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The last 50 postings to Klarinet:
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Subject: [kl] Re: Wind quintet Peter and the Wolf? Subject: Re: [kl] Wind quintet Peter and the Wolf? Subject: [kl] Messiah and Mozart Subject: [kl] Wind quintet Peter and the Wolf? Subject: [kl] Re: Messiah and Mozart Subject: [kl] Re: Wind quintet Peter and the Wolf? Subject: Re: [kl] Re: Wind quintet Peter and the Wolf? Subject: [kl] Basset Horn Repair in Michigan Subject: Re: [kl] Basset Horn Repair in Michigan Subject: Re: [kl] Basset Horn Repair in Michigan Subject: [kl] Need help from someone in Israel Subject: Re: [kl] Re: Wind quintet Peter and the Wolf? Subject: Re: [kl] Buffet oboes and clarinets/grenadilla info Northern CA Subject: [kl] Need help from someone in Israel Subject: [kl] Moonwinds Subject: Re: [kl] Buffet oboes and clarinets/grenadilla info Northern CA Subject: Re: [kl] Basset Horn Repair in Michigan Subject: Re: [kl] Basset Horn Repair in Michigan Subject: Re: [kl] Need help from someone in Israel Subject: Re: [kl] Moonwinds Subject: Re: [kl] Basset Horn Repair in Michigan Subject: [kl] My thanks Subject: [kl] Peter and the Wolf Subject: [kl] Re: Magnus Lindberg chamber music repertoire query Subject: [kl] Putnam County Spelling Bee Subject: [kl] Gunnar de Frumerie Subject: [kl] grenadilla and Buffet clarinets, saxophones, oboes Subject: RE: [kl] Re: Magnus Lindberg chamber music repertoire query Subject: [kl] Re: Der Fledermaus transpositions Subject: Re: [kl] Re: Der Fledermaus transpositions Subject: [kl] Supporting Composers Subject: RE: [kl] Supporting Composers Subject: [kl] Music for Clarinet and Voice (Soprano) Subject: Re: [kl] Music for Clarinet and Voice (Soprano) Subject: Re: [kl] Music for Clarinet and Voice (Soprano) Subject: Re: [kl] Music for Clarinet and Voice (Soprano) Subject: Re: [kl] Music for Clarinet and Voice (Soprano) Subject: [kl] Pad Thickness Buffet B12 Subject: Re: [kl] Pad Thickness Buffet B12 Subject: RE: [kl] Pad Thickness Buffet B12 Subject: Re: [kl] Pad Thickness Buffet B12 Subject: Re: [kl] Pad Thickness Buffet B12 Subject: RE: [kl] Pad Thickness Buffet B12 Subject: Re: [kl] Music for Clarinet and Voice (Soprano) Subject: Re: [kl] Pad Thickness Buffet B12 Subject: Re: [kl] Pad Thickness Buffet B12 Subject: RE: [kl] Pad Thickness Buffet B12 Subject: [kl] Re: Music for Clarinet and Voice (Soprano) Subject: [kl] Text or software to help develop musical understanding? Subject: Re: [kl] Text or software to help develop musical understanding?
