THE
HISTO
RY
OF
TEACHER’S
MANUAL
1
TA B L E O F
CONTENTS
... 4
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ic
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Mus f music .............. .............. ... 5
f
o
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y
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o
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istor history usic ?.... ............. .............. .. 6
H
e
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m
Th
...
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he
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t is t istory of ............. .............. .............. .... 7
a
h
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W
.
.
the h times.... .............. .............. .............. ... 8
y
h
W
ic
...
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....
.......
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istor
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13
Preh uity......... .............. .............. .............. ............ 9
...... 14
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0
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q
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1
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e
A
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..
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...
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le ag
.......
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1
.......
s
...... ........... . 15
.
t
.
.
n
.
.
Midd ssance... .............. .............. .............. ............ 1
me
.....
.....
.....
i
d
2
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..
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stru .......... .......... ........... ..... 16
Rena ue perio .............. .............. .............. ............ 1
n
I
...
...
d
ss
q
...
..
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...
..
Bra ........... ........... .......... .......... ...... 17
Baro cal perio .............. .............. ..............
f
o
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si
tory .......... .......... .......... ........... ........... ....... 18
Clas nticism.. .............. ..............
s
i
.
H
.
.
.
n
.
a
he uctio .......... .......... .......... ......... .......... ...... 18
ry..... ..............
Rom
T
u
t
n
.
.
th ce
......
trod orn...... ........... ........... .......... .......... ..........
o
r
n
t
I
XX
s
.
.
H
et..
.....
....
....
.....
Mae
The Trump ne..... .......... .......... ..........
The
o
..
..
..
The Tromb .......... ........... ..........
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t
.
.
The Tuba... uinte ..........
Q
..
The Brass ...........
n
e
Th clusio
. 20
Con
.......... 0
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.
d
.
.
e
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m
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erfor
........
..... 2
toire P .................... .................... . 20
r
e
p
e
....
....
al R
.....
Music ric period.... .................... ................... .. 20
.
.
..
to
...
....
Préhis y................... .................... ................... .. 20
it
...
....
....
Antiqu ges............. .................... ................... .. 21
.
A
...
...
....
Middle nce............. .................... ................... .. 21
.
a
.
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s
.
.
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Renais .................... .................... ................... .. 21
...
....
ue
....
Baroq l period........ .................... ................... .. 22
.
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a
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.
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....
c
Classi cism............ .................... ...................
...
....
nti
Roma tury.............. ....................
.
.
th cen
.......
XX
ro.......
t
s
e
a
The M
2
THE HISTORY OF MUSIC
3
What
Is
The histo t h e H i s t o r y
of Mus
r y of m
usic first
ic?
descriptio
ly consis
n, accordin
ts in the
g to place
various k
s
nown for
ms of mu and times, of the
next cons
s
ic
ists in the
al
obser vatio expression. It
and intell
n of the c
ectual co
ultural
ntext in
evolved.
which th
at music
ic?
ays
y of Mus
r
o
t
s
i
H
ere has alw
th
,
h
c
a
re
W hy t h e
n
a
l
s memory c
o, there wil
a
g
k
y
c
a
a
m
b
e
r
w
fa
s
As
ard a
ds,
. As far forw art of combining soun
been music
, the
ghout
usic. Music
kind, throu
n
a
m
f
o
always be m
th
rd.
ir
Since the b
c can be hea
l.
si
a
u
rs
m
e
,
y
iv
r
n
u
to
is
d’s his
s of mankin
all the page
ric
om prehisto
fr
c
si
u
m
of
ed how
What is left
?
u were ask
e
o
k
y
li
if
d
e
t
d
a
n
h
W
e main
ity sou
ho were th
om Antiqu
W
s?
e
g
A
hat
times or fr
the Middle
ue eras? W
q
m
ro
o
a
fr
B
s
g
d
n
n
a
o
the s
antic
ance
the Renaiss
al and Rom
f
ic
o
ss
rs
la
e
C
s
o
e
p
th
ith
com
s between
nymous w
e
o
c
n
n
sy
re
e
c
iff
si
d
u
th
know
tury m
are the
is 20 -cen
Would you
y
?
h
y
tl
W
n
re
s?
r
ll
d
u
perio
is music c
answering a
t
f
a
o
h
e
w
g
,
n
e
d
ll
n
a
on the ch
rupture? A
Buzz takes
?
r
e
sw
n
a
what to
stions.
hed
of these que
, to be enric
st
a
p
e
th
m
listen
usic fro
derstand m
to which we
n
c
u
si
d
u
n
m
a
e
r
e
th
v
reciate
To disco
music.
