“Stereogram” tm, is a term coined and developed by David William Brubeck to describe his method of composition for the unaccompanied solos with this designation. The numbered Stareogram are often advanced in nature and most often presented for bass cleff instruments, especially bass trombone and tenor trombone with f-attachment. Dependent on the ‘persistence of audition’, Brubeck’s musical compositions weave two, three or even four distinct parts with in a single ‘melodic’ lin, much like visually oriented stereo grams offer secondary images within the initial image.They have bee adapted for lower bass clef instruments, especially tuba, as well as Eb instruments, especially bari-sax. A habdful are available for other instruments such as treble clef ‘C’ (Violin/flute/etc), French horn as well as viola.
The composer of “Stereograms” is David William Brubeck, the son of James and Barbie Brubeck, from Normal, Illinois, and third-cousin of the famous jazz pianist and composer, Dave Brubeck, after whom he was named. A noted bass trombone soloist and scholar, Brubeck has made most of his professional career in Miami, Florida in the United States of America.
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Inspired by J. S. Bach’s Unaccompanied Suites and Partitas and Bobby McFerrin, “Stereograms” bring the dialogue of two or more parts within a single melodic line to modern American grooves.
“Stereogram” tm, is a term coined and developed by David William Brubeck to describe his method of composition for the unaccompanied solos with this designation. The numbered Stareogram are often advanced in nature and most often presented for bass cleff instruments, especially bass trombone and tenor trombone with f-attachment. Dependent on the ‘persistence of audition’, Brubeck’s musical compositions weave two, three or even four distinct parts with in a single ‘melodic’ lin, much like visually oriented stereo grams offer secondary images within the initial image.They have bee adapted for lower bass clef instruments, especially tuba, as well as Eb instruments, especially bari-sax. A habdful are available for other instruments such as treble clef ‘C’ (Violin/flute/etc), French horn as well as viola.
The composer of “Stereograms” is David William Brubeck, the son of James and Barbie Brubeck, from Normal, Illinois, and third-cousin of the famous jazz pianist and composer, Dave Brubeck, after whom he was named. A noted bass trombone soloist and scholar, Brubeck has made most of his professional career in Miami, Florida in the United States of America.
This transcription is for the always inspiring denizen of bottom-end funk, Doctor Steve Kupka. You can hear a lifetime of love for music in two funky notes with his incomparable groove and tone! Thanks for visiting South Florida; you know where you were and what you did…. Keep it up! This is for BARI sax, (if you play it on another sax, we’ll all agree just to look the other way)…….
‘Preludia ABC’: Preludium C, Wytwarzanie pięknego dźwięku, fragment z ‘5-minutowych Lekcji’
5-minutowa Lekcja z Preludiów ABC: Preludium C, Wytwarzanie pięknego dźwięku Autor: Dr David William Brubeck
Montaż nowego puzonu z firmy Trombone Twój puzon firmy Trombone dzieli się na trzy podstawowe części: ustnik, suwak i segment czary głosowej. Rozpocznij delikatnie przekręcając ustnik gdy go wkładasz do (bezgwintowego) receptora suwaka. Połącz segment czary głosowej z suwakiem mniej więcej pod kątem prostym – (90 stopni).
Stój prosto, siedź prosto Dobra postawa jest dużym plusem w graniu na puzonie firmy Trombone. Siedząc lub stojąc poprawnie, umożliwiasz łatwiejsze oddychanie i unikniesz zakłóceń w swobodnym i zrelaksowanym przesuwaniu suwaka.
Marionetka Stań prosto. Użyj prawy kciuk i palec wskazujący do lekkiego pociągnięcia kosmyka włosów na czubku głowy. (Czubek głowy jest zwykle pierwszą częścią nie zajętą jeszcze przez łysinę)! Udawaj, że jesteś marionetką i podciągnij się do góry za ten kosmyk włosów. Chociaż twój szkielet jest teraz wyprostowany, należy starać się unikać niepotrzebnego napięcia mięśniowego. Wyobraź sobie, że jesteś ‘wysoki i wiotki’.
Powąchaj grejpfrut i zrób trójkąt Stojąc prosto, złącz dłonie w taki sposób aby opuszki palców dotykały się wzajemnie, około 15 cm od nosa, tak jakbyś wąchał grejpfrut. To jest dobre podstawowe ułożenie rąk i powinno ono tworzyć dwa boki niewidzialnego trójkąta w stosunku do górnych ramion.
Pozycja lewej ręki Wyobraź sobie, że Lewą Ręką (LR) trzymasz niewidzialny pistolet. Zachowaj ten kształt pistoletu w lewej ręce, kiedy podnosisz nią puzon: kciuk LR powinien zahaczyć się o uchwyt segmentu czary głosowej, a palec wskazujący LR celować tuż poniżej kielicha ustnika. Pozostałe trzy palce LR zawijają się delikatnie wokół pierwszego uchwytu (poprzeczki) suwaka. Uwaga: cały ciężar puzonu utrzymywany jest przez lewą rękę i opiera się na ramieniu.
Przybliż do siebie puzon Stojąc prosto, popraktykuj przybliżanie puzonu do siebie. Nie dostosowuj się do niego. Przybliż go do siebie. Pamiętaj: 2/3 górnej 1/3 dolnej. Oceń swoją postawę i używając tylko lewej ręki, ćwicz przybliżanie puzonu do siebie, trzymając cały ciężar instrumentu tylko lewą ręką i opierając puzon na lewym ramieniu. (Gdy siedzisz, po prostu wstań w wyprostowanej pozycji, a potem usiądź, wyobrażając sobie, że ‘stoisz’ od pasa w górę).