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Subject: [kl] Re: Wind quintet Peter and the Wolf? From: Brent Eresman <beresman2003@-----.com> Date: Fri, 13 Nov 2009 10:45:00 -0500 It's not exactly what you're looking for, perhaps, but try the Aria and Quodlibet by Arne Running: http://www.arnerunning.com/woodwindquintet.html There's a sound clip so you can hear it. Tom McKay wrote: Does anyone know of a good wind quintet arrangement of excerpts from Peter and the Wolf (and where to get it)? Tom McKay ------------------------------------------------------------------
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Subject: Re: [kl] Wind quintet Peter and the Wolf? From: Fred Jacobowitz <fbjacobo@-----.net> Date: Fri, 13 Nov 2009 12:54:37 -0500 I played in a woodwind quintet for a few years, and the horn player was a composer. He did what I think was a pretty good arrangement. His name is Charles De Paul. His email is counterpointband@-----. Fred Jacobowitz CASE CLOSED Musical Instrument Case Repair Service Kol Haruach Klezmer Band Ebony and Ivory Duo You don't get harmony when everybody sings the same note. ~Doug Floyd On Nov 12, 2009, at 10:03 PM, Thomas J McKay wrote: > Does anyone know of a good wind quintet arrangement of excerpts > from Peter > and the Wolf (and where to get it)? > > Tom McKay > > > ------------------------------------------------------------------ > ------------------------------------------------------------------
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Subject: [kl] Messiah and Mozart From: "Clinton F. Nieweg" <proofferr@-----.net> Date: Fri, 13 Nov 2009 15:20:06 -0500 The available orchestra editions as of 11/2009, per the EDUCATIONAL = MUSIC SERVICE (EMS) database: =20 HANDEL, George Frideric (1685-1759) Title: Messiah for Solo Voices, Chorus And Orchestra - HWV 56 (date = 1741) dur ca. 150' Messiah (Beecham/ arr. Goosens). Pub: MERIDEN / agent T. Presser King of Prussia PA. =20 large score & orchestra material on rental 3[1.2.3/pic] 4[1.2.3.4/Eh] 2[1.2/bcl] 3[1.2.cbn] =97 4 2 3 1 =97 = tmp+3perc =97 Hp =97 str =97 Soli SATB, SATB Choir http://www.meridenmusic.co.uk/goossens.html=20 ------------------ Messiah (Mozart's arrangement, K. 572) (E). Publr: EDWIN F. KALMUS Reprt: C.F. PETERS A2610 large score 125.00 =20 Parts for sale=20 2[1.2/pic] 2 2 2 - 2 2 3 0 =97 timp =97 org/basso continuo =97 = str(2.2.1.1.1) =97 soli SATB, chorus ----------------------- Messiah (Mozart transcriber, Prout editor). (E) Publr: EDWIN F. KALMUS Reprt: G. SCHIRMER A2611 large score 175.00 =20 Parts for sale =20 2, 2, 2, 2 - 2, 2, 3, 0, timp, org, pf[cembalo], str (2.2.1.1.1), soli = SATB, SATB choir -------------------------- Messiah (Prout - Coopersmith) Publr: CARL FISCHER O354 =20 Orchestra materials now on rental from T. Presser King of Prussia PA. 2 2 2 2 =972 2 3 0 =97 tmp., =97 hpsd =97 org =97 str =97 Solo SATB = voices; SATB chorus -------------------------- Messiah (Urtext) (reprint ed. Schering, Soldan) (E-G). Publr: EDWIN F. KALMUS Reprt: C.F. PETERS A2612 large score 125.00 =20 Parts for sale =20 0, 2, 0, 1 - 0, 2, 0, 0, timp, hpchd, org, str (2.2.1.1.1) soli SATB, = SATB chorus ---------------------- Messiah (Urtext) (Schering - Soldan) (E-G). Publr: C.F. PETERS P04500 large score 130.00=20 Parts for sale =20 0 2 0 1 =97 0 2 0 0 =97 Tmp =97 Org =97 Str =97 SATB Soli=97SATB Chorus -------------------------------- Messiah (Urtext) (critical edition) (E-G). Text von Charles Jennens. Deutsche=20 Textfassung von Konrad Ameln (engl/dt). Urtext der Hallischen H=E4ndel- Ausgabe (J. Tobin) Publr: BAERENREITER VERLAG BA04012 large score (E-G) (cloth) 269.00 =20 Parts for sale =20 0 2 0 2 =97 0 2 0 0 =97tmp =97 cembalo =97 str. =97 Soli (SAATB), Chor = (SSATB) ---------------------- Messiah (Urtext) (Koopman/Siemons) (E-G). Publr: CARUS VERLAG CV55056/00 large score (cloth) 206.00 Parts not yet listed 0 2 0 2 =97 0 2 0 0 =97 tmp =97 2 Vl, Va, Bc =97 Soli SATB, Coro S(S)ATB http://www.carus-verlag.com/index.php3?BID=3D835 =20 ------------------------ Messiah (Urtext) (Mann). Publr: RUTGERS UNIVERSITY DOCUMENTS OF MUSIC JR061 large score 60.00 =20 Parts for sale=20 0 2 0 0 =97 0 2 0 0 =97tmp =97 org =97 str. =97 Soli (SAATB), Chor = (SSATB) --------------------- Messiah (Urtext) (new edition) (Bartlett). Publr: OXFORD UNIVERSITY PRESS OX336667-3 large score (paper) 59.95 =20 Parts for sale ------------------ Messiah (Urtext) (Watkins Shaw) (E). Publr: NOVELLO NOV090074-15 score (paper) & set (incl 2,2,2,1,1) 185.00=20 Parts for sale =20 0 2 0 2 - 0 2 0 0 -tmp -org - str - Soli SATB - SATB chorus=20 ---------------------- Messiah (Urtext) (Leonard Camp, Charles Jennings) (E). Publr: ROGER DEAN LOR30/1026R large score 150.00 =20 Parts for sale O 2 0 2 =97 0 2 0 0 =97tmp =97str=97 SATB ----------------- (arr Larry Pugh) (E). Publr: Lorenz PP84 score and set 175.00 2 1 0 1 =97 0 2 0 0 =97tmp =97 str =97SATB PP85 String orchestra edition Conductor's Score, str parts (1,1,1,1,1) - 125.00 --------------- Messiah (arr. Zanon) Publr: Ricordi S.P.A. =20 Score and parts on rental 0 2 0 2 =97 0 2 0 0 =97 Tmp, cont =97str =97 SATB soli, SATB Chorues=20 =3D=3D=3D=3D=3D=3D=3D ------------------------------------------------------------------
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Subject: [kl] Wind quintet Peter and the Wolf? From: "Clinton F. Nieweg" <proofferr@-----.net> Date: Fri, 13 Nov 2009 15:32:20 -0500 Sergej Prokofjew Peter and the Wolf op.67 for Quintet of Woodwind instruments arranged by Robert Ostermeyer. 32,00 EUR (incl. 7% Tax excl. Shipping costs) http://www.corno.de/webshop/product_info.php?language=en&gm_boosted_product= rom001&products_id=6& From: Thomas J McKay Does anyone know of a good wind quintet arrangement of excerpts from Peter and the Wolf (and where to get it)? ------------------------------------------------------------------
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Subject: [kl] Re: Messiah and Mozart From: "James Leonard Hobby" <jhobby@-----.net> Date: Fri, 13 Nov 2009 23:24:49 -0500 (From the FWIW department:) Also, Messiah in Full Score, edited by Alfred Mann,, pub. 1989 by Dover Publications; originally published by Rutgers University Departments of Music in 1961, 1959, & 1965, respectivelly. Orchestra parts available through Jerona Music Corp, P.O. Box 5010, So. Hackensack, N.J. 07606. I offer this just for completeness. Supposedly, Rutgers made an extensive study of Handel's conducting score, the original parts, scores copied for other charities, etc., and this is the resulting "definitive" edition, showing Handel's wishes. As a note, there are no clarinets in it. A lot if it is vln, viola, & 'cello. (On a personal note, I find the score very difficult to read. The layout is peculiar to me. I originally bought it for my ex-wife for Christmas several years ago.) > From: "Clinton F. Nieweg" <proofferr@-----.net> > > The available orchestra editions as of 11/2009, per the EDUCATIONAL = > MUSIC SERVICE (EMS) database <snip> This Email has been scanned for viruses, courtesy of Tnets.net ------------------------------------------------------------------
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Subject: [kl] Re: Wind quintet Peter and the Wolf? From: dickwilliams <dickwilliams@-----.com> Date: Sat, 14 Nov 2009 11:37:27 -0500 Perhaps someone already mentioned it but there is a WWQ arrangement of Peter&theWolf done by M Curtis and for sale at MSS publishing (dated 1998) DW ------------------------------------------------------------------
