DOCSLIB.ORG

Influencing Reed Pitch Ask the Hohner Service Center

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Har monica happenings A quarterly publication of the Society for the Preservation and Advancement of the Harmonica The 2011 spah Convention Issue! Fall, 2011 Vol. 45 No. 4 Harmonica happenings In this issue: Vol. 45, No. 4, Fall 2011 ©2007, The Society for the Preservation and Advancement of the Harmonica. Cover photos by Danielle Bradley, Ernie Roberts and JP All rights reserved. No portion of this Pagán. publication may be reproduced in any form without permission in writing from SPAH, Inc. Printed in U.S.A. Harmonica Happenings Contents: is published quarterly by SPAH, Inc., a nonprofit organization, incorporated in the State of Michigan on October 23, 1963. 6 SPAH 2011 THROUGH MY EYES & EARS— What SPAH is like... if you’re Charles Spranklin. SPAH correspondence should be sent to: SPAH, Inc. P.O. Box 865 12 CONVENTION CHATTER— Troy, MI 48099-0865 SPAH convention attendees tell their stories EDITOR & PUBLISHER JP Pagán ASSOC. EDITOR Jaine Rodack 15 SPAH 2011 IN PHOTOS— COPY EDITOR Danny Wilson SPAH BOARD OF DIRECTORS 26 THE STATE OF THE CHORD— Tom Stryker President Manfred Wewers covers the history of the chord harmonica. L.J. Atkison Vice President Eugene Hansen Treasurer Elizabeth Atkison Secretary 32 SECURING THE MAGIC CHORD— Roger Bale Membership Director The story of the chord that Al Fiore used to play “Peg O’ My JP Pagán Magazine Editor Heart.” Bob Cohen Webmaster Paul Metris Sergeant at Arms 34 CD Review Norm Dobson International Liaison Chris Bauer’s new album is just in time for the holidays. Danny Wilson SPAH Historian Paul Davies Advisor COMMITTEES Harmonicas & Health Terry Rand Chairman Entertainment Winslow Yerxa Chairman SPAH Advisory Committee L.J. Atkison Chairman Convention Committee Elizabeth Atkison Chairwoman SPAH FOUNDER Earl Collins 1924 -1988 SPAH MEMBERSHIPS All memberships are on a calendar Harmonica Events year basis, beginning Jan. 1. For the latest information on these events, see the Membership entitles each member Events page on the SPAH website: www.spah.org to receive a full year’s issues of Harmonica Happenings plus discounts at SPAH’s annual conventions. Garden State Harmonica Festival East Hanover, New Jersey, Nov 3-5 CHANGE OF ADDRESS www.gardenstateharmonicaclub.org To insure receiving your next copy, send both your old and new address to: or contact [email protected] or call: (914) 357-5374 Membership Director, SPAH, Inc. P.O. Box 865, Troy, MI 48099-0865 SPAH’S WEBSITE www.spah.org HARP-L INFORMATION www.harp-l.org 2011 - 2012 Corporate Sponsors The SPAH Corporate Sponsorship Program benefits SPAH, its members and the sponsors. The sponsors listed below have demonstrated their dedication to the preservation and advancement of the harmonica by actively participating in SPAH conventions and other activities and by financially supporting the organization. They deserve the thanks, recognition and support of SPAH members. Hohner, Inc. Andy Garrigue, Harmonica Marketing Manager 804-591-3741 www.hohnerusa.com Suzuki Musical Instruments Daron Stinton Harmonica/school Division Manager (800) 854-1594 www.suzukimusic.com/harmonicas Rupert Oysler (828) 262-1088 www.seydel1847.com President’s Letter BACK FROM THE BEACH o, hum… back to the Power. The Award of Special Merit normal routine with viv- went to Michael Polesky who has id memories of the 2011 been so instrumental in keeping the SPAH convention at Vir- harmonica community together. A Hginia Beach. Likely not so “ho hum” special “President’s Award” was for those who live there. Just think given to Paul Metris who has been of these momentous events: a SPAH a SPAH member since the beginning convention that was so good and so and served as master-at-arms for well attended that it may have set many years. records... an earthquake that rocked The vendors put on quite an ex- the city and then came Irene… How hibition and all were in one location much can this little city of Virginia again. This works so well for all. Beach stand? By all accounts, a lot Once again our corporate spon- and they are moving on. sors were there to support all of us. This year, we had over 400 reg- We are so thankful for their contri- istrants at the convention. That butions. does not account for those who How about the finding and pre- spurchased just day or event pass- sentation to Hohner of the chord Al es. Roger, Nancy, Dave and Rudy Fiore used for “Peg O’ My Heart”? worked feverishly at the registration Even a copy of the original 78 re- desk while the printer kept spitting cord. They certainly deserve a place out badges. of honor and Hohner will preserve Then there was Tom McCraig and them in their museum for future crew who really dug in to host us. generations. Also, the Holiday Inn staff was ex- I can go on and on, but look cellent: worked hard, cooperated are further in this issue of Harmonica responded to our needs immediately. Happenings and you will see what Entertainment? Well... fantastic! went