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| Contrabass-L: a list for discussion of contrabass *anything*|
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EDITOR'S NOTE: Let's welcome new subscriber Michael David Ricketts (Mickey)!
From: A Myers <am@tattoo.ed.ac.uk>
Subject: Dullat Book etc.
To: Contrabass-L <gdgreen@crl.com>
Date: Wed, 17 Jul 96 9:07:51 BST
Francis Firth wrote (12.7.96):
> I am sure that Dullat's book was published post-1976 and it is likely
> that he took the photographs himself.
> Still, I am sure that he wouldn't mind their being posted for a week or so.
> The book is still in print - this version is a newer edition and can be
> ordered from Bochinski. I could possibly do so for you using a Eurocheque if
> it is a problem from the US.
> The book, which looks find, is largely a self-published job and has no ISBN.
Gunter Dullat published his "Fast vergessene Blasinstrumente aus zwei Jahrhunderten: Vom Albisiphon zur Zugtrompete" in 1992. I supplied him with a number of the photographs myself; the copyright in these images is held by the University of Edinburgh.
I would think that scanning the photographs and re-publishing them without permission was actually illegal, and certainly a discourtesy without asking Dullat (who himself paid good money to obtain the reproduction rights) and the suppliers of the pictures. The book gives clear acknowledgements of the sources.
Arnold Myers
------------------------------------------------------------------------
Edinburgh University Collection of Historic Musical Instruments,
Reid Concert Hall, Bristo Square, EDINBURGH EH8 9AG, Scotland
Fax: +44 (0) 131-650 2425 (Faculty of Music)
E-mail: A.MYERS@ED.AC.UK
Web URL: http://www.music.ed.ac.uk/euchmi/
------------------------------------------------------------------------
Arnold,
I think I respect the copyright laws (although I see on reflection that I've neglected to provide proper attribution on the images). There is an exclusion called "fair use", under which limited, non-commercial/non-profit use is sanctioned, even without permission. I have attempted to limit my use as much as possible, by abstracting only two images from the entire book, by (any second now) providing proper attribution, and by not deriving any commercial gain from the copies. Also, as mentioned before, I'm not leaving them on the web: I plan to remove the image files (and links) by the end of the week. Under the circumstances, I think the offense should be minimal.
BTW, I discovered that fractal images (FIF files) have to be specifically enabled by the web server (my ISP's machine, in this case). I've asked the ISP to make the changes (which involves adding one line to their list of MIME types). Until then, the FIF images won't display properly, even if you have the right plugin or helper application. Sorry!
Grant
From: Michael David Ricketts <mickeyr@usit.net>
Date: 18 July 1996
Well, I guess (being a new member) that it's time for my
introduction.
Here goes...
I'm not what you would call an "experienced" musician. My name is Mickey Ricketts, and I am a senior in high school in Savannah, Tennessee. In the 7th grade I began playing alto sax (my director wanted me to play trombone) and imediatly became jealous of the guy who played tenor because he could play lower than I could :). I vowed to one day play a lower horn. My freshman year of high school I got my chance and began playing the tenor sax during marching season. As concert season rolled around, we started up our jazz band. My director asked if I would be interested in playing baritone sax in it and I jumped on the opportunity.
At the end of my freshman year, I became interested in double reed instruments (bassoon, in particular) and decided to learn how to play one. I was pretty sure the band owned a bassoon, so I asked my director if I could take it home over the summer and learn to play it. He warned me that it would be difficult to find anyone to help me around our area, and that I would have to use books and lots of practice to learn. He thought it was a good idea, though, and that summer I taught myself to play the bassoon.
Ever since, I have tried to dig up all the information I could on this interesting instrument, as well as the contra-bassoon. Last summer, I attended a summer program at a college in Dallas and had the opportunity to speak with a bassoonist in the orchestra there. She was actually back in school to get her master's degree in bassoon. It was here that I first saw (and heard!) the contra-bassoon. I was hooked! I asked my band director for all the literature he had on woodwinds. In the books he gave me, I found the names and pictures of instruments I had never heard of or seen before, the sarrusophone and the hecklephone (I think that's how to spell it :)
The only instruments of the LOW kind I have ever actually seen in real life are: the bassoon (of course), the bass and contra-bass clarinets (I sit next to them), the contra-bassoon, and the baritone and bass(once) saxophones. Being mainly a sax player,I have always wanted to hear a bass and contra-bass saxophone. If anyone has a recording of these, please let me know. A Wav file would be best.
Well, I guess that's it. I didn't realize I was getting so long-winded :) I am looking forward to my first issue, and will be interested in the information (and just plain fun) that comes from it.
Mickey:mickeyr@usit.net
Welcome aboard!
Actually, bass saxophone isn't that hard to find. There is at least one bass sax player on this list! For commercial recordings of bass and contrabass sax, I'd recommend the Nuclear Whales. Their two most recent CDs have both bass and contrabass sax, while the earlier CDs have just bass sax (well, bass + all the other saxes). The Nuclear Whales are all sax, and play a variety of styles from classical to ragtime to jazz to (a little) avant garde.
I just found a CD by Roscoe Mitchell and the Sound and Space Ensembles (self titled), which includes bass sax and contrabass sarrusophone (on the same track, no less), as well as Conn-O-Sax (F mezzo). The CD is published by Black Saint, BSR 0070 CD (1984). The full personnel/instrumentation is:
Six tracks. Interesting stuff, if a little "outside". The sarrusophone and bass sax occur only on the second track, and it isn't easy to tell them apart the way they're played (at least, not on the little speakers here in my office).
Grant
End Contrabass-L No. 19