CBSO Musicbox Bassoon Factsheet

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Bassoon Factsheet Bell Joint This is where the sound Measurements comes out! The average bassoon is around 135cm in length, but the length of the Crook tubing inside is actually This curved tube is where around 254cm! the air you blow enters the main instrument. This little piece is super important, and every one is unique. Different designs can change the sound of the instrument. Strap Ring Bassoons are quite heavy instruments, so most players use a strap which goes around their upper body, and clicks in here. Reed This is the ‘mouthpiece’, which you blow through to make the sound. The two pieces of bamboo, tightly woven together, need to Boot Joint vibrate for a sound to This houses the u-tube, happen! which sends the air all the way back up to come out of Hand Rest the bell! You rest your lower hand here! FUN FACTS The word ‘bassoon’ comes from the French ‘basson’ or Italian ‘bassone’, but in lots of European languages the instrument is known as ‘fagot’, which in Old French means a bundle of sticks! � Bassoonists have to painstakingly make their own reeds from scratch, which can take hours! ✍ The Bassoon comes in two sizes, the one we’ve shown above, and the contrabassoon. This is considered to be the lowest orchestral instrument! � To play the bassoon, you have to use all of your fingers, and your thumbs too! The lef thumb alone controls 10 different keys!! � There are lots of different ancestors of the Bassoon dating back to the 1500’s, but the modern Bassoon was invented in the 1700’s! ⏳ Bassoons can come in both French and German designs, the German being most commonly used. � � Did you know a metal version of the bassoon, called the ‘Sarrusophone’, was developed in the 1800’s as a rival for the Saxophone! � Want to hear more of the Bassoon? LINKLINKLINKLI LINKLINKLINKLIN NKLINKLINKLIN KLINKLINKLINKLI KLINKLINKLINK NKLINKLINKLINK LINKLINKLINKLI LINKLINKLINKLIN Click to WATCH KLINKLINKLINKLIClick to LISTEN.

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2014 SSS Program.Indd
Star-Spangled Spectacular! Benaroya Hall Thursday July 3, 2014 7:30 PM Larry Gookin, Conductor seattlewindsymphony.org Program The Star-Spangled Banner ................... Orchestrated by John Philip Sousa Harmonized by Walter Damrosch / Arranged by Keith Brion America The Beautiful........................... Samuel Augustus Ward / Arranged by Carmen Dragon ~Welcome~ Liberty Bell March ................................ Orchestrated by John Philip Sousa Arranged by Keith Brion Seattle Wind Symphony is especially proud to present our second STAR SPANGLED SPECTACULAR musical salute Thoughts of Love .................................. Arthur Pryor to our nation. Our music for this “extravaganza” has been selected to put a song on your lips, tears in your eyes Matthew Grey, Trombone Soloist and a warm feeling of patriotism in your heart. We want to extend a special welcome and thanks to the Honor Oh Shenandoah ................................... Arranged by Frank Ticheli Guard from Joint Base Lewis McChord for presenting the colors to start our concert. We also want to thank the management of Benaroya Hall for their excellent leadership in our presentation today. We are very appreciative of Through The Air .................................... August Damm the participation of vocal soloist Sheila Houlahan and our narrator Dave Beck for sharing their talents, and for our Sara Jolivet, Piccolo Soloist instrumental soloists Michel Jolivet, Sara Jolivet, and Matt Grey. Thank You! Marching Through Georgia ................... John Philip Sousa Arranged by Keith Brion With today’s concert, Seattle Wind Symphony will have completed our third season. We recognize that most Rolling Thunder .................................... Henry Fillmore people have never heard high quality symphonic wind music, so we would like to invite you to our regular season performances. The 2014-2015 season dates are posted on our web site: www.seattlewindsymphony.org.
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New Zealand Works for Contrabassoon
Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers.
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Fellowship of Makers and Restorers of Historical Instruments Bulletin and Communications
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Read Liner Notes
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Chronicling the Developments of the Double Reed
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Ouvrir La Préface (PDF)
IV Vorwort wähnte er einen Besuch Longys, den er Auch die zahlreichen Titelvarianten zunächst mit einem Geschenkexemplar der Rhapsodie zeigen Debussys Bemüh- des Klavierauszugs seiner Oper Pelléas en, den besonderen Charakter des et Mélisande für Elise Hall vertröstete. Stücks zu treffen: Rapsodie orientale Die Widmung lautet à Madame Rich. (Brief vom 8. Juni 1903 an Lilly), Fa n - Claude Debussys (1862–1918) Rhapso- J. Hall. | Hommage de reconnaissance | taisie pour saxophone-alto-en-mi-bé- die für Altsaxophon und Orchester ist Sincère et profonde.| Claude Debussy, | mol und Rhapsodie arabe (Brief vom ein Auftragswerk. Im Jahr 1901 bat Eli- Mai | 1903. Er nahm sich vor, den Auf- Anfang August 1903 an Pierre Louÿs) se Hall, geb. Elizabeth Boyer Coolidge trag so schnell wie möglich auszuführen sowie Rhapsodie mauresque pour (1853–1924), eine Reihe französischer (Brief vom 31. Mai an seine Frau Lilly, Orchestre et Saxophone principal (Titel des Particells). Komponisten (neben Debussy z. B. auch die sich für einige Tage in Bichain auf- Debussy beendete die Niederschrift Gabriel Fauré, Vincent d’Indy, Florent hielt). Gegenüber André Messager spot- des Manuskripts wahrscheinlich im Au- Schmitt, André Caplet) um Werke für tete er über die Auftraggeberin: „Eine gust 1903. Das Particell umfasst zwar das noch wenig bekannte Instrument. Dame, der es nicht genügt, Amerikane- die komplette Rhapsodie, ist aber im Die in Frankreich geborene und aufge- rin zu sein, hat sich auf den bizarren Reprisenteil nur skizzenhaft notiert. Es wachsene Elise Boyer entstammte einer Luxus verlegt, Saxophon zu spielen, und bietet dennoch die Voraussetzung für begüterten Bostoner Familie. Sie heira- mich vor einigen Monaten durch Ver- tete 1879 den Chirurgen Richard J.
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Godfrey, Matthews up for Chief
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(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
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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♭.
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