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Subject: Re: [kl] Re: Wind quintet Peter and the Wolf? From: William Foss <billfoss47@-----.net> Date: Sat, 14 Nov 2009 13:11:48 -0500 Can you give contact info on MSS Publishing. I can not locate it on the internet. Bill Foss U.S. Army Retired USC Aiken, Woodwind Professor Director of Bands, Aiken Prep On Nov 14, 2009, at 11:37 AM, dickwilliams wrote: > Perhaps someone already mentioned it but there is a WWQ > arrangement of Peter&theWolf done by M Curtis and for sale > at MSS publishing (dated 1998) > > DW > > ------------------------------------------------------------------ > ------------------------------------------------------------------
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Subject: [kl] Basset Horn Repair in Michigan From: "Michael Bryant (TT)" <michaelbryant@-----.net> Date: Sat, 14 Nov 2009 13:26:13 -0500 An enquiry has come to me, as if on a Winter migration. Can anyone recommend a clarinet repairer in the State of Michigan with an interest in (or experience of) basset horns? Many thanks. MB ------------------------------------------------------------------
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Subject: Re: [kl] Basset Horn Repair in Michigan From: Mark Charette <charette@-----.org> Date: Sat, 14 Nov 2009 13:48:52 -0500 I would contact Meridian Winds , 2807 Jolly Rd, Okemos, MI 48864 (517) 339-7333. Just outside of East Lansing Michael Bryant (TT) wrote: > An enquiry has come to me, as if on a Winter migration. Can anyone > recommend > a clarinet repairer in the State of Michigan with an interest in (or > experience of) basset > horns? Many thanks. > MB ------------------------------------------------------------------
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Subject: Re: [kl] Basset Horn Repair in Michigan From: Mark Charette <charette@-----.org> Date: Sat, 14 Nov 2009 13:51:50 -0500 Mark Charette wrote: > I would contact Meridian Winds , 2807 Jolly Rd, Okemos, MI 48864 (517) > 339-7333. > > Just outside of East Lansing This is the contact info: Contact: Eric Satterlee 2807 Jolly Rd. Suite 300 Okemos, MI 48864 (directly across Jolly Rd. from the Okemos High School parking lot) Phone – 517-339-REED(7333) 517-351-BAND(2263) Fax - 517-339-3171 Email – bandrepair@-----.net> Directions <http://maps.google.com/maps?f=q&hl=en&geocode=&q=2807+Jolly+Rd+Suite+300,+Okemos,+MI+48864&sll=42.682861,-84.454823&sspn=0.011294,0.019312&ie=UTF8&ll=42.671519,-84.433193&spn=0.045185,0.077248&z=14> ------------------------------------------------------------------
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Subject: [kl] Need help from someone in Israel From: "Dan Leeson" <dnleeson@-----.net> Date: Sat, 14 Nov 2009 14:20:55 -0500 The first principal flutist with the IPO was Uri Toeplitz (who happened to be the son of one of the 20th century's most distinguished mathematician, Otto Toeplitz). Uri Toeplitz' son Gideon was the general manager of the Houston Symphony, and later the Boston, Pittsburg and Honolulu Symphonies. I knew Uri quite well. My wife and I visited him in Tel Aviv and he was our guest at our apartment in Eastern France a number of years ago. I've spent several hours trying to the dates of birth and death (years only) for Toeplitz and have struck out. Might someone on this list who lives in Israel either know this information or perhaps even getting it by calling the office of the IPO. Toeplitz' tenure as principal flute with the IPO began in 1938 and lasted until 1966. He was also one of the founders of the IPO and played the famous first concert conducted by Toscanini. That caused a bit of an international scandal because Toscanini had been invited by Hitler himself to conduct in Bayreuth, and he turned down the offer to conduct the first public concert of the IPO. I suspect that Hitler was a bit more than peeved. Dan Leeson ------------------------------------------------------------------