s better app
u
th
to
d
e history of
n
th
a
n
r
a
le
with it
ld
u
why we sho
today, that is
4
o
m r
o
H ove o
t
E S k to
M ac om cult cal
I
T b fr ffi si d
I C s go or ll di mu eare ly
R
i
O rigin cest s st hich app n on ng
T
i
ANT IQUITY
o
I S al o an . It in w ave e ca s al
c
H
o
e
r
h
i
It is not until the arrival of the civilizations of
E us ou ag er t s. W tag
R
s
e
h
s
d
e
r
m
Antiquity that the real ambition for artistic
P r s, ea or ig im ral
m
so by
Ou pien 00 y the s m ic t ene
d as ing creation manifested itself and that a taste
e
i
sa 0,0 ish non stor of g
g g for listening developed. At an early age,
tr
10 tabl me rehi ies es.
h ban kin s.
t
c
s
r
o
es en g p a se lin
fir su by -ma ing g a child would learn the rudiments
g
h
p rin se in
ve ms, or und ginn ckin th of music: plucking the strings
a
o
u
w
h th dy So be mi ou s
d pp llo
of a lyre, of a sitar, blowing
o
u
d
f
l rhy bo ts. eir mi s m ien f
s e
u
i
p
n
into an aulos and playing
o
c
th
wo ry ow bje e th ried ng h o sa ge us
a
t
o ak n
si m ran th f the tunes taught by his
an nt is
M eme ng h king ld m the by u , Ho ull uld ns o It master. Each musical
el riki sha ou ave ure age he f wo atio re. n
instrument had its
st d ts w d h nat s st g t He bin imb oke
f
i
n
n
l
t
c
i
distinctive role.
a je ou s o th er es. om d f sp
ob e w und . At cov iliti nt c an , o
H e so ynx dis ssib ere itch song
They resonated
th lar be po diff in p of
l
d
r
.
l
g
for gods, for battles
o ou ca in ing rth ce
w s vo plor ary e bi dan
or for celebrations.
hi ex s v th of
Life during Antiquity was
be und be and
d
governed
by the rhythms of
o
e
l
s ou ag
u
w ng
music. Indeed, music livened up
la
homes, temples and theatres alike!
Among the various civilizations of the
ancient world, the one that interests
us most particularly is the GrecoRoman civilization, the source of
Western culture. Among its many
trade categories such as ironsmiths,
shepherds and potters, there were
musicians.
5
M I D D L E AG E S
(476 – 1453, i.e. from the fall of the Western
Roman Empire to the fall of Constantinople)
It is during the Middle Ages that Western music started
its rise. In the course of this period, musical notation
came to be. Until then, music had been transmitted
from musician to musician by oral tradition. Now,
musical notation enabled composers to set their music
for eternity!
The music of the Middle Ages was shrouded in a halo of
mystery. Music was a means of communication between
Man and his God. Of note is that musicians of this period
would hide in the shadows of anonymity. They considered
themselves simple mediators striving to capture the invisible
and the divine light by means of music.
At the end of the 6th century, Pope Saint Gregory I
brought a reform to Roman liturgy. Doing so had a
great influence on the course of the history of music.
Thus, Gregorian chant (in the name of Pope Saint
Gregory I) became the jewel of this period. Gregorian
chant is not a precise musical genre but rather a
repertoire of Latin liturgical chants, often consisting of
a single voice and without instrumental accompaniment.
6
R
(14 ENA
53
ISS
th
po e beg – 160 AN
The l y p h o i n n i n 0 , i . e . C E
who Rena n y ] ) g s o f f r o m
the
th
sou , unt issanc
m o e fa l
Hum ght to il the e bro
l
no
dic of C
mar anism detac n, had ught
sty ons
. Th h him
t
bee about
le
and k hist
[as antin
i
n
o
s
s
a
o
e
r
e
y
n
l
h
Orl
m
f
o
n
op
and e of th : Josqu ergen from iding ew p
po ple t
h
s
em
o di
in d
a
t
c
ed o
h
e
m
ong nom
ost
es P e of M e gro
Las
to
In p
e
i
u
n
r
l
s
a
h
lust
é
p
o.
on, aralle
riou s, Duf n led s . It w is pee on. M
l
a
m
,
a
e
s
s
of s
usic mus
mu y, Pa vera
the rs, no an
i
l
s
l
o
c
e
i
c
w
u
’
c
s
om birth w
civi
ians
nds
trin
as t s act
l
.
u
a
i
o
o
z
,
I
a
atio
f th
tw
so
Mo posers of
l ro
be
e
a
d
n
a
l
Ren nteve to
too id th . Ins s a re plea e was
r
aiss
k
t
s
e
t
ure
tran
fam up c
fam rume urn
anc di
s
f
t
o
f
o
n
e
i
i
o
o
l
l
r
,
nsid
ts e
ies
rme
evo y it
the
the
to b lution self un erable of inst volved value sense d. Fro
Gab e rela was la derwe space. rumen and, s of an s, a p m then
ted,
le
rg
b
D
t
riel
c
n
i.