Ćwiczenie: unieś puzon do góry i opuść go – cały ciężar w LR. Pamiętaj aby stać prosto i przybliżać puzon do siebie. Powtórz ćwiczenie.
2-palcowy chwyt; dłoń skierowana do siebie a nie do podłogi Chwyć za poprzeczkę (uchwyt) suwaka dwoma palcami prawej ręki (PR) oraz kciukiem z dłonią skierowaną do siebie (nie w dół). Taki układ umożliwia największy zasięg ruchu suwaka.
Łokieć jest bramkarzem – trzymaj go w środku Stojąc prosto, cały ciężar w LR, z 2-palcowym chwytem, przesuń suwak tuż poza czarę głosową (około 4-ej pozycji) – to jest twoja podstawowa pozycja Prawego Ramienia (PR). Jeśli wyobrazisz sobie cały suwak puzonowy (od 1-ej do 7-ej) jako bramkę piłkarską, to łokieć należy uznać za bramkarza. Przyjmując ‘pozycję wyjściową’ lub ‘bramkarza’ w 4-ej, łatwo przesuniesz suwak do każdej pozycji. Uważaj, aby uniknąć pułapki ‘pozycji wyjściowej’ z łokciem w 1-ej pozycji.
Wytwórz piękny dźwięk i potem naucz się, co z nim zrobić! To jest motto najsłynniejszego puzonisty basowego: “Najpierw uzyskaj dobry dźwięk, a potem naucz się, co z nim zrobić!” Tak jak niegdyś inni mawiali o przedłużonych nutach jako o długich dźwiękach, wspaniały tubista nazywał je ‘dźwiękami wysokiej jakości’. Teraz nadszedł czas na zebranie wszystkich informacji z trzech preludiów i po prostu wytworzenie pięknego dźwięku na puzonie firmy Tromba.
Wewnątrz jamy ustnej Jeśli przećwiczyłeś wypluwanie ziarenka ryżu, to język powinien już sam ułożyć się prawidłowo. Wyobraź sobie, że czubek języka dotyka podniebienia, gdy wymawiasz “dA”. Ugryź się delikatnie w mały palec, aby upewnić się, że twoje szczęki oddalone są od siebie o centymetr (1 cm). Pomyśl o dmuchaniu ciepłego powietrza na rękę. Następnie dmuchaj gorące i wilgotne powietrze na rękę. Nie trzymaj języka między zębami i nie blokuj powietrza językiem. A teraz dmuchaj gorące i wilgotne powietrze na dłoń i powiedz delikatnie dA, dA, dA.
‘Słuchoimaginacja’ tm oraz ponowna relaksacja w czasie oddechów i odpoczynku Poświęć trochę czasu na wyobrażenie sobie i opisanie dźwięku, który chcesz wytworzyć. Zaśpiewaj każdą nutę i najpierw zagraj ją na ustach przed zagraniem jej na instrumencie. Zrelaksuj się ponownie przy każdym kolejnym oddechu. Spróbuj uaktywnić i zastosować wszystkie dobre nawyki z Preludiów ABC. Uważamy za dość prawdopodobne, że ‘wślizganie się’ lub ‘wmasowanie się’ w każdy długi lub ‘wysokiej jakości dźwięk’ spowoduje, że będziesz bardziej zrelaksowany.
Życzymy udanej muzycznej podróży! Zapraszamy w podróż z puzonem firmy Trombone. Uczyńmy świat bardziej muzykalnym. Gratulacje! Jesteś teraz gotowy na 5-cio Minutową Lekcję Nr 1.
c . 2013 David William Brubeck Wszelkie prawa zastrzeżone. www.davidbrubeck.com
Tłumaczenie: Anna Maria Ukleja
Lessons), AND additional pages of tunes, rhythms, scales, and even sight-reading all geared for the stone-cold, absolute beginner.
Brubeck is perhaps the only musician to be featured as a soloist at the international conferences of the trumpet, trombone, euphonium, and tuba festivals! He graduated with distinction from Northwestern University where he received training from some of the foremost brass players in the Chicago Symphony, and was the first college musician named by Disney as a three-time All-American. A professional trombonist who performs regularly with the Miami City Ballet Orchestra, Brubeck has performed with the likes of Ray Charles, Stevie Wonder, and The Four Tops. Brubeck also has a lifetime of experience teaching young musicians at advanced levels having conducted the Florida Youth Orchestra and Greater Miami Youth Symphony for more than 25 years, and having studied with many of the finest music educators in the world such as Bennett Reimer and Arnold Jacobs. At the time of this writing, Brubeck has two former trumpet students on scholarship at the United States of America’s National School of the Arts-Interlochen Arts Academy, and two former students playing the Tommy Dorsey Chair in the Tommy Dorsey Orchestra, just to mention a few..
