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Scott Robinson at the Stone: A Weeklong ScienSonic Residency Ave. C & 2nd St., NYC www.thestonenyc.com 12 SETS presenting “Worlds of Tomorrow Through Sound.” TUES. APR. 26: 8pm: Sonic Solipsisms Scott Robinson, solo performance 10pm: Further Research Scott Robinson (multi-instruments), Julian Thayer (bass, etc.) WED. APR. 27: 8pm: Afar Scott Robinson (multi-instruments), Frank Kimbrough (piano) 10pm: Scott Robinson Birthday Mayhem! with Klaus Suonsaari (drums, perc.), Julian Thayer (bass), Frank Kimbrough (piano), plus surprise guests! THURS. APR. 28: 8pm: Creative Situations for 3 Mezzo Soprano Saxophones Scott Robinson, Dave Pietro, Allen Won (mezzo soprano saxes), Kevin Norton (marimba) 10pm: aRT Pheeroan akLa (drums), Scott Robinson (tenor & bass saxes, theremin, tenora), Julian Thayer (bass) FRI. APR 29: (special Low Instrument Night!) 8pm: Immensities for Large Instruments (Chamber Music Compositions by Scott Robinson) Scott Robinson (bass & contrabass saxes, contrabass sarrusophone, bass ute, bass tarogato, etc), Kevin Norton (bass marimba), Bohdan Hilash (bass & contrabass clarinets, bass sax), Marianne Gythfeldt (contrabass clarinet & basset horn), Les Scott (bassett horn), Gili Sharett (contrabassoon), Andrew Hadro (baritone sax), Dave Pietro (bass ute & tenor sax), Sharon Robinson (alto & bass ute, bass recorder), and others TBA 10pm: Down And Out Scott Robinson (contrabass sax, sarrusophones), Tony Scherr (bass balalaika), Julian Thayer (electric hubcap bass, bass banjo), Matt Wilson (drums & contrabass drum set) SAT. APR. 30 8pm: Scott Robinson's "Spacetette" with Marshall Allen Scott Robinson (saxes, theremin, sonic laser actuator), Marshall Allen (alto sax, EVI), Kevin Norton (vibes, drums, perc.), Pat O'Leary (bass, cello, toys), Julian Thayer (bass, phono-ddle) 10pm: Heliosonic Toneways with Marshall Allen -- a celebration of Sun Ra's Heliocentric Worlds, featuring the bass marimba used on the original session! Scott Robinson (tenor sax, bass marimba, theremin, tuned bongos), Marshall Allen (alto sax, EVI, piano), Danny Thompson (baritone, .), Philip Harper (trumpet), Frank Lacy (trombone), Tim Newman (bass trombone), Marty Erlich (bass clarinet), Yosvany Terry (alto sax, .), Pat O'Leary, Julian Thayer (basses), Matt Wilson (drums) SUN. MAY 1: 8 & 10pm: The world premiere of Scott Robinson's Orchestra of the Impossible with Scott Robinson (slide saxophone, bass & contrabass sax, sarrusophone, piccolo, bass tarogato etc.), Briggan Krauss (alto & baritone sax), Brian Nalepka (giant 7-ft. tuba), Joe Daley (euphonium), Tony Scherr (bass balalaika), Michael Rabinowitz (bassoon), Rob Schwimmer (theremin, piano & Continuum), Kevin Norton (boo bams & marimba), Sharon Robinson (ute), Andrew Hadro (baritone sax), Steve Bernstein (slide trumpet), Vincent Chancey (french horn), Bohdan Hilash (clarinets and bass sax), Mike Christianson (trombone), Kathy Ridl (phono- violin), Tim Horner (drums), and more TBA Photo: Scott Friedlander Art: Richard M. Powers.

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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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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.
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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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Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute.
