The Inclusion of Organ Within the Concert Band Instrumentation with an Annotated Listing of Original Works for Concert Band and Organ
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
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. -
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 -
Heckelphone / Bass Oboe Repertoire
Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org. -
ZURICH JAZZ ORCHESTRA & STEFFEN SCHORN Three Pictures
ZURICH JAZZ ORCHESTRA ZURICH JAZZ ORCHESTRA & & STEFFEN SCHORN STEFFEN SCHORN Three Pictures THREE PICTURES MR874611 RELEASE: The Zurich Jazz Orchestra (ZJO) was first launched in 04.05.2018 1995. And what began twenty-three years ago as a „re- hearsal band for local composers and arrangers“ is now a LABEL: top-class big band that‘s tough to beat in terms of vari- Mons Records ety and excellence.With its musical virtuosity, an innova- LC 06458 tive programme, and an extraordinary level of commit- DISTRIBUTION: ment from both its artistic director and its administrative New Arts (physical) and supporting teams, the ZJO has played its way into finetunes (digital) the top league of the European big band scene. With three albums already released (Beyond Swiss Tradition, CONTACT: 2005; New Plans, 2008; Songs, 2012) and celebrated by a [email protected] steadily growing fan base at clubs, festivals and theatres, both at home and abroad, the ZJO has now provided its www.monsrecords.de very own soundtrack to this success story. www.zjo.ch Steffen Schorn, a renowned composer and multi-instru- mentalist in one, has been on board as artistic director since 2014. It‘s been a real stroke of luck for both the big band and its leader. With their shared musical vision and exuberant energy, this combination has complemented and inspired itself onwards to the very finest! The current album Three Pictures serves as a wonderful testament to this journey together. With his composi- tions, Steffen Schorn has succeeded in creating a reper- toire that presents the ZJO in all its facets, offering every tone its space, and every rhythm its room to move. -
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. -
3972.Pdf (1.155Mb)
Cc;;1 PJa.(..:{ 'DtS(: University of Washington M(gg THE SCHOOL OF MUSIC 2..c:oS '2 -10 f/I /I /"./ ....' I/..../..../..../I/ .../ .../.I/l.w/I./.../ ..../ .../.I/ I /.../ .../ ..../I-./I / 1 /1 / .../..../.../.../1 / .../.../.../.171/ .../.1/.1/.../..../..../.../ .../ ..../17..../.17...'/1/.../...::'1/1 I AMERICAN MUSIC SERIES I i ~ ~ ~ rJ,/I / ..../I/I/I/..../I /' /..../..../.../..../..../..../' /I / .../I / I /I/..../I /I/I/I/..../.1/1 /1 / ..../..../..../..../1 /.1/1/1/1/1/..../..../..../ .../..../1/1/1/ 1 / .../1/1/1/1/1/1 /1 /I;Jd " . :, Presents MOSAIC: "- . , Am ,rican Gr ats! This is the final performance in the UNTVERSITY OF WASHINGTON SCHOOL OF MUSIc's 2004-5 AMERICAN MUSIC SERIES 7:30 PM February 10, 2005 MEANY THEATER 'J)t9-t- I~, ~(l 2... PROGRAM GUITAR ENSEMBLE j) II.-f/t03 students ofSteven Novacek Robert Blatt / Jeremy Jolley / Michael Chinen / Charley Scanlan (;; ~ -, "III S PA1N ........ ....... ~ ....................:·..? .~ .... .......................................CHTCK COREA Alan Vjzzutti,jlugelhorn, Tom Collier, drums VOCAL JAZZ ENSEMBLE Kiera Clarke / Joel Emans / Danny Hahn If:::IL'i~ UOS and QUARTETS .............JO'7L:............. .............................. DANIEL KESSNER Tim Keller / Dasy Li / Chandry Moore / Charlotte Reese GUITAR ENSEMBLE Guadalupe Rios / Martin Rothwell / Carol Weber Andre Mueller, piano / Matt Shaw, bass / Peter Walton, drums -::;l '1' --( l2.\ ALL! Do Is DREAM OF You ......J..'::Uk......... NACIO BROWN/ARTHUR FREED VOCAL JAZZ ENSEMBLE UW JAZZ BONES TROMBONE ENSEMBLE J. J. Cooper / Jenny Kellogg / Don Immel/Chris Stover / Nathan Vetter 4,'IL Krysta Waters, piano / Arick Gouwerok, bass / Corey Colmey, drums if!THERE WILL NEVER BE ANOTHER yOU .... MACK GoRDONIHARRY WARREN 5jHERE'S THAT RAINY DAY...?!·.r?..'1....... JIMMY VAN HEUSEN/JOHNNY BURKE UW JAZZ BONES TROMBONE ENSEMBLE UW JAZZ FACULTY Marc Seales, piano / Vern Sieiert, trumpet Tom Collier, drums / Don Immel, trombone Mike Brockman, saxophone / Phil Sparks, bass ~ I THOUGHT ABOUT Y<?~ ........Co :..2-/...... -
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.