The Brass Bandsman.

New Zealand Graphic, Volume XXXI, Issue III, 18 July 1903, Page 151

The Brass Bandsman.

(Specially written for “N.Z. Graphic” by Bandmaster Eugene Hulse, late Royal Marines, hon. secretary Auckland Society of Musicians.)

THE STUDENT.

(Continued.)

SCALE STUDY. The scale is the basis of melody. From a knowledge of it musical instruction has its beginning. A scale is a regular succession of the notes belonging to major and minor keys. A scale consists of whole tones and semi-tones.

DIATONIC SCALES. The word “diatonic” means “tones throughout.” The word “scale” comes ‘ from “scala,” a ladder, and means a regular succession of sounds, gradually rising, or descending, in pitch. Diatonic scales are separated from each other by tones and semi-tones. A diatonic scale may commence cn any note we please. The note from which any scale starts is called its key-note.

For proper analysis, and comprehension of all music, and especially of the complicated modern musie, perfect famiiarity with the notes properly belonging to the key in major and in minor must be secured. This is. in fact, one of the main objects in scale study. SCALE STUDY. There are two semi-tones in a scale, namely, the step from the third to the fourth, and from the seventh to the octave. In the minor scales the sixth and seventh are each raised a semi-tone in ascending, and lowered again in descending. Those major and minor keys which have the same signature are relative keys. For instance, the key of A minor is the relative minor key of C major, because neither of them has either sharp or flat in the key signature. Of a major key the relative minor key is on the sixth of the major key. As brass band music seldom reaches beyond four sharps, or four flats, the student will find the table given below of use when he is desirous of determining the key of any particular piece. MUSICAL TERMS. The following list of words will be found useful to the student, as they comprise the terms most commonly used in brass band music. Of course there are plenty more, but those given should suffice untlil the student has become thoroughly acquainted with his instrument:-— Grave, Largo, Lento: The slowest rate of movement, bearing the characteristic of solemnity.

Larghetto: Rather faster than largo. Adagio: A slow movement. Andante: Moderately slow. Andantino: A little quicker than andante. Maestoso: Majestically, when used alone, but sometimes depending upon the time of the movement to which it is joined. Moderate: In moderate time. Tempo Guisto: The right or exact time. Allegro Moderate, Allegretto: Moderately fast. Allegro: A general term for a quick or animated movement. Allegro con brio, Allegro con fuco: Brilliant and spirited, rather quicker than allegro. Allegro Assai: Very fast. Vivace: With vivacity. Presto: Very quick. Prestissimo: The quickest possible movement. DEFINITIONS, ETC. Ten stands for tenuto, and indicates that a note must be carefully sustained its full value. (Tenuto means "held.”) Sempre Staccato signifies always short,

and implies that all the notes must be played staccato. A Sextuplet is a group of six equal notes, which are played in the time of four. Semi means half; a semitone, a halftone. A whole tone consists of two semitones. Ciescendo, which means, with a gradually increasing power of tone, is sometimes indicated by cresc. A pause indicates that the note or rest over which it is placed must be held longer than its value. Lunga I’ausa indicates a long pause. Marcato means that the musie is to be strongly accented, well pronounced, or with much emphasis. Non Molto Allegro means not very quick. Pastorale —A soft movement in a pastoral and rural style. Piu means more; as pin Assai, much more. Poco—A little, as poco allegro, rather quick. I’ot-pourri—A caprice or fantasia, on favourite airs. Refrain—A ritornel; a repeat; a closing phrase. Rhythm—The division of musical ideas, or sentences, into regular metrical portions; musical accent and cadence, as : pplied to melody. Ripleno—The tutti, or full parts which fill up, or augment the effect of the full band of instruments. f’cgiio —A sign similar to the letter S, with a stroke through it, and means return to the sign; dal segno, repeat from the sign. Segue means follows, now follows, ns follows.

Sempre —Always, evermore, continually. Sforzando means forced, or one particular note is to l>e played with force and emphasis. Simile meaning the continuation in like manner. Spiritoso—Lively, animated, brisk, or spirited. Syncopation—Ar. unequal division of the time or notes; irregular accent. lioppo—Too much; non-troppo allegro, not too quick. Tutta Forza—As loud as possible. Un Poco—A little. Vigoroso—Vigorous, bold, energetic. Vivo means life, lively. Volti subito—Turn over quickly. ff signifies fortissimo, or as loud as possible. pp. signifies pianissimo, or as soft as possible. mf. means mezzo-forte, which is not quite forte, but louder than piano. A cadenza belongs to melody. A cadence belongs to harmony. CARE OF AN INSTRUMENT.

We are told by various writers that “in having a dirty instrument the bandsman stands condemned as a sloven.” 1 have known one to not only condemn a clean instrument, but strongly- object to his own being cleaned, preferring a dirty brass to the clean and polished instrument a bandsman will insist upon having when he respects himself, and takes a pride in the instrument he uses. At intervals of not more than r month the instrument requires a thorough overhaul, valves cleaned bywashing in warm water for the removal of all grease, etc.; the slides cleaned and greased, and if necessary, new springs substituted for the old or weak ones. If the student does this portion of his work in a satisfactory manner, then his instrument will at all times be fit for use, and he will find that it materially adds to the pleasure of practice, for nothing is more aggravating than sluggish valves. Always remember that neglect in the proper treatment of an instrument depreciates its market value, hence the necessity for the regular monthly overhaul.

Brass instruments need constant attention to keep them properly bright, whereas plated instruments require scarcely any attention at all, i.e., externally. For the polishing of brass instruments no sort of gritty material should be used as it may find its way into the valves and thereby become the direct cause of their sticking when it is required for use. Soap and hot water, a sponge, a dry cloth, and plenty of manual labour, are all that need be used to clean it. For the lubrication of the valves oil of no kind must be used. A large num ber of players expectorate on the valves but an instrument which is treated in that manner (if not in daily use) will at any time be liable to stick.

Messrs Silvani and Smith recommend the following treatment:—Carefully clean the interior of the cylinder case and the pistons, then pass over it a rag moistened with very fine paraffin oil. The effect will be that, if unused for a time the valves will work just as freely as if

expectorated on. Some authorities recommend the forcing through the instrument a wet sponge. To do this the student must force it through by blowing with the mouth strongly, at the mouth-piece. Should the sponge stick, a small bullet will force it out. An in strument should be overhauled and clean ed immediately after rather than before being used at a contest. It has been proved that the accumulation of dirt, unequally at the bend of an instrument will in due time flatten it and throw it out of tune. A large dent near the bell will not affect the tone so much, as when situated in any other part of the instrument. In any case, when a dent is made, the sooner it is seen to the better, both for the performer and the appearance of the instrument. If the student cleanses his instrument with hot water and soda he should dip a sponge in milk and blow it tnrough the instrument, when he will find it take off any roughness of the bore, which is generally found after the use of soda. BEHAVIOUR OF STUDENT. As a finale to the “student articles,” the advice given by Messrs Wright and Round as to his (the student’s) conduct on joining a band is in every way worthy of his most earnest attention: — “Avoid being stubborn in what you think is right in defiance of the band, as ithe member who is ready to go anywhere and do anything the bandmaster wants him, from conducting to putting kerosene in the torches, is sure to get on. By learning to obey, you learn to command. Do not hug the delusion to your heart that others are jealous of you, or dislike you, because they may differ with you, but above all be obliging and don’t be stubborn.”

(To be continued.)