Vol. 5, No. 13

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Contrabass list Wed, 11 Mar 1998 Volume 1 : Number 13

In this issue:

Date: Mon, 09 Mar 1998 10:45:39 PST
From: "Mats 0ljare" <oljare@hotmail.com>
Subject: Compositions_

Since so many seem to be interested in compositions written specifically for cbcl/cfag/etc. ,you might read my list of planned compositions for the next years_

Interested??Mats öljare
Composer, baritone saxophonist, multimedia artist etc.
http://www.angelfire.com/mo/oljare oljare@hotmail.com

Date: Tue, 10 Mar 1998 14:16:41 +0000
From: Francis.Firth@uce.ac.uk
Subject: Concert Report

Dear all,

I thought you might be interested to hear about a recital I went to last Sunday:

It was one for children entitled Buffoonery and was in effect a lecture recital given by Richard Moore a British bassoonist Apart from some bassoon pieces he played a Serenata by a composer called Lickl (arranged from a cor anglais piece) on his modern tenoroon - one of the first such modern instruments to be made He played a couple of pieces on his Fox Contra as well including L'Apres Midi d'un Dinosaur originally written for bassoon

He also played a few notes on his sarrusophone. Afterwards he let me have a blow on it and I found it very free blowing and had quite a good tone, at least in its fundamental register. It was a Conn Eb contrabass. Chatting together he said that it had recently been used in the film score for Tombstone (I think that it was called)

He also said that he had lent it to another player recently for a recording by the Scottish Philharmonic? or a symphony by Panufnik which apparently includes parts for 3! sarrusophones! Does anyone know anything about this symphony which I am about to start checking up on?

He also had his Great bass Rackett with him to show the kids as well as a tenor rackett and an octave bassoon

Francis Firth


Date: Tue, 10 Mar 1998 18:07:49 -0800
From: Grant Green <gdgreen@contrabass.com>
Subject: Re: Compositions

At 10:45 AM 3/9/98 PST, Mats wrote:

>Since so many seem to be interested in compositions written specifically
>for cbcl/cfag/etc., you might read my list of planned compositions for
>the next years
>Omega-for tuba, euphonium & piano
>Passage-for heckelphone & string quartet
>(yet untitled)-for contrabassoon, contrabass clarinet & percussion
>A Journey-ballet music for orchestra, including cbcl, cfag, bass
>saxophone, bass flute and(maybe)heckelphone.


>Mats Öljare

Yep. Do you have players lined up yet? Need a place to post the recordings? ;-)


Date: Tue, 10 Mar 1998 18:30:21 -0800
From: Grant Green <gdgreen@contrabass.com>
Subject: Contrabass LA Sax


Just noticed that LA Sax is having a few more of its "Meet the Contra" days. March 25th-28th at Evanston, IL (Northwestern U.), and New York City Brass Conference on March 27-29th (I'm not sure if that includes the saxes or not). More details at http://www.lasax.com/tryit.htm .



Date: Tue, 10 Mar 1998 22:09:14 EST
From: CoolStu67 <CoolStu67@aol.com>
Subject: Bass Clarinet register keys

On a bass clarinet, what is the difference between a double and single register key?


Date: Wed, 11 Mar 1998 10:08:28 -0800
From: Grant Green <gdgreen@contrabass.com>
Subject: Re: Bass Clarinet register keys

At 10:09 PM 3/10/98 EST, Stuart wrote:

>On a bass clarinet, what is the difference between a double and single
>register key?

Well, this can mean two different things. Most of the time, "double" means that when you hit the register key (aka the octave key), either of two register vents will open, depending on what note you're playing. On my contra, the first vent opens for notes B (3rd line TC) to D# (4th line TC), and the second vent opens for notes above that. If you have a "single" register key, there's only one register vent. A double vent is considered superior, as it helps the second octave to speak better. All saxophones have double register keys, and most (if not all) of the better bass clarinets.

Sometimes there are two vents, but they're operated by separate keys. These are found pretty much only on older instruments (like my first contra). If you're looking at an older bass clarinet, it would be a good idea to ask if the instrument actually has two separate keys or one "automatic" register key. Oboes typically have two register keys, and sometimes three (the third being for altissimo), although some European makes use a single fully-automatic register key.

Of course, sarrusophones have essentially three register keys (one for D and D#, a second for E to G and the altissimo above d, and a third for G# to D).


End of list V1 #13

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