“The Best Mouthpieces Ever Made! 'Nuff Said!”
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A Peter White Christmas with Rick Braun and Mindi Abair Brings the Sounds of the Season to Parker Playhouse
November 20, 2015 Media Contact: Savannah Whaley Pierson Grant Public Relations 954-776-1999 ext. 225 Jan Goodheart, Broward Center 954-765-5814 A PETER WHITE CHRISTMAS WITH RICK BRAUN AND MINDI ABAIR BRINGS THE SOUNDS OF THE SEASON TO PARKER PLAYHOUSE FORT LAUDERDALE – Celebrate the holidays with A Peter White Christmas with Rick Braun and Mindi Abair at Parker Playhouse on Saturday, December 12 at 8 p.m. One of the most versatile and prolific acoustic guitarists, White leads the contemporary jazz lineup in this seasonal concert combining smooth jazz cheer with traditional Christmas classics such as “White Christmas” and “Silent Night,” plus a few surprises along the way. White launched his career as a keyboardist touring with Al Stewart and worked with him in the studio on the classic album Year of the Cat. The tour and that album marked the beginning of a 20-year association with Stewart. During that time, the two musicians co-wrote numerous songs, including Stewart’s 1978 hit, “Time Passages.” After years as a backup musician and a session player, White launched his solo recording career and his annual Christmas tour is fueled by the success of his two highly regarded holiday albums, Songs of the Season (1997) and A Peter White Christmas (2007). Braun adds his stylistically eclectic trumpeting to the mix. A consistent chart-topper who has amassed a catalogue of #1 Billboard Contemporary Jazz Chart and radio hits throughout his solo career, Braun has also produced #1 hits for David Benoit, Marc Antoine and former Rod Stewart band sidekick Jeff Golub. -
COURSE CATALOG 2016-2017 Academic Calendar
COURSE CATALOG 2016-2017 Academic Calendar . 4 Academic Programs . 46 About LACM . .. 6 Performance LACM Educational Programs . 8 Bass . 46 CONTENTS Administration . 10 Brass & Woodwind . .. 52 Admissions . 11 Drums . .. 58 Tuition & Fees . 13 Guitar . 64 Financial Aid . 18 Vocal. 70 Registrar . 22 Music Composition International Student Services . 26 Songwriting . 76 Academic Policies & Procedures . 27 Music Production Student Life . 30 Composing for Visual Media . 82 Career Services . .. 32 Music Producing & Recording . 88 Campus Facilities – Security. 33 Music Industry Rules of Conduct & Expectations . 35 Music Business . 94 Health Policies . 36 Course Descriptions . 100 Grievance Policy & Procedures . .. 39 Department Chairs & Faculty Biographies . 132 Change of Student Status Policies & Procedures . 41 Collegiate Articulation & Transfer Agreements . 44 FALL 2016 (OCTOBER 3 – DECEMBER 16) ACADEMIC DATES SPRING 2017 (APRIL 10 – JUNE 23) ACADEMIC DATES July 25 - 29: Registration Period for October 3 - October 7: Add/Drop January 30 - February 3: Registration Period for April 10 - April 14: Add/Drop Upcoming Quarter Upcoming Quarter October 10 - November 11: Drop with a “W” April 17 - May 19: Drop with a “W” August 22: Tuition Deadline for Continuing Students February 27: Tuition Deadline for November 14 - December 9: Receive a letter grade May 22 - June 16: Receive a letter grade October 3: Quarter Begins Continuing Students November 11: Veterans Day, Campus Closed April 10: Quarter Begins November 24: Thanksgiving, Campus Closed May 29: Memorial Day, Campus Closed November 25: Campus Open, No classes. June 19 - 23: Exams Week December 12-16: Exams Week June 23: Quarter Ends December 16: Quarter Ends December 24 - 25: Christmas, Campus Closed December 26: Campus Open, No classes. -
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, -
Jodyjazz Super Jet Tenor Sax Mouthpiece
Toolshed Sax Dakota SDT-XR 52 Tenor Saxophone Highly Responsive, Aesthetically Detailed he SDT-XR 52 Tenor Saxophone from Sax Dakota is an ergo- King Zephyr saxophone models), and I was pleased to nomically deigned, aesthetically detailed and highly respon- find that choosing one over another really did make a Tsive instrument. It’s the company’s top-line tenor, made of difference in airstream control and physical comfort. raw bronze with a semi-matte Black Onyx finish on the body, bow Additional professional touches include a con- and bell, and a bright Black Onyx finish on the inside of the bell. veniently located front high-F lever, an adjust- The SDT-XR 52’s neck is silver-plated, and the keywork, trim and able right-hand thumb rest and a high