E Flat Saxophone
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WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Mcallister Interview Transcription
Interview with Timothy McAllister: Gershwin, Adams, and the Orchestral Saxophone with Lisa Keeney Extended Interview In September 2016, the University of Michigan’s University Symphony Orchestra (USO) performed a concert program with the works of two major American composers: John Adams and George Gershwin. The USO premiered both the new edition of Concerto in F and the Unabridged Edition of An American in Paris created by the UM Gershwin Initiative. This program also featured Adams’ The Chairman Dances and his Saxophone Concerto with soloist Timothy McAllister, for whom the concerto was written. This interview took place in August 2016 as a promotion for the concert and was published on the Gershwin Initiative’s YouTube channel with the help of Novus New Music, Inc. The following is a full transcription of the extended interview, now available on the Gershwin channel on YouTube. Dr. Timothy McAllister is the professor of saxophone at the University of Michigan. In addition to being the featured soloist of John Adams’ Saxophone Concerto, he has been a frequent guest with ensembles such as the Chicago Symphony Orchestra and the Los Angeles Philharmonic. Lisa Keeney is a saxophonist and researcher; an alumna of the University of Michigan, she works as an editing assistant for the UM Gershwin Initiative and also independently researches Gershwin’s relationship with the saxophone. ORCHESTRAL SAXOPHONE LK: Let’s begin with a general question: what is the orchestral saxophone, and why is it considered an anomaly or specialty instrument in orchestral music? TM: It’s such a complicated past that we have with the saxophone. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
HOW to BUY a BASSOON by Wendal Jones
HOW TO BUY A BASSOON By Wendal Jones Most people think the bassoon is the most unique wind instrument of all. Unmistakable in sound and appearance, it is more easily recognized than the other woodwinds. The flute, clarinet, oboe and saxophone families are comprised of several different sizes but each family generally has the same look, from small to large, yet none look remotely like the bassoon. A close relative of the bassoon, the contra-bassoon is twice as big, so it must be doubled up a couple of times so that the instrument may be held more easily. Although there are miniature bassoons that have gained some popularity in Europe, they are used mainly for teaching very young players who cannot manage to hold or finger a regular bassoon, let alone a contra-bassoon. There is no sizable repertoire for these small instruments and they are unknown in orchestras or bands. For the most part, the bassoon is an ensemble instrument with an occasional solo passage providing just the right touch (oftentimes humorous) to a composition. The bassoon is also known for its plaintive voice in the orchestra. Solo passages like those found in the slow movement of Tchaikovski's Fifth Symphony and several in Scheherazade by Rimsky-Korsakov come to mind here. The bassoon is found in the symphony orchestra, concert bands, and in chamber music groups and there are some dazzling concerto soloists, too. The instrument is not generally found in jazz bands, although there have been some wonderful jazz bassoon soloists in the second half of the 20th century, notably Stuart McKay of Florida. -
JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Raaf Hekkema
2 CD JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema 1 JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema CD 1 JOHANN SEBASTIAN BACH (1685-1750) Suite 1 (BWV 1007) [1] Prélude 2:24 Suite 3 (BWV 1009) [2] Allemande 4:17 [13] Prélude 2:58 [3] Courante 2:29 [14] Allemande 3:35 [4] Sarabande 2:26 [15] Courante 3:21 [5] Menuet I & II 2:58 [16] Sarabande 4:10 [6] Gigue 1:45 [17] Bourrée I & II 2:57 [18] Gigue 3:04 Suite 2 (BWV 1008) [7] Prélude 4:03 [8] Allemande 3:43 total time 56:03 [9] Courante 2:07 [10] Sarabande 4:23 [11] Menuet I & II 2:30 [12] Gigue 2:41 4 5 CD 2 JOHANN SEBASTIAN BACH (1685-1750) Suite 4 (BWV 1010) [1] Prélude 3:40 Suite 6 (BWV 1012) [2] Allemande 3:34 [13] Prélude 3:57 [3] Courante 3:28 [14] Allemande 7:24 [4] Sarabande 4:32 [15] Courante 3:40 [5] Bourrée I & II 4:42 [16] Sarabande 4:07 [6] Gigue 2:42 [17] Gavotte I & II 3:43 [18] Gigue 3:47 Suite 5 (BW V 1011) [7] Prélude 5:18 [8] Allemande 4:30 total time 71:08 [9] Courante 2:03 [10] Sarabande 3:45 [11] Gavotte I & II 4:01 [12] Gigue 2:06 6 7 I dedicate this CD to my wife, Simone Noortman. Not only has she been my life partner for the past twenty-plus years, she is also – although not a musician herself – my most important musical sounding board. -