And ely du t imp uring s. Inst y the ient G asure
ru
e
re
o
v
t
rea
Gab to two rtant his per menta ery fa ek
d
c
i
m
l
riel
i an usicia evelop od, the musi t,
c
m
dh
is n ns who ents. brass
eph
ew happen This
Gio
van ed
ni
7
le [as
dic sty
o
n
o
m
he
IOD
gs of t
ian
UE PER
Q
ginnin
e
O
b
R
Sebast
e
A
h
n
t
B
n
a
m
h
o
r
o
J
.e. f
ath of
17 5 0 , i
the de
o
t
(1600 –
]
y
lyphon
d to po
usses
oppose
that it foc
ic is
oque mus
r
a
al
B
f
o
s
of music
e
teristic
s
c
u
a
r
a
te
h
a
c
elabor
e main
e
ough its
One of th
r
gether lik
Th
.
to
y
g
it
in
iv
d
s
s
in
e
r
exp
dies w
red
on great
wery melo
o
fl
f
o
s that sac
d
n
n
a
io
t
n
o
io
m
t
e
a
t
ree the
ornamen
es to
rived to f
t
s
it
,
s audienc
s
it
e
d
in
le
v
y
it
,
n
doing
so ma
red
sed. In so
s
e
r
p
n unexplo
e
e
r
e
d
b
a
d
h
a
h
ic
s
t
mu
ns tha
can
of emotio
n
io
s
s
roque era
e
a
r
B
p
e
h
t
an ex
f
usic o
amber
e. The m
im
t
e
enres: ch
h
t
g
t
a
in
a
m
ree
d into th
.
be divide
and opera
ic
s
u
m
s
u
ligio
music, re
iod
roque per
a
B
e
h
t
y
n
ot stud
n Sebastia
One cann
n
a
h
o
J
g
entionin
endel.
without m
drich Ha
ie
r
F
g
r
erit.
d G eo
ess and m
c
Bach an
c
u
s
f
o
e
enged
his shar
een chall
b
Each had
r
e
v
e
n
the
glory has
ted that
ia
c
e
r
Haendel’s
p
p
a
mis
.
ork is so
verlooked
o
n
e
ft
o
but his w
ius is
of his gen
e
r
tu
a
n
l
a
re
in place a
g
in
tt
u
p
uted to
ctave is
he contrib
,
h
c
a
ich the o
B
h
w
y
b
As to
tem
itled
usical sys
work, ent
m
is
d
H
e
.
r
s
e
d
p
n
tem
this
ual sou
ntative of
twelve eq
e
s
e
to
r
p
in
e
r
d
e
divid
the
vier”, is
stablished
pered Cla
e
m
h
e
c
T
a
B
ll
e
,
be
ugh it
“The W
ould not
nds. Thro
c
u
o
s
ic
s
f
u
o
M
n
e
usic.
new notio
f tonal m
hrough th
t
o
s
d
e
le
s
s
u
r
a
p
l
ta
adn’t
fundamen
day if it h
to
e
m
ach!
o
c
as be
ebastian B
S
n
n
what it h
a
h
o
J
r tal
the immo
hands of
Bach)
8
When Wolfgang was 29 years old, he made the acquaintance of
e
c
n
a
l
a
D
re, b
Joseph Haydn. Mozart had such admiration for Haydn that he
ERIO
ity. He
,
c
P
i
d
l
o
p
L
i
r
m
si
pe
considered him a second father. As the art of Mozart grew, so did
SICA
roque
lm and
a
a
c
B
C L AS 180 0)
,
r
c.
e
i
e
s
h
d
t
u
r
o
f
m
y
–
Haydn’s work deepen at his contact although Haydn was his senior.
s o
the
o sa
( 17 5 0
heaval
ed in
cal is t
t
p
f
i
c
u
s
o
e
s
fl
t
a
d
l
e
a
n
C
gre
is r
na
To say
ntatio
ed, as
e
er the
w
ft
m
o
l
e
A
l
n
e
.
ls
t or
Ludwig van Beethoven, for his part, gradually became afflicted
ns m
prevai
.
