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New and Lesser Known Works for Saxophone Quartet: a Recording
New and Lesser Known Works for Saxophone Quartet: A Recording, Performance Guide, and Composer Interviews by Woodrow Chenoweth A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2019 by the Graduate Supervisory Committee: Christopher Creviston, Chair Joshua Gardner Michael Kocour Ted Solis ARIZONA STATE UNIVERSITY May 2019 ABSTRACT This project includes composer biographies, program notes, performance guides, composer questionnaires, and recordings of five new and lesser known works for saxophone quartet. Three of the compositions are new pieces commissioned by Woody Chenoweth for the Midwest-based saxophone quartet, The Shredtet. The other two pieces include a newer work for saxophone quartet never recorded in its final version, as well as an unpublished arrangement of a progressive rock masterpiece. The members of The Shredtet include saxophonists Woody Chenoweth, Jonathan Brink, Samuel Lana, and Austin Atkinson. The principal component of this project is a recording of each work, featuring the author and The Shredtet. The first piece, Sax Quartet No. 2 (2018), was commissioned for The Shredtet and written by Frank Nawrot (b. 1989). The second piece, also commissioned for The Shredtet, was written by Dan Puccio (b. 1980) and titled, Scherzos for Saxophone Quartet (2018). The third original work for The Shredtet, Rhythm and Tone Study No. 3 (2018), was composed by Josh Bennett (b. 1982). The fourth piece, Fragments of a Narrative , was written by Ben Stevenson (b. 1979) in 2014 and revised in 2016, and was selected as runner-up in the Donald Sinta Quartet’s 2016 National Composition Competition. -
Download History of Japanese Electric Guitars Free Ebook
HISTORY OF JAPANESE ELECTRIC GUITARS DOWNLOAD FREE BOOK Frank Meyers | 164 pages | 18 May 2015 | CENTERSTREAM PUBLISHING | 9781574243154 | English | United States History of Japanese Electric Guitars Discovering samurai, robotic dogs, baby mops, manga, maid cafes, oh-so-many temples and why the Japanese can't say no, it's an History of Japanese Electric Guitars journey full of light-hearted Mandolin Family. Left-Handed Instruments. Japanese Spitz Training Guide. Other information is based on identifying common properties between guitars, to identify links in their history. Aria Shiro Arai founded Arai and Company in as an importer of classical guitars. A must have for collectors. Until the launch of the Flying V and Explorer inelectric guitars Many History of Japanese Electric Guitars players, famous and not so famous, began playing on Japanese electric guitars, yet the history of the people and factories that produced these instruments has remained largely ignored. Vacuum Tubes. Matsumoto Musical Instrument Manufacturers Association is also the name of a musical instrument. This machine-cut yet hand-worked process offered improved profit margins at lower unit prices and yielded high quality instruments with unique character. Vintage Used. The name Matsumoku appeared on the neck bolt plate of some guitars they built. Matsumoku could not afford to buy itself out of Singer and inclosed down. Specifications on Epiphone archtops changed throughout the Matsumoku era. American owned Unicord contracted Matsumoku to build most of its Univox and Westbury guitars. The Japanese Spitz Training Book is a truly informative and unique training guide, full of A lot of our information is based on data that we have collected over the last decade. -
Jazzflits.Nl
