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Date: Tue, 27 Apr 1999 15:52:53 -0700 (PDT)
From: Michael Famulare <flams1600@yahoo.com>
Subject: Thanks for Mouthpiece Help
Reply-To: contrabass@contrabass.comI would like to thank everybody for the information on the mouthpieces.
After sitting down at Sam Ash in Manhattan with a few Selmers,
Vandorens, and a Bay, I chose the Selmer C*. For my embouchre and
clarinet(low serial # Selmer), it has everything I needed. Great dark,
yet open tone (which I love with the solos in Blue Shades by Frank
Tichelli), and huge range (best ppppp and ffff; also I just played my
first almost 5 octave chromatic scale on my low Eb). The Rovner lig
comletes the ensemble.I definitely suggest that those in search of a new mouthpiece should
try this. Again, thanks for the help.Michael Famulare
_________________________________________________________
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Date: Tue, 27 Apr 1999 16:20:36 -0700 (PDT)
From: Michael Famulare <flams1600@yahoo.com>
Subject: Young Musicians' Chamber Concert At Lincoln Center
Reply-To: contrabass@contrabass.com> Hi, all the young musicians out there.
>
> I just want to share one of the more amazing musical experiences I have
> ever had. On April 22, I, along with the nine other members of my
> chamber group, got to perform in a young musicians' concert in Alice
> Tully Hall in Lincoln Center. What an amazing experience!
>
> We played Op. 57 by Fraz Krommer. I played contralto clarinet with the
> group from Monroe-Woodbury High School in New York (across the street
> form the Woodbury Commons, which the world seems to know about). I
> covered a bassoon part.
>
> I'm writing not only to share but also to inform all the high school
> musicians on the post to tell tell their teachers about this program.
> If your group is talented enough, your tape can get you in future
> concerts. Also, along with the performance opportunity, you get
> coached by a member of the New York Philharmonic.
> The experience is trully rewarding.
>
> Contact David Shifrin, the artistic director for the Chamber Music
> Society of Lincoln Center.
>
> --Mike Famulare_________________________________________________________
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From: LeliaLoban@aol.com
Date: Tue, 27 Apr 1999 21:41:26 EDT
Subject: 1897 Evette-Schaeffer contrabass (was Re. gagging)
Reply-To: contrabass@contrabass.comJack Silver wrote,
>>I am extremely curious about why you are interested in the 1897 price of a new
gold-plated E-S contrabass sax. By any chance do you have such a thing or do you
have a lead on one?>>I wish! The owner of this 1897 contrabass is a fictional character, the
antagonist in a horror story set in 1905. I've never even seen a contrabass
"in person," much less bought one. (My biggest sax is a bass.) The climax
of the story is an impossible event, so in order to make some lame attempt to
foist it off as credible, I need to surround it with reassuringly mundane,
realistic details as camouflage. The probable value of this sax would help,
because I assume it would have been expensive. The sax also has an
elaborate, after-market custom engraving by someone who'd recently been fired
from Tiffany & Co. (Evette-Schaeffer refused to provide the requested
engraving, because it's pornographic), so it would help to know what that
might have cost in 1897, too. Readers understand "The love of money is the
root of all evil," even if they don't know much about Satanism or music. The
concept is that it's not wise for a musician to indulge his curiosity to the
point of breaking into a warlock's room and playing his prized possession.Thanks for any info anyone can contribute to this irresponsible cause--
Lelia---------------------------------------------------------
From: "Aaron Rabushka" <arabushk@cowtown.net>
Subject: Re: 1897 Evette-Schaeffer contrabass (was Re. gagging)
Date: Mon, 26 Apr 1999 21:55:40 -0500
Reply-To: contrabass@contrabass.comIs your fictional sax player looking to make a magical deal with the Devil à
la Paganini (or at least à la the Paganini bubba misa)?Aaron J. Rabushka
arabushk@cowtown.net
http://www.cowtown.net/users/arabushk/
---------------------------------------------------------
Date: Wed, 28 Apr 1999 12:24:49 -0500
From: John Howell <John.Howell@vt.edu>
Subject: Bassoon beginner
Reply-To: contrabass@contrabass.com>From: Adam Kent-Isaac <lokibassoon@yahoo.com>
> The bassoon's range is from high G (you can get it higher but it's
>very hard) to the low Bb below the bass clef, but many bassoons have
>extra fingerings or extensions allowing the player to reach low Ab,
>sometimes lower.Hey, Adam! Since I've never seen, never heard, and never even seen a
picture of a bassoon to low Ab, I'm curious. Have you? No orchestration
book I'm aware of mentions this. No composer in his right mind would write
those notes. Where have you seen or played on such a beast?
Roger asked:
>Ok, high G is... which one (how many leger lines, or compared to middle C)Three ledger lines above bass clef, G above middle C on the piano. There's
no theoretical limit to the top notes (especially after Stravinsky!), but
solo music will probably not go above the C an octave above middle C.