REVIEWED! DUO BRASS Recital at the 40th Anniversary Conference of the International Trumpet Guild, Reviewed By ITG Journal
“Brubeck played bass trombone throughout the recital, alongside an all-star cast of trumpeters that included Marc Reese, Craig Morris, Peter Wood, and Jason Carder. The recital featured a wide variety of music, including works by Bach, Beethoven, Dowland, and Gliere, as well as a commission by Ney Rosauro for Brubeck and Morris. Brubeck also arranged jazz charts by Chick Corea and Horace Silver, which further highlighted the power of this duo combination. Brubeck writes opportunities for each player to be the soloist, to accompany, to weave in and out of the melodic texture, and to play as an equal duo member, thus making his music exciting to listen to and play. The recital was a true exhibit of artistry and style by the whole cast of players.” (RG)
The 5-Minute Lessons for Trumpet were first mentioned at this conference, which resulted in an article about the method in the Journal of the ITG
Article Featuring The Brubeck Pre-Elementary 5-Minute Lessons: Reprints from the International Trumpet Guild® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet PEDAGOGICAL TOPICS JON BURGESS, COLUMN EDITOR PRE-ELEMENTARY METHOD FOR TRUMPET AND TROMBONE: TUNES FOR TWO FINGERS BY DAVID WILLIAM BRUBECK March 2016 • Page 42
c. 2016 David William Brubeck All Rights Reserved. www.davidbrubeck.com
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‘Preludia ABC’: Preludium B, Bzyczenie na ustach, fragment z ‘5-minutowych Lekcji’
5-minutowa Lekcja z Preludiów ABC: Preludium B, Bzyczenie na ustach Autor: Dr David William Brubeck
Usta wibruja (bzyczą) aby wyprodukować dźwięk, a umiejscowienie ustnika powinno pomóc ustom bzyczeć swobodnie i bez ograniczeń. 2/3 górna warga, 1/3 dolna warga, na środku ust L-P Pozycja ta najlepiej opisuje zalecane umieszczenie ustnika. Około dwie trzecie (2/3) ustnika powinno pokrywać górną wargę, a jedna trzecia (1/3) dolną wargę. Ustnik powinien być umiejscowiony w zasadzie na środku ust, rozpatrując je od lewej do prawej (L-P) strony. Można dokonywać korekty przyłożenia zębów od lewej do prawej strony, a pozycja L-P powinna być wtedy również łatwo rozpoznawalna. Zaleca się przyłożenie ustnika do 2/3 górnej i 1/3 dolnej wargi.
Wypluj ‘ziarenko’ ryżu Właściwe ułożenie warg (lub ‘embouchure’) do gry na ustach można osiągnąć wyobrażając sobie wypluwanie ‘ziarenka’ ryżu : 1 . ‘Kąciki’ ust (po skrajnie lewej i prawej stronie) będą zaciśnięte, 2 . Szczęka będzie płasko ułożona, a 3 . Wargi będą delikatnie przylegać do siebie, jak przy wymowie “M”
Teraz udaj, że wypluwasz ‘nasionka’ ryżu. Spójrz na układ swoich ust w lustrze.
Połóż się na podłodze Leżąc, postaraj się zrównoważyć ustnik na ustach bez użycia rąk. (Pamiętaj: 2/3 górnej i 1/3 dolnej). To jest jedyny ‘ciężar’, który powinieneś odczuwać. Nie dociskaj ustnika do warg bardziej niż wtedy, kiedy na nim grasz stojąc. Zapamiętaj to uczucie. Należy również zwrócić uwagę na to, że niewielki nacisk wywierany przez grawitację jest równie zrównoważony na górnej wardze L-P jak i na dolnej L-P, podobnie jak wyważone są cztery opony w samochodzie. Kiedy stoisz, upewnij się, że wywierasz lekki nacisk nawet na wszystkie cztery ‘opony’.
Trzymanie samego ustnika Trzymając kielich ustnika między prawym palcem wskazującym a kciukiem, zakryj większość końcowego otworu ustnika prawym małym palcem. Weź relaksujący oddech i westchnij poprzez poprawnie ułożone usta – (‘M’, wypluj ziarenko ryżu).
(Licz 1 2 3 ) Ziewaj na 4, (Graj na ustach) na 1 2 3 4
Zagraj na ustach piosenkę Teraz jesteś przygotowany do ‘bzyczenia’! Przypomnij sobie dowolną prostą piosenkę, którą już znasz i zagraj ją na ustach! Słyszenie melodii przed rozpoczęciem grania, swobodne wdychanie i wydychanie powietrza i granie na ustach piosenki którą słyszysz – to jest właśnie istota gry na puzonie. Wszystko inne jest drugorzędne. Twoje usta są instrumentem wspomaganym przez ustnik. Słuchaj melodii, weź oddech i graj na ustach. Wszystko inne jest drugorzędne!
Granie na ustach (bzyczenie) powinno być łagodne Spokojnie. Nie wydmuchuj za dużo powietrza przez ustnik. Ćwicz bzyczenie łatwych piosenek (które już znasz) na samym ustniku. Ziewnij i Wydychaj Powietrze, Wypluj Ziarenko Ryżu i Graj na Ustach! Zacznij od “Sto lat”, “Mam chusteczkę haftowaną”, lub innej popularnej melodii.
Teraz możesz już przejść do 5-cio minutowej Lekcji, Preludium C, Tworzenie pięknego dźwięku.
c. 2013 David William Brubeck Wszelkie prawa zastrzeżone. www.davidbrubeck.com
Tłumaczenie: Anna Maria Ukleja
Lessons), AND additional pages of tunes, rhythms, scales, and even sight-reading all geared for the stone-cold, absolute beginner.
Brubeck is perhaps the only musician to be featured as a soloist at the international conferences of the trumpet, trombone, euphonium, and tuba festivals! He graduated with distinction from Northwestern University where he received training from some of the foremost brass players in the Chicago Symphony, and was the first college musician named by Disney as a three-time All-American. A professional trombonist who performs regularly with the Miami City Ballet Orchestra, Brubeck has performed with the likes of Ray Charles, Stevie Wonder, and The Four Tops. Brubeck also has a lifetime of experience teaching young musicians at advanced levels having conducted the Florida Youth Orchestra and Greater Miami Youth Symphony for more than 25 years, and having studied with many of the finest music educators in the world such as Bennett Reimer and Arnold Jacobs. At the time of this writing, Brubeck has two former trumpet students on scholarship at the United States of America’s National School of the Arts-Interlochen Arts Academy, and two former students playing the Tommy Dorsey Chair in the Tommy Dorsey Orchestra, just to mention a few..
