Contrabass Digest
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1999-06-12

 
Date: Fri, 11 Jun 1999 16:01:58 -0700
From: Grant Green
Subject: Re: What the heck?

Believe it or not, I think that was the first spam to actually get onto the
list.  I'm still trying to figure out how the spammer managed to post: the
software is set to reject anyone who is not a subscriber, and the return
address showing on the post does not match any of the subscriber addresses.
(I routinely get "bounce" messages, where the MLM has rejected a spam, and
the notification of rejection bounces back to me).  What is particularly
odd is that I didn't receive the post "immediate" before it appeared in the
digest (otherwise, I would have deleted it before the digest was generated).

I've added that address to the "kill" list, and have changed the software
settings to "private list", so that only I can subscribe members.  I assume
that the spammer subscribed himself long enough to post the message, and
then unsubscribed.

As a general rule, NEVER REPLY TO SPAM.  First, this list is set to "Reply
to list", so the message isn't even directed at the spammer.  Second,
nobody believes that their address will be removed from the spammer's list
at the victim's request.  As far as I can tell, the primary income a
spammer gets is from selling his list of addresses: if you reply (and the
reply reaches him), all you've done is validate that your address is
active.  Of course, frequently the email address is either faked or is
simply a free account that the spammer never bothers to read (why would he?
it would contain nothing but hate mail and more spam).  The best response
it usually to notify the spammer's ISP (e.g., abuse@bigfoot.com) and send a
copy of the spam with full headers.  Sometimes, they'll track it down and
cancel the spammer's account.

Grant
+++++++++++++++++++++++++++++++++++++++++++++
Grant Green            gdgreen@contrabass.com
                    http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------

From: Pabstton@aol.com
Date: Sat, 29 May 1999 16:58:17 EDT
Subject: Re: Percussion instruments
Reply-To: contrabass@contrabass.com

<< I know about gongs suspended on a frame of strings.What function does the strings have other than support?  >>
String wire or whatever provides support with minimal surface area in order not to dampen the vibration. They are usual bound to the node of the cymbal or gong. In terms of vibration or resonation, the node is where the piece vibrates least.

<< Well,i know there is 15-20 feet orchestral tamtams,but they are also thicker,so they yield the same pitches as regular ones(except for the increased volume).By the way,i also heard that they can't be used in recording situations at all because they destroy the microphones.Is that true? >>

Any loud enough tone at the right frequency can destroy anything really. I forget the name of it, but there's some contraption that produces a very loud or strong subsonic (if you can't hear it it would not be loud) frequency. They used to use it to tear down buildings. The nazis attempted to use it as a war machine. While operating, this thing can not be in the near of living beings without turning their inners to mush ultimatly killing them. I think there was an incident in Europe somewhere (I think Sweden(your home?))where they accidently tore down a whole block of houses. This instrument definitely holds the all-time lowest tone record.
Back to the subject- I don't know. I'm not familiar with orchestral recording techniques. Maybe someone else has the tamtam answer.

DPaten
----------------------
end contrabass list
---------------------------------------------------------

From: Fmmck@aol.com
Date: Fri, 11 Jun 1999 22:40:37 EDT
Subject: Re: What the heck?
Reply-To: contrabass@contrabass.com

In a message dated 6/11/99 6:02:50 PM, CoolStu67@aol.com writes:

<< What's with all these remove things for a SPAM company on our list??? >>

Stuart-

I suspect that the "remove" option in SPAM, is just a way of verifying that
they have a real, live mailing address!  In the recent case here, the option
only went to the readers of this list, unless you also included other
addresses found in the message.

When SPAM first started flowing, I followed a crusade of complaining to the
message originator, as well as the postmaster of every domain I could find in
the SPAM's message header.  Needless to say, it didn't stop coming.  I
eventually found myself spending all my time sending anti-SPAM messages.
Only after I quit that, did the SPAM slow down.