Typical solo music and orchestral music will include tenor clef (C on the
4th line up), and very occasionally treble clef.A good plastic instrument is better than a bad wooden instrument. A fine
wooden instrument is always better than a good plastic instrument, but you
pay for the difference. That's true whether you're talking about bassoon,
clarinet, oboe, or recorder. Symphony players don't play plastic
instruments, granted, but for a beginner there's nothing wrong with it.>I noticed similarities between the natural notes on the bassoon and the
>chalameau register on the clarinets. The accidentals are often weird (on
>bassoon), but sensible.Historically the bassoon (and the oboe to some extent) is still an 18th
century instrument with 6 open holes for the basic scale. It just has an
accumulation of keys and rings and stuff added to that open hole system. A
lot of the accidentals are fingered more the way 18th century woodwinds
would have played them. Why didn't makers apply the Boehm system to
bassoon, as they did to clarinet and sax? They did. It's called a
Sarusaphone. Only problem was that it changed the tone quality too much
and never really caught on. (Except on this list--yeah!!!!!)John
John & Susie Howell (mailto:John.Howell@vt.edu)
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
http://www.music.vt.edu/faculty/howell/howell.html
---------------------------------------------------------
Date: Wed, 28 Apr 1999 13:08:58 -0400
From: Jack Silver <jsilver@cpcug.org>
Subject: Re: 1897 Evette-Schaeffer contrabass (was Re. gagging)
Reply-To: contrabass@contrabass.comSounds like a worthy cause; maybe I can come up with something that will satisfy
the PEN award judges.
As for never having heard a CB sax, you are missing one of the true musical
delights. Paul Cohen has put out a CD with a duet by Henry Cowell for soprano
and Contrabass saxes. A real gem.
Steve Lederman has a web site on which he has a picture of me playing (or looking
like I'm playing)
Scott Robinson's CB sax. Also Scott has made a CD on Arbor Records with his
playing a contrabass.
Now, as for Danielle Heberling...
Best wiishes. Jack SilverLeliaLoban@aol.com wrote:
> Jack Silver wrote,
> >>I am extremely curious about why you are interested in the 1897 price of a new
> gold-plated E-S contrabass sax. By any chance do you have such a thing or do you
> have a lead on one?>>
>
> I wish! The owner of this 1897 contrabass is a fictional character, the
> antagonist in a horror story set in 1905. I've never even seen a contrabass
> "in person," much less bought one. (My biggest sax is a bass.) The climax
> of the story is an impossible event, so in order to make some lame attempt to
> foist it off as credible, I need to surround it with reassuringly mundane,
> realistic details as camouflage. The probable value of this sax would help,
> because I assume it would have been expensive. The sax also has an
> elaborate, after-market custom engraving by someone who'd recently been fired
> from Tiffany & Co. (Evette-Schaeffer refused to provide the requested
> engraving, because it's pornographic), so it would help to know what that
> might have cost in 1897, too. Readers understand "The love of money is the
> root of all evil," even if they don't know much about Satanism or music. The
> concept is that it's not wise for a musician to indulge his curiosity to the
> point of breaking into a warlock's room and playing his prized possession.
>
> Thanks for any info anyone can contribute to this irresponsible cause--
> Lelia
>
> ----------------------
> end contrabass list---------------------------------------------------------
From: "Aaron Rabushka" <arabushk@cowtown.net>
Subject: Re: Bassoon beginner
Date: Tue, 27 Apr 1999 12:41:19 -0500
Reply-To: contrabass@contrabass.comI remember well the calligraphy class assignment to copy the bassoon's
opening solo from "The Rite of Spring," written in tenor clef with loads of
leger lines.Aaron J. Rabushka
arabushk@cowtown.net
http://www.cowtown.net/users/arabushk/
---------------------------------------------------------
From: RBobo123@aol.com
Date: Wed, 28 Apr 1999 16:56:12 EDT
Subject: Re: Bassoon beginner
Reply-To: contrabass@contrabass.comIn a message dated 4/28/99 4:24:55 PM, John.Howell@vt.edu writes:
<< Hey, Adam! Since I've never seen, never heard, and never even seen a
picture of a bassoon to low Ab, I'm curious. Have you? No orchestration
book I'm aware of mentions this. No composer in his right mind would write
those notes. Where have you seen or played on such a beast? >>Actually, when i was handed my Scales for All-Reigon, the Ab Concert Scale
when down to the Ab below the Bb below bass clef. Also, The Internation
Double Reed Society's Bassoon fingering guide also lists a article where you
can find info on low Ab (I don't know what it says, i can;t find it) Hope
this helps.
--Richard Bobo (Bassoonist and Wannabe Contrabassoonist)
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