Instrument List

Total Page:16

File Type:pdf, Size:1020Kb

Instrument List Instrument List 16 Saxophones: • Sopranino saxophone • 3 Tenor saxophones • Mezzo Soprano sax • Baritone saxophone • 3 Soprano saxophones • Bass saxophone • 3 Alto saxophones • Contrabass saxophone • C Melody saxophone • Subcontrabass saxophone 6 Trumpets • 5 Bb Trumpets (including • Flugelhorn (with mutes): scream trumpet) • Open, straight mute, cup mute, Harmon mute, bucket mute 5 Trombones (with mutes): • 4 Tenor Trombones • Bass Trombone (Open, straight mute, cup mute, Harmon mute, bucket mute) 6 Additional Winds: • C Flute • Bass Clarinet • Piccolo & Alto Flute • Tuba • Bb Clarinet 10 Keyboards: • Steinway B grand piano • 6 Organs • Vintage electric piano • Jazz Accordion 3 Guitars: • 2 Electric guitars • Acoustic guitar 8 Basses: • 2 Upright acoustic basses • 2 Fretted electric basses • 2 Fretless electric basses • 2 Slap basses 6 Drum Kits: • Classic Stick kits • Brush kit • Fusion Stick Kit • 3 General MIDI kits Percussion: • Vibraphone (hard and • Wide variety of percussion soft mallets) including Latin percussion, bongos, congas, timbales, wood Variety of Doubles and Combinations blocks, bells, etc. www.garritan.com Garritan Jazz & Big Band™ 3 A high-quality Jazz and Big Band instrument collection More than 75 instruments, including a comprehensive saxophone collection, brass instruments with various mutes, woodwinds, Steinway Piano, guitars, organs, acoustic and electric basses, an electric piano, drum kits, and other instruments. ARIA instrument player included The entire Jazz & Big Band library is integrated with the ARIA Instrument Engine and works as a virtual instrument. No need to purchase a separate sampler. Ensemble building and doubles Garritan Jazz & Big Band provides multiple individual instruments from which you can build your own jazz ensembles and big bands. This is the key to realistic imitative style. The library can be used to construct solos, duos, jazz trios, quartets, jazz ensembles, or a full big band. There are keyswitched doubles and combinations so players can switch instruments quickly. Performance controls The controls in Garritan Jazz & Big Band allow you to shape the articulation and jazz techniques. Just load your instruments and play. Standardized controls allow you to become familiar with the library and master the various instruments. Advanced functions, such as shakes, fall offs, tongue slurs, and auto legato help you produce more realistic-sounding performances. Universal format Garritan Jazz & Big Band supports all popular formats, both Mac and PC, either as a standalone program or as a plugin (VST, RTAS, and OS X Audio Units) and works with supported notation programs. An entire big band can be loaded on a single PC or laptop. System requirements 3.5 GB of free hard disk space. DVD-ROM drive required for installation. PC: Windows® 7, Vista® or XP®, 1.8 GHz Core Duo CPU or better. Macintosh®: OS 10.5 or higher, Core Duo Mac Intel or better. Hard drive speed of at least 7200 RPM. A sound card compatible with ASIO (PC) or Core Audio (Mac). A MIDI or USB interface may be required if using an electronic keyboard. A full-size keyboard with Mod Wheel and assignable controllers is highly recommended. To play an entire big band, we recommend 2 GB of RAM or more. 9GC221-1 0212 .
Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Raaf Hekkema
    2 CD JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema 1 JOHANN SEBASTIAN BACH Suites BWV 1007-1012 Arranged for saxophone Raaf Hekkema CD 1 JOHANN SEBASTIAN BACH (1685-1750) Suite 1 (BWV 1007) [1] Prélude 2:24 Suite 3 (BWV 1009) [2] Allemande 4:17 [13] Prélude 2:58 [3] Courante 2:29 [14] Allemande 3:35 [4] Sarabande 2:26 [15] Courante 3:21 [5] Menuet I & II 2:58 [16] Sarabande 4:10 [6] Gigue 1:45 [17] Bourrée I & II 2:57 [18] Gigue 3:04 Suite 2 (BWV 1008) [7] Prélude 4:03 [8] Allemande 3:43 total time 56:03 [9] Courante 2:07 [10] Sarabande 4:23 [11] Menuet I & II 2:30 [12] Gigue 2:41 4 5 CD 2 JOHANN SEBASTIAN BACH (1685-1750) Suite 4 (BWV 1010) [1] Prélude 3:40 Suite 6 (BWV 1012) [2] Allemande 3:34 [13] Prélude 3:57 [3] Courante 3:28 [14] Allemande 7:24 [4] Sarabande 4:32 [15] Courante 3:40 [5] Bourrée I & II 4:42 [16] Sarabande 4:07 [6] Gigue 2:42 [17] Gavotte I & II 3:43 [18] Gigue 3:47 Suite 5 (BW V 1011) [7] Prélude 5:18 [8] Allemande 4:30 total time 71:08 [9] Courante 2:03 [10] Sarabande 3:45 [11] Gavotte I & II 4:01 [12] Gigue 2:06 6 7 I dedicate this CD to my wife, Simone Noortman. Not only has she been my life partner for the past twenty-plus years, she is also – although not a musician herself – my most important musical sounding board.
