From: "Joseph Dorsch"
Subject: [CB] Genesis Concert
Date: Sat, 28 Aug 2004 00:57:27 +0000
Hello All,
I am just curious as to if any of you recieved your Genesis
Concert Cds yet.
Thank you,
Joe Dorsch
Hickory, NC
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From: sande hackel
Date: Fri, 27 Aug 2004 21:12:06 EDT
Subject: Re: [CB] string bass solo tuning
can some one fill me in on the solo tuning for the string bass?
Would most basses NOT be able to be tuned in the solo tuning? Would a
bassist require a specialized instrument for solo tuning?
sande hackel
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From: Richard
Date: Fri, 27 Aug 2004 21:27:08 EDT
Subject: Re: [CB] string bass solo tuning
In a message dated 8/27/04 9:13:23 PM Eastern Daylight Time,
sande hackel writes:
<< can some one fill me in on the solo tuning for the
string bass? Would most basses NOT be able to be tuned in the
solo tuning? Would a bassist require a specialized instrument for solo
tuning? >>
Solo tuning for the string bass is one-step higher than
normal. This the strings are tuned A-E-B-F#. These are a
different set of strings than for normal playing, although they can be
tuned down a step (I had to do that on a bass I owned in which the neck
had broken several times, and my repairman thought that it would do
better with less tension on the neck). The solo part is written
as bass music normally is, but will sound one-step higher. Thus
for a solo piece in E Major, the solo bass part will be written in the
key of D Major (and sounding one step higher in E).
Theoretically, any bass should be able to be tuned to solo
tuning (with the appropriate strings). But some bass players like
to keep one instrument set up with solo strings (especially if they do
a lot of solo pieces with this tuning), and another bass with standard
orchestral tuning (It really is a major hassle to have to switch
strings from one set to another). Also, the instrument they use
with solo tuning might often be a bit smaller than their orchestral
bass, thus emphasizing the higher solo register than the lower
orchestra register. It's also easier to get further up the
fingerboard on slightly smaller instruments.
If the transposition, think of the solo bass as a bass in D (not
unlike a trumpet in D), the sounding note is one-step higher than
written.
Richard
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From: Richard
Date: Fri, 27 Aug 2004 23:10:46 EDT
Subject: [CB] Bari Sax intonation question
I have a bari sax intonation problem, and it's driving me
crazy. Perhaps somebody out there has some ideas on how I can
solve it.
I'm primarily a bassoon/contrabassoonist, but was also a double
(bassoon/saxophone) major in graduate school, so I'm not one of those
doublers who is sort of vague on the doubles. I have a Yamaha
YBS-52 bari, which is about 25 years old. I don't really play it
that much, an occasional musical or big band gig, or a few weeks in the
summer in a park band. It's in good condition and seals well down
to the Low A. When I play it with the stock Yamaha, a Meyer #7,
or an Otto Link #5M mouthpiece, the overall pitch of the horn is fine -
few notes require much favoring to be in tune. But when
try to play with my favorite mouthpiece, and old Selmer C* with the
half-round chamber, the whole horn plays about 1/4 step sharp. To
bring the pitch down to acceptable levels, I have to pull the neck out
of the body, and the mouthpiece on about 3/8-1/2" of cork. I feel
like the mouthpiece is ready to drop off. Even then, I have to
really relax all facets of the embochure to get the pitch down.
The Otto Link mouthpiece is really too bright for this horn, and while
the Meyer has a more rounded sound, it's still a bit bright for my
tastes. The Selmer mouthpieces (I have 2 almost identical ones)
give a nice dark sound, but the pitch thing negates that. For
what it's worth, I'm using LaVoz Medium reeds on the Link & Meyer
mouthpieces, and Van Doren # on the Selmers - anything softer and
I feel like there is no resistance at all.
One of the orchestras in which I play bassoon/contra, is doing
"An American in Paris" in early October, and I'm playing bari
sax. I think the tone quality of the Meyer would be too bright,
but the pitch of the Selmers would be out of the questions. Any
suggestions would be greatly appreciated..
Richard Spittel
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Date: Sat, 28 Aug 2004 07:07:55 -0400
From: Paul Lindemeyer
Subject: Re: [CB] Bari Sax intonation question
Richard Spittel wrote:
>I have a bari sax intonation problem, and it's driving me
crazy. Perhaps
>somebody out there has some ideas on how I can solve it.
>[...]
>One of the orchestras in which I play bassoon/contra, is
doing "An American
>in Paris" in early October, and I'm playing bari sax.
I think the tone quality
>of the Meyer would be too bright, but the pitch of the
Selmers would be out
>of the questions. Any suggestions would be greatly
appreciated..
Orchestra + saxophone + too bright + too sharp = You've just got
to try a Ron Caravan or Sigurd Rascher mouthpiece. They have the
biggest chambers going and will play quite a bit flatter. Also -
they're designed for a much darker, "blending" tone quality (the
Caravan specifically for orchestral work).
Both these pieces come out of a contrarian school of classical
saxophone teaching, so they're not stocked in most music stores, being
marketed for the most part by word of mouth. Your quickest bet might be
to try weinermusic.com or classicsax.com.
HTH -P.
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Date: Sat, 28 Aug 2004 14:27:22 -0700
From: Jaron Lanier
Subject: Re: [CB] [CB Digest]
test
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