Let's Discover Their Potential

Total Page:16

File Type:pdf, Size:1020Kb

Let's Discover Their Potential About Andy Let’s The Andy Firth Reeds virtuoso Andy Firth has performed with some discover Masterclass of the world’s finest jazz acts and ensembles. In 2008, Andy was invited to play a concert under his own name their Series at the famed Recital Hall in Carnegie Hall, New York, with guest artist, US clarinet legend, Buddy DeFranco. There are many topics that I love to talk about and teach, so I potential... Andy is a published composer and arranger with have put together a list of some of my most popular classes. In the classrooms and playgrounds Boosey & Hawkes London, Trinity College London, All workshops and masterclasses are designed to inspire Reed Music Australia, Alfred Music and AMEB of our schools and colleges await the confidence and practice in order to achieve better results. next generation of great performers Publications. He has been awarded an Australian For the Student film and television award, MO award for best live jazz and artists. Specifically for clarinet and saxophone students. performer in Australia, South Australian Jazz Archives I believe that all they need is the chance For best results, please allow a minimum of 1 hour per class. Award and an Australia Day Honours award for his • Clarinet Technique Class (Beginner to Advanced) services to music in Australia. to see where careful study, practice, In 2000, US mouthpiece maker Lomax Classic, • Saxophone Technique Class (Beginner to Advanced) discipline and having fun doing what further honored Andy with his own series of clarinet they love doing, can take them. • Improvisation: Beginner mouthpieces, the “Andy Firth Jazz Series”. Andy is also • Improvisation: Intermediate the Australian artist Whether they go on to be great • Improvisation: Advanced for Buffet Crampon clarinets, D’Addrio Reeds, Julius musicians or not, music will teach them • Scales Are Cool! (Mastering your exam technical work) many qualities that they will use for the Keilwerth Saxophones • Breathing; Embouchure & Technique and Lomax Classic rest of their lives. • Mastering Your Technique and High Notes Mouthpieces. • Making Practice Fun Again Andy continues to · Respect tour and perform · Community awareness Ensemble Classes with Australia’s Designed for intermediate to advance level stage bands and leading jazz and · Team spirit and co-operation smaller ensembles. For best results, please allow a minimum of classical artists and · Goal setting 2 hours per workshop. ensembles and he • Stage Band Workshop is a regular guest · Patience and • Small Ensemble Workshop performer at national and international clarinet · Perserverance • Mastering the Basics: intonation, tone, accents, grooving, and saxophone conferences balancing your sections, playing with energy, entertaining your both in Australia and overseas. listeners. Andy Firth has performed with some of the world’s Concert Presentation Option 1: finest musicians: Buddy DeFranco, Diana Krall, Ingrid ndy Firth performing with your school ensembles (up to 5 items) A Jensen, Wynton Marsalis, B.B. King, Lee Konitz, The Concert Presentation Option 2: Dutch Swing College Band, Don Lusher, Kenny Ball, 1st half: Andy and rhythm section (approx 50 minutes) Acker Bilk, Gary Motley, Jay Hungerford, Ken Kehner, 2nd half: Andy and your school ensembles (up to 5 items) Joe Buerger, Bud Shank, James Moody, Don Lusher, Steve Harlos, Steve Haughton, Maestro Tommy Tycho, Cheers! For enquires and more information contact: Anthony Warlow, James & John Morrison, Emma Pask, [email protected] or visit Marina Prior, Sarah McKenzie, Don Burrows, Tommy Andy Firth Emmanuel, George Golla, James Muller, Ray Alderidge, andyfirthmusic.com Julian Lee, and Kevin Hunt .