withou
t
passio
s
n
e
d
a
i
n
g
d
g
e
a
s
gan
d el
with severe deafness. He had to abandon his career as virtuoso
melo
feeling
, Wolf
ple an
ns of
n
a
m
d
i
e
y
s
a
m
n
i
H
y
e
a
B
h
b
m
p
pianist and improviser to devote himself to composition. Among
t re
not
ose
How?
ns tha
sers, J
en can
o
o
v
i
p
t
o
a
h
m
r
t
t
o
e
c
his most famous works, let us first underline the 5th Symphony. It
an Be
orches
ssical
v
a
l
g
i
C
w
e
Lud
g th
ue
is the symphony of fate—not only for its famous motif that evokes
t and
Amon
r
a
z
-Baroq
o
e
t
M
a
l
s
e
u
e
th
s
fate striking at the door, but also for the lesson in greatness and
Amad
dn wa
ly from
e
y
a
m
H
a
.
n
n
d
,
e
e
e
h
f
r
i
courage that Beethoven gives us in his own battle with fate.
.W
eir
ng l
igno
e d a lo
nticism
x of th
v
e
a
i
l
p
m
a
n
o
e
d
of R
t th
n
Hay
dawn
writte
were a
e
l
d
h
e
a
t
d
h
n
o
Let us also mention Beethoven’s 9th Symphony, the final
era t
d Hae
is
thoven
e
n
h
e
a
e
B
t
h
,
a
c
Ba
lebr
died
movement of which puts to music poet Schiller’s “Ode To Joy”.
born,
en he
oon ce
s
s
h
w
d
l
d
u
o
an
orks i
w
s
w
r
d
e
’s
n
e
n
a
r
Rarely has a work matured so long in its creator’s mind. In fact,
ca
yd
hony
of Ha
th Symp
orms
f
m
t
u
a
s
e
6
r
e
eg
his
thirty-one years went by between the project’s conception and
day. Th uence on th
th birth
.
fl
e
39
s in
its realization. As a source of Romanticism, Beethoven served
iabl
and hi
e
unden
g
e
s
s
a
i
n
e
c
e
i
h
s
u
at t
imm
as a model to 19th-century composers.
ental m
ddenly
m
e
u
u
s
h
r
t
t
d
s
e
f
e di
rs o
of in
zart, h
maste
o
t
a
M
e
ne
r
r
As fo
the g
only o
Along with Haydn and Mozart, Beethoven belongs to the
e
g
h
n
t
o
s
i
Am
rt
a
.
e
z
5
h
o
3
t
f
M
f
o
ll o
immortal trio of Classical Viennese composers to which
sic,
st in a
of mu
e
y
r
r
e
l
t
o
l
t
n
a
s
i
hi
an
em
we owe the elaboration and culmination of the classic
taken
ing th
e
h
c
v
i
a
r
h
l
n
a
e
c
to
i
,
s
s
instrumental forms. These forms are: the piano sonata, the
re
a mu
al gen
ks. As
r
o
s
w
music
u
l
string quartet, the other forms of chamber music and the
ona
made
xcepti
ang A
g
f
l
o
with e
:
,W
her
symphony.
rodigy
e teac
p
n
d
o
l
i
y
h
l
c
t.
on
Mozar
t had
r
a
d
l
z
o
o
p
M
L eo
ther,
a
f
s
i
h
9
0)
n
ots i ery
o
r
s
v
it
M
.
has in that
CIS
d
I
o
T
edom ers
i
r
e
.
N
r
e
e
f
.
p
A
i
ed
os
n,
R O M mantic
lutio ch claim ey comp ice of
o
o
v
R
e
r
th
he
erv
ren
The rench
he F ians—be n the s obility, t riod
t
F
h
e
c
i
i
c
n
th
pe
musi
the
y wh
een
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10
XX th CENTURY
Often misunderstood because of its great
extravagance, 20th-century music is synonymous
with rupture. More than ever, musicians seek what is
innovative, out of the ordinary, what has yet never been
seen or, more precisely, never been heard. The writing
systems and the forms used until now no longer satisfy
composers such as Bartok, Prokofiev, Stravinsky, Berg,
Webern and Schoenberg. Music heads off in all directions
because it is no longer defined as the art of organizing
sounds in a manner that is pleasing to the ear.
In that perspective, two main lines of conduct took shape. On
the one hand, there is the rigorous organization of music. In the
middle of this century, new expressions of it could be heard in
the form of serial music and repetitive music. On the other hand,
there is the so-called random music and intuitive music, to name
just those two.
In parallel, a new form of musical expression saw the light: jazz.