REVIEWED! DUO BRASS Recital at the 40th Anniversary Conference of the International Trumpet Guild, Reviewed By ITG Journal
“Brubeck played bass trombone throughout the recital, alongside an all-star cast of trumpeters that included Marc Reese, Craig Morris, Peter Wood, and Jason Carder. The recital featured a wide variety of music, including works by Bach, Beethoven, Dowland, and Gliere, as well as a commission by Ney Rosauro for Brubeck and Morris. Brubeck also arranged jazz charts by Chick Corea and Horace Silver, which further highlighted the power of this duo combination. Brubeck writes opportunities for each player to be the soloist, to accompany, to weave in and out of the melodic texture, and to play as an equal duo member, thus making his music exciting to listen to and play. The recital was a true exhibit of artistry and style by the whole cast of players.” (RG)
The 5-Minute Lessons for Trumpet were first mentioned at this conference, which resulted in an article about the method in the Journal of the ITG
Article Featuring The Brubeck Pre-Elementary 5-Minute Lessons: Reprints from the International Trumpet Guild® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet PEDAGOGICAL TOPICS JON BURGESS, COLUMN EDITOR PRE-ELEMENTARY METHOD FOR TRUMPET AND TROMBONE: TUNES FOR TWO FINGERS BY DAVID WILLIAM BRUBECK March 2016 Page 42
c. 2016 David William Brubeck All Rights Reserved. www.davidbrubeck.com
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‘Preludia ABC’: Preludium A, Ziewaj i wydychaj powietrze, fragment z ‘5-minutowych Lekcji’
5-minutowa Lekcja z Preludiów ABC: Preludium A, Ziewaj i wydychaj powietrze. Autor: Dr David William Brubeck
Preludium A oraz wstęp: Zacznij tutaj! Gratulujemy zakupu puzonu plastikowego w firmie Trombone! Zakupiłeś właśnie najwspanialszy instrument tego typu z fabryki, która wyprodukowała rówież oryginalny puzon plastikowy. Staranna konserwacja instrumentu zapewni Ci wiele lat zadowolenia z jego eksploatacji.
Intencją pracowników firmy Trombone jest przyczynienie się do większego umuzykalnienia świata. Są oni gotowi do udzielenia wam wszelkich porad umożliwiających długotrwałą radość z zakupionego instrumentu. Wyrażamy nadzieję, że wysoka jakość puzonu firmy Trombone przyniesie wam dużo satysfakcji oraz radość z grania na instrumencie tuż po jego zakupieniu nawet jeśli nigdy wcześniej nie graliście na puzonie. To takie proste!
To właśnie w tym duchu zostały opracowane ‘5-minutowe Lekcje’. Pierwsze cztery darmowe lekcje gry na puzonie plastikowym zamieszczono do twojej dyspozycji dzięki uprzejmości firmy Trombone, ale mogą one być wykorzystane również do nauki gry na puzonie blaszanym tradycyjnym. Lekcje te przyniosą najlepsze rezultaty przy współpracy z nauczycielem, a jeszcze lepiej, gdy Mama, Tato, lub ulubiona osoba dorosła będą uczyli się razem z tobą. Życzymy dużo radości z nauki gry na nowym puzonie!
Kilka podstawowych uwag przed rozpoczęciem gry na puzonie Kiedy grasz na instrumencie dętym blaszanym, to TY jesteś instrumentem a puzon jest zaledwie wzmacniaczem. To ty jesteś instrumentem ponieważ twoje usta drgaja (bzyczą) aby wytworzyć dźwięk. Granie na instrumencie dętym jest bardzo podobne do śpiewania ustami.
Spokojnie! Aby poprawnie grać na ustach (bzyczeć ustami) potrzebny jest swobodny i równomierny strumień powietrza. (Swobodnie przepływające powietrze dostarcza energii wymaganej do grania na ustach (bzyczenia). Takim idealnym wdechem (inhalacją) jest ziewanie, a idealnym wydechem (ekshalacją) jest westchnienie. Przećwicz ten etap wdychając powietrze przez nos i licząc do 4-ech a później wydychając powietrze przez usta licząc do 4-ech. Pomyśl o wdechu i wydechu jako o dwóch połowach jednego ciągłego ruchu. Przećwiczmy teraz wspólnie.
Ziewaj i wydychaj powietrze Zagraj palcami równomierny umiarkowany rytm, ziewnij licząc do 4-ech (przez otwarte usta) a następnie zrób wydech w postaci westchnienia licząc do 4-ech. (Ziewaj na wdechu) 1 2 3 4. (Westchnij na wydechu) 1 2 3 4. Powtórz.
Teraz zrelaksuj się i lekko przeciągnij Pomyśl o wdechu a zwłaszcza o wydechu. Nie przesadzaj – wystarczy tylko swobodny oddech. Musisz być zrelaksowany i rozluźniony, ale siedź lub stój prosto. Spróbuj zrobić to ćwiczenie jeszcze raz.
Przeciwskazania Nie zatrzymuj powietrza. Nie forsuj powietrza na zewnątrz. Nie myśl, że musisz całkowicie wypełnić płuca powietrzem. (Około 80% będzie idealnie). Nie wydmuchuj powietrza na siłę jak przy nadmuchiwaniu sztywnego balonu.