    [Show full text]
  • Spectralism in the Saxophone Repertoire: an Overview and Performance Guide
    NORTHWESTERN UNIVERSITY Spectralism in the Saxophone Repertoire: An Overview and Performance Guide A PROJECT DOCUMENT SUBMITTED TO THE BIENEN SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF MUSICAL ARTS Program of Saxophone Performance By Thomas Michael Snydacker EVANSTON, ILLINOIS JUNE 2019 2 ABSTRACT Spectralism in the Saxophone Repertoire: An Overview and Performance Guide Thomas Snydacker The saxophone has long been an instrument at the forefront of new music. Since its invention, supporters of the saxophone have tirelessly pushed to create a repertoire, which has resulted today in an impressive body of work for the yet relatively new instrument. The saxophone has found itself on the cutting edge of new concert music for practically its entire existence, with composers attracted both to its vast array of tonal colors and technical capabilities, as well as the surplus of performers eager to adopt new repertoire. Since the 1970s, one of the most eminent and consequential styles of contemporary music composition has been spectralism. The saxophone, predictably, has benefited tremendously, with repertoire from Gérard Grisey and other founders of the spectral movement, as well as their students and successors. Spectral music has continued to evolve and to influence many compositions into the early stages of the twenty-first century, and the saxophone, ever riding the crest of the wave of new music, has continued to expand its body of repertoire thanks in part to the influence of the spectralists. The current study is a guide for modern saxophonists and pedagogues interested in acquainting themselves with the saxophone music of the spectralists.
    [Show full text]
  • Yamaha 2018 Price List
    two thousand eighte2en 01 8 accessories retail price lis t effective date: July 1, 2018 TABLE OF CONTENTS BRASSWIND MOUTHPIECES 1-4 REEDS 17-21 TRUMPET 1 SOPRANO CLARINET 17 CORNET, SHORT SHANK 2 CLARINET 17 CORNET, LONG SHANK 2 ALTO CLARINET 17 FLUGELHORN 2 BASS CLARINET 18 ALTO 2 CONTRA CLARINET 18 HORN 2-3 SOPRANINO SAXOPHONE 18 MELLOPHONE 3 SOPRANO SAXOPHONE 18 TROMBONE, SMALL SHANK TENOR 3 ALTO SAXOPHONE 19 TROMBONE, LARGE SHANK TENOR 3 TENOR SAXOPHONE 19-20 BASS TROMBONE 4 BARITONE SAXOPHONE 20 EUPHONIUM 4 BASS SAXOPHONE 20 TUBA 4 DOUBLE REEDS 20-21 SILENT BRASS ™ & MUTES 5-6 WOODWIND ACCESSORIES 22-30 SILENT BRASS SYSTEMS 5 LIGATURES 21-23 SILENT BRASS MUTES 5 MOUTHPIECE CAPS 24-25 TRADITIONAL MUTES 5-6 NECKSTRAPS 25-26 INSTRUMENT OILS & LUBRICANTS 26 BRASSWIND ACCESSORIES 7-9 MAINTENANCE KITS 26 BRASS INSTRUMENT OILS & LUBRICANTS 7 POLISHES & POLISHING CLOTHS 27 BRASS INSTRUMENT MAINTENANCE KIT 7 CLEANING SWABS 27 POLISHES & POLISHING CLOTHS 7 MAINTENANCE SUPPLIES 27-28 BRASS INSTRUMENT BRUSHES & CLEANING TOOLS 8 LIP PLATE & MOUTHPIECE PATCHES 28 PREMIUM MICROFIBER BRASS SWABS 8 REED TRIMMERS & SHAPERS 29 MISCELLANEOUS BRASS INSTRUMENT ACCESSORIES 9 REED CASES & STORAGE 29 BRASS INSTRUMENT LYRES 9 MISCELLANEOUS WOODWIND ACCESSORIES 29 INSTRUMENT LYRES 30 BRASSWIND CASES 10 WOODWIND CASES 31 WOODWIND MOUTHPIECES 11-16 PICCOLO CLARINET 11 RECORDERS & PIANICAS 32-33 SOPRANO CLARINET 11 PIANICAS 32 CLARINET 11-12 20 SERIES PLASTIC RECORDERS 32 ALTO CLARINET 12 300 SERIES PLASTIC RECORDERS 32 BASS CLARINET 12 400 SERIES PLANT-BASED
    [Show full text]
  • The Composer's Guide to the Tuba
    THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love.