Fred McKenzie
MMB
CBO
NBBD

---------------------------------------------------------

Date: Fri, 11 Jun 1999 19:26:50 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: Re: Large Woodwind Ensamble (Warning Long and Pointless)
Reply-To: contrabass@contrabass.com

You realize, of course, that you left out the Bb soprano, Eb alto, Bb
tenor, Eb bari, C contrabass and BBb contrabass sarrusophones, to say
nothing of the G treble flute, basset horn, and piccolo heckelphone... ;-)

+++++++++++++++++++++++++++++++++++++++++++++
Grant Green            gdgreen@contrabass.com
                    http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------

Date: Fri, 11 Jun 1999 19:29:15 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: Re: Large Orchestral Ensamble (Warning Long and Pointless)
Reply-To: contrabass@contrabass.com

>5 Bass Ophicleides in C
>2 Contrabass Ophicleides in Bb

Actually, the contrabass ophicleide is in Eb or F.

>1 Baryton Oboe
>1 Bass Oboe

"bass oboe" and "baritone oboe" are the same instrument.

Enjoy!

Grant

+++++++++++++++++++++++++++++++++++++++++++++
Grant Green            gdgreen@contrabass.com
                    http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------

Date: Fri, 11 Jun 1999 19:42:04 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: Re: [Contra digest]
Reply-To: contrabass@contrabass.com

>I know they're aren't contrabass instruments, but could someone tell me in
>what key are the Oboe D'Amore and the Musette (Piccolo Oboe).  Any help would
>be aprreciated.

Oboe d'amore is in A, between the oboe and the english horn.  The musette
is in Eb (sometimes F), a minor third (or perfect fourth) higher than the
oboe (like the terz heckelphone or piccolo heckelphone).

Grant

+++++++++++++++++++++++++++++++++++++++++++++
Grant Green            gdgreen@contrabass.com
                    http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------

From: Heliconman@aol.com
Date: Fri, 11 Jun 1999 23:11:43 EDT
Subject: eBay...Get Well Soon!
Reply-To: contrabass@contrabass.com

Looks like eBay is down for the third consecutive day. It seems to go to bed
at 8PM PST (11PM EST) so do your bidding early and get some sleep! (This must
be "Union" software they've installed!!) The good news is that they're
offering free ads sometime in July! (If the Y2K bug doesn't bite at the
fiscal new year!)
Cheers!
---------------------------------------------------------

Date: Fri, 11 Jun 1999 20:58:07 -0700 (PDT)
From: Adam Kent-Isaac <lokibassoon@yahoo.com>
Subject: The Spy Who Shagged Me
Reply-To: contrabass@contrabass.com

Adam Kent
lokibassoon@yahoo.com

 Well, I've gotta go to Cincinnati tomorrow to our next door
neighbour's son's Bar Mitzvah. I just thought, though, before I went
I'd post this message now given the fact that I wouldn't be on a
computer for a while.

 In "The Spy Who Shagged Me," at the very beginning after Venessa
explodes and Austin says "I'm single again" there is either a
contrabass sax or contrabassoon part playing the same note over and
over again, it's very easy to hear, loud and clear.

 In this same movie, when Austin says "You're so sexy" right in between
the words "So" and "Sexy" there is a bass sax or bassoon music.

 One more thing: I have a Yahoo! email, and I need to know how to post
up a PICTURE on this list. I've already scanned it and have it saved; I
just need to know how to post it up because you should all see it.
Please respond and tell me how to post up a picture!
 

-Best Regards,

Adam Kent

Lokibassoon@yahoo.com

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

---------------------------------------------------------

From: CoolStu67@aol.com
Date: Sat, 12 Jun 1999 00:01:53 EDT
Subject: Re: The Spy Who Shagged Me
Reply-To: contrabass@contrabass.com
<<
 In "The Spy Who Shagged Me," at the very beginning after Venessa
 explodes and Austin says "I'm single again" there is either a
 contrabass sax or contrabassoon part playing the same note over and
 over again, it's very easy to hear, loud and clear.
>>

Thanks a lot, Dick <grin> I haven't seen it yet...