Zrelaksuj się i spróbuj wykonać kolejne ćwiczenie Tym razem, odlicz 123 i wykonaj wdech na cztery. Dokonaj wydechu powietrza jako westchnienia na 1 2 3 4, licząc po cichu. (1 2 3), Ziewaj (Wydech), 1 2 3 4 I powtórz. Teraz delikatnie przeciągnij się i zauważ jak zrelaksowane i rozluźnione są twoje mięśnie.
Zrelaksuj się ponownie Konieczne jest aby skoncentrować się tutaj na relaksacji i świadomości własnego ciała. Chwila, w czasie której wykonujemy wdech jest idealnym momentem do ponownej relaksacji całego ciała. To pomaga zapobiec nagromadzeniu się napięcia mięśniowego podczas grania na instrumencie.
Teraz możesz już przejść do 5-cio minutowej Lekcji, Preludium B, Granie na ustach (Bzyczenie).
c. 2013 David William Brubeck Wszelkie prawa zastrzeżone. www.davidbrubeck.com
Tłumaczenie: Anna Maria Ukleja
This 25 Page Method, includes six Pages of Fundamentals-(The ABC Preludes), 12 Lessons (5-Minute Lessons), AND additional pages of tunes, rhythms, scales, and even sight-reading all geared for the stone-cold, absolute beginner.
Brubeck is perhaps the only musician to be featured as a soloist at the international conferences of the trumpet, trombone, euphonium, and tuba festivals! He graduated with distinction from Northwestern University where he received training from some of the foremost brass players in the Chicago Symphony, and was the first college musician named by Disney as a three-time All-American. A professional trombonist who performs regularly with the Miami City Ballet Orchestra, Brubeck has performed with the likes of Ray Charles, Stevie Wonder, and The Four Tops. Brubeck also has a lifetime of experience teaching young musicians at advanced levels having conducted the Florida Youth Orchestra and Greater Miami Youth Symphony for more than 25 years, and having studied with many of the finest music educators in the world such as Bennett Reimer and Arnold Jacobs. At the time of this writing, Brubeck has two former trumpet students on scholarship at the United States of America’s National School of the Arts-Interlochen Arts Academy, and two former students playing the Tommy Dorsey Chair in the Tommy Dorsey Orchestra, just to mention a few..
c. 2016 David William Brubeck All Rights Reserved
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King ‘Tut’ is often overlooked for his historical importance as the Pharaoh who restored Polytheism to Egypt and their center of religion to Thebes. Akhenaten, his father, was the Pharaoh who famously emphasized only one God-Aten, the God of the Sun, breaking with the polytheistic practices of the Ancient Egyptians, which were echoed in those of Ancient Babylon, Greece, Rome and Hindu India.
Death Mask of King Tutankhamun
With the discovery of this largely undisturbed 18th Dynasty tomb by Howard Carter in 1922, the world gained a glimpse into the splendor of Ancient Egyptian Art. The tomb contained over 5,000 items and this was thought to be just a small percentage of the items it would have contained had Tutankhamun lived to maturity instead of dying at the age of nineteen-(after his enthronement at the age of nine).
SOUND of Trumpets BBC broadcast from 19 April 2011, based on the original BBC broadcast of 16 April 1939.
Found in the tomb were two trumpets. The first, untested but perhaps made of copper or bronze, was found in an antechamber with military equipment. A BBC interviewee (above), indicated that illustrations of trumpets in Ancient Egypt were often of a single trumpet in a military setting. Of greater interest is the Silver Trumpet found inside the burial chamber, perhaps silver was to denote non military use, sacred and/or indoor use.
DIFFERENT CONSTRUCTION=DIFFERENT NOTES? The dimensions reported during the BBC broadcast were of the Silver Trumpet at a length of 22.5-inches and a copper/bronze trumpet of 19.5 inches, both with interior diameter bores that ranged from 0.5-inch at the mouth and increasing to about 1-inch at the approximately 4-inch bell. Closer observation, seems to indicate that this description is slightly more apt for the Copper/Bronze Trumpet, making it slightly conical-where the inner diameter of the tube gradually increases almost immediately, such as is found in flugel horns, French horns , euphoniums and tubas. While not strictly conical, the Copper/Bronze Trumpet is more so than the Silver Trumpet, which seems to be more nearly cylindrical (or a straight tube) until approaching the bell flare as found in the modern trumpet and trombone.
“MUTES”? The inner wooden forms found with the instruments are referred to as mutes-(an object placed inside of the bell of a brass instrument, most often trumpet or trombone, to lessen the dynamic/loudness and/or change the timbre/tone color of the instrument). It seems more likely that they were used by Ancient Egyptians to maintain the shape of the metal and protect it from dents, serving to guard the instrument something like the function a modern trumpet case, but on the inside. Here, the purpose may have been to prevent extensive damage. IT IS IMPORTANT TO NOTE, THAT THESE “MUTES” HAVE SMALLER DIMENSIONS, particularly at the tube portion and most particularly at the part that corresponds with the narrow opening for the mouth. The length of the ‘MUTE’ displayed several photos below, is also of nearly identical length to the accompanying Silver Trumpet, while the two objects held by the second musician from the left in the image directly below seem to be of clearly different lengths.
Partial excerpt of “Musicians”, Temple at Kawa, 25th Dynasty, from “Music and Musicians in Ancient Egypt”, page 80.
TWO TRUMPETS? In the image above, the second musician from the left seems to be holding TWO TRUMPETS, and not a trumpet and a mute. If the musician were to need to change hands, to move the trumpet from the right hand to the left hand and vice versa, it would be more geometrically feasible, if they were held as indicated by the image of the second musician. One could conceivably join the mouth end of one trumpet to the bell end of another in sort of a “yin-yang” opposing symmetry. This would allow one to easily grasp both trumpets with one hand at the top, and then bring the other hand below, to grasp them both at the bottom and swing them up to switch the positioning so that the other trumpet was now in the playing position. This method would be particularly useful when standing or marching, as depicted in the image.