Stemming from the blues, jazz found much of its inspiration in classical
music to establish its own harmonic rules. Jazz and classical music were
fused together, notably, in the compositions of Gershwin, Milhaud and
Ellington.
Until this point in time, the only way to hear music had been to be where it
was being played. With the emergence of sound recording in the 20th century,
music can be experienced anytime, anywhere! Scientific discoveries abound
and come to strengthen the projects of composers. With the appearance of
radio, television and cinema, music reaches an ever broader audience. Artists
here find inspiration in music from elsewhere and, thanks to continuously more
efficient means of communication, boundaries gradually disappear.
11
T H E M A EST RO
The maestro—or conductor—is a musician who, through
his gestures, coordinates and leads the instrumentalists’
performance. These days, a conductor faces a most
demanding musical task and very few of them attain a
veritable mastery in this field.
The artist looks to the sky and hopes to have his place
among the stars. Worshipped artists. Revered conductors.
In such a circus, what becomes of the music?
Music, Maestro!
12
THE HISTORY OF BRASS INSTRUMENTS
INTRODUCTION
Brass: Group of wind instruments,
made of metal and having a cup
mouthpiece, producing a sound
through lip vibrations (Buzz).
In this family of instruments are found
the horn, trumpet, trombone and tuba.
Their appearance in history is not a
coincidence and their development is
directly related to the evolution of Man.
Once upon a time, there was…
13
THE HORN
Three thousand years BC, the horn was in fact a shell, a plant, an
animal horn or a bone. A thousand years later, it was being reproduced
in terracotta or thin metals. Ornamented with engraving, these
instruments proved to be veritable works of art.
The
e
h
h r o u g lutionize th rred in the
t
k
a
e
r
b
ccu
revo
Later, as a symbol of knighthood, the horn was used for hunting, for
ents o an named
ould
m
w
u
r
t
t
s
a
n
h
t
erm
ss i
sounding the hour or for signaling a danger. In the 8th century, the
of bra In 1813, a G m then on,
y
r
o
t
s
i
h
horn was known as the oliphant. It was a sign of nobility for knights
eriod.
lve. Fro ic: they
p
a
v
c
i
n
t
o
n
t
t
Roma nted the pis
hroma
who wore it proudly. One could get but a single note out of an
c
e
b
an
e
d
l
inv
ones of
ts wou
t
n
f
oliphant, two at the very most. Rhythm was the key to the intented
Stözel
e
l
a
m
h
u
e
blown
ss instr
l twelv
meaning of the calls. By the 16th century, one could distinguish
all bra ble to play al ssed, the air th
g
re
be a
fourteen calls drawn from the hunting horn, comparable to
ded len
s are p
d
e
a
v
would
l
n
a
a
v
When
hrough
he note
Morse code.
octave. ument goes t e, the lower t
b
rs of
nstr
r the tu e, horn playe
e
g
in the i
n
o
l
During the Renaissance, major innovations were brought to
equenc
eloping
ng. The
of tubi rsa. As a cons trade (by dev lls,
the horn. On one hand, the discovery of the laws of harmonics
ki
ir
ve
d vice- to relearn the ransposing s
n
a
s
allowed the making of instruments from which different
e had
some t ch as Brahm
u
that tim technique,
s
,
s
sounds could be drawn by the puckering of the lips. On the
r
ring
mpose ng the valved
a finge ver, certain co
other hand, new manufacturing methods enabled to curve
usi
idea of
owe
e
H
.
h
t
)
.
c
d
t
e
e
long metal tubing at will. Later on, the manufacturing of
ject
eber, re ks.
W
d
conical tubing—tubes that are tapered like a cone—brought
n
a
or
tic
their w
Roman for
e
about a difference between the horn and the trumpet.
h
t
horn in
sed
from
often u ations
works
s
i
l
a
n
r
t
r
s
ho
he
mbin
d
In orc to today, the
ious co
During the Baroque era, the horn’s size was reduced, the bell
r
a
v
Richar t
y
b
d
o
d
r
i
e
e
r
i
s
e
n
o
p
was flared and the mouthpiece was given a funnel shape, which
portan
compa nts. Comp
c
m
i
a
s
t
o
i
l
n
o
s
s
strume xample, give pertoire. As a f
led to a dark, mellow tone that lent itself well to playing with stringed
n
i
f
o
, for e
onic re
ariety o
instruments (violins). During the 18th century, it was not unusual to see two
Strauss in his symph apable of a v ll music
c
a
horns in the orchestra. Haendel, for example, often used horns in his works.
themes
sed in
that is
u
t
n
e
e
b
m
n
instru the horn ca
Until then, the horn had been limited to a few notes that were spaced far apart
tones,
in the lower register. Attempts to make the instrument chromatic—able to produce
.
groups
consecutive half-tones—were numerous and even far-fetched. Some horn players
specialized in the clarino register, which consists of playing very high notes that allow for scales
and trills. Another technique consists of stopping the bell with one’s hand to lower the notes. This
latter discovery, by Anton Hampel of Germany, would allow the horn to become a virtuoso instrument
during the Classical period.