1 12de JAARGANG, NR. 227 24 NOVEMBER 2014 IN DIT NUMMER: 1 NIEUWS 4 JAZZ OP PAPIER 5 JAZZ OP DE PLAAT Kim Versteynen, Pieter Bast, Rick Kostelijk, Ivo Perelman, Branford Marsalis, Wadada Leo Smith e.a. 15 JAZZ OP DE PLANKEN Medeski, Scofield, Martin & Wood, November Music, JIR 2014 e.a. EN VERDER ONDER MEER: 21 New York Calling (Roos Plaatsman) 22 JF in Belgrado (Schot, Huguenin) 26 JF in Boston (Bart Hollebrandse) JAZZ FLITS 228 staat 8 DECEMBER op http://www.jazzflits.nl JAZZFLITSEN ONAFHANKELIJK JAZZMAGAZINE SINDS 2003 EDISON NATIONAAL VOOR SEBASTIAAN VAN BAVEL Pianist Sebastiaan van Bavel krijgt Monk Competition-winnaar Marquis Hill. (Persfoto) voor zijn album ‘As The Journey Begins’ de Edison Jazz Nationaal MARQUIS HILL WINT THELONIOUS MONK 2014. De onderscheiding wordt op 27 november in Eindhoven uitge- INTERNATIONAL JAZZ TRUMPET COMPETITION reikt. De Amerikaanse trompettist Marquis Hill is 9 november in Brad Mehldau & Mark Guiliana ontvan- Los Angeles uitgeroepen tot de winnaar van de Thelonious Monk International Jazz Trumpet Competition gen de Edison Jazz Internationaal voor 2014. De Thelonious Monk Jazz Competition is een zeer hun cd ‘Mehliana: Taming The Dragon’. prestigieuze wedstrijd. De winnaar doet in de regel nog Miles Davis’ album ‘The Original Mono van zich spreken. Recordings’ is volgens de Edison-jury de beste historische uitgave. De categorie Marquis Hill (27) komt uit Chicago. Hij geeft daar les op de Jazz Vocaal heeft nog geen winnaar. Die University of Illinois en speelt in het Chicago Jazz Orchestra. wordt later bekendgemaakt. Hill maakte enige albums voor onafhankelijke labels. Als winnaar In de Edison-jury zaten dit jaar Cor Bak- van de Monk Competition mag hij nu een cd voor Concord ker, Michelle Kuypers, Mijke van Wijk, Records maken. -
Émergence Des Auto-Oscillations Dans Un Instrument De Musique À Anche Simple
Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives Émergence des auto-oscillations dans un instrument de musique à anche simple Fabrice Silva sous la direction de J. Kergomard, Ch. Vergez et Ph. Guillemain Laboratoire de Mécanique et d’Acoustique & Université de Provence Projet ANR Consonnes 7 décembre 2009 Émergence des auto-oscillations dans un instrument de musique à anche simple – Fabrice Silva – LMA & UP 1 / 35 Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives Plan 1 Contexte et motivations Des instruments à anche simple. aux manifestations de l’anche. 2 Simulation temporelle des auto-oscillations Décomposition modale d’un résonateur acoustique augmenté MOREESC 3 Seuils d’oscillation des instruments à anche simple Étude théorique Expérimentations 4 Conclusion et perspectives Émergence des auto-oscillations dans un instrument de musique à anche simple – Fabrice Silva – LMA & UP 2 / 35 Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives Plan 1 Contexte et motivations Des instruments à anche simple. aux manifestations de l’anche. 2 Simulation temporelle des auto-oscillations Décomposition modale d’un résonateur acoustique augmenté MOREESC 3 Seuils d’oscillation des instruments à anche simple Étude théorique Expérimentations 4 Conclusion et perspectives Émergence des auto-oscillations dans un instrument de musique à anche simple – Fabrice Silva – LMA & UP 3 / 35 Introduction Simulation Temporelle Seuils d’oscillation Conclusion et perspectives -
Barney Kessel Collection Finding Aid (PDF)
University of Missouri-Kansas City Dr. Kenneth J. LaBudde Department of Special Collections NOT TO BE USED FOR PUBLICATION TABLE OF CONTENTS Biographical Sketch …………………………………………………………………… 3 Scope & Content …………………………………………………………………… 5 Series Notes …………………………………………………………………………… 6 Container List: Series I: Correspondence …………………………………………………… 9 Incoming, Dated …………………………………………………… 9 From Maurice J. Summerfield …………………………………… 33 Incoming, Undated …………………………………………………… 35 Incoming, Unsigned & Undated …………………………………… 37 Blank Envelopes …………………………………………………… 37 Outgoing, Dated …………………………………………………… 38 To Maurice J. Summerfield …………………………………………… 43 Outgoing, Undated …………………………………………………… 44 Outgoing, Unsigned & Undated …………………………………… 44 Correspondence Including Photographs …………………………… 45 Series II: Personal Documents …………………………………………… 46 Biographies …………………………………………………………… 46 Marriage Documents …………………………………………………… 46 Obituaries …………………………………………………………… 47 Series III: Seminar …………………………………………………………… 48 Business …………………………………………………………… 48 Promotional Material …………………………………………………… 48 Notes …………………………………………………………………… 49 Correspondence …………………………………………………… 49 Questionnaires …………………………………………………… 50 Series IV: Promotional Material …………………………………………… 51 Flyers …………………………………………………………………… 51 Press Releases …………………………………………………… 52 Programs & Booklets …………………………………………………… 53 Interview Transcripts …………………………………………………… 55 Reviews …………………………………………………………… 55 Oversized Posters …………………………………………………… 56 Series V: Notes …………………………………………………………… 57 Notebooks …………………………………………………………… -