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Subject: Re: [kl] Re: Wind quintet Peter and the Wolf? From: dickwilliams <dickwilliams@-----.com> Date: Sat, 14 Nov 2009 14:41:52 -0500 Check with Oregon State University (where Mike Curtis teaches) or the IDRS page or the Forest (double reed) page. My wife bought it; but, not from Sheetmusicplus. The clarinet part is sumplified (for the cat up the tree). DW ----- Original Message ----- From: William Foss <billfoss47@-----.net> To: klarinet@-----.org Subject: Re: [kl] Re: Wind quintet Peter and the Wolf? Date: Sat, 14 Nov 2009 13:11:48 -0500 >Can you give contact info on MSS Publishing. I can not >locate it on the internet.hecked). > >Bill Foss >U.S. Army Retired >USC Aiken, Woodwind Professor >Director of Bands, Aiken Prep > > > > >On Nov 14, 2009, at 11:37 AM, dickwilliams wrote: > >> Perhaps someone already mentioned it but there is a WWQ >> arrangement of Peter&theWolf done by M Curtis and for >> sale at MSS publishing (dated 1998) >> >> DW >> >> >----------------------------------------------------------- >> klarinet-unsubscribe@-----.org, >klarinet-digest-unsubscribe@-----.org if you get the >>klarinet-owner@-----.org > > >----------------------------------------------------------- >klarinet-unsubscribe@-----.org, >klarinet-digest-unsubscribe@-----.org if you get the >klarinet-owner@-----.org > ------------------------------------------------------------------
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Subject: Re: [kl] Buffet oboes and clarinets/grenadilla info Northern CA From: "Dan Leeson" <dnleeson@-----.net> Date: Sat, 14 Nov 2009 18:34:19 -0500 This was a waste of time. There is no 362 Castro Street in Mountain View, and no music store on that block. When I got home, I looked up the place and the address is 262. Too bad. I wanted to see what was new and ask if they would make a pair of clarinets down to low C, in B-flat and A. And if they did that, I might even ask for one in C. Dan Leeson ----- Original Message ----- From: <BSP6263@-----.com> To: <doublereed@-----.org> Sent: Friday, November 06, 2009 2:22 PM Subject: [kl] Buffet oboes and clarinets/grenadilla info Northern CA > FREE EVENTS in Northern CA. > > Buffet Crampon days. > > Buffet clarinets and oboes of all models to try. Bring reeds. > Slide show and display about grenadilla wood. > > > Saturday November 14 1 until 5PM > West Valley Music > 362 Castro > Mountain View, CA > > Saturday November 21 1 until 5PM > The Magic Flute > 182 Northgate One > San Rafael, CA > > Brenda Schuman-Post > www.oboesoftheworld.com > www.youtube.com/brendaschumanpost > 415 608-2027 > > > ------------------------------------------------------------------ > ------------------------------------------------------------------
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Subject: [kl] Need help from someone in Israel From: "Clinton F. Nieweg" <proofferr@-----.net> Date: Sat, 14 Nov 2009 19:47:12 -0500 The Library of Congress gives a birth date: 670 __ |a Und Worte reichen nicht, 1999: |b t.p. (Uri Toeplitz, = musician) p. 257=20 (b. 04-06-13 in Go=CC=88ttingen; birth name, Erich Toeplitz) Principal Flute, Israel Philharmonic - Uri (Erich) Toeplitz 1938-1970. ------ Cassette tape at Harvard University, Harvard College Library Cambridge, MA 02139 United States =20 Named Person: Uri Erich Toeplitz PhD Document Type: Sound Recording Contributors: Uri Erich Toeplitz; Perry Haber; Tizmoret