Kajian Tentang Karakteristik Permainan Musik Saxophone Kaori Kobayashi
i EKSPRESI MUSIKAL: KAJIAN TENTANG KARAKTERISTIK PERMAINAN MUSIK SAXOPHONE KAORI KOBAYASHI SKRIPSI disajikan Sebagai Salah Satu Syarat Untuk Memperoleh Gelar Sarjana Pendidikan Jurusan Pendidikan Seni Drama, Tari, dan Musik oleh Nama : Garin Ria Sukmawati NIM : 2501411144 Program Studi : Pendidikan Seni Musik Jurusan : Pendidikan Seni Drama Tari dan Musik FAKULTAS BAHASA DAN SENI UNIVERSITAS NEGERI SEMARANG 2016 ii ii iii iii iv PERNYATAAN KEASLIAN SKRIPSI Dengan ini saya, Nama : Garin Ria Sukmawati NIM : 2501411144 Program Studi : Pendidikan Seni Musik (S1) Jurusan : Pendidikan Seni Drama, Tari, dan Musik Fakultas : Bahasa dan Seni Universitas Negeri Semarang Judul Skripsi : Ekspresi Musikal: Kajian Tentang Karakteristik Permainan Musik Saxophone Kaori Kobayashi Menyatakan dengan sebenarnya bahwa skripsi yang saya serahkan ini benar-benar hasil karya saya sendiri, kecuali kutipan dan ringkasan yang semua sumbernya telah saya jelaskan. Apabila di kemudian hari terbukti atau dapat dibuktikan bahwa skripsi ini hasil jiplakan, maka gelar dan ijazah yang diberikan oleh Universitas Negeri Semarang batal saya terima. Yang membuat pernyataan, Semarang, 2016 Garin Ria Sukmawati NIM. 2501411144 iv v MOTTO DAN PERSEMBAHAN 1. Yang meninggalkan derajat seseorang ialah akal dan adabnya, bukan asal keturunanya (Aristoteles) 2. Orang yang emosional biasanya kurang rasional sehingga tindakanya tidak profesional. (Mario Teguh) 3. Kemenangan yang paling indah adalah bisa menaklukkan hati sendiri. (La Fontaine) Skripsi ini kupersembahkan untuk: Bp. Mulyo Prasodjo dan Ibu Purmiasih Pendidikan Sendratasik Angkatan 2011 Segenap Dosen Pendidikan Sendratasik v vi KATA PENGANTAR Puji syukur peneliti panjatkan kedalam tangan kuasa Tuhan Yesus Kristus yang telah melimpahkan anugerahnya sehingga akhirnya penulis dapat menyelesaikan penyusunan skripsi yang berjudul “Ekspresi Musikal: Kajian Tentang Karakteristik Permainan Musik Saxophone Kaori Kobayashi”. -
Bccm Saxophone Ensemble
Aladdin King of Thieves and Tower of Terror, Toy Story 3, The Princess and The Frog, Just Like Heaven, The Curious Case of Benjamin Button, and Gangster Squad. Television credits include Dragon Tales, Child Star: The Shirley Temple Story, several Warner Bros. cartoons and many commercials for companies like United Airlines and Kellogg Cereals. He is also featured on the video games World of Warcraft and Diablo, and can be heard on soundtracks at all the Disney Theme parks around the globe. Jay is a member of Gordon Goodwin’s Big Phat Band, and the bands led by Tom Kubis and Les Hooper. He is a member of the faculty at California State University, Long Beach and is active as a clinician and guest artist throughout the country. He is also a Vandoren Reed Artist and Clinician, and endorses RooPads and other Music Medic Products. ABOUT JAMES BARRERA James Barrera has been active as a performer and educator in the Southern BCCM SAXOPHONE California area for the past 15 years. While a student at California State University, Long Beach he performed with the Wind Symphony, University Symphony Orchestra, Studio I Jazz Band, and the CSULB Saxophone Ensemble. After completing his BM in Saxophone Performance, James attended the Indiana University Jacobs School of Music in Bloomington, Indiana as a Saxophone Performance Major. He performed throughout the Midwest as a member of the ENSEMBLE IU Wind Ensemble conducted by Ray Cramer, and as a featured soloist at many North American Saxophone Alliance conferences. He graduated with a M.M. in Saxophone Performance in 2003. -
A Performance Project For
