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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. -
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 -
John Cage Centenary Festival Fontana Mix and Beyond
JOHN CAGE CENTENARY FESTIVAL FONTANA MIX AND BEYOND FEBRUARY 16, 2012 8:30 PM presented by REDCAT Roy and Edna Disney/CalArts Theater California Institute of the Arts JOHN CAGE CENTENARY FESTIVAL FONTANA MIX AND BEYOND Thursday, Feb. 16, 2012, 8:30pm PROGRAM Fontana Mix (1958) John Cage Tape Aria (1958) and WBAI (1960) John Cage Carmina Escobar, voice; John Baffa, signal processing Piece for Guitar (for Stella) (1961) Cornelius Cardew Stuart Fox, solo guitar Water Walk (1959) John Cage Kristen Erickson, performer Unterwelten II&III (2011) Ulrich Krieger Elise Roy, bass flute; Vinny Golia, contrabass flute; Christin Hablewitz, bass clarinet; Brian Walsh, contrabass clarinet; Kevin Robinson, baritone saxophone; Ulrich Krieger, contrabass saxophone (tubax) Intermission John Cage—Fontana Mix-Feed (1965) Max Neuhaus Recording of a live performance by Max Neuhaus (percussion, microphones, feedback) at the New School of Social Research, New York, June 4, 1965 Theatre Piece (1960) and WBAI (1960) John Cage Mark Menzies, Alessandra Barrett, Marcus Buser, performers; John Baffa, signal processing (Fontana) Mix for Six (Strings) (2001) James Tenney Madeline Falcone, Emily Call, violins; Mark Menzies, Alessandra Barrett, Kristin Thora Haraldsdottir, violas; Min Lee, cello Playing continuously in the lobby: Karlheinz Essl: FontanaMixer (2004–7) Max/MSP patch Musical Direction: Ulrich Krieger and Mark Menzies ABOUT THE WORKS Fontana Mix (1958) is a tape music composition, but more than that it is a compositional tool, as James Pritchett calls it in his book The Music of John Cage. It is a means to create new pieces, which Cage himself used to compose Water Walk, Sounds of Venice, Aria, Theatre Piece, and WBAI. -
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 -
Klapparat Text English 03.2020
Contact: Ivo Prato +41 (0) 79 431 05 81 [email protected] www.ivoprato.ch 1 k l a p p a r a t The Band Daniel Zumofen soprano-, alto saxophone / www.zumofen.ch Charlotte Lang alto-, soprano saxophone Ivo Prato tenor saxophone / www.ivoprato.ch Erwin Brünisholz baritone saxophone Matthias Wenger tubax / www.matwenger.com Philipp Leibundgut drums / www.philippleibundgut.ch 5 sax & drums = 10m pipe + drum With the members Daniel Zumofen, Charlotte Lang, Ivo Prato, Erwin Brünisholz, Matthias Wenger und Philipp Leibundgut the band klapparat was newly formed at the end of 2019. The band is based in Berne, the capitol of Switzerland. Some of the musicians are rooted in Jazz while others are based in classical music. In this special formation they overcome common patterns and create their own identity. From the soprano saxophone to the tubax nearly all saxophone related instruments are included. Together they add up to a pipe length of approximately 10m. Let alone the tubax - a newly constructed contrabass saxophone - measures more than 4m. The Saxophonists Daniel Zumofen, Matthias Wenger, Ivo Prato, Erwin Brünisholz and Michel Duc met each other for a first rehearsal in June 2011. Immediately, a constructive, creative cooperation was called into life. Soon after drummer Philippe Ducommun joined the band. For nine years the band was playing in this setup. In nearly ten years the band can present 100 concerts, CDs, Videos, press releases and radio shows. Schedule Soon, the band Klapparat celebrates its tenth anniversary. In 2020 the band plans its third CD production, a movie and tours in Switzerland and Russia. -
Sound Sets in Sibelius 2
Sound sets in Sibelius 2 For advanced users only! Before attempting to create your own sound set, it is worth checking if one is already available: see the online Help Center at http://www.sibelius.com/helpcenter/resources/ for the latest additions. Disclaimer Sound sets are complex files and are not designed to be user-editable. Using a sound set with incorrect syntax may cause your copy of Sibelius to behave unpredictably or even crash. Sibelius Software accepts no responsibility for any loss of data or other problems experienced as a result of editing the supplied sound sets or creating new ones. This document is provided ‘as is’, and no warranty, implied or otherwise, covers the information contained within. Please also note that we do not