For mountain climbers, the Himalayas; for classical trumpet players, the Haydn, Hummel, and L. Mozart trumpet concertos. The young Marsalis tackles the climb with virtuosic technique and clarion tone. Wynton’s 1983 Grammys for this recording and THINK OF ONE…made him the first and only artist to win classical and jazz Grammy Awards in the same year. This recording also marks the beginning of Wynton’s collaborations with the distinguished conductor Raymond Leppard, here leading the National Philharmonic Orchestra. 1983 recording – won a grammy! NOW, LET’S LISTEN TO IT! Clip #2

18 Brass Ensembles A popular genre for brass instruments is the brass ensemble. Virtually every orchestra has one and there are numerous others about, too! The instruments’ remarkable versatility make them excellent choices for smaller groups to make some terrific music. Berlin Philharmonic Brass Ensemble – playing Handel Clip #3 The Berlin Philharmonic Brass Ensemble, one of the longest standing ensembles to have emerged from the Berlin Philharmonic Orchestra, was founded in the 1950s. With 12 virtuoso musicians it brings the distinctive sound and tradition of this great orchestra to its dynamic chamber music performance in Germany and throughout the World. The concerts of the Berlin Philharmonic Brass Ensemble are a celebration of the diversity of brass music which ranges from traditional work of the baroque and classical eras through to commissions by leading contemporary composers and entertaining arrangements of jazz and other well known popular pieces. The rapport of the of the 12 musicians, communicated to the audience in performances of spontaneity and passion, is without doubt enhanced by their experience playing together as members of the Berlin Philharmonic Orchestra.

19 Brass Ensembles Hypnotic Brass Ensemble Clip #4Hypnotic Brass Ensemble (also known as The Bad Boys of Jazz) is an eight-piece, Chicago-based brass ensemble consisting of eight sons of the jazz trumpeter Phil Cohran. Their musical style ranges from hip-hop to jazz to funk and rock, including calypso and gypsie music. They call their eclectic blend of sound "now music", or "Hypnotic". Reared in the teachings of music since they were children, they grew up on the stage playing as the "Phil Cohran Youth Ensemble". Arguably, they are playing American classical music, since jazz and hip-hop and funk are American-born genres.

20 What is this?! What would you call this group of musicians? Band?Wind Ensemble? Both are correct!

21 Band vs. Wind Ensemble Terminology Instruments HistoryTerminology: PREPARE TO BE CONFUSED! A concert band, also called wind ensemble, symphonic band, wind symphony, wind orchestra, wind band, symphonic winds, symphony band, or symphonic wind ensemble, is a performing ensemble (group of musicians). Instruments – all the brass, all the woodwinds, and lots of percussion; on occasion, a string bass and even a piano when the music calls for it! History: This ensemble became popular in the middle of the 20th century. Now, we’ve seen the ensemble in different forms over the years, from the serenade wind bands of Mozart’s era, to English brass bands, to Sousa’s marching band, Glen Miller’s big band, and military bands in every country, plus the many wind orchestras and symphonic bands that exist throughout the world today. Band music has moved away from its stereotype marches and military parade music to take a well-deserved place among the other groups known for playing “serious” music – a nod to the versatility of the instruments in the group! Musically, they’re no different from an orchestra – just no parts for string instruments. (BTW-the string bass often covers the really good bass parts that don’t work well on the tuba!) So which is better – orchestra or band? I say both are equally good – just different – the uniqueness of the ensembles allows for equally unique music – allowing us to enjoy really diverse types of music. Both have their place in early music education and both are equally vital and exciting types of music.

22 Minnesota State Band Let’s meet one of my favorite local bands - the Minnesota State Band. HISTORY: Organized in Developed an excellent reputation – so much so, that the original conductor was poached by Oscar Hammerstein I to work for him in New York and others were recruited by John Philip Sousa for his band! The band follows the Sousa tradition – programming current popular and symphonic music for general audiences in a wide variety of concert selections each year. The band has performed for state functions over the years as well. Early on, they played lots of summer concerts at Lake Phalen, Lake Minnetonka, the State Fair, and the Como Park Lakeside Pavilion. Como Park is a continuing tradition for the band – and you’ll find upcoming dates there on today’s handout.

23 Minnesota State Band The band also tours internationally – since 1986, they’ve been to 10 different countries! Their ability sees them invited to participate in international festivals regularly, but their priority is providing music with wide audience appeal in its Minnesota concert performances. Concerts frequently open with the state song, “Hail! Minnesota” (written in 1904 by Truman Rickard) – became state song in They traditionally end with the national march of the US, The Stars and Stripes Forever March by John Philip Sousa. The band is an active, vibrant musical group that honors its past but always looks to the future. LEGACY – the only State Band still in operation in the country! Funding – some arts funding, donations – and the band members are all volunteers who actually pay a small fee to be a part of the band! Concerts – see list in today’s handout! LISTEN! CLIPS #__________ and __________