Recommended publications
  • Frenchman's Farm Music Credits
    Original Music Composed by Tommy Tycho M.B.E. Music Played by The Sydney International Orchestra Conducted by Tommy Tycho, M.B.E. Recorded by Martin Benge at E.M.I. Studios, Sydney Musical Co-ordination by Ken Laing - Media Music Co-ordination Additional Music Paul Baker ‘Stay With Me’ Performed by Cats Under Pressure Written by Simon Hussey and David Reyne Published by Restaurant Music/Rondor Music Aust. P/L Recorded at A.A.V. Studios ‘Body Heat’ Performed by Martin Munroe Written by Gerry Smith and David Bentley ‘Don't You Make The Same Mistake Again’ Performed by Karen Boddington Written by Peter Blyton and Gerry Smith ‘Don't Panic’ Performed by Peter Blyton Written by Adam Quaid and Phil Graham ‘Raining’ Performed by Barry Tiplady Written by Gerry Smith and Barry Tiplady 'Coming At Ya' Performed by Martin Munroe Written by Gerry Smith Peter Blyton and David Bentley ‘Don't Turn Your Head’ Performed by Chris Lloyd Written by Gerry Smith Peter Ryan & Mel Bradford All Published by and Recorded at Suite Sixteen Pty. Ltd Produced by Suite Sixteen Audio Production Pty. Ltd. David Reyne gets to perform a pop song in the show with Cats Under Pressure, a band he co-founded in 1984, but it didn’t last long, and seems to be have been reformed just to record this track for the film. Reyne has a wiki here. (Below: Reyne singing in the film). Tommy Tycho: Tommy Tycho was a well-known Hungarian-born pianist, conductor, composer and arranger, who specialised in television work, acting as the Seven network's music director for its first fifteen years, from 1956 to 1971.
    [Show full text]
  • An Ultrasonographic Observation of Saxophonists' Tongue Positions
    An Ultrasonographic Observation of Saxophonists’ Tongue Positions While Producing Front F Pitch Bends by Ryan C. Lemoine A Research Paper Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Approved April 2016 by the Graduate Supervisory Committee: Joshua Gardner, Co-Chair Christopher Creviston, Co-Chair Sabine Feisst Robert Spring ARIZONA STATE UNIVERSITY May 2016 ©2016 Ryan C. Lemoine All Rights Reserved ABSTRACT Voicing, as it pertains to saxophone pedagogy, presents certain obstacles to both teachers and students simply because we cannot visually assess the internal mechanics of the vocal tract. The teacher is then left to instruct based on subjective “feel” which can lead to conflicting instruction, and in some cases, misinformation. In an effort to expand the understanding and pedagogical resources available, ten subjects—comprised of graduate-level and professional-level saxophonists— performed varied pitch bend tasks while their tongue motion was imaged ultrasonographically and recorded. Tongue range of motion was measured from midsagittal tongue contours extracted from the ultrasound data using a superimposed polar grid. The results indicate variations in how saxophonists shape their tongues in order to produce pitch bends from F6. i ACKNOWLEDGMENTS I would like to acknowledge and thank the saxophonist who volunteered their time to make this study possible. Also a special thanks to the members of my doctoral committee: Joshua Gardner, Christopher Creviston, Sabine Feisst, and Robert Spring. They have all been sources of encouragement and inspiration, not only during these final stages of my degree process, but for the duration of my studies at Arizona State University.
    [Show full text]
  • Vivat Regina! Melbourne Celebrates the Maj’S 125Th Birthday
    ON STAGE The Spring 2011 newsletter of Vol.12 No.4 Vivat Regina! Melbourne celebrates The Maj’s 125th birthday. he merriment of the audience was entrepreneur Jules François de Sales — now, of course, Her Majesty’s — almost continuous throughout.’ Joubert on the corner of Exhibition and celebrated its birthday by hosting the third TThat was the observation of the Little Bourke Streets. The theatre’s début Rob Guest Endowment Concert. The Rob reporter from M elbourne’s The Argus who was on Friday, 1 October 1886. Almost Guest Endowment, administered by ANZ ‘covered the very first performance in what exactly 125 years later — on Monday, Trustees, was established to commemorate was then the Alexandra Theatre, the 10 October 2011 the merriment was one of Australia’s finest music theatre handsome new playhouse built for similarly almost continuous as the theatre performers, who died in October 2008. * The Award aims to build and maintain a This year’s winner was Blake Bowden. Mascetti, Barry Kitcher, Moffatt Oxenbould, appropriate time and with due fuss and ‘“Vivat Regina!” may be a bit “over the Clockwise from left: Shooting the community for upcoming music theatre He received a $10 000 talent development the theatre’s archivist Mary Murphy, and publicity, as well as the final casting, but I top” — but then, why not?’ commemorative film in The Maj's foyer. Mike Walsh is at stairs (centre). artists and to provide one night every year grant, a media training session, a new theatre historian Frank Van Straten. am thrilled that they are spearheaded by a Why not, indeed! when all facets of the industry join to headshot package and a guest performance Premier Ted Baillieu added a special brand new production of A Chorus Line — as Rob Guest Endowment winner Blake Bowden welcome a new generation of performers.
