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New Century Saxophone Quartet Press
New Century Saxophone Quartet Press KALAMAZOO GAZETTE Thursday, July 12, 2007 Saxophone ensemble shows off versatility By C.J. Gianakaris uesday in South Haven and Precise, synchronized playing Wednesday night at Brook Lodge T in Augusta, Fontana Chamber Arts was matched by a balanced presented the New Century blend … A total winner. Saxophone Quartet. Its playing of a wide range of works, by seven different By the last half of the concert, it composers, initiated the audience in the became clear that certain compositions musical possibilities of such ensembles. lend themselves more to saxophone sound The New Century features Michael than others. The first section of Astor Stephenson on soprano saxophone, Chris- Piazzolla’s marvelous “Histoire du topher Hemingway on alto saxophone, Tango,” arranged by Claude Voirpy, was Stephen Pollock on tenor saxophone and a total winner. Infectious tango rhythms Connie Frigo on baritone saxophone. worked well for saxes, as did tapping of After marching in while playing Bob the instrument’s body — a technique Mintzer’s invigorating “Contraption,” the heard often in Piazzolla’s music. ensemble turned to five selections from George Gershwin’s great American J.S. Bach’s “Art of the Fugue,” BMV opera “Porgy and Bess” also sounded 1080. Immediately impressive was the especially fine. Our ears are accustomed velvety aura emanating from different to hearing Gershwin played with soaring saxophones possessing varying ranges. reed instruments, clarinet or sax, Precise, synchronized playing was deliberately scored. So the sounds were matched by a balanced blend, suggesting warm and familiar. saxophones could present Bach’s works as well as other instruments. -
Dedications-Booklet-Web.Pdf
played a ‘try-out’ concert prior to the recording. All of world. This is an atmospheric piece with extended the material on this album was inspired by people I melodic movement. love and admire, even if I never met them personally. It’s the principles they stand for that matter”. “Til Charlotte” is a composition by Lars Andre- as Haug and is the only tune on the album not The album begins with “The Mad Code”. This piece composed by Steffen. Lars Andreas wrote it while was originally written for solo piano for the 2020 staying at Steffen’s flat in Nürnberg. He dedicated Beethoven year celebrations. This version of the piece it to Steffen’s teenage daughter Charlotte. A small was fully orchestrated for the Zurich Jazz Orchestra. point of trivia is that Steffens arrangement of the Musically, the piece is extremely compact and chal- piece was completed on the train, returning from one lenging with fast changing, almost mad emotional of the many concerts the ZJO performed at Moods states trying to stretch the limit of what can be done in Zurich. with a jazz orchestra. Beethoven was known for his outbursts and wild mood swings, especially toward The final track, closing out this album is “Walzer”, the end of his life, and this arrangement represents a longtime repertoire piece of Steffen’s duo with this impeccably. The following track titled “Monsieur clarinettist Claudio Puntin. The fully orchestrated Pf.” recalls a German police officer known to Steffen 3-part version for the Zurich Jazz Orchestra makes with a great sense of humour. -
Guide to Band and Orchestral Instruments
Mater Dei College Music Department GUIDE TO BAND AND ORCHESTRAL INSTRUMENTS PICTURE INFORMATION ENSEMBLES SEE/HEAR IT The flute is part of the woodwind family. Flute Ensemble, http://www.yout FLUTE Unlike woodwind instruments with reeds, a Junior Concert ube.com/watch?v flute is a reedless wind instrument that Band, Senior =LI3wIHFQkAk&fe produces its sound from the flow of air Concert Band, ature=related across an opening. The flute produces a Solos and beautiful, light tone and is flexible enough Chamber to be used in many contexts and ensembles. Ensembles The clarinet is a very versatile instrument. It Clarinet http://www.yout CLARINET has three very distinctive ranges that it can Ensemble, Junior ube.com/watch?v produce. The lowest register is rich and Concert Band, =9CkK-LM6Oe0 hollow in sound. The middle register is Senior Concert smooth sounding. The upper register Band, Solos Jazz sounds thin and shrill. Band The oboe has been a favourite