THE VISIBLE PROBABILITY?! The visible probability of this image seems to indicate that one or both of these trumpet players held and therefore played two trumpets, alternately, and not at the same time. Given the distinct note choice presented in the audio recording from the early twentieth century British Broadcasting Corporation (BBC), derived from two trumpets of different tube lengths, this seems possible. Please observe the different tube lengths of the trumpets in the hands of the second musician from the left. An argument could be made that they resemble the Bronze/Copper Trumpet in his right hand, as it is both shorter and more conical and the Silver Trumpet in his left, which is both longer are more cylindrical.
That both trumpeters are performers is further borne out by examination of the complete image-not seen above, which has pairs of all other musicians: harpists, drummers and what appear to be chironomists. The complete parade image: trumpeter, trumpeter, drummer, chironomist, drummer, chironomist, harpist and harpist. (A chironomist is essentially a time-keeper who claps. It could be argued that Egyptians were first to notate the concept of a steady tempo through the artistic depiction of the chironomists found frequently in their music-themed artworks.)
Two guardians of the tomb of King Tutankhamun, One mace each; one spear each. “One each” is the common thinking for trumpets as well.
ONE AT A TIME, PLEASE. For those unfamiliar with the differences between woodwind and brass instruments, it should be noted that playing two woodwind instruments at the same time, such as two recorders, is not a technique that lends itself to brass instruments. One trumpet at a time would be most reasonable to assume, and is a near-certainty. Additional observation of the image would seem to indicate that the trumpet in the right hand of the first musician has been somehow removed, and it seems likely that the original image showed the first musician playing one trumpet in the right hand while holding another in the left. Other faded images from the artwork indicate missing parts of drums, feet, heads, hands, faces, necks and legs.
Excerpt of “Musicians”. Temple at Kawa, 25th Dynasty from “Music and Musicians in Ancient Egypt” pages 80 & 81.
VARYING TUBE LENGTH. The basic concept of modern brass instruments is to provide amplification and resonance for the vibrating lips of the brass musician. Different lengths of tube will best amplify certain lip-vibrations (or of notes based on the overtone series), of the brass musician. In 1385 AD, Hans von Neuschel and his sons invented the slide trombone in Nurnberg; it was quite probably the first modern orchestral instrument to reach the state of near-perfection and is known as “The King of Brass”. The telescoping slide could provide numerous lengths of tubing with ease AND the ability to quickly shift from one tube length to another. The trumpet and many other brass instruments were able to most easily change tube lengths much later in the mid-1800’s with the addition of valves that redirected the vibrating air to add different lengths of tubing.
FAIRLY MODERN PRECEDENT! In the days before valves for brass instruments, trumpet players would exchange removable sections of tubing called “crooks” from their instruments. A different “crook” offered a different length of tube which could amplify or efficiently resonate different pitches. While the sound in brass instruments (such as trumpet and trombone), is provided by the vibration of the lips, a given length of tubing is only able to project a limited number of notes. By using different length “crooks” a trumpet player would have access to different tube lengths, which would allow for the amplification of additional notes. Here, the Ancient Egyptians may have switched trumpets in order to access different tube lengths, where most indications are that cultures subsequent to Ancient Egypt, such as the Ancient Greeks, used only one trumpet per player.
THE GENIUS CONCEPT of the Ancient Egyptian designer of the trumpet was greater symmetry. While everything from animal tusks such as the Hebrew shofar, bone trumpets such as the Tibetan kangling and even conch shells can be used in conjunction with lip vibrations, none are symmetrical. By beginning the tradition of starting from scratch with more symmetrical, man-made designs, the Egyptians allowed for more consistent intonation and foreshadowed the discovery of overtone series-which was first notated by the mathematical proportions of Pythagorus, thousands of years later.
Silver Trumpet on left, ‘Mute’ on right.
This is particularly true in the recorded performance of the silver trumpet, which omits the fundamental pedal tone, and plays the first, second and third notes of Pythagorus’ overtone series based on a fundamental of B. From low to high in the soprano register, the Silver Trumpet produces concert pitches that are nearly ‘B’, ‘F#’ and ‘B’. The Copper/Bronze Trumpet initially yields what sounds to be a ‘c’ just above the lowest ‘B’ of the Silver Trumpet, and an ‘a’ just below it. After a few seconds, though, it seems that the Copper/Bronze Trumpet’s tube length is more adept at producing the a# just a half-step below the Silver Trumpet’s ‘B’, and then a ‘c#’ and an ‘f#’ just above it. These pitches could be conceived as the 4th, 5th and 6th overtones above a fundamental of ‘f#’ for the Copper/Bronze Trumpet-or not.
MUSINGS……. (ALL pitches lower on the left, higher to the right.)
Copper/Bronze Trumpet Triadic/Harmonic implications: Dominant (V) F# Major in first inversion; ‘a#’,’c#’ & ‘f#’.
Common Tone: F#, particularly useful for repeated unison notes.
IS IT FAIR? Since the recorded performance of these trumpets utilizes the addition of modern mouthpieces and modern brass playing techniques, it is recognized that the firm conviction that all of these notes would have been available to Ancient Egyptians will be held by many to be untenable. While that may seem fair, it is also useful to note the dearth of other examples of similar trumpets, of which there once were likely many, (not to mention recordings of other trumpets like these). As a result, perhaps imagination may be rightly applied. An additional consideration is that some individuals would like to count themselves as those least likely to underestimate the accomplishments of the Ancient Egyptians.