    [Show full text]
  • The Missing Saxophone Recovered(Updated)
    THE MISSING SAXOPHONE: Why the Saxophone Is Not a Permanent Member of the Orchestra by Mathew C. Ferraro Submitted to The Dana School of Music in Partial Fulfillment of the Requirements for the Degree of Master of Music in History and Literature YOUNGSTOWN STATE UNIVERSITY May 2012 The Missing Saxophone Mathew C. Ferraro I hereby release this thesis to the public. I understand that this thesis will be made available from the OhioLINK ETD Center and the Maag Library Circulation Desk for public access. I also authorize the University or other individuals to make copies of this thesis as needed for scholarly research. Signature: ____________________________________________________________ Mathew C. Ferraro, Student Date Approvals: ____________________________________________________________ Ewelina Boczkowska, Thesis Advisor Date ____________________________________________________________ Kent Engelhardt, Committee Member Date ____________________________________________________________ Stephen L. Gage, Committee Member Date ____________________________________________________________ Randall Goldberg, Committee Member Date ____________________________________________________________ James C. Umble, Committee Member Date ____________________________________________________________ Peter J. Kasvinsky, Dean of School of Graduate Studies Date Abstract From the time Adolphe Sax took out his first patent in 1846, the saxophone has found its way into nearly every style of music with one notable exception: the orchestra. Composers of serious orchestral music have not only disregarded the saxophone but have actually developed an aversion to the instrument, despite the fact that it was created at a time when the orchestra was expanding at its most rapid pace. This thesis is intended to identify historical reasons why the saxophone never became a permanent member of the orchestra or acquired a reputation as a serious classical instrument in the twentieth century. iii Dedicated to Isabella, Olivia & Sophia And to my father Michael C.
    [Show full text]
  • 2018 Jazz Camp Instructors Together Playing Great Music! Dr
    HOW DO I PREPARE FOR AUDITIONS AND MUSIC THEORY TESTING? 2018 The audition links provided on our website lead to pdf files of jazz etudes for each JUNE 17-22, 2018 instrument. Click on the link identified by the instrument you play. Practice this etude and be prepared to play it for your audition. On the scale sheet provided with the jazz etude, choose any three of the scales and be prepared to play them. You will also be asked to sight read a short jazz excerpt for your instrument. You will also be asked to improvise a solo over a concert Bb blues. This is NOT a QUESTIONS? requirement, but we encourage you to try! EMAIL US: [email protected] You will take your music theory exam DR. PAUL BREWER, immediately after you audition. The Camp Director exam allows us to place you in the PHONE: 616-632-2416 theory class that will be best for you. E-MAIL: [email protected] Note: If you prefer, we can email you a pdf attachment that includes all BETSEY INGRAHAM, audition materials. Administrative Assistant PHONE: 616-632-2413 See you at Jazz Camp! We’ll have E-MAIL: [email protected] some Serious Fun and learn a lot 2018 Jazz Camp Instructors together playing great music! Dr. Paul Brewer Camp Director, Trombone & Big Band Tim Froncek Drumset & Percussion Benje Daneman Trumpet Jeff Ingraham Trombone Bob Nixon Alto Sax & Big Band Tom Lockwood Electric & Acoustic Bass, Saxophone Mike Hyde Electric & Acoustic Guitar Matt Brewer Electric & Acoustic Bass Robin Connell Piano & Keyboards The instructors listed above are all recognized jazz masters whose careers as teachers and players are well established and widely respected.