among Junior Concert http://www.yout BASS GUITAR composers for the last 300 years. The Band, Senior ube.com/watch?v appeal is the reedy sound which is good for Concert Band, =iy3V2Tl4g3s staccato melodies. The oboe unique and Swing Band one of the most interesting instruments to learn. The saxophone is a relatively recent Saxophone http://www.yout ALTO SAXOPHONE invention - it was created in the 1840's to Ensemble, Junior ube.com/watch?v bridge the tonal gap between lower Concert Band, =Ul5K9fVwsKI woodwind section and the low brass Senior Concert section. The saxophone - informally called Band, Solos Jazz sax - uses a reed in the mouthpiece, much Band like clarinets do. -
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. -
Faculty Recital, Ronald L. Caravan, Clarinet, Soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano
Syracuse University SURFACE Setnor School of Music - Performance Programs Setnor School of Music 2-24-2008 Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano Ronald L. Caravan Syracuse University Sar Shalom Strong Follow this and additional works at: https://surface.syr.edu/setnor_performances Part of the Music Performance Commons Recommended Citation Setnor School of Music, Syracuse University. Faculty Recital, Ronald L. Caravan, Clarinet, soprano Saxophone, Alto Saxophone, Assisted by Sar Shalom Strong, Piano. 2-24-2008 https://surface.syr.edu/ setnor_performances/7 This Performance Program is brought to you for free and open access by the Setnor School of Music at SURFACE. It has been accepted for inclusion in Setnor School of Music - Performance Programs by an authorized administrator of SURFACE. For more information, please contact [email protected]. SYRACUSE UNIVERSITY SETNOR SCHOOL OF MUSIC Faculty Recital Ronald L. Caravan Clarinet, Soprano Saxophone, Alto Saxophone Assisted by Sar Shalom Strong Piano SETNOR AUDITORIUM SUNDAY, FEB. 24, 2008 2:00 P.M. Program Rondo Capriccioso . Anton Stamitz adapted for C clarinet & piano by Ronald Caravan (1750-c.1809) Soliloquy & Scherzo (2000) ........ ................ Walters. Hartley for Eb clarinet & piano Four Episodes (2006) ................................ Fred Cohen for Bb clarinet & piano 1. Flash 2. Breath 3. Arioso 4. Pure -Intermission - Sonata (1969) .............................. ..... Erwin Chandler for alto saxophone & piano 1. Allegro 2. Con moto 3. With drive Sonata (1976) . ... ............................. Brian Bevelander for alto saxophone & piano (in one movement) Soliloquy & Celebration (1996) ................... Ronald L. Caravan A tribute to the classic jazz saxophonist Paul Desmond for soprano saxophone & piano About the Performers .. -
All-Region Unified Etude
Alto Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato œ # 4 œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œ œ œ œ œ œ œ œ œ™nœ & #4 œ™ œœ œ #œ œ œ mf marcato 5 œ œ # œ œ œ œ™ œœ œ œ™ œœ œ œ œ™ œ œœœ œ ™nœ œœœœ œœ œ œ & # œ#œ œ œ nœ ™ œ p 9 œ # œ œœbœ œ œ œ œnœ bœ™ œœ œ œ œ œnœ œ œ œœœ#œœ & #nœ œ œ™ œ œ nœœ nœ ™ cresc. 13 ## œ & J ‰ Œ Ó f Baritone Saxophone All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato # 4 œ œ œ œ™ œœ œ œ œ œ œ & #4 œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ #œ œ œ œ™nœ mf marcato œ ™ œ 5 nœ # œœœ œ œœœ œ œ™ œ & # œ œ œ œ™ œ œ œ œ œ œ#œ œ œ™nœ œ œ œ œ œ œ ™ œœ œ ™ œ p 9 # œ œ œ œ œnœ & #nœ œ œ™ œbœ œ œ œ œ œ œnœ bœ™ œœ œ nœœ nœ œœœ cresc. œ nœ œ™ #œœ 13 # & # j ‰ Œ Ó fœ Bassoon All-Region Unified Etude Music Education Coalition 2020 Luke Macmillan Music adapted from ATSSB Moderato ? 4 œ œ œ œ b4 œ œ œ™ œ œ œ œ œ œ œ œ œ™ œœ œ nœ œ œ œ™bœ mfœ marcatoœ œ ™ œœ œ ™ œ œ 5 ? œ œœœ œ œœ b œ œ œ œ œ œ™ œœ œ œ œ œ œ #œ œ™nœ œœœ œœ œ ™ œ ™ œ œœ nœœ™ p 9 ? œ œ™ œ bbœ œ œœbœ œ œ œ œnœ bœ™ œœ œ œbœ œ œœœnœ cresc. -
Understanding Saxophone Transposition Bb Tenor Sax C Bb Eb Baritone Sax C Eb Saxophones Are Commonly Pitched in Bb and Eb