offer technical support on the editing or creation of sound set files. Filenames The filename of a sound set file is insignificant (i.e. it is not shown in the Play Z Devices dialog), but we recommend that it should be fairly descriptive. It should also be 31 characters or less (including the .txt file extension) to ensure compatibility with all file systems. Sound set syntax Please refer to the General MIDI.txt file inside C:\Program Files\Sibelius Software\Sibelius 2\Sounds for an example of correct sound set syntax. In fact, you may wish to copy this file and use it as the basis of your own sound set. The sound set starts with an open brace { and ends with a closing brace }. The body of the sound set contains the following fields within the opening and closing braces as a series of ‘tree nodes’, in this order: MIDIDevice Syntax: MIDIDevice "GM (General MIDI)" The name of the device, e.g. -
Catalogue and Musik” (Degenerate Music) Opened in Documentation of Sound) Should Düsseldorf
zagreb | 2018. XVIII. SVJETSKI KONGRES SAKSOFONISTA ODRŽAVA SE POD POKROVITELJSTVOM MILANA BANDIĆA, GRADONAČELNIKA GRADA ZAGREBA | THE XVIII WSC IS HELD UNDER THE PATRONAGE OF MR MILAN BANDIĆ, MAYOR OF THE CITY OF ZAGREB gradonačelnik grada zagreba Poštovani sudionici, dragi gosti, Zagreb prvi put ugošćuje renomirani Svjetski kongres saksofonista. Domaćin ovogodišnjega 18. kongresa je naša Muzička akademija koja je u svijetu poznata po izvrsnosti svoje Zagrebačke saksofonističke škole koju je utemeljio profesor Josip Nochta. Tijekom 5 dana, na više od 400 događanja, na brojnim mjestima u gradu će se predstaviti i susresti vrhunski glazbeni profesionalci, studenti i amateri. Bit će to, uvjeren sam, praznik glazbe, prigoda za promociju različitih stilova i izričaja te za razmjenu ideja. Svojom otvorenosti za publiku Kongres će obogatiti Zagrebačko kulturno ljeto te će doprinijeti boljem pozicioniranju Zagreba i Hrvatske na svjetskoj karti kulturnog turizma. Zahvaljujem organizatorima na uspješnoj realizaciji Kongresa, osobito red. prof. art. Draganu Sremcu, umjetničkomu ravnatelju Kongresa i prodekanu za umjetnost i poslovanje Muzičke akademije Sveučilišta u Zagrebu. Svim sudionicima želim uspješno sudjelovanje i ugodan boravak u našem gradu! Gradonačelnik Grada Zagreba Milan Bandić Major of the City of Zagreb Esteemed participants, dear guests, Zagreb is hosting the renowned World Saxophone Congress for the irst time. The host of this 18th Congress is our Academy of Music, world- famous for the excellence of its Zagreb School of Saxophone, established by professor Josip Nochta. In the course of 5 days, in more than 400 events at various locations in the city, top music professionals, students and amateurs will present themselves and meet each other. I am sure that it will be a celebration of music, an opportunity to promote various styles and expressions and to exchange ideas. -
The Inclusion of Organ Within the Concert Band Instrumentation with an Annotated Listing of Original Works for Concert Band and Organ
Graduate Theses, Dissertations, and Problem Reports 2019 The Inclusion of Organ Within the Concert Band Instrumentation with an Annotated Listing of Original Works for Concert Band and Organ Matthew Justin McCurry West Virginia University, [email protected] Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation McCurry, Matthew Justin, "The Inclusion of Organ Within the Concert Band Instrumentation with an Annotated Listing of Original Works for Concert Band and Organ" (2019). Graduate Theses, Dissertations, and Problem Reports. 4066. https://researchrepository.wvu.edu/etd/4066 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. The Inclusion of Organ Within the Concert Band Instrumentation with an Annotated Listing of Original Works for Concert Band and Organ Matthew J. McCurry Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Conducting Scott Tobias, D.M.A., Chair Kym Scott, D.M.A. -
The Political, Economic, and Social Reasons Behind the Saxophone's Exclusion from the Symphony Orchestra