Stuart
-Sax/Clarinet
---------------------------------------------------------

Date: Fri, 11 Jun 1999 21:16:36 -0700 (PDT)
From: Adam Kent-Isaac <lokibassoon@yahoo.com>
Subject: Chamber Groups
Reply-To: contrabass@contrabass.com

Adam K

 Listen, I'm sorry I'm doing this, because I remember once somebody
complained that I'd put several messgaes in a row, but I unwittingly
sent it and then realized that I needed to say something else, so Here
Goze:

Here are some different variations on Chamber Groups:

The instrumental combinations of these groups correspond roughly to the
violin, viola and violon. Some are an octave lower, but they are pretty much similar.
 

Tuba Quartet:
Tuben Quartet:
 
Bassoon Quartet:
 
Brass Quartet:
 
Oboe Quartet:
 
Ophicleide Quartet:
 
Serpent Quartet:
 
Saxophone Quartet:
 
Sarrusophone Quartet:
 
Clarinet Quintet:
 


That's about it!

Enjoy!
 

-Adam Kent-Isaac
lokibassoon@yahoo.com
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com

---------------------------------------------------------

From: CoolStu67@aol.com
Date: Sat, 12 Jun 1999 00:13:00 EDT
Subject: Monster instrumentation
Reply-To: contrabass@contrabass.com

I've seen a lot of monster instrumentation ideas on this list, and they have
all been stupidly big with stupidly rare instruments. All the same effects
can be gotten with a much more practical ensemble, like this:
 


It may be huge, but the instruments are much available. By the way, to the
person that wrote the sub and octo contra clarinets, what is the difference
between a subcontralto clarinet and a octocontralto clarinet? (trick question)

Stuart
-Sax/Clarinet
---------------------------------------------------------

From: RBobo123@aol.com
Date: Sat, 12 Jun 1999 00:32:56 EDT
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com

In a message dated 6/12/99 4:14:18 AM, CoolStu67@aol.com writes:

>2 piccolos
>5 flutes
>2 alto flute
<Snip>

   Well, in my defense, Piccolo Heckelphones and Octocontrabass Clarinets
aren't that common either. My instrumentation was more of a "Dream
Orchestra".  Something that would never happen, but would sound great. (Well,
maybe, i'm not sure).  But, i do wish they made Double Subcontrabass Flutes,
and Subcontrabassoons, and <DROOL> Octocontrabassoons.  Too bad the head of a
major instrument manufacturer isn't on this list.
---------------------------------------------------------

From: CoolStu67@aol.com
Date: Sat, 12 Jun 1999 01:15:59 EDT
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com
<<
    Well, in my defense, Piccolo Heckelphones and Octocontrabass Clarinets
 aren't that common either. My instrumentation was more of a "Dream
 Orchestra".  Something that would never happen, but would sound great. (Well,
 maybe, i'm not sure).  But, i do wish they made Double Subcontrabass Flutes,
 and Subcontrabassoons, and <DROOL> Octocontrabassoons.  Too bad the head of a
 major instrument manufacturer isn't on this list.
>>

Oh, alright :) But I think the octocontrabass clarinet isn't as rare as the
piccolo Hecklephone because you know exactly where it is--- Leon Leblanc's
personal collection <g> Now we just need a phone number...

Stuart
-Sax/Clarinet
---------------------------------------------------------

From: Heliconman@aol.com
Date: Sat, 12 Jun 1999 05:12:29 EDT
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com

In a message dated 6/12/99 12:14:18 AM Eastern Daylight Time,
CoolStu67@aol.com writes:

> I've seen a lot of monster instrumentation ideas on this list, and they have
>  all been stupidly big with stupidly rare instruments. All the same effects
>  can be gotten with a much more practical ensemble, like this:
>
>  2 piccolos
>  5 flutes
>  2 alto flute
[snip]
>
>  It may be huge, but the instruments are much available. By the way, to the
>  person that wrote the sub and octo contra clarinets, what is the
difference
>  between a subcontralto clarinet and a octocontralto clarinet? (trick
> question)
>
>  Stuart
>  -Sax/Clarinet