Note the stunning three-dimensional pyramid design of the schenti or ‘kilt’ on one of the carvings of two tomb guards found by Howard Carter. Note the gold-leaf and intricate designs. What a marvel! The imaginative powers and artistic skills of the people of Ancient Egypt is a constant source of inspiration for the aesthetically appreciative.
MOST POSSIBLE SCENARIOS?? Perhaps a conservative view would arrive at the availability of at least one tone per instrument, the middle and most easily producible tones of ‘C#’ for Copper/Bronze and the ‘F#’ above it for Silver. Or, it could imagine only unison. This would render pitch sets as melodic possibilities only. and would indicate the probable use of matched sets: Silver with Silver and Copper/Bronze with Copper/Bronze.
A moderate view might consider the possibility of two adjacent notes on just one of the two trumpets, with one tone on the other. That it could most easily yield: Two notes on a Silver Trumpet, one note on a Copper/Bronze Trumpet: ‘B’, ‘c’#, and ‘F#’. Two notes on a Copper/Bronze Trumpet, one note on a Silver Trumpet: ‘a#’, ‘B’, ‘c#’ or ‘B’, ‘c#’ and ‘f#’. Two notes on one Silver Trumpet and one note on another Silver Trumpet: B, F#, or F# B. Two notes on one Copper/Bronze trumpet and one note on a 2nd Copper/Bronze trumpet: a# c#, c# f#. It seems reasonable to infer that am interval of a Perfect Fourth or a Perfect fifth was most likely in a combination of any two combinations of these two trumpets.
A hopeful view point might consider the possibility of two adjacent notes on each trumpet, with one musician playing a Silver Trumpet while the second musician plays a Copper/Bronze Trumpet. This seems nearly fantastic, and would make possibly available pitches: ‘a#’, ‘B’, ‘c#’, ‘F#’ or; ‘B’, ‘c#’, ‘F#’ & ‘f#’, or; ‘a#’, ‘c#’, ‘B’, & ‘F#’ or; ‘c#’, ‘F#’, ‘f#’, & ‘B’.
Another view would be that they only played matched sets of trumpets, on one or two notes, but not always in unison; either both playing Silver Trumpets or both playing Copper/Bronze Trumpets. Harmonically, this could most easily arrive again at the interval of a fourth or fifth.
From low to high the available intervals would seem to be: Copper/Bronze to Silver ‘a#’ to ‘B’ minor second or half-step; ‘a#’ to ‘F#’ minor sixth; ‘a#’ to ‘B’ minor ninth. Silver to Copper/Bronze: ‘B’ to ‘c#’, Major Second; ‘B’ to ‘f#’, Perfect Fifth. Copper Bronze to Silver: ‘c#’ to ‘F#’, Perfect Fourth; ‘c#’ to ‘B’, minor seventh; ‘f#’ to ‘B’, Perfect Fourth. Silver to Silver: ‘B’ to ‘F#’, Perfect Fifth; or ‘F#’ to ‘B’, Perfect Fourth. Bronze/Copper to Bronze/Copper: ‘a#’ to ‘c#’, minor third or; ‘a#’ to ‘f#’ minor sixth or; ‘c#’ to ‘f#’, Perfect Fourth.
Grammaphones and the like also use the Ancient Egyptian concept of a symmetrical, resonant metal bell.
EGYPT INSPIRED TECH! The conception of a symmetrical, resonant metal bell in Ancient Egypt is still in use today in almost all brass musical instruments. It even held sway as the equivalent of both microphone and amplifier for early recorded music in the form of the Gramophone and similar devices. These were popular well into the 20th century and find limited use to the present day.
WOW, Egypt, just WOW!
PS: If you doubt the genius of Ancient Egypt, consider that most bells for “brass” musical instruments produced today are similar, or of the same type used by the Ancient Egyptians nearly 5,000 years ago! One of the most common secondary bell materials for trumpets is SILVER! The most popular would be an ALLOY of copper, tin and perhaps zinc, in varying ratios, often referred to as brass and of a composition very similar to bronze. In. fact, at least one modern instrument company promotes their alloy as bronze. And, while they may not have completely developed the mouthpiece, they at least deserve mention for the innovation of the mouthpiece rim, and the beginnings of the concept of a mouthpiece.
PPS: (Just for fun: Scalar implications of initial Copper/Bronze & Silver Trumpet notes a B c F# B. The combination of ALL notes produced in the recording by both trumpets: a a# B c C# F# B)
NOTE: Lower case letters represent tones produced by the Copper/Bronze Trumpet; upper case letters represent tones produced by the Silver Trumpet.
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“Did We Miss Something?” tm from davidbrubeck.com is:
An invitation to think. To discover. To disagree. To ponder and wonder and gaze. To appreciate and hold in awe. To consider and concur.
c. 2024 David William Brubeck All rights Reserved.
AKA Dave Brubeck-The Younger, at the suggestion of Dave Brubeck
SOURCE OF “Musicians” IMAGE: Lisa Manniche is the author of “Music and Musicians in Ancient Egypt” ISBN 0-7141-0949-5 which she copyrighted in 1991 and had published by the British Museum Press.
Gramophone image is from The Library of Congress, lone tomb guard image is courtesy of CNN, Sliver Trumpet from Wikipedia.
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The title alone is most curious-“Lone Falutist Under a Tree”, and yet there are seemingly two male images under a very shortened representation of a tree. Why not, “Two Men Under a Tree”? There is a monkey as well, the Darwinist might ask, why not “Two-and-a-Half Men”?
