From: Michael Jolivet
Date: Sun, 14 Nov 2004 21:27:29 EST
Subject: Re: [CB] Big Horn Recital announcement in Seattle
RATS!!!!!! Sara and I are playing a Philharmonia NW
concert which starts at 2:30pm. I am so sorry that we can't
attend but our thoughts are with you.
Of course, it will be fabulous!
In the very near future we must get together
here to look at sarrusophones and arcane instrument ephemera!!!
Probably after your recital!!!
Michel
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From: "Merlin Williams"
Subject: [CB] Fw: Caliban Quartet concert coming up
Date: Sun, 14 Nov 2004 23:08:22 -0500
Caliban Quartet concert coming up
Caravan Mouthpiece Dealer
Mouthpiece Refacer
Jupiter Saxophone Artist/Clinician.
----- Original Message -----
From: Fraser Jackson
Sent: November 13, 2004 7:35 PM
Subject: Caliban Quartet concert
coming up
The Caliban Quartet of Bassoonists is
pleased to announce their first Toronto appearance since January of
2000!
The Glenn Gould School of the Royal
Conservatory of Music presents the first concert of their 2004-2005
Great Artist Series
The Caliban Quartet and Fabulous
Famous Friends
- Nadina Mackie Jackson, Kathleen McLean, Christopher Millard:
bassoons
- Fraser Jackson: bassoon & contrabassoon
- Mark Duggan: percussion
with
- Stephen Sitarski: violin
- Joseph Petric: accordion
Music by
Shostakovich, Raymond Scott, Harold
Arlen, Vit Zouhar, Mathieu Lussier, Stravinsky, Alfredo Casella, HK
Gruber, Astor Piazzolla, Michael Nyman, Cameron Tingley and Erich
Korngold
With two exceptions, this is all
brand new music never heard before in a Caliban concert!
Sunday, November 21, 2004 at 3:00 pm
The Chapel of Royal St George's
College
120 Howland Ave, Toronto
(near Dupont and Bathurst)
Tickets $15 and $10
Available at the Royal Conservatory
of Music Box Office
273 Bloor St West, Toronto
416-408-2824, ext.321
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Date: Mon, 15 Nov 2004 13:46:27 +0000
From: David Grosvenor
Subject: Re: [CB] [CB Digest]
List Server wrote:
>Periodically on the tuba list, there's a discussion of tuba "pedal
tones";
> that is, the 28 Hz tone that can be played on a BBb
instrument, and, by
> using the valves, descend to almost the 16 Hz C (or the 14
Hz BBb in the
> case of a 5-valved instrument). Many players seem to
take umbrage when
> it's pointed out that the resulting tones, although
sounding very low,
> have almost no energy in the fundamental frequency--the
"low" note is
> primarily the smoke and mirrors of upper harmonics fooling
the acoustic
> mind into believing that there's a low frequency in there
somewhere (a
> trick sometimes exploited by organists--using a 16' and a
10 2/3' quint to
> give the impression of a 32' stop).
On a compensated 4 valved (or a non-compensating 5-valved) BBb
contrabass tuba the full length of tubing is 34 feet. That's the main
tubing plus all the valve tubing. That note produces the B
natural just below "32 foot C" and is a good playable note. I can
produce a good sound, (although only fairly quietly - about mp is the
limit!) and the note is very useful if doubled at the 8ve and 15th, the
same as the lowest pedal notes of the organ. They're not a lot of
musical use unless they're doubled at the octave and double octave, but
if they are doubled, they're
tremendous! So although tuba players can just invade the so -called "64
octave", it's only just. Only a semitone below "32 foot
C". And I can only manage the last three or so notes (C
sharp, C natural and B natural) if I'm really
warmed up!
David Grosvenor
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From: "Joseph Dorsch"
Subject: RE: [CB] [CB Digest]
Date: Mon, 15 Nov 2004 14:21:01 +0000
I have the wonderful pleasure of playing EEb and BBb contrabass
clarinets (not at the same time of course) on this Fall's Concert Band
Concert at Lenoir-Rhyne College in Hickory, NC. It is on Nov. 16
at 7:30. We're playing some neat stuff this semester, especially
the Lochinvar piece (lot's of low Eb's in that one). Below is the
Program if anyone is interested:
The Gallant Seventh March---John Phillip Sousa
Introduction, Theme and Variations---Gioachino Rossini
Stephanie Esposito, Clarinet
Pineapple Poll---Arthur Sullivan Arr. Mackerras / Duthoit
Opening
Number
Jasper’s
Dance
Poll’s
Dance
Finale
Salvation is Created---Pavel Tschesnokoff Arr. Bruce
Houseknecht
Lochinvar---James Curnow
Radio Waves March---Fred Jewell Arr. Timothy Rhea
Thank you,
Joseph Dorsch
Administrative Assistant/Recording Technician
Lenoir-Rhyne College
School of Fine Arts
Box 7355
Hickory, NC 28603 USA
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From: "Jay and Adrienne Easton"
Subject: [CB] contrabass fute/pipe organ
Date: Mon, 15 Nov 2004 10:41:19 -0800
Here's a question that is tangentially related to the low organ
pipes topic, and perhaps someone with knowledge of organ acoustics will
have an answer.
While attending a flute choir concert held in a church, I
noticed that the contrabass flute was barely audible from my seat in
the back row while it was playing a solo passage. However, when the
bass flutes (and eventually the rest of the ensemble) were added in,
the low notes of the contrabass flute became very present and easy to
hear, and seemed much louder. It was as if the fundamental had been
there all along, but needed the other instruments to fill out the
overtones to "complete" the low tones.
This seems to be related to the way you might never actually
distinctly hear a contrabass clarinet or string bass in a concert band,
but if either of those instruments is present and stops playing, the
sound of the entire ensemble changes.
This "amplification" effect seems most pronounced when a soft
contrabass instrument is doubled at the octave (or fifteenth) by
another instrument. Can anyone explain how this works?
Jay
***End of Contrabass Digest***