Understanding Saxophone Transposition Bb Tenor Sax C Bb Eb Baritone Sax C Eb Saxophones are commonly pitched in Bb and Eb. Piano, flutes, guitars, basses and other stringed instruments sound in “concert pitch.” This is WHY it is called a Bb Soprano Saxophone. When you play “C” Concert pitched instruments are “non-transposing instruments.” on the soprano saxophone, a concert Bb is what you hear. Saxophones are “transposing instruments” (except C Melody When you play a C on Eb Alto Saxophone, you hear a concert Eb. Saxophone). Further Understanding Transposition Does this confuse you? Don’t worry. The following article will attempt to explain in a no-nonsense way just how to understand When reading concert pitched (non-transposed) music on the transposition on any saxophone. saxophone, you must transpose it at sight or take the time to rewrite it in the correct transposition. First, it is important to understand that the concept of transposition is often dealt with far into the study of saxophone. If you are reading The soprano saxophone has the easiest transposition. You simply read from a saxophone method book or reading music written for your up one whole step from concert pitch. You can also think of it another specific saxophone, the transposition has been done for you in your way. Change the key signature and read up to the next line or space. copy of the music. For example: You are given a piece of music that The example below should help clarify the process. says “Eb Alto Saxophone” in the top, left hand corner. -
The Early Evolution of the Saxophone Mouthpiece 263
THE EARLY EVOLUTION OF THE SAXOPHONE MOUTHPIECE 263 The Early Evolution of the Saxophone Mouthpiece The Early Saxophone Mouthpiece TIMOTHY R. ROSE The early saxophone mouthpiece design, predominating during half of the instrument’s entire history, represents an important component of the or nine decades after the saxophone’s invention in the 1840s, clas- saxophone’s initial period of development. To be sure, any attempt to re- Fsical saxophone players throughout the world sought to maintain a construct the early history of the mouthpiece must be constrained by gaps soft, rounded timbre—a relatively subdued quality praised in more recent in evidence, particularly the scarcity of the oldest mouthpieces, from the years by the eminent classical saxophonist Sigurd Rascher (1930–1977) nineteenth century. Although more than 300 original Adolphe Sax saxo- as a “smooth, velvety, rich tone.”1 Although that distinct but subtle tone phones are thought to survive today,2 fewer than twenty original mouth- color was a far cry from the louder, more penetrating sound later adopted pieces are known.3 Despite this gap in the historical record, this study is by most contemporary saxophonists, Rascher’s wish was to preserve the intended to document the early evolution of the saxophone mouthpiece original sound of the instrument as intended by the instrument’s creator, through scientific analysis of existing vintage mouthpieces, together with Antoine-Joseph “Adolphe” Sax. And that velvety sound, the hallmark of a review of patents and promotional materials from the late nineteenth the original instrument, was attributed by musicians, including Rascher, and early twentieth centuries. -
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 -
Writing for Saxophones
WRITING MUSIC FOR SAXOPHONES This is a short information sheet for musicians who wish to create clear, easy to read music for the saxophone. It is based upon my experiences as a jazz saxophone player and the common mistakes that people make when setting out their parts. It covers the basics such as range, transposition, blending, use of altissimo etc. TRANSPOSITION This section is a brief introduction to the concept of transposition. If you already understand how transposing instruments work in principal then please skip to the section entitled 'range' where you can see how to put this information in to practice for particular saxophones. Most saxophones are transposing instruments. This means that the note 'C' on the saxophone does not sound at the same pitch as 'C' on the piano. The common keys which saxophones are made in are B flat (which includes tenor and soprano as well as less common bass and soprillo saxophones) and E flat (alto and baritone, as well as contra bass and sopranino). There are also 'C melody' saxophones, which are made at concert pitch and do not require transposition, however these are less common. When a saxophonist plays a C on a B flat saxophone such as the tenor, the note that comes out sounds at the same pitch as concert B flat (B flat on the piano). Similarly, on an E flat saxophone such as the alto, a C comes out at the same pitch as concert E flat. On a B flat saxophone all the note letter names are one tone higher than they would be on the piano (i.e.