ha-filharmonit = ha-Yis=CC=81re=CA=BCelit. Notes: Interviewed by Perry Haber, March 18 and April 26, 1994. = Accompanied by transcript, (59 p) Description: 2 sound cassettes : 1 7/8 ips, stereo Series Title: Collection of the oral history of the Israel Philharmonic = Orchestra. There is a contact page for the administration on the website of the = Israel Philharmonic. =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D From: "Dan Leeson" <dnleeson@-----.net> Subject: Need help from someone in Israel The first principal flutist with the IPO was Uri Toeplitz (who happened = to=20 be the son of one of the 20th century's most distinguished = mathematician,=20 Otto Toeplitz). Uri Toeplitz' son Gideon was the general manager of the=20 Houston Symphony, and later the Boston, Pittsburg and Honolulu = Symphonies. I knew Uri quite well. My wife and I visited him in Tel Aviv and he was = our=20 guest at our apartment in Eastern France a number of years ago. I've spent several hours trying to the dates of birth and death (years = only)=20 for Toeplitz and have struck out. Might someone on this list who lives = in=20 Israel either know this information or perhaps even getting it by = calling=20 the office of the IPO. ------------------------------------------------------------------
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Subject: [kl] Moonwinds From: "Kevin Fay" <kevin.fay.home@-----.net> Date: Sat, 14 Nov 2009 21:01:54 -0500 I just heard a terrific recording of Mozart's K361 on the radio, driving home from my sons' 'cello recital. A group called "Moonwinds" - apparently from Spain. Wonderful. kjf ------------------------------------------------------------------
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Subject: Re: [kl] Buffet oboes and clarinets/grenadilla info Northern CA From: BSP6263@-----.com Date: Sat, 14 Nov 2009 22:15:52 -0500 My very sincere apologies. That was a typo on my part. I wish you had been there. There were so many clarinets to try and the slide show and display about grenadilla was very successful. Brenda Schuman-Post www.oboesoftheworld.com www.youtube.com/brendaschumanpost 415 608-2027 In a message dated 11/14/2009 3:34:33 P.M. Pacific Standard Time, dnleeson@-----.net writes: This was a waste of time. There is no 362 Castro Street in Mountain View, and no music store on that block. When I got home, I looked up the place and the address is 262. Too bad. I wanted to see what was new and ask if they would make a pair of clarinets down to low C, in B-flat and A. And if they did that, I might even ask for one in C. Dan Leeson ----- Original Message ----- From: <BSP6263@-----.com> To: <doublereed@-----.org> Sent: Friday, November 06, 2009 2:22 PM Subject: [kl] Buffet oboes and clarinets/grenadilla info Northern CA > FREE EVENTS in Northern CA. > > Buffet Crampon days. > > Buffet clarinets and oboes of all models to try. Bring reeds. > Slide show and display about grenadilla wood. > > > Saturday November 14 1 until 5PM > West Valley Music > 362 Castro > Mountain View, CA > > Saturday November 21 1 until 5PM > The Magic Flute > 182 Northgate One > San Rafael, CA > > Brenda Schuman-Post > www.oboesoftheworld.com > www.youtube.com/brendaschumanpost > 415 608-2027 > > > ------------------------------------------------------------------ > To unsubscribe: email klarinet-unsubscribe@-----.org, > For a list of commands: email klarinet-help@-----.org > ------------------------------------------------------------------ To unsubscribe: email klarinet-unsubscribe@-----.org, ------------------------------------------------------------------