I think you'll find the two known BBBflat tubas at Harvard and Carl Fischer,
New York  to be not only "stupidly rare" but also marginally accessible and
barely playable according to reputable sources. The EEflat (EEEflat?)
subcontrabass tuba in the collection of Boosey & Hawkes may be more playable.
I don't know much about it, although I believe this is the one played at the
Hoffnung Festivals. The recently discussed "French Website" labels it a
Paxman - a reputable company.But then Besson, who built the Harvard tuba and
I believe the Fischer tuba as well, is also a very reputable company. Age and
abuse WILL take a toll on the playability.
Unless you know of another BBBflat tuba............
Cheers!
Heliconman@aol.com
---------------------------------------------------------

From: "Aaron Rabushka" <arabushk@cowtown.net>
Subject: Re: Monster instrumentation
Date: Fri, 11 Jun 1999 11:02:34 -0500
Reply-To: contrabass@contrabass.com

And speaking of rare instruments, does anyone know the practical range of
the flexatone?

Aaron J. Rabushka
arabushk@cowtown.net
http://www.cowtown.net/users/arabushk/
 

---------------------------------------------------------

Date: Sat, 12 Jun 1999 11:38:57 -0600 (MDT)
From: Shouryu Nohe <jnohe@nmsu.edu>
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com

On Sat, 12 Jun 1999 CoolStu67@aol.com wrote:

> I've seen a lot of monster instrumentation ideas on this list, and they have
> all been stupidly big with stupidly rare instruments. All the same effects
> can be gotten with a much more practical ensemble, like this:
 

> Ab sopranino clarinet
1 Eb clarinet
4 Bb clarinets
1 alto clarinet
2 bass clarinets

> It may be huge, but the instruments are much available.

The Ab Soprano/nino clarinet is far more 'stupidly' rare than basset
horns; in fact, only ONE composer comes to mind who continually wrote for
Ab, and that was Lucien Calliet, who basically scored lots of stuff for
clarinet choir, and really went out of his way to use the family, Ab, Eb,
Bb, Alto, Basset Horn, Bass, C-alto and C-bass were his minimum
instrumentation.

J. Shouryu Nohe
http://web.nmsu.edu/~jnohe
Professor of SCSM102, New Mexico State Univ.
"If I wanted a 'job,' I'd have gone music ED, thank you very much!"

---------------------------------------------------------

From: Opusnandy@aol.com
Date: Sat, 12 Jun 1999 13:51:20 EDT
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com

How is your ensemble "more practical" when only 15 piccolo heckelphones and
only one octocontrabass clarinet have ever been made?

Just wondering!
Jon
-Bassoon/Contrabassoon/Heckelphone/Sarrusaphone/Didjerido/Busch Pfief
---------------------------------------------------------
 

From: "Sarah Cordish" <cordish@internet-zahav.net>
Subject: Re: Monster instrumentation
Date: Sat, 12 Jun 1999 21:36:49 +0300
Reply-To: contrabass@contrabass.com
 

Youthful and young-at-heart composers and orchestra managers:

Do you realize that acoustically (volume-wise) one trombone equals a
whole string section?  Two trumpets equal another string section, and
so on?  An alto trombone will drown out your clarinets.  You will need
a whole orchestra for every brasswind.  Also, a clarinet or bassoon
equals about half a dozen strings.
All that is going to be heard in these instrumentation schedules
posted so far are the brasses and maybe the piccolo.  (So it doesn't
matter whether the instruments are rare or exist or not).

Sarah
 

---------------------------------------------------------

From: CoolStu67@aol.com
Date: Sat, 12 Jun 1999 14:25:38 EDT
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com
<<
 How is your ensemble "more practical" when only 15 piccolo heckelphones and
 only one octocontrabass clarinet have ever been made?
>>

More practical doesn't mean "completely practical". I did pick a few crazy
instruments, although that's near some of these ideas. Allow to show what I
thought was a little on the strange side:
 

*The D and C together were strange, I thought, because the difference between
the two would be minimal and there would be no point in putting the two together.