14
THE T
R
During the Classical period that followed, in which string instruments
The pr U M P E T
ehistor
were favoured, the trumpet was somewhat set aside. It was only used
ic
these i
nstrum origins of th
to mark the rhythm and to reinforce the tuttis—the passages where
e trum
ents fu
to frig
l
p
filled t
hten th
et mer
all the instruments in the orchestra must play. It was not
he s
ge
ee
develo
ped th nemy durin ame function with those o
yet flexible enough to be entrusted with elegant
eir o
g co
f
: comm
brighte
unicati the horn. At
melodies. Attempts were therefore made to improve
r, its sh wn character mbat. Over
ng. Th
the cen
the ou
ape is e
istics. Th
e
tse
tu
tr
longate
the instrument. In 1777, the stopped trumpet made
d and i e trumpet is ries, the hor umpet had t t, both
The Ol
h
o
n
t
its
appearance. It is curved so that its bell can be
i
is not a
g
b
a
dT
conica her-pitched t nd the trum e loud
while t estament me
l instru
p
han th
he
nti
e horn et each stopped, thus copying the technique applied to the
ment.
Ages, t ancient Gree ons the trum
,
i
t
s tone
k
rumpe
p
is horn a few years earlier. Another idea, which was also
ters we s considered et as a sacre
came t
applied to the horn, was to insert various lengths of
d in
re
tr u
o be h
onoura often paired mpet playin strument re
of the
tubing—or crooks—between the mouthpiece and the
g
served
ble. Th
w
no
for pri
ey wer ith kettledru an Olympic
expens bility. Hired
instrument
for playing in various keys. This trumpet
ests—
event
e the
ms,
ive uni
a
forms. s soldier-mu first musici played in pr ! In the Mid
dle with its crooks, however, could not modulate—change
ans to
incely
sicians
c
b
,
o
e
t
u
h
i
r
n
ey wer
t
At the
keys—without first having to cease playing.
e supp the regular s and
tim
lied w
e
m
instrum e, one coul
ploy
ith a h
dg
en
orse an
render t was called et four soun
d The invention of the piston valve, in the Romantic period,
ds out
was im
a natu
turned the trumpet into a chromatic instrument capable of
po
ra
of
brass i
nstrum sed by the la l trumpet be a trumpet’s
ws o
producing all its notes with a consistent tone. This novelty
cau
low
ent
made i
ts appe s allowed cu f nature. By t se the series er register. Th
was not embraced overnight because trumpeters had to
rvin
he 15 th
ara
of note
yet fine
centur
s it co e relearn how to play. The invention did however allow the
-tuned nce but it wa g the tubes.
y
u
, the ar
.
A
s not v
t of ma ld
ery effi t that time,
king trumpet’s orchestral role to be defined: with its ringing tone,
t
c
h
ient as
e
During
its mec slide trump
the Re
et the trumpet would now dominate the brass section. From
hanism
na
straigh
was no
t trum issance, the
t then on, composers such as Bruckner and Tchaikovsky used
co
pet tha
mouth
t is ma rnetto made
piece l
the trumpet extensively. Around 1830, a new instrument saw
de of
its a
ike b
tone re
semble rass instrum wood but t ppearance. It
the
light of day in the trumpet family: the cornet. A conical
hat no
s that o
ents ha
is a sor
At tha
n
ft
ve
eth
t of instrument, it has a velvety and pleasant tone. Its frequent use in
t time,
as had he voice and and it includ eless has a
familia
c
e
i
d
up military bands led to the appearance of veritable virtuosos who
t
s
rizing
o
themse ne the horn can play as s finger holes.
o
lves wi
I
th the players, trum ftly as a clari ts mastered the cornet with a dazzling technique.