F# key. grille-style keyguards are unfinished, sporting a distinct art deco-like Stainless steel key rods help enhance the action. design. The neck and bell are decorated with attractive hand-engrav- Black oxide steel springs and pivot screws ing. The raw bronze body of the SDT-XR 52 is essentially a brass alloy team with custom Italian pads and tone with increased copper content (77 percent), resulting in a smooth and boosters. The reinforced double arms on the highly resonant sound that’s reminiscent of certain post-World War low C/B/B-flat keys, along with Pisoni Pro II vintage horns. Playing it, I experienced a pleasing feeling of vibra- key pads, are designed to aid response and tion in the instrument’s body, even on upper-stack fingerings. -
Uncork the Blues: Mindi Abair's CD Release Is a Toast to Spring
Uncork The Blues: Mindi Abair's CD Release is a Toast to Spring By Lynn Orman Weiss Combining blues and booze is like spring and flowers – they bring happiness and joy to the soul. During the pandemic, Can't Stop The Blues Livestream brought together a beautiful community by producing concerts featuring artists from around the world with audiences watching worldwide. The broadcasts into our homes, along with pre-show and post-show "meet & greets" in real time, has kept blues lovers sane. Tuesday night's show, Mindi Abair's Wine + Music Sessions was addictive – it's one of the CSTB’s that’s hard to miss – or if you miss any of it you want to go back and watch it again. The best part is uncorking a bottle of wine and chillaxing on Mindi's Hollywood backporch with her A-list guests. Guests have included, Rick Estrin, Rick Braun, Melanie Taylor (Aerosmith), Peter White, Casey Abrams, Patrick Bradley and most recently, rockantaur Bill Champlin. "Good Day For The Blues" is the mantra for Mindi Abair and The Boneshakers and they’ll have a good day April 9th when they do their first livestream, full-band concert at 5pm PDT on Alert The Globe to celebrate her new release, The Best of Mindi Abair. Mindi will be playing her biggest hits including the debut of her brand new single, "April," all part of the 19-song collection. Adding a sweet note to Mindi's performances is the PSA, "Drinking with Eric," an intermission about the wine and her charitable endeavor. -
Annual Report FY20
FLORIDA THEATRE Annual Report Our mission statement The mission of The Florida Theatre Performing Arts Center, Inc., as a nonprofit organi- zation, is to enhance the North Florida community’s quality of life by providing diverse and memorable arts and entertainment experiences, and by preserving a unique historic Jacksonville landmark. Letter to our Supporters Dear Friends and Supporters, On behalf of the Florida Theatre Board of Directors and from a Payroll Protection Program Loan and an Economic professional staff, we are pleased to present the Annual Injury Disaster Loan from the Small Business Administration; Report for the fiscal year that ended on September 30, 2020. a CARES Act Grant from the City of Jacksonville; and a Covid-19 Response Business Community Relief Loan from Just 5-1/2 months into the year, Florida Theatre operations Vystar Credit Union and the City of Jacksonville. were of course cut short by Covid-19. The pandemic to be a challenge that casts a shadow over everything else. In fact, We also made it this far because the theatre’s supporters while preparing this report, we were surprised to remember stepped up. Community First Credit Union renewed how many good things happened before the theatre closed its season sponsorship for five years, and 100% of our on March 12. Corporate Partners renewed their annual memberships too. The number of individuals making a membership The biggest news before COVID-19 was that the Florida contribution fell by just 5%, and the f act that the number Theatre merged with Theatreworks, one of Jacksonville’s of donors fell just slightly is a strong statement about the oldest arts organizations, dedicated to bringing the finest importance of the Florida Theatre in our communal lives. -
Brevard Live August 2007