on. From the youngsters who really put Preparation for the 2012 SPAH on a show to pros who performed convention is well under way. Ho- and socialized with all of us. Semi- tel contracts have been signed and nars abounded through the able the H.O.O.T. is getting ready to guidance of Manfred Wewers and put their muscle into making this this was only his first year of semi- a real spectacle. Irving, Texas (very nar management. close to the Dallas/Ft. Worth Air- The jazz jam was outstanding port) is the location for 2012 and if as was the open mic. Having them you know the H.O.O.T., stand by! both in conspicuous places really Dates are: August 14 – August 18, enhanced them. 2012. Mark your calendar—Char- The Pete Pedersen Lifetime lie Musselwhite has! Achievement Award went to Al As I close, thank you all for the Smith. Well deserved for his dedi- great event, especially the SPAH cation & achievements. The Ber- Staff and the Holiday Inn who nie Bray Award went to Brendan working so hard for our pleasure. jq Summer 2011 3 What is SPAH? SPAH is an organization whose objective is to preserve and respect the colorful past of the harmonica, while advancing its acceptance, in all its many forms, as a bona fide musical instrument. Among the mem- bership are individuals and entire families, accomplished musicians as well as beginners, and people of all ages. Many members have played or do play the harmonica professionally. Their music styles, ranging through Country, Blues, Popular, and Classical, can be enjoyed via recordings or live performances. The many benefits of SPAH will be available to you as a member. You are welcome to join SPAH regardless of playing ability or style. SPAH also welcomes members who just like to listen to harmonica music. You will be joining people from around the world to preserve and advance the harmonica. For more information on SPAH visit our website at www.spah.org. Join SPAH - The Society for the Preservation and Advancement of the Harmonica What SPAH does: * Sponsors an annual International Harmonica Convention featuring classes, entertainment by professional harmonica players, and camaraderie. * Distributes information on harmonicas and harmonica playing * Recognizes and honors those who preserve and advance the harmonica * Encourages the formation of local harmonica clubs * Supports groups organizing harmonica conventions * Maintains a website at www.spah.org * Sponsors an online harmonica discussion group and an online harmonica club news service Member benefits: * Subscription to Harmonica Happenings, our quarterly magazine with harmonica news from around the world including seminar and convention listings, articles on playing techniques, repairs, harmonica clubs and famous harmonica players and groups, and information on recently released recordings and harmonica products. * Discounts on SPAH’s annual International Harmonica Convention NEW MEMBER SPAH APPLICATION NAME ______________________________________________________________________ BIRTH DATE ___________________ ADDRESS __________________________________________________________ PHONE (______)_________________________ CITY ___________________________ STATE____________ ZIP ______________ E-MAIL _______________________________ COUNTRY (if other than USA) _____________________________ CLUB NAME ________________________________________________ CITY _________________________________ ST _____ I Play These Harmonicas: Other Harmonica-Related Activities: Diatonic Chromatic Chord Compose Arrange Bass Other: ______________ Teach Collect Harmonicas Enclose $45 for individual membership or $60 for Family. U.S. funds only, made payable to SPAH, Inc. Mail to: Membership Director, SPAH, Inc., P.O. Box 865, Troy, MI 48099-0865 If you prefer, you can fill out the membership form and pay your membership fee using a credit card by logging onto the SPAH website: www.spah.org. 4 Harmonica Happenings Editor’s Letter FAMILY REUNION his year’s SPAH was my people whose experience mirrored fourth convention, yet in my own, who felt that this year’s many ways I’m still just SPAH was somehow more about learning what SPAH— depth than breadth, who walked Tnot just the convention, but the en- away with new friends and a stron- tire organization—is all about. ger bond to old friends. I’ve read (and probably written) Myself, I got a little closer to my many times in these pages about brother-in-arms—mi compay—Bob how we are all a family, and how Cohen. I got to see a different side the true nature of SPAH is not about of Jay Gaunt, who floored everyone the playing of harmonicas, but the that heard him dedicate “Summer- Corrections: camarederie of its members. This time” to the late Chris Michalek, In the Summer year’s convention really proved that (who—along with several others issue, page 1, the cover photo was incorrectly to me, changing my perception of that could not be there—cast a long captioned. The photo is SPAH forever in the process.
Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification

    The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification

    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
  • The Call Vol 5

    The Call Vol 5

    September 2003 The Call Vol 5. Issue 3 Dedicated to the collection, preservation and sharing of information for the Harmonica collector A Publication of Harmonica Collectors International 4. Top: “Over 68 Years”, 25 million 68-year level. Here are a few of the sold annually. Side prices start at 50 models listed on the pyramid that cents, plus Grand Prix Philadelphia you can research. If you can find 1925 with two mediations. This is data and report back to me, I will the most rare of the four. put the information in the next The BRAVO Newsletter. (It is sort of a research Item #2 has some unusual make up project). Models to look for: 132, History of harmonicas and also a higher 346, 1896, 605, 3CND, 152, 153, price structure than the other 54- 146, 254 and 453. Have Fun! HISTORY OF THE HOHNER year pyramid, the prices are at the PYRAMID ROTATING DISPLAY The Editor I thought that with the article on restoration of the display, a little C.H. Weiss, Model 24 (9), The history and associated data was in Worlds Triumph, 10-hole order. diatonic, 4” x 1” with box. The Hohner wooden rotating display was first introduced in 1911 (we The UP TO DATE think). I have seen models at the The Trumpet Call Hohner Museum, made of metal by Latest Finds Harmonica Collectors International both Hohner and Koch and believe LATEST FINDS P.O. Box 6081 theirs to be a much earlier vintage. Chesterfield, MO 63006-6081 The pyramid stands approx. 32” M Hohner Kaiser Wilhelm, high, including the base, which is 11” Deutsche National Musik, 20-hole Gretsch, Playboy, 10-hole x 10 1/2” and holds a large spring and tremolo with 4-tab cover plate diatonic, 4” x 1”, made in a crank to wind it.
  • Tenor Saxophone Mouthpiece When

    Tenor Saxophone Mouthpiece When

    MAY 2014 U.K. £3.50 DOWNBEAT.COM MAY 2014 VOLUME 81 / NUMBER 5 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter,
  • Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion

    Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion

    MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced.
  • Playing Harmonica with Guitar & Ukulele

    Playing Harmonica with Guitar & Ukulele

    Playing Harmonica with Guitar & Ukulele IT’S EASY WITH THE LEE OSKAR HARMONICA SYSTEM... SpiceSpice upup youryour songssongs withwith thethe soulfulsoulful soundsound ofof thethe harmonicaharmonica alongalong withwith youryour GuitarGuitar oror UkuleleUkulele playing!playing! Information all in one place! Online Video Guides Scan or visit: leeoskarquickguide.com ©2013-2016 Lee Oskar Productions Inc. - All Rights Reserved Major Diatonic Key labeled in 1st Position (Straight Harp) Available in 14 keys: Low F, G, Ab, A, Bb, B, C, Db, D, Eb, E, F, F#, High G Key of C MAJOR DIATONIC BLOW DRAW The Major Diatonic harmonica uses a standard Blues tuning and can be played in the 1st Position (Folk & Country) or the 2 nd Position (Blues, Rock/Pop Country). 1 st Position: Folk & Country Most Folk and Country music is played on the harmonica in the key of the blow (exhale) chord. This is called 1 st Position, or straight harp, playing. Begin by strumming your guitar / ukulele: C F G7 C F G7 With your C Major Diatonic harmonica Key of C MIDRANGE in its holder, starting from blow (exhale), BLOW try to pick out a melody in the midrange of the harmonica. DRAW Do Re Mi Fa So La Ti Do C Major scale played in 1st Position C D E F G A B C on a C Major Diatonic harmonica. 4 4 5 5 6 6 7 7 ©2013-2016 Lee Oskar Productions Inc. All Rights Reserved 2nd Position: Blues, Rock/Pop, Country Most Blues, Rock, and modern Country music is played on the harmonica in the key of the draw (inhale) chord.
  • Guidelines for Effective Institutional Piano Maintenance

    Guidelines for Effective Institutional Piano Maintenance

    Guidelines for Effective Institutional Piano Maintenance What is the Piano Technicians Guild? The Piano Technicians Guild (PTG) is a nonprofit, international organi- zation of piano technicians. The mission of PTG is to promote the highest possible standards of piano service by providing members with opportuni- ties for professional development, by recognizing technical competence through examinations and by advancing the interests of its members. Membership is open to all individuals with a professional or avocation- al interest in piano technology. A Registered Piano Technician (RPT) member has passed three rigor- ous examinations that assess the knowledge and skills required to tune, maintain, and repair pianos. Copies of this publication and other PTG materials may be purchased from: The Piano Technicians Guild, Inc. 4444 Forest Avenue Kansas City, KS 66106-3750 PH: (913) 432-9975 FAX: (913) 432-9986 [email protected] www.ptg.org 2004 Piano Technicians Guild, Inc. ii Table of Contents Foreword............................................................................................iv Introduction........................................................................................ v General Recommendations................................................................ 1 Staffing and Workload....................................................................... 3 The Contract Technician......................................................... 4 Minimum Qualifications and Training.................................... 5 Budgets..............................................................................................
  • Electrophonic Musical Instruments