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2017 More Than Its Sound: The olitP ical, Economic, and Social Reasons Behind the Saxophone's Exclusion from the Symphony Orchestra Kyle Beaudoin Rhode Island College, [email protected] Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Part of the Other Music Commons Recommended Citation Beaudoin, Kyle, "More Than Its Sound: The oP litical, Economic, and Social Reasons Behind the Saxophone's Exclusion from the Symphony Orchestra" (2017). Honors Projects Overview. 131. https://digitalcommons.ric.edu/honors_projects/131 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. MORE THAN ITS SOUND: THE POLITICAL, ECONOMIC, AND SOCIAL REASONS BEHIND THE SAXOPHONE'S EXCLUSION FROM THE SYMPHONY ORCHESTRA Kyle Beaudoin An Honors Project Submitted in Partial Fulfillment for Honors in The Department of Music, Theatre, and Dance The School of Arts and Sciences Rhode Island College 2017 i ABSTRACT The purpose of this project is to uncover the reasons why the saxophone was not integrated into the orchestra. Through an examination of political, economic, and cultural accounts of Paris during the nineteenth century, this paper attempts to examine the effects on the saxophone’s reception. During the nineteenth century, French composers had a vehement fascination with timbre and the manipulation of its effects as a new aesthetic dimension in music; the perfect environment for an entirely new timbre to be added to ensembles, let alone introduced. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Foglio Istruzioni-Zac Ligature-Ing Low.Pdf
METALS and FINISHES 1 MACHINE Both models can be made both of 925 silver and brass, including all finishes. 2 CORDS Also called "Mother Element", Satin 925 silver Satin brass it is the mechanical heart of ligature. Polished 925 silver, Polished brass, rhodium plated CLASP LONG CORD Locks the Positioned at the rhodium plated Polished brass, gold plated BUSH SCREW loop back of the Adjusts the Polished 925 silver, (guaranteed 3 micron 24k gold) mouthpiece Guarantees gold plated good tension of the (guaranteed 3 micron 24k gold) operation and cords life of the screw 925 stamp which certifies the silver quality. TURRET SHORT CORD ENGRAVING Cord Positioned at the Indicates the anchorage front of the LOOP Allows anchorage to front of the mouthpiece ligature Z M21 Z M16 the turret of the Z machine USE AND ASSEMBLY WASHER Allows the screw to BRASS CLASP 925 SILVER CLASP turn on itself to STEEL SCREW tension the system Secure the washer by assembling the whole MANUAL ALTO SAXOPHONE SOPRANINO SAXOPHONE screw system TENOR SAXOPHONE SOPRANO SAXOPHONE PLUG BARITONE SAXOPHONE Ab PICCOLO CLARINET They are BASS SAXOPHONE Eb PICCOLO CLARINET interchangeable CONTRABASS SAXOPHONE RUBBER Bb CLARINET Non-slip The cords are static and made of highly Eb CONTRABASS CLARINET resistant technical materials. Product distributed by: All the parts mentioned rubber disk BASS CLARINET [email protected] www.musiccenter.it are replaceable. 1 CONTRABASS CLARINET 2 3 www.zacligature.com [email protected] 3 RESONATOR FITTING OF THE CORDS INTO THE RESONATOR RESONATOR SIZES 4 CORD ANCHORAGE ZR1 - Soprano saxophone ZR2.1 - Bb clarinet 1. -
Garritan Jazz and Big Band® 3 Instruments
GARRITAN JAZZ AND BIG BAND® 3 INSTRUMENTS INSTRUMENT LIST: 16 SAXOPHONES Sopranino saxophone, Mezzo Soprano sax, 2 Soprano saxophones, (1 straight, 1 curved), 3 Alto saxophones, C Melody saxophone, 4 Tenor saxophones, Baritone sax, Bass saxophone, Contrabass saxophone, Sub-contrabass saxophone, plus derivative ensemble instruments. 6 TRUMPETS (with mutes) 5 Bb Trumpets (all with extended ranGe, one with extreme ranGe) open and with straiGht mute, cup mute, Harmon mute, and bucket mute, FluGelhorn, plus derivative ensemble instruments 5 TROMBONES (with mutes) IncludinG 4 Tenor Trombones and Bass Trombone open and with straiGht mute, cup mute, Harmon mute, and bucket mute, plus derivative ensemble instruments ADDITIONAL WINDS Piccolo, Alto Flute, C Flute, Bb Clarinet, Bass Clarinet, Tuba, Harmonica, plus derivative ensemble instruments KEYBOARDS Steinway B Grand piano, VintaGe electric piano, Jazz Accordion, Rock OrGan GUITARS 2 Electric Guitars, Acoustic Guitar, Banjo BASSES 2 Upright acoustic basses, 2 Fretless electric basses, 2 Fretted electric basses DRUM KITS Classic Stick kits, Fusion Stick Kit, plus separate instruments (kick, snare, toms, hi-hat, cymbals), Brush kit (with controllable stirs) plus separate instruments PERCUSSION Vibraphone (hard and soft mallets), Wide variety of percussion includinG Latin percussion, bongos, conGas, timbales, wood blocks, shakers, bells, whistles, etc. 7615 GOLDEN TRIANGLE DRIVE, SUITE M EDEN PRAIRIE, MN 55344 GARRITAN JAZZ AND BIG BAND® 3 INSTRUMENTS ENSEMBLE PRESETS: • BiG Band Rhythm Section,