BW Programme Saxcess.Indd
PROGRAMME Pieces for today’s programme will be selected from: Bolero Ravel arr N. Wood. From Anna Magdelena’s Notebook Elena Kats Chenin Sonata Boismortier arr D. Rawson Canzona Frescobaldi arr R.O’Brian TAURANGA MUSICA Arrival of the Queen of Sheba G.F. Handel arr J. Brown Go down Moses Trad arr D. Rawson 2019 CONCERT SERIES Nitwits Richard Percival (NZ) Uretiti [world Premier] Peter Liley (NZ) When I’m 64 Lennon/Mcartney arr Ricker Saxcess Pequeña Czarda Sunday 10 March Pedro Iturralde 7.00PM Interval X SPACE, BAYCOURT, TAURANGA Viglid for Xaphoon and saxophone trio Ross Harris (NZ) Zakh -‘Thing’ Ross Harris (NZ) Chanson D’Autre fois Pierne arr Mule Balcony Song and Cha Cha from West Side Story Bernstein arr J. Boatman Tango Un Verano de Passion Gareth Farr (NZ) Hine Hine Trad arr A.Withington (NZ) Klezmer Wedding Mike Curtis With thanks to our sponsors: Proudly presented by Support Tauranga Musica by subscribing to our exciting Concert Series 07 579 5543 or www.tgamusica.co.nz Michael Jamieson is one of New Zealand’s foremost Saxcess saxophonists. After completing his studies at Victoria and Massey Universities with Debbie Rawson, he In 1992 Saxcess made its debut in the Sydney Opera received a Massey University Cultural Award, a grant House at a concert staged by the Royal Australian Air from Creative NZ, and the prestigious Patricia Pratt Force to commemorate the battle of the Coral Sea. In Music Scholarship, enabling him to undertake Masters 1994 the group travelled to Belgium for a three week study with Johan van der Linden at the Messiaen tour in conjunction with the 100th anniversary of the Academie in the Netherlands and in France with several death of the founder of the saxophone, Adolphe Sax. -
Studio Gear List Gear List Summer 2014 Outboard
STUDIO GEAR LIST GEAR LIST SUMMER 2014 OUTBOARD Qty. Manufacturer Model Type 2 Acoustic Intl. Swan 52992 Passive Monitor Ribbon Tweet 2 AEA RPQ 500 Mic-Preamp 2 Allison Research Gain-Brain Compressor 1 amcron D150A Power Amplifier 1 Antelope you Rubidium Atomic Clock 1 Antelope Orion 32 AD/DA Convertor 1 Anthony DeMaria Labs ADL 1000 Compressor/Limiter 1 ART DR-X Multi-Eect Proccessor 1 ART PRO MPA Mic-Preamp 1 ART Tube MP Mic-Preamp 3 ART Tube MP Studio Mic-Preamp 1 ART USB Phono Plus Computer interface 1 Audio Design Recording Compex limiter F760X-RS Compressor/Expander/Limiter 1 Avenson Audio isoDI DI Box 1 Beriant MCM-2 Multichannel Mixer 2 Chameleon Labs 7602 MK II Mic-Preamp 1 Chandler Limited EMI TG2 Mic-Preamp 1 DBX 118 Dynamic Range Enhancer 2 DBX 165 Compressor/Limiter 1 DBX 160X Compressor/Limiter 2 DBX 163X Compressor/Limiter 1 Demeter Amplification Real Reverb Analog Spring Reverb 1 Drawmer MX30 Compressor/Limiter 1 Earthworks LAB 102 Mic-Preamp 1 Echoplex Tape Delay Tape Delay 2 Empirical Labs EL8 Distresor 1 Equitech Power Amplifier 1 Focusrite Platinum Voice Master Mic-Preamp 1 Funk Logic RN-Chevy II Compressor 1 Hafler Pro 2400 Power Amplifier 1 Hafler (Trans Nova) P7000 Power Amplifier 1 HEAR Technologies Hear Back HUB Routing 1 Ibanez AD100 Analog Delay 1 Ibanez DM1100 Digital Delay OUTBOARD Qty. Manufacturer Model Type 2 JBL LSR 28P Active Monitor 1 Kurzweil K2500RS Sampler 1 Lexicon 224 Digital Reverb 1 Little Labs PCP Instrument Distro 3.0 Routing 1 Lombardi LCOMP2 Compressor 1 M-Audio Midisport 4x4 Midi Interface 2 MCI -
Jamatoriumtm Gear