    [Show full text]
  • Tv Advertised Lp's
    AUSTRALIAN RECORD LABELS TV ADVERTISED LABELS 1970 to 1992 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, SEPTEMBER 2018 1 ACKNOWLEDGEMENTS MANY THANKS TO PAUL ELLWOOD FOR HELP WITH J & B. ANDREW RENAUT’S WEBSITE LISTS MANY OF THE MAJESTIC / K-TEL COMPILATIONS: https://majesticcompilations.com/ CONCEPT RECORDS CONCEPT RECORD PTY LTD, 139 MURRAY ST, PYRMONT, 2009 // 37 WHITING ST, ARTARMON, 2064. BEGUN BY THEO TAMBAKIS AS A J & B SPECIAL PRODUCTS LABEL. ACTIVE FROM 1984. CC 0001 BREAKIN’ IT UP VARIOUS 1984 CC 0002 HOWLIN’ FOR HITS 2LP VARIOUS 1984 CC 0003 LOVE THEMES INSPIRED BY TORVILL & DEAN VARIOUS CC 0004 THAT’S WHAT I CALL ROCK ‘N’ ROLL VARIOUS CC 0005 THE BOP WON’T STOP VARIOUS 1985 CC 0006 THE HITS HITS HITS MACHINE 2LP VARIOUS 1985 CC 0007 MASTERWORKS COLLECTION VARIOUS 1985 CC 0008 CC 0009 LOVE ME GENTLY VARIOUS CC 0010 4 STAR COUNTRY 2LP DUSTY, REEVES, WHITMAN, WILLIAMS CC 0011 CC 0012 THE DANCE TAPES VARIOUS 1985 CC 0013 KISS-THE SINGLES KISS 1985 CC 0014 THE VERY BEST OF BRENDA LEE 2LP BRENDA LEE 1985 CC 0015 SOLID R.O.C.K. VARIOUS 1985 CC 0016 CC 0017 CC 0018 HIT AFTER HIT VARIOUS 1985 CC 0019 BANDS OF GOLD 2LP VARIOUS CC 0020 THE EXTENDED HIT SUMMER 2LP VARIOUS 1985 CC 0021 METAL MADNESS 2LP VARIOUS 1985 CC 0022 FROM THE HEART VARIOUS 1986 CC 0023 STEPPIN’ TO THE BEAT VARIOUS 1986 CC 0024 STARDUST MELODIES NAT KING COLE CC 0025 THE VERY BEST OF OZ ROCK 2LP VARIOUS 1986 CC 0026 SHE BOP VARIOUS 1986 CC 0027 TI AMO VARIOUS 1986 CC 0028 JUMP ‘N’ JIVE VARIOUS 1986 CC 0029 TRUE LOVE WAYS VARIOUS 1986 CC 0030 PUTTIN’ ON
    [Show full text]
  • The Evolution of the Baritone Saxophone in Jazz History
    THE BARITONE CHRONOLOGY a study of the baritone saxophone evolution in jazz history Piersimone Crinelli Degree Project, Master of Fine Arts in Music, Improvisation Spring Semester 2015 Degree Project, 30 higher education credits Master of Fine Arts in Music, Improvisation Academy of Music and Drama, University of Gothenburg Spring Semester 2015 Author: Piersimone Crinelli Title: The baritone chronology – a study of the baritone saxophone evolution in jazz history Supervisor: Per Anders Nilsson Examiner: Anders Tykesson ABSTRACT This project investigates the history of the baritone saxophone. The role of the baritone saxophone as a soloist instrument has historically often been overshadowed by the tenor or the alto saxophone. Even if important innovations have been made by many great baritonists during the years, no extensive literature regarding the baritone saxophone is to be found. My aim with this Masters´ thesis is to trace the history of the baritone saxophone from its invention until the modern era, around the 80´s. My research questions are: which innovations have been done on the baritone saxophone in the previous century regarding sound, phrasing and articulation? Is there a relation between the first baritone players in jazz history and the modern ones? My purpose is to contribute to the literature regarding the baritone saxophone, creating a chronology of the most influential soloists in jazz music. My aim is also to find methods that could be helpful in a correct approach to the instrument. In addition to this, I have analyzed the ways in which the greatest baritonists have influenced my personal musical background, thus creating a link to my own artistic profile.