24 College Bands/ Wind EnsemblesOn the slide is the Concordia Band – which just happens to currently feature two of my nieces! And has featured two of my nieces since 2010! They come to the Twin Cities to perform in addition to performing in Moorhead – I encourage you to check them out “live.” The recording is from the MMEA convention in February 2015. CLIP #__________ St. Thomas has a Symphonic Wind Ensemble and a Symphonic Band. Prospective members are told this: As a member of the Symphonic Wind Ensemble or Band, you will study and perform standard and contemporary band music, transcriptions of other musical genres, and premiere new repertoire commissioned by St. Thomas. Since 1991, the St. Thomas Symphonic Wind Ensemble has commissioned and premiered over 70 new works for band. This music is recorded for commercial distribution and appears on innova, the record label of the American Composers Forum. They perform regularly during the school year and your handout has information on their upcoming concerts still this spring. LISTEN: CLIP #______

25 So, whatever they’re calling themselves, check out a band concert in the near future – no matter the age of the group members, it’s music well worth checking out!

26 Meet Our Guest Artist/EducatorNext week, we’ll be exploring Music for Winds – and we’ll be joined by one of my musical friends during the 2nd hour. Until then – happy listening and exploring!

27

28 From chalumeau

29 Textured and layered background (Intermediate)To reproduce the first background layer on this slide, do the following: On the Home tab, in the Slides group, click Layout, and then click Blank. Also on the Home tab, in the Drawing group, click Shapes, and then under Rectangles, click Rectangle. On the slide, drag to draw a rectangle. Select the rectangle. Under Drawing Tools, on the Format tab, in the Shape Styles group, click Shape Fill, point to Gradients, and then click More Gradients. In the Format Shape dialog box, click Fill in the left pane, in the Fill pane, click Gradient fill, and then do the following: In the Type list, select Linear. In the Angle box, enter 70°. Under Gradient stops, click Add gradient stop or Remove gradient stop until four stops appear in the slider. Also under Gradient stops, customize the gradient stops as follows: Select the first stop in the slider, and then do the following: In the Position box, enter 0%. Click the button next to Color, click More Colors, and then in the Colors dialog box, on the Custom tab, enter values for Red: 19, Green: 52, and Blue: 61. In the Transparency box, enter 0%. Select the next stop in the slider, and then do the following: In the Position box, enter 37%. Click the button next to Color, click More Colors, and then in the Colors dialog box, on the Custom tab, enter values for Red: 75, Green: 172, and Blue: 198. In the Position box, enter 73%. Click the button next to Color, click More Colors, and then in the Colors dialog box, on the Custom tab, enter values for Red: 49, Green: 133, and Blue: 156. Select the last stop in the slider, and then do the following: In the Position box, enter 100%. Also in the Format Shape dialog box, click Line Color in the left pane, in the Line Color pane, select No line. Also in the Format Shape dialog box, click Size in the left pane, in the Size pane, under Size and rotate, enter 7.5” in the Height box and 10” in the Width box. On the Home tab, in the Drawing group, click Arrange, point to Align, and then do the following: Click Align to Slide. Click Align Middle. Click Align Center. To reproduce the second background layer on this slide, do the following: On the Home tab, in the Drawing group, click Shapes, and then under Rectangles click Rectangle. Select the rectangle. Under Drawing Tools, on the Format tab, in the Shape Styles group, click the Format Shape dialog box launcher. In the Format Shape dialog box, click Fill in the left pane, in the Fill pane, select Picture or texture fill, and then do the following: Click the button next to Texture and then click Brown Marble (third row). Clear the “Tile picture as texture” check box. Under Stretch options, in the Transparency box, enter 80%. Also in the Format Picture dialog box, click Line Color in the left pane, in the Line Color pane, select No line. Also in the Format Picture dialog box, click Picture Corrections in the left pane, in the Picture Corrections pane, under Brightness and Contrast, enter 12% in the Brightness box and 44% in the Contrast box. Also in the Format Picture dialog box, click Picture Color in the left pane, in the Picture Color pane, under Recolor, click the button next to Presets, and then click Grayscale (first row). Also in the Format Picture dialog box, click Artistic Effects in the left pane, in the Artistic Effects pane, click the button next to Artistic Effect, click Glow Diffused (second row), and then do the following: In the Transparency box, enter 47%. In the Intensity box, enter 9. Also in the Format Picture dialog box, click Size in the left pane, in the Size pane, under Size and rotate, enter 7.5” in the Height box and 10” in the Width box. To reproduce the third background layer on this slide, do the following: Click the button next to Texture and then click Granite (third row). Select the “Tile picture as texture” check box. Under Tiling options, in the Transparency box, enter 95%. Also in the Format Picture dialog box, click Picture Corrections in the left pane, in the Picture Corrections pane, under Brightness and Contrast, enter -20% in the Brightness box and 100% in the Contrast box. Also in the Format Picture dialog box, click Artistic Effects in the left pane, in the Artistic Effects pane, click the button next to Artistic Effect, click Photocopy (fifth row), and then do the following: In the Transparency box, enter 30%. In the Intensity box, enter 3. To reproduce the fourth background layer on this slide, do the following: On the Home tab, in the Drawing group, click Shapes, and then under Rectangles, click Rectangle. In the Type list, select Radial. In the Direction list, select From Center. Under Gradient stops, click Add gradient stop or Remove gradient stop until two stops appear in the slider. Click the button next to Color, under Theme Colors, click Black, Text 1 (first row). In the Transparency box, enter 100%. Click the button next to Color, click More Colors, and then in the Colors dialog box, on the Custom tab, enter values for Red: 36, Green: 25, and Blue: 15. In the Transparency box, enter 50%.