The jamatorium 2014 STUDIO GEAR RENTER’S GUIDE Version 5.3 Updated 7/29/2014 Welcome!!! It happens all the time – you’re reading the liner notes on an album and it reads, “…we used a ’63 Tele’ on that song to get a different feel…” As a collector and a musician, I am continuously amazed at how profoundly one seemingly simple piece of gear can change, inspire or add to the creative thought process of a musician… My personal goal has always been to find “that perfect guitar…” My continuous search has left me with a collection of what I consider to be true “player” guitars – the ones you want with you on your special studio day. Some happen to be great makes and models that we all know… some are not so familiar. Some are truly surprising! I make available my personal collection of musical instruments to regional professional recording studios. I have much to offer your studio in providing added value to your clients – perhaps the one piece of gear that will alter or inspire a project! Let’s enhance your clients studio experience with the option to use alternate gear! Inside... Terms Guitars Amps Miscellany Rock’n Rich 1984 “Amnesty” SIMPLE Terms… We rent to studios for studio work only!!! Our gear is not permitted to be used for performances, “gigs” or any thing not studio related! You may set-up the guitars to your liking (actions, strings…)Please reset the instrument to original actions prior to our retrieving the instrument (except for strings). Please off-set customized tunings to reduce stress on the neck and return to standard when done. -
Stuart Spector Designs, Ltd. V. Fender Musical Instruments Corporation
THIS OPINION IS A PRECEDENT OF THE TTAB Oral Hearing: Mailed: November 6, 2008 March 25, 2009 UNITED STATES PATENT AND TRADEMARK OFFICE _____ Trademark Trial and Appeal Board ______ Stuart Spector Designs, Ltd. v. Fender Musical Instruments Corporation Opposition No. 91161403 to application Serial No. 76516127 filed on April 25, 2003 _____ U.S. Music Corporation v. Fender Musical Instruments Corporation Opposition No. 911614051 to application Serial Nos. 76516126, 76516127, 76515928 filed on April 25, 2003 _____ Warmoth Guitar Products, Inc. v. Fender Musical Instruments Corporation Opposition No. 91161406 to application Serial Nos. 76516126, 76516127, 76515928 filed on April 25, 2003 1 The November 23, 2005 order dismissing this proceeding was vacated on December 12, 2005. The electronic case file has now been updated to reflect this correction. Opposition Nos. 91162245, 91162246 and 91162923 were dismissed without prejudice on September 9, 2005. Two other proceedings, Opposition Nos. 91161269 and 91162484, were dismissed with prejudice under separate orders, December 12, 2005 and February 11, 2008, respectively. Opposition Nos. 91161403 et al. _____ Indoor Storm, Ltd. v. Fender Musical Instruments Corporation Opposition No. 91161411 to application Serial Nos. 76516126, 76516127, 76515928 filed on April 25, 2003 _____ Tradition Guitars, Inc. v. Fender Musical Instruments Corporation Opposition No. 91161413 to application Serial Nos. 76516126, 76516127, 76515928 filed on April 25, 2003 _____ Raise Praise, Inc. d/b/a Tom Anderson Guitar Works v. Fender Musical Instruments Corporation Opposition No. 91161420 to application Serial Nos. 76516126, 76515928 filed on April 25, 2003 _____ Schecter Guitar Research, Inc. v. Fender Musical Instruments Corporation Opposition No. -
Diamond Mine Recording Studio
the diamond mine 1040 45th Ave, Long Island City, NY 11101 [email protected] THE SPACE The Diamond Mine is a 1400 square foot recording studio designed in the image of classic rooms of yester- year, encouraging live performance and recording to tape, but also equipped with contemporary digital capabili- ties like any other facility. It features a spacious, daylit live room with an iso-booth, a control room with a stock- pile of analog gear, a lounge for relaxing, and an enormous roof with inspirational views of the NYC skyline. Built in 2014, and nestled within a non-descript industrial building that used to be the Fairchild Recording Equipment factory, this studio includes a tremendous collection of vintage instruments, and has served as a pri- vate creative hub for internationally acclaimed artists, producers and songwriters. Located 10 minutes from Midtown Manhattan or North Brooklyn in a rapidly growing neighborhood that has great restaurants, coffee, bars, breweries, a bowling alley, and stunning waterfront parks, but is still without the dreaded traffic and crowds found elsewhere. The Diamond Mine is owned by a group of four musicians who have been musical partners since they were teenagers (and it is not their first studio). Leon, Homer, Tommy, and Nick are a soul-funk rhythm section who have, since the year 2000, created instrumental music under several different project names (Menahan Street Band, El Michels Affair, The Expressions, The Radiant Rhythm Band) and attracted some incredible collabo- rators along the way. The vibe in The Diamond Mine reflects the artists who have graced its halls. -