    [Show full text]
  • Quel Giorno Ci Siamo Alzati Molto Presto, Cioé Mi Son Alzata Alle Sette
    THE D.S.J.C. NEWSLETTER No. 164, February 2016 Patron: Bill Haesler Life Member: Bridget Connolly-Martin The Down South Jazz Club, PO Box 346 Merimbula, NSW 2548 www.downsouthjazzclub.org The Down South Jazz Club generally meets on the third Thursday of each month at 7.30 pm at Club Sapphire, Merimbula. Visitors are very welcome QUEEN TIDE Colleen Spillane – Vocals Stacey Mills – Vocals Mandy Siegal – Vocals Cindy Dibley – Piano Di Marshall – Drums Robyn Martin – Bass Thursday 18 February 2016 at Club Sapphire, Merimbula Admission: Members $15, Visitors $20. Music starts at 7.30pm. Bistro opens 6.00pm. For table bookings ring Aileen or Kevin Walsh on 64959853 Thursday 18 February Gig Queen Tide featuring: Colleen Spillane – Vocals Stacey Mills – Vocals Mandy Siegal – Vocals Cindy Dibley – Piano Di Marshall – Drums Robyn Martin – Bass On Thursday 18th February, at Club Sapphire, the Down South Jazz Club will take pleasure in presenting ‘Queen Tide’ comprising six local girls. Colleen Spillane is, of course, very well known to us and to the Down South Jazz Club and we have had the pleasure of hearing her on many occasions. She studied singing at The Australian Institute of Music and UWS where she graduated with a Bachelor of Music (Honours). Since moving to Pambula, Colleen has become a successful jazz performer in her own right, singing with musicians at The Merimbula Jazz Festival, Down South Jazz Club and various venues throughout the South Coast. Colleen draws audiences in with her rich velvety voice and stunning tone. She moves effortlessly from jazz to pop, blues and gospel.
    [Show full text]
  • Open Obrienfinalthesis.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE SCHOOL OF MUSIC A FUNDAMENTALLY SOUND SWITCH TO BASSOON KATHERINE ANNE O’BRIEN Spring 2010 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Music Education with honors in Music Education Reviewed and approved* by the following: Linda Thornton Associate Professor of Music Education Thesis Supervisor Joanne Rutkowski Professor of Music Education Honors Adviser Daryl Durran Professor of Bassoon Thesis Reader Sue Haug Director, Penn State School of Music Thesis Reader *Signatures are on file in the Schreyer Honors College ABSTRACT The bassoon can be an overlooked instrument in the school band. Frequently, this may be attributed to a director’s limited experience with the instrument. An overwhelming amount of material for bassoon pedagogy is available, but not all is appropriate for use in a secondary school setting. Most of these materials were written for more proficient players than the typical middle or high school player. Consequently, directors may give their bassoon students music to learn without re-enforcing the fundamentals of the instrument. Woodwind methods books used in a mixed instrument class may ignore bassoon specific technique, such as “flicking”, voicing, and reed adjustment. The purpose of this thesis was to provide a resource for band directors to assist them in helping their students make the transition to bassoon from another instrument. This resource contains information about the fundamentals of bassoon playing, as well as a list of appropriate method books and a corresponding list of techniques to work on with each exercise. The specific problem of this study was to identify the obstacles facing students beginning to play the bassoon, and give an overview of the process for successfully switching students to the bassoon from another woodwind instrument.