Stuart
-Sax/Clarinet
---------------------------------------------------------

Date: Sat, 12 Jun 1999 12:35:16 -0600 (MDT)
From: Shouryu Nohe <jnohe@nmsu.edu>
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com

On Sat, 12 Jun 1999, Sarah Cordish wrote:

> Do you realize that acoustically (volume-wise) one trombone equals a
> whole string section?  Two trumpets equal another string section, and
> so on?  An alto trombone will drown out your clarinets.  You will need
> a whole orchestra for every brasswind.  Also, a clarinet or bassoon
> equals about half a dozen strings.

This is why you hire musicians who have a concept of the words VOLUME
CONTROL.

Typical orchestras have 3-4 Trumpets, 3-4 Trombones, and 3-4 clarinets (Bb
and bass).  Two bassoons is standard as well.  However, players of
professional orchestral calibre can play at the lightest ppp and the
loudest fffff on cue.  (Granted, some brass players are more obnoxious
than others, but even if they are reluctant to, the entire brass section
can play below an oboe or violin when called upon).

> All that is going to be heard in these instrumentation schedules
> posted so far are the brasses and maybe the piccolo.  (So it doesn't
> matter whether the instruments are rare or exist or not).

Assuming every measure of the piece is tutti, and that the brass are too
stupid to understand balance.  Give people some credit.

J. Shouryu Nohe
http://web.nmsu.edu/~jnohe
Professor of SCSM102, New Mexico State Univ.
"If I wanted a 'job,' I'd have gone music ED, thank you very much!"

---------------------------------------------------------

From: Slvrkys76@aol.com
Date: Sat, 12 Jun 1999 15:46:11 EDT
Subject: Re: Monster instrumentation
Reply-To: contrabass@contrabass.com

The whole thing sounds like an intonation nightmare...  at least in a more
problematic way than obtaining the rarer instruments.

just my thoughts,
Matthew Hanson
---------------------------------------------------------

From: "Aaron Rabushka" <arabushk@cowtown.net>
Subject: Re: Monster instrumentation
Date: Fri, 11 Jun 1999 16:01:45 -0500
Reply-To: contrabass@contrabass.com

I have usually followed Rimsky-Korsakov's orchestration book for matters of
instrumental balance. As long as we're constructing these super-orchestras
that would make Berlioz blush, what are they going to be playing?

Aaron J. Rabushka
arabushk@cowtown.net
http://www.cowtown.net/users/arabushk/
 

---------------------------------------------------------

From: "Aaron Rabushka" <arabushk@cowtown.net>
Subject: Re: Monster instrumentation
Date: Fri, 11 Jun 1999 16:03:37 -0500
Reply-To: contrabass@contrabass.com

What is an "oboe da gamba"? I realize that this is Italian for "leg oboe,"
but what are the specs of the instrument, and who uses it?

Aaron J. Rabushka
arabushk@cowtown.net
http://www.cowtown.net/users/arabushk/
 

---------------------------------------------------------

From: Bret Newton <jbnbsn99@hotmail.com>
Subject: Re: Monster instrumentation
Date: Sat, 12 Jun 1999 15:07:37 PDT
Reply-To: contrabass@contrabass.com

In response to the question of where can one find music for an ensemble of
this size I may be able to help.  For the past year I've been working on a
massive symphony that would include many of these instruments.  Of course,
out of shear common sense I tried not to over do it.  i have tried to keep
it in the confines of all logical members of each instrumental family
excluding many that are rare or just absurd.  The ensemble will total around
350 members and probably will never get proformed.  But, at any rate here is
the complete instrumentation:


In addition to this already large group there will probably be 4 extra brass
groups.  An off stage group of 2 alto horns and 2 baritone horns, 2
antiphonal groups of 3 Eb trumpets and 3 trombones (or euphoniums) each, and
a group behind the audience of 4 c trumpets.  As you can see i tried to
create an ensemble that uses the richness of a full section of kindred
instruments without using every member especialy the rare or extinct ones.
There may occasionaly be an exception to the rule but with all good music
one can always these exceptions and that may be the entire reason the I
write for such a large ensemble, the hope of seeing these unique instruments
playing together in one ensemble.

Bret Newton
_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

 
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