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Date: Wed, 29 Aug 2001 21:12:18 -0700
From: "David F."
Subject: [CB] tarogatoThank you Timothy
If anyone has or knows of pictures or knowledge of who would
be able to re-incarnate these larger Tarogato Please post
that info.Was shunda the maker or a designer like Sarrus was?
I've heard that there are still makers who have the original
patterns, knowledge and tooling.whatever anyone knows about these, just speak up.
David F
original quote
> The tarogato was originally a shawm-like Hungarian folk instrument,
> played with a double reed. It was redesigned with "modern" keywork
> (a simple system) a single-reed mouthpiece by Schunda (Budapest) in
> the mid-1890s. As far as I know, the Bb soprano version is the only
> size made, but I imagine that a bass or contrabass version would be
> pretty interesting :-)There was an Eb alto size made, and I think a few others...
maybe a C soprano, and maybe a rare straight Bb
tenor. But the Bb Soprano was the standard size.- Timothy Tikker"
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---------------------------------------------------------Date: Thu, 30 Aug 2001 10:57:58 -0700
From: Grant Green
Subject: Re: [CB] tarogato
>Was shunda the maker or a designer like Sarrus was?
According to Langwill's, Schunda was a family of woodwind and brass
instrument makers in Budapest, Josef, Franz, and Wenzel Josef
Schunda. WJ Schunda established a firm from 1871 to 1944 (taking
over from his brother Josef), later joined by his son Karl. The firm
dissolved in 1944. Langwill's doesn't mention any successor
(probably not uncommon, considering the war), but does say that Gyula
Kaldy collaborated with WJ on the design of the modernized tarogato.
No other information was provided.It appears that neither Schunda nor Kaldy filed for patent coverage
on the tarogato, although other patents are listed for Schunda. From
the bare details available, it sounds to me like Schunda was the
primary maker and designer, and that Kaldy contributed ideas or
suggestions.I think that Sarrus is credited only with providing an idea or
suggestion to make the sarrusophone, while Gautrot did all the actual
design and construction. It is noteworthy that Gautrot's name
appears on the sarrusophone patents, while Sarrus's name does not.Grant
BTW, A. Benade's "Fundamentals of Musical Acoustics" has interesting
observations about the tarogato and the way that its timbre changes
with increase in dynamic level. -GDG++++++++++++++++++++++++++++++++++++++++++++++++
Grant Green http://www.contrabass.com
Professional Fool -> http://www.mp3.com/ProFools
++++++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------Date: Thu, 30 Aug 2001 13:00:00 -0700
From: Grant Green
Subject: Re: [CB] Things That Go Bump in the Night
>Our main problems lie in two areas - a composer is not credited on the
>parts (nor is a publisher), and we have no score. Does anyone here have
>any experience with this work? If you do, could you shed some light on
>it, as to composer, or where we can get a score? (As the TA, if we don't
>find the score, the responsibility of making a score falls to ME.
>*smirk*)Can't say I've heard of it before, but it is in the JW Pepper
database online (see http://www.jwpepper.com). Searching for the
title returns:
"THINGS THAT GO BUMP IN THE NIGHT ( BOCOOK )
Band CONC BAND ....Grade-3
Hal Leonard Corporation
arr. Jay Bocook. A ghoulish and sinister concoction that will delight
any audience! Jay's scary medley includes several musical nightmares
that your students will love to play. Tales From The Crypt; Psycho;
Jaws and several other unnerving moments lurk in the darkness!"$50 for the full package: they don't list a separate score.
SheetMusicPlus (http://www.sheetmusicplus.com) lists pretty much the
same information, at the same price.Enjoy,
Grant
++++++++++++++++++++++++++++++++++++++++++++++++
Grant Green http://www.contrabass.com
Professional Fool -> http://www.mp3.com/ProFools
++++++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------Date: Thu, 30 Aug 2001 13:06:27 -0700
From: Grant Green
Subject: Re: [CB] New Page
>Yeah, I was wondering if you would want any from me too. It's one
>of the "short" kinds. It's not real amazing: Vito. Can't remember
>the serial off the top of my head. Probably a student horn. While
>I'm questions, do you want any pictures of me playing the new LA
>contra?All pictures accepted :-) If many people are interested, perhaps
I'll set up a "gallery" for each horn. You can send me scanned
images by email, or ask me off-line for my mailing address if you'd
rather send photographs.Sound files also accepted :-)
Grant
++++++++++++++++++++++++++++++++++++++++++++++++
Grant Green http://www.contrabass.com
Professional Fool -> http://www.mp3.com/ProFools
++++++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------Date: Thu, 30 Aug 2001 13:15:08 -0700
From: Grant Green
Subject: Re: [CB] yet another sax question
>Does any one know what the difference is between the common
>saxophones used today and the type suited for orchestral playing
>which are hard to find (i.e. c-melody tenor)? I mean structural
>design, sound, and playability.
>
>Any help is much appreciated. ThanksAs far as I know, the original "orchestral" saxophones (F sopranino,
C soprano, F alto, C tenor, F bari, C bass) differed from the "band"
saxophones of that time only in key. The original orchestral
versions would probably have been "early" saxophones, with two
separate register keys (rather than today's single, automatic octave
key), range to low B natural, keywork to high Eb (I'm not sure when
the extension to high F happened), etc. I understand that the shape
of the bore was also somewhat different (for all saxophones),
manufacturers having altered the bore to project more in jazz.C and F saxophones were made after that period as well, although not
necessarily for orchestral use. It is not difficult to find C
sopranos and C melody saxophones today (although I don't think anyone
is currently making new saxophones in C). The "F mezzosoprano" is,
of course, a different matter... My guess is that they're all pretty
much of equal quality with their contemporaries (keeping in mind how
saxophones have evolved over the decades), with the exception of the
C melody. Many C melody saxophones were made for the amateur market
that were decidedly below the general standard of the day.Perhaps Paul Cohen would like to weigh in here?
Grant
++++++++++++++++++++++++++++++++++++++++++++++++
Grant Green http://www.contrabass.com
Professional Fool -> http://www.mp3.com/ProFools
++++++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------Date: Thu, 30 Aug 2001 13:16:11 -0700
From: Grant Green
Subject: Re: [CB] New Page
>Would you like a picture of my bass sax to put on the page? I think it's the
>only gold-plated Conn 14M bass keyed to high-F, and it's rather picturesque,
>if not 100% playable at the moment...
>
>MichaelSure Michael, send it on in :-)
Grant
++++++++++++++++++++++++++++++++++++++++++++++++
Grant Green http://www.contrabass.com
Professional Fool -> http://www.mp3.com/ProFools
++++++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------From: Heliconman
Date: Thu, 30 Aug 2001 18:38:34 EDT
Subject: Re: [CB] tarogatoIn a message dated 8/30/01 2:03:15 PM Eastern Daylight Time, gdgreen writes:
> I think that Sarrus is credited only with providing an idea or
> suggestion to make the sarrusophone, while Gautrot did all the actual
> design and construction. It is noteworthy that Gautrot's name
> appears on the sarrusophone patents, while Sarrus's name does not.Isn't this similar to the way John Philip Sousa provided the idea for the
sousaphone and it was probably created mostly by J.W. Pepper?
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