    [Show full text]
  • The Saxophone in China: Historical Performance and Development
    THE SAXOPHONE IN CHINA: HISTORICAL PERFORMANCE AND DEVELOPMENT Jason Pockrus Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 201 8 APPROVED: Eric M. Nestler, Major Professor Catherine Ragland, Committee Member John C. Scott, Committee Member John Holt, Chair of the Division of Instrumental Studies Benjamin Brand, Director of Graduate Studies in the College of Music John W. Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Pockrus, Jason. The Saxophone in China: Historical Performance and Development. Doctor of Musical Arts (Performance), August 2018, 222 pp., 12 figures, 1 appendix, bibliography, 419 titles. The purpose of this document is to chronicle and describe the historical developments of saxophone performance in mainland China. Arguing against other published research, this document presents proof of the uninterrupted, large-scale use of the saxophone from its first introduction into Shanghai’s nineteenth century amateur musical societies, continuously through to present day. In order to better describe the performance scene for saxophonists in China, each chapter presents historical and political context. Also described in this document is the changing importance of the saxophone in China’s musical development and musical culture since its introduction in the nineteenth century. The nature of the saxophone as a symbol of modernity, western ideologies, political duality, progress, and freedom and the effects of those realities in the lives of musicians and audiences in China are briefly discussed in each chapter. These topics are included to contribute to a better, more thorough understanding of the performance history of saxophonists, both native and foreign, in China.
    [Show full text]
  • Establishment of the Classical Saxophone: the Evolution of Instrumental Design and Performance Into the 20Th Century
    DU Undergraduate Research Journal Archive Volume 1 Issue 2 Article 10 4-20-2020 Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century Emily Nicol University of Denver Art Bouton University of Denver - Advisor Follow this and additional works at: https://digitalcommons.du.edu/duurj Part of the Music Performance Commons, Other History Commons, and the Other Music Commons Recommended Citation Nicol, Emily and Bouton, Art (2020) "Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century," DU Undergraduate Research Journal Archive: Vol. 1 : Iss. 2 , Article 10. Available at: https://digitalcommons.du.edu/duurj/vol1/iss2/10 This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in DU Undergraduate Research Journal Archive by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. Establishment of the Classical Saxophone: The Evolution of Instrumental Design and Performance into the 20th Century Abstract The instrumental design of the saxophone has evolved dramatically from its original patent in 1846. Referencing instruments from the St. Cecilia’s Hall Music Museum at the University of Edinburgh, this article explores the historical origins of the saxophone and traces the evolution of its design into the 20th century. Original research was completed through analysis of unique antique saxophones at St. Cecilia’s Hall and historical source materials in order to determine how, despite its intention to be used as a classical instrument, many factors such as politics, instrument structure, finances, and musician attitude at the time of the saxophone’s invention resulted in limited classical saxophone performance in the modern day.
    [Show full text]
  • An Annotated Bibliography of Saxophone Works by Taiwanese Composers Po-Fang Chang University of South Carolina - Columbia
    University of South Carolina Scholar Commons Theses and Dissertations 12-14-2015 An Annotated Bibliography of Saxophone Works by Taiwanese Composers Po-Fang Chang University of South Carolina - Columbia Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Chang, P.(2015). An Annotated Bibliography of Saxophone Works by Taiwanese Composers. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/3222 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. AN ANNOTATED BIBLIOGRAPHY OF SAXOPHONE WORKS BY TAIWANESE COMPOSERS by Po-Fang Chang Bachelor of Arts National Tsing Hua University, 2007 Master of Music Bowling Green State University, 2012 ________________________________________________________________ Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2015 Accepted by: Clifford Leaman, Major Professor Michael Harley, Committee Member Jennifer Parker-Harley, Committee Member Greg Stuart, Committee Member Lacy Ford, Senior Vice Provost and Dean of Graduate Studies © Copyright by Po-Fang Chang, 2015 All Rights Reserved ii DEDICATION This dissertation is dedicated to my parents, Song-Che Chang and Hui-Ching Huang, for their love, encouragement, and support of my endeavors and dreams. iii ACKNOWLEDGMENTS I would like to express my sincere appreciation to Dr. Clifford Leaman for his wisdom and guidance during my doctoral study, and endless energy in assisting my research project; to the other committee members, Dr.
    [Show full text]
  • 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.
    [Show full text]