30 Melchiore Pichler Parthie á 4 Chalumeaux (1716)

31 to clarinet

32

33 Octocontrabass The octocontrabass clarinet, sometimes called octo-contrabass or subcontrabass clarinet, is lowest playing member of the clarinet family. It is pitched an octave below the contrabass clarinet, or three octaves lower than the standard B ♭ soprano clarinet.

34 David Gould, piccolo Ab & Cyrille Mercadier, contrabass

35 A-flat piccolo clarinet: 14 inches E-flat soprano clarinet: 19 inches B-flat soprano clarinet: 26 inches BBb Contra bass clarinet: 9 feet

36

37 Woodwinds in the orchestra

38 Verdi’s Overture to La forza del destino

39 Delius Dance Rhapsodie No. 1

40 Bartok Miraculous Mandarin

41 With orchestra

42 Solo

43 Mozart Clarinet Concerto

44 Copland Clarinet Concerto Benny Goodman, Aaron Copland conductor

45 Martin Fröst

46 Duo

47 Danzi Sinfonie Concertante James Galway, flute & Sabine Meyer, clarinet

48 Strauss Duet-Concertino Thorsten Johanns, cl & Ole Kristian Dahl, bsn

49 With wind ensemble

50 McAllister Black Dog Robert Spring, clarinet

51 Chamber ensembles

52 Trios

53 Mozart Allegro from Pieces for 3 Basset Horns Hoeprich, Riera, Gumí, basset horn

54 Brahms, Trio, Opus 114 Fröst, clarinet; Hagen, cello; Andsnes, piano

55 Lehel Manhattan sweet, woody clarinets Trio di Clarone

56 Clarinet quartets

57 Bernstein Candide, arr. Hainaut Quatuor Anches Hantées

58 Clarinet with voice

59 Mozart Notturni K. 437 &436 Nicola Wemyss,soprano; Helena Rasker, mezzosoprano;Kees Jan Koning, basso Stadler Trio

60 Performance Arthur Honegger – Sonatine, Movement 1Arthur Honegger is one of the major composers of the twentieth century. Of Swiss nationality, born in France and living most of his life in Paris, he had both French and German influences. A member of the famous Groupe des Six together with Poulenc and Milhaud, his art is characterised by a great sense of architecture which allows him to mix all the different languages and musical techniques of his era. His music serves a humanist concept that is completly in phase with the major questions of the twentieth century. ( ) Composed in , the Sonatina for Clarinet and Piano is one of Honegger's more diverting works. It was premiered in New York City in July, 1923 by clarinetist Louis Cahuzac and pianist Jean Wiener. The composer also made an arrangement of the work for cello and piano. Honegger never admitted frivolity into his music, but in the Sonatina the tone is less serious than usual. The integrity of the compositional craft, however, is never in doubt. Honegger stated: "I have sought before all else the melodic line--ample, generous, and flowing." The Sonatine is indeed tuneful; Honegger also makes use of lively rhythms and lean yet effectively spiced harmonies. The slow movement is tender though austere, providing relief between the greater activity of the outer movements. The finale is effervescent and rhythmically exciting, calling for glissandi, "smears," and other such performance touches--a nod to the jazz mania that swept through French music in the early 1920s.

61 Performance Paul Harvey - “Summertime” from Three Etudes on Themes of Gershwin Paul Harvey was born in Sheffield in 1935, studied at the Royal College of Music, London and has been a member of the Band of the Irish Guards, the Scottish National Orchestra and the Bounremouth Symphony Orchestra. For most of his career he has been a freelance player in London, working mainly with the BBC Synphony Orchestra and National Philharmonic, doing film and recording sessions and many West End Musicals. He was leader of the London Saxophone Quarttet for 16yrs and Professor of Clarinet and saxophone at the Royal Military School of Music, Kneller Hall, for 26yrs. He now devotes most of his time to private teaching, composition and writing, having several books and a great deal of music in publication The Three Etudes on Themes of Gershwin were written by Paul Harvey for three different clarinetists. The three themes are "I Got Rhythm," "Summertime," and "It Ain't Necessarily So."This edition contains the alternative ending for Summertime with a multiphonic. Three etudes on themes of Gershwin: for unaccompanied clarinet Three Etudes on Themes of Gershwin: For Unaccompanied Clarinet, Paul Ragle HarveyAuthorPaul HarveyPublisherChappell, 1975

62 Next Week Next week, we’ll be exploring Music for Winds – and we’ll be joined by one of my musical friends during the 2nd hour. Until then – happy listening and exploring!