Brevard Live August 2007 - 1 2 - Brevard Live August 2007 Brevard Live August 2007 - 3 4 - Brevard Live August 2007 Brevard Live August 2007 - 5 6 - Brevard Live August 2007 Brevard Live August 2007 - 7 8 - Brevard Live August 2007 BREVARD LIVE Meet The August 2007 Stars F E A T U R E S Brevard Live! Volume 16, Issue 4 • BREVARD LIVE MUSIC AWARDS page 11 If you missed the Award Show, here are the results PUBLISHER & EDITOR Heike Clarke • SPYRO GYRA page 17 STAFF The Super Group performs with Mindi Abair Charlene Hemmle (Manager & Graphics) Jay Galbreath (Sales/Marketing) Linda Thorpe (Sales/Marketing) • NKF SURF FESTIVAL page 18 Jeff Nall (Staff-Writer) One of Brevard’s amazing fundraisers Chris Long (Staff-Writer) David Mac Makin (Computer) Florida Live! Lou Belcher (Arts) • FAMILY VALUES TOUR page 20 Terry Wallace (Photos) Hard rocking and dysfuntional... CONTRIBUTING WRITERS Eroica Fedder, Greg Kimple, • TRIVIUM page 21 Franco Dean, Judy Tatum Lane, DINING Bruce Marion, Chuck Van Riper, Interview with Paolo Gregoletto & FUN Rob Selkow D I N I N G Reproduction of any portion of Brevard • OUT & ABOUT page 47 Live is strictly prohibited without the by Eroica Fedder written permission of the publisher. She samples food, enjoys the ambi- ance, listens to music. Eroica is “out & about”. page 47 ADVERTISEMENT/ SALES for information and rate card The A R T S Phone: (321) 956-9207 • TOM POWERS page 56 Fax: (321) 956-9228 by Lou Belcher He started painting when he met plein- e-mail: [email protected] air artists at the beach who asked him to join them. -
Break the Noise
THE NOISE BREAK @berkleecollege BREAK THE NOISE Create your sound. Rise above the crowd. Turn your potential into your reality and your ambition into your career. BREAK Join the ranks of Berklee students, faculty, and alumni who break ground daily— not only in music performance, LIMI TATIONS but in songwriting, production, film scoring, music business, and more. BREAK Esperanza Spalding B.M. ‘05 LIMI TATIONS BRE AK TO YOUR FUTURE Think of Berklee as your launch- pad. This is where you’ll build the skills and gain the connections to improve, evolve, and advance as a musician, both before graduation BRE AK and well beyond it. TO YOUR FUTURE BREAK THROUGH Bring your talent, enthusiasm, and ambition, and take advantage of all that the Berklee universe has A T to offer. Study with accomplished faculty, share stages and studios with students from around the world, meet the mentors who will guide and propel you—and get ready for great things. 09 13 15 17 21 23 27 29 33 35 39 41 41 39 45 35 43 33 29 27 23 21 17 15 13 #BERKLEEBREAKTHROUGH OUR DNA A PEERLESS INSTITUTION DESTINATION: BERKLEE A GLOBAL CAMPUS ACADEMICS ABOUND MUSIC EVERYWHERE YOU TURN BEYOND BORDERS MAKING CONNECTIONS INNOVATION AND INSPIRATION OPENING DOORS A BRIGHTER FUTURE NAME-DROP APPLY NOW @ berkleecollege Lucky breaks are a myth. If you want a break- through, you have to build it. Beyond raw talent, you need knowledge. You need skills, mentors, and connections. And as a Berklee student, you’ll get all that and more. Here you’ll hone your craft. -
The Early Evolution of the Saxophone Mouthpiece 263
THE EARLY EVOLUTION OF THE SAXOPHONE MOUTHPIECE 263 The Early Evolution of the Saxophone Mouthpiece The Early Saxophone Mouthpiece TIMOTHY R. ROSE The early saxophone mouthpiece design, predominating during half of the instrument’s entire history, represents an important component of the or nine decades after the saxophone’s invention in the 1840s, clas- saxophone’s initial period of development. To be sure, any attempt to re- Fsical saxophone players throughout the world sought to maintain a construct the early history of the mouthpiece must be constrained by gaps soft, rounded timbre—a relatively subdued quality praised in more recent in evidence, particularly the scarcity of the oldest mouthpieces, from the years by the eminent classical saxophonist Sigurd Rascher (1930–1977) nineteenth century. Although more than 300 original Adolphe Sax saxo- as a “smooth, velvety, rich tone.”1 Although that distinct but subtle tone phones are thought to survive today,2 fewer than twenty original mouth- color was a far cry from the louder, more penetrating sound later adopted pieces are known.3 Despite this gap in the historical record, this study is by most contemporary saxophonists, Rascher’s wish was to preserve the intended to document the early evolution of the saxophone mouthpiece original sound of the instrument as intended by the instrument’s creator, through scientific analysis of existing vintage mouthpieces, together with Antoine-Joseph “Adolphe” Sax. And that velvety sound, the hallmark of a review of patents and promotional materials from the late nineteenth the original instrument, was attributed by musicians, including Rascher, and early twentieth centuries. -