“Omega” Single-Ended Amplifier with Reverb
“Omega” Single-Ended Amplifier with Reverb Mike Udelhofen Phys 498 Spring 2011 5/12/2011 The scope of my semester project was to design and build a high quality, vacuum tube- technology guitar amplifier in order to learn about the operation of guitar amplifiers and tube- based electronics on the whole. In doing so, I was able to create an amp custom-built to my specifications for a very reasonable cost. Furthermore, from drafting and implementing the design, specifically ordering all components, and keeping record of every step of the process, I will be able to service the amplifier on my own should it encounter any problems. My initial desire to build the amp stemmed from previous experience with music equipment, such as building guitar pedals and modifying guitars, and the desire for a great sounding tube amp of my own on a limited budget. I researched several vintage guitar amp schematics among the likes of the Gibson GA-9, Vox AC-15, and several amp kits before settling on the Fender Princeton as a base for my design. The Princeton 5F2-A model, produced between 1955 and 1960 in the “Tweed” section of Fender’s design history, was a low-output, class A amplifier with a single tone and single volume control. It used a singe 12AX7 tube for the preamp section and a single 6V6 tube for the power section, along with a 5Y3 rectifier tube. It output about 5 Watts of power at the speaker. The schematic is shown below. Figure 1 - Fender Princeton Amp, circa 1955-1960 For my design, with gratuitous assistance from Professor Errede, I implemented additional tone controls and a reverb tank, causing it to require and additional 12AX7 and 12AT7 tube. -
Makes Your Fingers Dance! a Handy Instrument with an Enormous Sound
makes your fingers dance! A handy instrument with an enormous sound. 142 315 LookingA Patented for Instrumentthe Problem Table of Contents PageConclusion No SoundThe Xaphoon is a patented instrument. MusicThe is the Xaphoon bridge ....................................................................between people and culture. 4 • The mouthpiece is not far enough into the mouth. • TheThe tenor original saxophone MAUI reedXAPHOON is not completely® is produced covering from thebamboo opening. in Hawaii in The Xaphoon was developed as an instrument to carry along with you. The Construction .............................................................. 5 the United States by the inventor, Brian Wittman. Poor or Unclean Sound So play the Xaphoon wherever you are and greet those, who don't understand ® • OneThe or CLASSIC more holes XAPHOON are not correctly, the standardized covered. version, was also developed your language, with your Xaphoon music. by the inventor and is produced in Indiana in the United States. Playing Instruction ........................................................... 6-7 • The tenor saxophone reed should be replaced. • The mouthpiece is not far enough into the mouth. • Too much lip pressure. A typical mistake for someone who plays the clarinet. Finger Position Tabels ..................................................... 8-9 Lots of Screeching Sounds • Mouthpiece is too far into the mouth. Overblowing, Lip Pressure, Pitch Adjustment ................ 10 • and/or too much lip pressure. Fluctuating Pitch The Reeds ........................................................................ 11 • Lip pressure is not constant. The Instrument Sounds Too High Care of the Maui Xaphoon .............................................. 12 • Too much lip pressure. The Instrument Sounds Too Low The Origin of the Xaphoon .............................................. 13 • Not enough lip pressure.Your local specialized retailer (space for company stamp) The Instrument Only Produces Very High Sounds • The mouthpiece is too far into the mouth.