It was
c
n
l
p
a
e
e
rino re
t
du
gister. ters also beg .
concer ring the Baro
a
n
t h
qu
learnin alls. Trumpe e period tha
The advent of jazz in the 20th century allowed trumpeters such as Louis
t the t
g to p
ters ha
r
l
a
u
d
y softl
m
freque
been r
Armstrong, Dizzy Gillespie and Miles Davis to stand out. Their skilful
y and
nt use
efining pet reached
i
o
n
f
t
h
the tru
tune. B
the art
their t
e improvisations stirred the public. It is important to mention Maynard
mp
ech
ac
of
subject trumpet pla et in his wor h, for examp nique, Ferguson, a Canadian who became famous for his talent at playing in
ying an
k
.
l
d meth s. Great mast e, made the upper register. In a modern-day brass quintet, the trumpet plays a
ers tou
ods we
gh
re writ
ten on t role similar to the one played by the first violin in an orchestra.
the
15
Du
ring
the
t
m
r
o
e
t
n
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l
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rum antic
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ROM
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u
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ly w
th
t tim
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han
n
ne w
thov
ed
ind s simp
ors
trombo
ged
tos. Bee
usic (5
e
r
e
m
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the alto
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inst
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sinc
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mph
bone
rum st inst
e its , Bill W a solo
812,
ur trom
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1
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o
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inv
nt t
atro
me
pos
e the t
ent
nts
op
us
have com
st to us
o
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t
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l
o
a
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t
nd,
n, t
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the
be
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tet.
ny). He
ous thanks
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work fo
une
the first
.
16
THE TUBA
The tuba’s ancestors all had the same role: accompaniment. Of
similar lengths, these instruments had a similar range. Their
prototype—the serpent—appeared in France in 1590. In church, it
doubled the voices to maintain intonation and to add richness to the
sound. Made of wood, it had 6 finger holes and an ivory mouthpiece
that was inserted in a metal receiver. Stemming from the cornetto, it
had a sinuous shape that could be six to eight feet long (2 to 2.5 m).
The serpent player had to be able to adjust his lips for each note, since
each had variable intonation. This accompanying instrument could
play loudly enough to support twenty men’s voices and softly enough to
join a chamber-music ensemble. During the 18th century, the holes were
replaced with keys, varying in number from three to thirteen.
Other such hybrids were used in the early 19th century. First, there was the
Russian bassoon. It was largely inspired by the serpent, but much easier for
the musician to hold. Its bell was shaped like a dragon’s head. There was
also the bass horn. It was made of metal, was V-shaped and its bell was more
flared. The most popular remained the ophicleide, which literally means
“keyed serpent”. Invented in 1817, this instrument was made of metal and had
many keys that made it chromatic over at least three octaves. The ophicleide
allowed for a superb legato. For several decades, it was used as often as the tuba.
As to that first valved tuba, it appeared 20 years after the invention of Stözel’s piston
valve. This new conical instrument made its entrance in the orchestra thanks to
Wagner. In the tuba family, we also find the baritone and the euphonium, which
are half as large and therefore higher pitched. There is also the sousaphone, a tuba
that wraps around the musician with its bell pointing forward, used for parades.
In 1954, the tuba was used solo in a concerto written by Vaughan Williams. However,
the tuba’s support role in the overall musical repertoire makes it appear generally
oafish and it remains caricatured as in those notorious A&W advertisements!!!
17
CONCLUSION
The history of brass instruments
has always been tied to the needs of
the various historical periods. First
used toward communication, brass
T
c
E
i
instruments were needed for hunts
s
T
U I N mber-mu her
Q
and battles to follow their course or
SS
cha
get
B R A intet is a rings to
he
t
E
for establishing contact with spirits.
H
T
ss qu
uring embles
at b
a
h
r
D
t
b
A
Later on, their manufacture was
ble
d
e ens
ans.
ensem musici there wer rnettos an er
greatly improved thanks to advances
ov
co
ce,
five
issan g of two zel wrote
e
a
v
n
fi
made in the handling of metals. Brass
e
R
stin
s. Pe eces for
i
t
c
s
i
u
n
t
b
o
n
k
c
instruments then found their way into
pi
sac
oma
three hundred ments. R Maurer
churches and courts.
one
nstru such as elebrated
i
s
s
c
e
bra
osers
rote
, wer
comp Ewald w the time brass
The invention of valves in
and
e
t, at conical
a
w
h
s
t
1813 brought about a
a
s
k
intet
work by five
r
u
o
q
Y
s
radical change: all
ew
ras
d
playe nts. The b eared in N sts of two
brass instruments
me
app
bass
onsi
instru oday first War. It c tuba (or brass
then became
it t
da
for
orld
n
w
e
a
W
r
o
y
i
e
n
d
b
o
chromatic.
k
ert
bon
con
en
he Se n, a trom usical rep rks writt
t
r
Their
use in the
e
aft
a hor ays, the m iginal wo en
,
s
t
e
r
orchestra is imposing,
p
z
trum ). These d reds of o ric Ewa
E
e
d
n
with
up
to twelve horns being
a,
un
bo
trom ncludes h ène Bozz ous
required. Brass instruments today
mer
Eug
et i
quint alcolm, dition, nu
have become soloists in military bands
ld M e. In ad ade
o
n
r
as well as in jazz ensembles.
r
A
o
m
ny m ve been
a
m
and tions ha
After more than 2,000 years of history,
ic al
crip
trans pe of mus
their primitive use has changed
is ty
for th .
significantly. Brass instruments now
ble
ensem
fill concert halls with their rich and
powerful tone.