The shape of the tree is rather shortened, truncated, if you will, almost to the shape of a bush, nearly as wide as it is tall with two seemingly balanced iterations of leaves and branches on the left and the right.
Curious?
It is very curious indeed!
“Lone Flautist Under a Tree” is identified as ‘Relief in Theban Tomb No. 69 of Menna’; ’18th Dynasty’, from page 22, “Music and Musicians in Ancient Egypt”.
The accomplishments of the Ancient Egyptians were vast and impressive. Ancient Egypt was well-connected to the internet of the day-sailing on the Mediterranean Sea, and was one of the earliest civilizations to master not only agriculture but irrigation, along with early Sumerians.
While some marvel at the accomplishments of the Ancient Egyptians and even attribute them to aliens, others recognize a vast and long civilization which was dominant for hundreds and/or thousands of years who may have had the benefit of at least six or seven Leonardo da Vinci level intellects such as Imhotep and Joseph. It is interesting to note that few raise the question as to whether aliens helped the Ancient Greeks erect the Parthenon or Ancient Romans the Pantheon.
[One simple explanation for the method used to erect the Pyramids was demonstrated by Ron Wyatt. Wyatt’s demonstration was confirmed as suitable by The Egyptian Director of Antiquities, Nassif Hassan, and supported both by archeological evidence and hieroglyphic record. Watch more: Constructing the Pyramids. https://www.youtube.com/watch?v=rfKb9DOHYGE ]
What if the title was apt, and we are looking at the same person, under the same tree, at two different times-simultaneously?
In fact, imagine that the conveniently shaped and symmetrical tree represents the brain-look, I see it representing two brain hemispheres as well! Left and right.
‘Relief in Theban Tomb No. 69 of Menna’; ’18th Dynasty’,
The male figure on the left is dressed plainly, overweight, without eye makeup and slumped over in an emotional state which may leave the impression of anything from boredom and disinterest to depression. The slumped frame of the image of the man on the left leans on itself, as though even sitting is a bother. And look! His stool is lower as well-does this represent a lower order of thought? This seems to me to be the ‘before’ image on the left, or at least the ‘without’ image.
TOUR Tomb of Menna (TT69) in the Theban Necropolis, CLICK HERE!
The second image of the lone flautist on the right, is what I believe to be the same individual at a different time or a metaphor for the mind. Note that the flautist is on a higher level bench-possibly symbolizing higher level thought. With the addition of the flute and the mental activity of MUSIC, the empty tree limbs of thought are now vigorously inhabited and worked as though by a monkey in motion. (Is it a headless, poetic, almost abstract depiction of a monkey, which communicated the essence of a monkey through body and dark limbs alone? Or merely a bag or a convenient ambiguity?)
Perhaps the music has afforded an additional improvement in mood, mental refinement, attention to detail and/or a purpose-whether for the afternoon or for a lifetime. The posture of the male figure on the right, musical hemisphere is erect and seemingly slimmer! The hair ‘now’ neatly arranged and well-cut, the eye is adorned with makeup and the figure’s attire is patterned and at least of greater interest, if not reflective of the greater symbology of the active brain. Is this the ‘after’ image?
WOW!
Has this Egyptian artist embodied both hemispheres of mind, different states of mental activity/health and two versions of self at different times? Has an Ancient Egyptian artist entered the fourth dimension of time? Or was it just aliens…
Interested in another analysis of this image? CLICK HERE!
It seems that genius, astrophysicist Hugh Ross has calculated all the probabilities necessary for life to be present on our planet Earth or even another planet. Each time you add another variable, the event becomes less likely. SPOILER: It is not looking good for the aliens…..
PLEASE CONSIDER SHARING THIS ARTICLE WITH OTHERS. THANK YOU FOR YOUR CONSIDERATION.
“Did We Miss Something?” tm from davidbrubeck.com is:
An invitation to think. To discover. To disagree. To ponder and wonder and gaze. To appreciate and hold in awe. To consider and concur.
c. 2024 David William Brubeck All rights Reserved.
AKA Dave Brubeck-The Younger, at the suggestion of Dave Brubeck
SOURCE OF IMAGE: Lisa Manniche is the author of “Music and Musicians in Ancient Egypt” ISBN 0-7141-0949-5 which she copyrighted in 1991 and had published by the British Museum Press.
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Before Hector Berlioz the three trombones found in a symphony were most often cast in the Germanic tradition of Alto/Tenor/Bass.
AFTER Berlioz it was Tenor/Tenor/Tenor, as Berlioz decided it was the tenor that was the most powerful and complete iteration of the famous slide instrument invented by Germans and loved by the Gabrielis, Schutz, Handel, Mozart and Beethoven himself.
A student of the Classics, Berlioz was probably more than a little inspired by the Ancient Greek concept of the ideal situated as a mean between excess and deficiency. While the moderns have mostly settled on Tenor/Tenor/BAss-Berlioz’s basic idea was correct and visionary.
It might be argued that the trombone is the most important tenor solo voice in instrumental music; but it cannot be argued that it is at least among the top three: ‘cello, trombone, tenor saxophone. When one considers all forms of music-the case for trombone is greatly strengthened.
Enjoy this flamboyant, quirky and almost impossible to play brass quartet version of the “Roman Carnival Overture”. Musical non-sequiturs erupt and themes interrupt as the chaos that ensues elicits a beauty that is also most un-Germanic.
Brass Miami Quartet Jose Sibaja, trumpet; Domingo Pagliuca, tenor trombone; Brian Neal solo trumpet & David Brubeck, bass trombone
c. 2023 David Brubeck/Dave Brubeck the younger
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