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Fellowship of Makers and Restorers of Historical Instruments Bulletin and Communications
FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS BULLETIN AND COMMUNICATIONS. JULY 1977 CONTENTS Page Bulletin no. 8. 2 Report on FoMRHI Seminar no. 2. 11 FoMRHI Book News no. 2. 12 List of Members, as at 23rd June 1977 14 Communications 65 On the sizes of Renaissance and baroque viols and violins. E. Segerman 18 / 66 The range of pitch with gut strings of a given length. William B. Samson 19 7 Principal instruments of fourteenth-century Italy and their structural V features. Howard Mayer Brown 20 68 Comments on technical drawings and photographs of musical instruments. R.K.Lee 28 69 On the dangers of becoming an established scholar. Ephraim Segerman 35 3^70 Profile turning of reamer blanks for use in woodwind*. Rod Cameron 38 71 Humidity cycling for stabilization of gut ?nd wood. Djilda Abbott, Ephraim Segerman and David Rolfe 45 72 Review of: The Manufacture of Musical Instruments, translated by Helen Tullberg. Jeremy Montagu 47 73 Review of: The Diagram Group, Musical Instruments of the World, an Illustrated Encyclopedia. Jeremy Montagu £TI 10a Comment on Com. 10 Attitudes to musical instrument conservation and restoration by G. Grant O'Brien. John Barnes 64 39b Comments on comments (Jan '77) on Com. 39. E.S. and D.A. 65 44c Detailed comments on "The World of Medieval and Renaissance Musical Instruments" by Jeremy Montagu, Part I. E.S. 67 58a On Prematurity of Communication. E.S. and D.A. 71 74 Medieval carvings of musical instruments in St. Mary's Church, Shrewsbury. Lawrence Wright 73 Book News.
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Chamber & Ensemble Music
Chamber & Ensemble Music New Releases 2000–2011 Contents I. WORKS BY COMPOSER – Alphabetical List �� p.3 A. New compositions and arrangements �� 3 B. Additions to the catalogue �� 25 II. WORKS BY GENRE �� 30 1. Solo instrumental (also with accompaniment) �� 30 1.1. Violin �� 30 1.2. Viola �� 31 1.3. Cello �� 31 1.4. Double bass �� 32 1.5. Flute �� 33 1.6. Oboe �� 33 1.7. Clarinet/Bass clarinet ��
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Reed Instruments About Reeds
Reed Instruments About Reeds A reed is a thin elastic strip of cane fixed at one end and free at the other. It is set into vibration by moving air. Reeds are the sound generators in the instruments described below. Cane reeds are built as either double or single reeds. A double reed consists of two pieces of cane carved and bound into a hollow, round shape at one end and flattened out and shaved thin at the other. The two pieces are tied together to form an channel. The single reed is a piece of cane shaved at one end and fastened at the other to a mouthpiece. Single Reed Instruments Clarinet: A family of single reed instruments with mainly a cylindrical bore. They are made of grenadilla (African blackwood) or ebonite, plastic, and metal. Clarinets are transposing instruments* and come in different keys. The most common ones used in orchestras are the clarinet in A and the clarinet in Bb. When a part calls for a clarinet in A, the player may either double -i.e. play the clarinet in A, or play the clarinet in Bb and transpose* the part as he plays. During the time of Beethoven, the clarinet in C was also in use and players were expected to be able to play all three instruments when required. All clarinets are notated in the treble clef and have approximately the same written range: E below middle C to c´´´´ (C five ledger lines above the staff). Bass Clarinet: A member of the clarinet family made of wood, which sounds an octave lower than the Clarinet in Bb.
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Read Liner Notes
Cover Photo: Paul Winter Consort, 1975 Somewhere in America (Clockwise from left: Ben Carriel, Tigger Benford, David Darling, Paul Winter, Robert Chappell) CONSORTING WITH DAVID A Tribute to David Darling Notes on the Music A Message from Paul: You might consider first listening to this musical journey before you even read the titles of the pieces, or any of these notes. I think it could be interesting to experience how the music alone might con- vey the essence of David’s artistry. It would be ideal if you could find a quiet hour, and avail yourself of your fa- vorite deep-listening mode. For me, it’s flat on the floor, in total darkness. In any case, your listening itself will be a tribute to David. For living music, With gratitude, Paul 2 1. Icarus Ralph Towner (Distant Hills Music, ASCAP) Paul Winter / alto sax Paul McCandless / oboe David Darling / cello Ralph Towner / 12-string guitar Glen Moore / bass Collin Walcott / percussion From the album Road Produced by Phil Ramone Recorded live on summer tour, 1970 This was our first recording of “Icarus” 2. Ode to a Fillmore Dressing Room David Darling (Tasker Music, ASCAP) Paul Winter / soprano sax Paul McCandless / English horn, contrabass sarrusophone David Darling / cello Herb Bushler / Fender bass Collin Walcott / sitar From the album Icarus Produced by George Martin Recorded at Seaweed Studio, Marblehead, Massachusetts, August, 1971 3 In the spring of 1971, the Consort was booked to play at the Fillmore East in New York, opening for Procol Harum. (50 years ago this April.) The dressing rooms in this old theatre were upstairs, and we were warming up our instruments there before the afternoon sound check.