A Study of Alterations to the Baffle of the Clarinet Mouthpiece and How They Affect Tone Quality, Intonation, and Response
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1976 A Study of Alterations to the Baffle of thel C arinet Mouthpiece and How They Affect Tone Quality, Intonation, and Response. Edmund Walter Winston Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Part of the Music Commons Recommended Citation Winston, Edmund Walter, "A Study of Alterations to the Baffle of thel C arinet Mouthpiece and How They Affect Tone Quality, Intonation, and Response." (1976). LSU Historical Dissertations and Theses. 8160. https://digitalcommons.lsu.edu/gradschool_disstheses/8160 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. A STUDY OF ALTERATIONS TO THE BAFFLE OF THE CLARINET MOUTHPIECE AND HOW THEY AFFECT TONE QUALITY , INTONATION, AND RESPONSE A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Edmund Walter Winston B.M.E,, Louisiana State University, 1963 M=Mc, Louisiana State University, 1969 May, 19 7 6 UMI Number: DP69547 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. -
New NAMM Products Information and Pricing
SALE New NAMM Products Information and Pricing HOT NEW TRUMPETS FROM YAMAHA The new Yamaha Custom Xeno Pro Bb Trumpets feature a revamped bell, providing a powerful tonal core and more precise slotting in the upper register, as well as a newly designed leadpipe. The lighter valve casing and pistons allow for enhanced response and optimal tone control. Yamaha YTR-8335IIGS (Yellow Brass Bell, ML Bore) MSRP: $3,423 Our price: $2,439.99 (IN STOCK!) Yamaha YTR-8335IIRS (Silver Bell, ML Bore) MSRP: $3,510 Our price: $2,535.99 (IN STOCK!) HOT NEW SAXOPHONES FROM CONN-SELMER SELMER AS42 PRO ALTO SAXOPHONE The 40 Series saxophones from Conn-Selmer, Inc. are a first ever collaboration between Henri Selmer Paris and Selmer USA. All the horns feature a custom designed and manufactured Henri Selmer Paris neck and mouthpiece, along with a feature filled body that responds at a top performance level.The black nickel and silver- plated versions both feature a silver-plated Henri Selmer Paris neck. Yellow brass, fully ribbed construction, hand engraved, genuine BAM case, genuine Selmer Paris neck and mouthpiece, Pisoni pro pads with metal resonators, High F# key, rocking table mechanism, adjustment screws. Selmer AS42 PRO MSRP: $4,043 Our Price: $2,779 (IN STOCK!) SELMER AS32 INTERMEDIATE ALTO SAXOPHONE Featuring a post to body construction, leather pads with metal resonators and hand engraving - the body for the AS32 is ready for the advancing player, but it also comes with a neck designed and manufactured by Selmer Paris for this instrument, as well as a mouthpiece from Selmer Paris specially made for the advancing player. -
THE WOODWIND FAMILY: May 11-15 Ferndale 3Rd-5Th Elementary Music: Lesson 3 Paper Supplement
Music 3rd-5th p. 1 Name ____________________________________________________ Class __________________________________ UNDERSTANDING MUSIC - THE WOODWIND FAMILY: May 11-15 Ferndale 3rd-5th Elementary Music: Lesson 3 Paper Supplement DIRECTIONS: If you have online access, please refer to the lesson available at the following link. https://sway.office.com/eqg4qa4CPTgkUG66?ref=Link&loc=mysways Complete the Exit Ticket at the end, and your answers will be recorded for your music teacher to see. If you would rather use this paper version of the lesson, or it works better for your family, we hope to provide you with the same information as best we can. (We really miss interacting with your children and would much rather see them in person!) Please follow the lesson below. Thank you for working so hard with your children! LESSON REVIEW: In the second lesson, we gave you an in depth look at the brass family. The brass instruments are made from a mix of metals and all make sound as the player vibrates his/her lips into a mouthpiece. THE WOODWIND FAMILY: Now, let’s learn about the woodwind family. There are many members of the woodwind family, and we want you to know their differences. You have three goals: STUDENT OUTCOMES: Know how the woodwind instruments make their sounds. Explain what a reed is. Decide which woodwind instrument you like the best. WOODWIND FAMILY ~-~ --',_,,,,.,. con-tra plccolo bassoon This picture shows 9 different Flu-te bassoon woodwind instruments. bass clarinet- English saxophone horn What similarities do you notice? What oboe differences do you see? In general, woodwinds have a long thin shape with many keys.