    [Show full text]
  • The Poetics of a Multiphonic Landscape – Reflections on the Project.Torben Snekkestad 2016.Pdf
    ________________________________________________________________________________ THE POETICS OF A MULTIPHONIC LANDSCAPE ________________________________________________________________________________ -! reflections on the project Torben Snekkestad January 2016 Research fellow at Norwegian Academy of Music 2012-2016 The National Norwegian Artistic Research Fellowship Programme Table of Contents Introduction………………………………………………………………………………..4 1. Entering the Multiphonic Landscape ……………………………………………….15 1.1 Acoustical aspects of saxophone multiphonics………………………………………..15 1.2 Interlude – personal note………………………………………………………………17 1.3 Historical Survey……………………………………………………………………....19 1.4 Daniel Kientzy - Les sons multiples aux saxophone…………………………………..23 1.5 Marcus Weiss & Giorgio Netti’s The techniques of saxophone playing……………...24 1.6 Other contributions…………………………………………………………………….26 1.7 So where are we now?…………………………………………………………………29 References……………………………………………………………………………..34 2. Exploring the Territory of Multiphonics …………………………………………...36 2.1 The philosophy behind………………………………………………………………...37 2.2 Step by Step (Factors, parameters and manipulations)………………………………..40 2.3 Method – different levels of manipulation……………………………………………44 2.4 Classification?………………………………………………………………………...45 2.5 The Archive Box………………………………………………………………………46 2.5 Excerpts (from archive box, sketchbooks and recordings)……………………………49 References……………………………………………………………………………..64 3. The Reed Trumpet - a gratifying obstruction……………………………………….65 3.1 Background……………………………………………………………………………65
    [Show full text]
  • The Development of the Saxophone 1850-1950: Its Influence on Performance and the Classical Repertory
    The development of the saxophone 1850-1950: its influence on performance and the classical repertory Abraham Albertus de Villiers A mini-dissertation submitted in partial fulfilment of the requirements for the degree Magister Musicae (Performing Art) Department of Music University of Pretoria Supervisor: Dr DJ Galloway Words: 25 296 January 2014 ii. STATEMENT I declare that the dissertation/thesis, which I hereby submit for the degree Magister Musicae (Performing Art) at the University of Pretoria, is my own work and has not previously been submitted by me for a degree at this or any other tertiary institution. iii. Then suddenly I hear the real note of the saxophone, unforgettable, high, and clear, as if from a heart of brass, the new thing, the thing we have come to hear. To me it has quite passed out of humanity, this famous upper register, but it is still near enough for me to understand; piercing, musical, the cry of a faun that is beautiful and hurt. The leader tips his instrument into the air; he blows with all his force but his cheeks remain pale. He is now at the height of his art. The voice of our age has come through his lips through this marvellous instrument. He is a priest possessed with half human god, endlessly sorrowful, yet utterly unsentimental. Incapable of regret, with no past, no memory, no future, no hope. The sound pricks the dancers, parts their lips, puts spring into their march. This is the thing that makes the saxophone great and brings fortunes and ruin to its players.