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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.
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Study of Instrument Combination Patterns in Orchestral Scores from 1701 to 2000
Table of Contents for this manuscript Study of Instrument Combination Patterns in Orchestral Scores from 1701 to 2000 Song Hui Chon,*1 Dana DeVlieger,*2 David Huron*3 *School of Music, Ohio State University, U.S.A. [email protected], [email protected], [email protected] included in an orchestral work) and instrument usage (how ABSTRACT often an instrument is actually sounding in a piece). Orchestration is the art of combining instruments to realize a composer’s sonic vision. Although some famous treatises exist, instrumentation patterns have rarely been studied, especially in an II. METHOD empirical and longitudinal way. We present an exploratory study of We first divided the 300 years into six 50-year epochs. instrumentation patterns found in 180 orchestral scores composed Then in each epoch, 30 orchestral compositions were selected. between 1701 and 2000. Our results broadly agree with qualitative In selecting the scores, we made use of the Gramophone observations made by music scholars: the number of parts for Classical Music Guide (Jolly, 2010), The Essential Canon of orchestral music increased; more diverse instruments were employed, Orchestral Works (Dubal, 2002), and the list of composers on offering a greater range of pitch and timbre. A hierarchical cluster Wikipedia. The composers were grouped into three tiers: analysis of pairing patterns of 22 typical orchestral instruments found Tier-1 for those listed in both the Gramophone Guide and the three clusters, suggesting three different compositional functions. Essential Canon; Tier-2 for those listed in any one of the two books; Tier-3 for those listed only on the Wikipedia page.
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Oboe in Oxford Music Online
14.3.2011 OboeinOxfordMusicOnline Oxford Music Online Grove Music Online Oboe article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/40450 Oboe (Fr. hautbois ; Ger. Oboe ; It. oboe ). Generic term in the system of Hornbostel and Sachs for an aerophone with a double (concussion) reed (for detailed classification see AEROPHONE ). The name is taken from that of the principal treble double-reed instrument of Western art music (see §II below). I. General 1. Oboes. The AULOS of ancient Greece may sometimes have had a double reed, and some kind of reed aerophone was known in North Africa in pre-Islamic times. Instruments of the SURNĀY type became established with the spread of the Arab empire around the end of the first millennium CE; they were possibly a synthesis of types from Iran, Mesopotamia, Syria and Asia Minor. From there the instrument, then used in a military role, spread into conquered areas and areas of influence: to India, and later, under the Ottoman empire, to Europe (around the time of the fifth crusade, 1217–21; there may already have been bagpipes with double reeds there) and further into Asia (to China in the 14th century). As the instrument spread, it came to be made of local materials and fashioned according to local preferences in usage, shape and decoration: the ŚAHNĀĪ of north India has a flared brass bell; the SARUNAI of Sumatra has a palm leaf reed and a bell of wood or buffalo horn; the ALGAITA of West Africa is covered with leather and has four or five finger-holes.
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Chronicling the Developments of the Double Reed
Eastern Kentucky University Encompass Honors Theses Student Scholarship Spring 2016 Chronicling the Developments of The oubleD Reed Jenna Sehmann Eastern Kentucky University, [email protected] Follow this and additional works at: https://encompass.eku.edu/honors_theses Recommended Citation Sehmann, Jenna, "Chronicling the Developments of The oubD le Reed" (2016). Honors Theses. 345. https://encompass.eku.edu/honors_theses/345 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Honors Theses by an authorized administrator of Encompass. For more information, please contact [email protected]. Eastern Kentucky University Chronicling the Developments of The Double Reed Honors Thesis Submitted in Partial Fulfillment of the Requirements of HON 420 Spring 2016 By Jenna Sehmann Mentor Dr. Christine Carucci Music Department Abstract Chronicling the Developments of The Double Reed Jenna Sehmann Dr. Christine Carucci, Music Department Abstract Description: This study examines scholarly articles in thirty-eight years of periodical journals, The Double Reed, published by the International Double Reed Society. Research articles were coded to fit into twelve prominent categories: career-related, composition, extended techniques/modern practices, health, historical, instrument, interview, pedagogy, performance practice, performer profile, reeds, and other. After an analysis of journal articles (N =935) from The Double Reed, results indicated historical articles, interviews, and composition-related articles were the most prominent categories. There was a fairly even dispersion between oboe and bassoon articles, while the majority of published material was generated from American authors. Additional trends are noted to inform and advance the double reed community.
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