18
MUSICAL REPERTOIRE PERFORMED
19
IS
TO
R
IC
P
ER
R
IO
D
ap
’s
a n le,
m il
ain
v
e
l
PR
atr Sy
a
C e L nt:
e
n e
T h han em
Jo rang
ar
EH
ve
te
in
o
p
La
M IDDLE AGES
Antiphony to the Holy Virgin
Anonymous Gregorian chant
Venetia, Mundi Splendor /
Michael Cui Steno Domus
Motet for the Installation of the Doge
Michele Steno, 19 December 1400
Johannes Ciconia
Anonymous, arrangement: Jason De Carufel and
Sylvain Lapointe
Roman Calls
Jason De Carufel and Sylvain Lapointe
20 th Century Fox Fanfare
Alfred Newman, arrangement:
Enrico O. Dastous
The Four Seasons, Spring
Antonio Vivaldi, arrangement:
Sylvain Lapointe
Toccata and Fugue in D
minor
A N T I Q U ITY
Song of the Sicilian Sheperds
and Sikkinis Dance
BA ROQUE P E RIOD
RENAISSANCE
Johann Sebastian Bach,
arrangement: Frederick Mills
Canzon per sonare no.1
“La spiritata”
Giovanni Gabrieli
Now is the Month of Maying
Thomas Morley,
arrangement: Sylvain Lapointe
The Marie-Golde
Anthony Holborne
20
X X t h CE NT URY
Bubble Jazz Cocktail
ROM ANTICISM
d
an
Buzz Opera
:
Enrico O. Dastous
nt
e
C
m
I
p
ge
S
m
n
y
S
a
S t o rr
LA
,
s e e n n, a
i
C
i c art nte
e
r im d
t
s
p
z
y
i
t
u
in
a
t:
o
ur r
M M apo
en
S i v e h H apo
s
t
L
m
u
h
D sep n L
ge
i g ade vain
n
Jo lvai
a
N m yl
r
e
ar
Sy
,
t l g A t: S
t
en
an en
Li
y ov
A olfg gem
h
n
t
h o B ee e
W ran
p
ar
m an int
y
S ig v apo
th
9 dw n L
Lu lvai
Sy
IS
M
n
ho
y
Marie-Josée Poulin
Décadence
Enrico O. Dastous
Do You Want to Build a Snowman? /
Let it Go
Kristen Anderson-Lopez & Robert Lopez,
arr. Enrico O. Dastous
Hockey Night in Canada
Dolores Claman, arrangement: Jocelyn Leblanc
James Bond Theme
Monty Norman, arrangement : Sylvain Lapointe
Johnny B. Goode
Chuck Berry, arrangement: Sylvain Lapointe
On Broadway
Barry Mann, Cynthia Weil, Mike Stoller, Jerry Leiber,
arrangement: Sylvain Lapointe
The Rite of Spring
Igor Stravinski, arrangement: Benoît Côté
Singin’ In The Rain
Nacio Herb Brown, arrangement: Sylvain Lapointe
Super Mario Bros. Theme
Koji Kondo, arrangement : Sylvain Leblanc
21
www.buzzbrass.com
THE M AESTRO
La Péri - Fanfare
Paul Dukas, arr. Wayne Barrington
5 th Symphony
Ludwig van Beethoven
Arrangement: Sylvain Lapointe
Just a Closer Walk
Traditional American
Arrangement: Frederick Mills
The Saint’s Hallelujah
Traditional American Folk / Georg-Friedrich Haendel
Arrangement: Luther Henderson
Adaptation: Sylvain Lapointe
Imperial March (from Star Wars)
John Williams, arrangement: Sylvain Lapointe
Author and artistic director
Sylvain Lapointe
Staging
Buzz
Costume designer
Diane Coudée
Sets
Michel Demer s
Lighting
Audrey-Anne Bouchard
Translation
Shelley Tepperman
Gaëtan Chénier
Teacher ’s manual produced by
Sylvain Lapointe
Jason De Carufel
Translation
Carole Moquin
Revision
Gaëtan Chénier
Graphic design:
Nümoov Communication
Michel Bérard
numoov.com
22