    [Show full text]
  • Van Cott Information Services, Inc. Presents Woodwind Books, Music
    Member: Van Cott Information Services, Inc. International Clarinet presents Association Woodwind Books, Music, CDs and More! This is our complete woodwind price list. Ask for the catalog for your area of interest or visit our web site at http://www.vcisinc.com for a complete description of all our products and downloadable catalogs. We accept orders by phone, fax, and the internet. Price List dated 4/01/20 – Price and Availability Subject to Change B115. Concerto for Bassoon & Orch (Pn Reduc) (Mancusi) ................... 19.95 Bassoon B112. Concerto for Bassoon and Orchestra in B-flat (PR) (JC Bach) ....... 17.95 B103. 2 Duos Concertants Op. 65 for 2 Bassoons (Fuchs) ...................... 18.50 B113. Concerto for Bassoon and Orchestra in E-flat (PR) (JC Bach) ......... 6.95 B098. 6 Sonates Op. 40 Vol. 1 for 2 Bassoons (Bodin de Boismortier) ..... 13.95 B118. Concerto for Bassoon & Orch Op. 75 (PR) (Weber/Waterhouse) .. 23.95 B099. 6 Sonates Op. 40 Vol. 2 for 2 Bassoons (Bodin de Boismortier) ..... 13.95 B170. Concerto for Contrabassoon Piano Reduction (Dorff) .................. 16.95 B100. 6 Sonates Vol. 1 for 2 Bassoons (Braun) ........................................ 10.95 B148. Concerto in F major Op. 75 for Bassoon & Pn (Weber/Sharrow) .. 14.75 B101. 6 Sonates Vol. 2 for 2 Bassoons (Braun) ........................................ 13.95 B147. Concerto for F Major for Bassoon and Piano (Hummel) .............. 14.95 B166. 8 More Original Jazz Duos for Clarinet and Bassoon (Curtis) ....... 14.50 B035. Concerto for Bassoon and Wind Ens. (bs & piano ed.) (Ewazen) .. 24.95 B128. 10 (Ten) Etudes for Bassoon (Lowman) .......................................... 4.00 B132.
    [Show full text]
  • Techniques of Saxophone Playing Free
    FREE TECHNIQUES OF SAXOPHONE PLAYING PDF Marcus Weiss,Giorgio Netti | 188 pages | 31 Aug 2010 | Barenreiter-Verlag Karl Votterle | 9783761821145 | English, German | Germany The Techniques of Saxophone Playing/ Die Spieltechnik des Saxophons Because we all relate very intimately to the sound of a human voice, its innate ability to express the emotional part of human nature is indisputable. Of course, all of this is just my opinion, but my guess is that many of you will agree. I believe that we can hone certain skills so that when it comes time to express those powerful emotions we have engrained in our consciousness the techniques necessary to get those emotions across in the most powerful way possible. Remember when you first learned how to scoop notes? For most of us, as newcomers to the instrument, the tendency is to overdo the bending and scooping. There are countless approaches to vibrato and I could probably write an entire article on this subject Techniques of Saxophone Playing. Used by players from Dexter Gordon to David Sanborn, this is an extremely common approach to vibrato in jazz and jazz-related music. Dynamics are a great way of adding elements of depth, drama, and storytelling to your playing. But his approach of playing at a mostly loud volume was his method of deep self expression. For example, we may want to calm our listeners into a mellow trance, and then work our way up to a swift kick in the pants. To make the saxophone really sing, we need to notice the way we attack and release notes.
    [Show full text]
  • TSA Newsletter February 2021
    TSA Newsletter February 2021 ‘’First the Song’’ In this edition: President’s Report President’s Report Hi all members and friends of the TSA. The last 12 months has been a ter- TSA Songwriter Salute Award final- rible year for live performances and events. The TSA has been unable to have ists / winners / photos songwriters at Hats Off, TCMF, the Writers workshop in the Blue Mountains, MEMBERS NEWS Blue Water and other festival involvement and the regular monthly showcas- • Lynette Guest & Rod Walker es in Tamworth. In January 2021 we had to record our Awards Show and feature Concert and stream the production via Youtube and Facebook. Congratula- • Brian Letton tions to all the Semi-finalist Finalists and winners of what was a superbly sup- ported songwriting contest with some very good results. I was especially • Ben Ransom pleased to see that some winners of the second TSA Talent Quest held in • Felicity Dowd 2020 have gone on to obtain wins in the TSA Songwriters Salute Awards. I • Cass Hopetoun / Blake Dan- have also seen that TSA Members are entering the Golden Guitar Awards tier with Finalist results. Thanks to ENREC Studios for all their hard work on the • Michelle Little production of our Online Awards and Concert including the Hats Off produc- tion the TSA commissioned together with Shelter Studios who also provided • Matt Scullion a video for Hats Off streaming with Simply Bushed, Ian Burns and Ben Ran- • Tony Kennelly som. So with not much going on we have been relatively quiet during the • Russell Neale past 12 months in comparison with previous years.
    [Show full text]