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2007 A PERFORMANCE PROJECT FOR SAXOPHONE ORCHESTRA ONC SISTING OF FIVE PERFORMANCE EDITIONS FROM THE RENAISSANCE, BAROQUE, CLASSICAL, ROMANTIC, AND MODERN ERAS Marcus Daniel Ballard University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, and the Music Performance Commons Recommended Citation Ballard, Marcus Daniel, "A PERFORMANCE PROJECT FOR SAXOPHONE ORCHESTRA ONC SISTING OF FIVE PERFORMANCE EDITIONS FROM THE RENAISSANCE, BAROQUE, CLASSICAL, ROMANTIC, AND MODERN ERAS" (2007). Dissertations. 1228. https://aquila.usm.edu/dissertations/1228 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi A PERFORMANCE PROJECT FOR SAXOPHONE ORCHESTRA CONSISTING OF FIVE PERFORMANCE EDITIONS FROM THE RENAISSANCE, BAROQUE, CLASSICAL, ROMANTIC, AND MODERN ERAS by Marcus Daniel Ballard A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: August 2007 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. COPYRIGHT BY MARCUS DANIEL BALLARD 2007 Reproduced -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
Harmonic Series for Clarinets by Allen Cole
Harmonic Series for Clarinets by Allen Cole The primary notes of the clarinet go from low E to throat Bb. Each of these pitches has a particular number of vibrations per second, or frequency. By applying pressure to the reed, we can make it vibrate a various multiples of that frequency. These other, higher frequencies are called harmonics. When the fundamental frequency is doubled, the pitch rises one octave to its second harmonic. This is what happens when you press the octave key on a saxophone, oboe or bassoon. The clarinet's physical structure causes it not to sound octaves or other even-numbered harmonics, so its pitch rises in much longer, less even leaps. Because the clarinet does not overblow octaves and other even-numbered harmonics, its high note fingerings can seem confusing at first. Below are the fundamental notes from which the altissimo fingerings are derived. Practice moving between the different registers to help develop your embouchure & fingers. Chalemeau register - This is the bottom register, where the instrument's natural sound is heard. This pitch is called the fundamental. This register is named for the folk instrument that later became the clarinet. Clarion register - Press your left thumb on the register key and go up a 12th to the notes with the clear, trumpet-like sound that gave the clarinet its name. This is the third harmonic, or three times the frequency of the fundamental pitch. Altissimo register - Vent the "E" tone hole by sliding or removing your left index finger. For pitches "D" and above, put your right pinkie on the pinkie Eb key. -
Writing for Saxophones: a Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C
Excerpt from Writing for Saxophones: A Guide to the Tonal Palette of the Saxophone Family for Composers, Arrangers and Performers by Jay C. Easton, D.M.A. (for further excerpts and ordering information, please visit http://baxtermusicpublishing.com) TABLE OF CONTENTS Page List of Figures............................................................................................................... iv List of Printed Musical Examples and CD Track List.................................................. vi Explanation of Notational Conventions and Abbreviations ......................................... xi Part I: The Saxophone Family – Past and Present ....................................................1 An Introduction to the Life and Work of Adolphe Sax (1814-1894) .........................1 Physical Development of the Saxophone Family .....................................................13 A Comparison of Original Saxophones with Modern Saxophones..........................20 Changes in Saxophone Design and Production ........................................................26 Historical Overview of the Spread of the Saxophone Family ..................................32 Part II: Writing for the Saxophone as a Solo Voice ................................................57 The “Sound-of-Sax”..................................................................................................57 General Information on Writing for Saxophone.......................................................61 Saxophone Vibrato....................................................................................................63 -
The Saxophone in China: Historical Performance and Development
THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.