    Electrophonic Musical Instruments

    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
  • AND KOCH Inc

    AND KOCH Inc

    Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 44 THE MUSIC TRADE REVIEW NOVEMBER 29, 1924 vember 17, at 10 p. m. through WEAF. Mr. Hacon has broadcasted from this station in the past and letters received indicate his tremen- dous popularity with the radio audrences. Mr. Hacon has, therefore, been added to the regular night's program. Philadelphia Wholesalers MUSICAL INSTRUMENTS Report Big Banjo Demand Hafner & Sutphin Shipping Large Orders for Vega, Bacon and the New Ludwig Banjos, for Manufacturers of musical instrument Which Lines They Are Local Distributors cases of quality. Veneer, Duck, Leather, PHILADELPHIA, PA., November 25.—Orders for Fibre. the small goods lines carried by the firm of Hafner & Sutphin, 925 Arch street, have been keeping up with the volume that commenced in the early days of Fall. The firm has been kept steadily active in the shipment of the Vega and ^/zeFELSBERG COn40Cross5tNewark,NJ. Bacon banjos and the newest addition to its line, the Ludwig banjo. The latter is the re- cently manufactured product of the Ludwig & Ghas. F. Kienle, Treasurer member of the firm for several years. He Ludwig company, of Chicago, makers of drums. learned the harmonica business from the bot- The Hafner & Sutphin company will distribute of M. Hohner, Inc., Dies tom up, starting in at the bottom rung of the the Ludwig banjos in Pennsylvania, southern ladder about twenty-five years ago. Possessed New Jersey, Delaware and part of New York Veteran of Harmonica and Accordion Trade of a keen mind and a willingness to work hard, State.
  • Piano Manufacturing an Art and a Craft

    Piano Manufacturing an Art and a Craft

    Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH.
  • The Cimbalo Cromatico and Other Italian Keyboard Instruments With

    The Cimbalo Cromatico and Other Italian Keyboard Instruments With

    Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate.
  • About the RPT Exams

    About the RPT Exams

    About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice.
  • Download Booklet

    Download Booklet

    559216-18 bk Bolcom US 12/08/2004 12:36pm Page 40 AMERICAN CLASSICS WILLIAM BOLCOM Below: Longtime friends, composer William Bolcom and conductor Leonard Slatkin, acknowledge the Songs of Innocence audience at the close of the performance. and of Experience (William Blake) Soloists • Choirs University of Michigan Above: Close to 450 performers on stage at Hill Auditorium in Ann Arbor, Michigan, under the School of Music baton of Leonard Slatkin in William Bolcom’s Songs of Innocence and of Experience. Symphony Orchestra University Musical Society All photographs on pages 37-40 courtesy of Peter Smith/University Musical Society Leonard Slatkin 8.559216-18 40 559216-18 bk Bolcom US 12/08/2004 12:36pm Page 2 Christine Brewer • Measha Brueggergosman • Ilana Davidson • Linda Hohenfeld • Carmen Pelton, Sopranos Joan Morris, Mezzo-soprano • Marietta Simpson, Contralto Thomas Young, Tenor • Nmon Ford, Baritone • Nathan Lee Graham, Speaker/Vocals Tommy Morgan, Harmonica • Peter “Madcat” Ruth, Harmonica and Vocals • Jeremy Kittel, Fiddle The University Musical Society The University of Michigan School of Music Ann Arbor, Michigan University Symphony Orchestra/Kenneth Kiesler, Music Director Contemporary Directions Ensemble/Jonathan Shames, Music Director University Musical Society Choral Union and University of Michigan Chamber Choir/Jerry Blackstone, Conductor University of Michigan University Choir/Christopher Kiver, Conductor University of Michigan Orpheus Singers/Carole Ott, William Hammer, Jason Harris, Conductors Michigan State University Children’s Choir/Mary Alice Stollak, Music Director Leonard Slatkin Special thanks to Randall and Mary Pittman for their continued and generous support of the University Musical Society, both personally and through Forest Health Services. Grateful thanks to Professor Michael Daugherty for the initiation of this project and his inestimable help in its realization.