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Subject: Re: [kl] Basset Horn Repair in Michigan From: Nitai Levi <clarnibass@-----.com> Date: Sat, 14 Nov 2009 23:45:43 -0500 I've never seen work from Eric Satterlee (Meridian Winds), but I know him a= little from a instrument repair forum and from my impression=C2=A0I would = recommend him too.=0A=0A=C2=A0=0A=0A=0A----- Original Message ----=0AFrom: = Mark Charette <charette@-----.org=0ASent: S= at, November 14, 2009 8:51:50 PM=0ASubject: Re: [kl] Basset Horn Repair in = Michigan=0A=0AMark Charette wrote:=0A> I would contact Meridian Winds , 280= 7 Jolly Rd, Okemos, MI 48864 (517) 339-7333.=0A> =0A> Just outside of East = Lansing=0AThis is the contact info:=0A=0AContact: Eric Satterlee=0A2807 Jol= ly Rd. Suite 300 Okemos, MI 48864=0A(directly across Jolly Rd. from the=0AO= kemos High School parking lot)=0APhone =E2=80=93 517-339-REED(7333) 517-351= -BAND(2263)=0AFax - 517-339-3171=0AEmail =E2=80=93 bandrepair@-----.net <= mailto:bandrepair@-----.com/maps?f= =3Dq&hl=3Den&geocode=3D&q=3D2807+Jolly+Rd+Suite+300,+Okemos,+MI+48864&sll= =3D42.682861,-84.454823&sspn=3D0.011294,0.019312&ie=3DUTF8&ll=3D42.671519,-= 84.433193&spn=3D0.045185,0.077248&z=3D14>=0A=0A----------------------------= ubscribe@-----.org if you ge= ------------------------------------------------------------------
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Subject: Re: [kl] Basset Horn Repair in Michigan From: Gary Van Cott <gary@-----.com> Date: Sat, 14 Nov 2009 23:51:00 -0500 He fixed my son's clarinet after it had been sat upon. A late friend of mine here in Las Vegas who did repairs used to send him all his difficult jobs he didn't want to attempt himself. Gary +--------------------------------------------------------------------- | Gary Van Cott - Van Cott Information Services, Inc. | Woodwind and Brass: Books, Music, CDs and More | http://www.vcisinc.com/ --> VISA MasterCard Discover AmExp <-- | P.O. Box 9569, Las Vegas, NV 89191, USA | Phone: 702-438-2102 Fax: 801-650-1719 Email: Gary@-----.com | Become a VCIS Inc Facebook fan: http://tinyurl.com/vcisinc-facebook +--------------------------------------------------------------------- Nitai Levi wrote: > I've never seen work from Eric Satterlee (Meridian Winds), but I know h= im a little from a instrument repair forum and from my impression I would= recommend him too. >=20 > =20 >=20 >=20 > ----- Original Message ---- > From: Mark Charette <charette@-----.org> > To: klarinet@-----.org > Sent: Sat, November 14, 2009 8:51:50 PM > Subject: Re: [kl] Basset Horn Repair in Michigan >=20 > Mark Charette wrote: >> I would contact Meridian Winds , 2807 Jolly Rd, Okemos, MI 48864 (517)= 339-7333. >> >> Just outside of East Lansing > This is the contact info: >=20 > Contact: Eric Satterlee > 2807 Jolly Rd. Suite 300 Okemos, MI 48864 > (directly across Jolly Rd. from the > Okemos High School parking lot) > Phone =E2=80=93 517-339-REED(7333) 517-351-BAND(2263) > Fax - 517-339-3171 > Email =E2=80=93 bandrepair@-----.net> > Directions <http://maps.google.com/maps?f=3Dq&hl=3Den&geocode=3D&q=3D28= 07+Jolly+Rd+Suite+300,+Okemos,+MI+48864&sll=3D42.682861,-84.454823&sspn=3D= 0.011294,0.019312&ie=3DUTF8&ll=3D42.671519,-84.433193&spn=3D0.045185,0.07= 7248&z=3D14> >=20 > ------------------------------------------------------------------ >=20 >=20 > =20 >=20 > ------------------------------------------------------------------ >=20 ------------------------------------------------------------------
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Subject: Re: [kl] Need help from someone in Israel From: Nitai Levi <clarnibass@-----.com> Date: Sun, 15 Nov 2009 00:00:04 -0500 I could find someone saying he died "over a month ago" and that was on 16/1= 1/2006 so I guess he died around 10/2006. For exact date maybe best to emai= _=0AFrom: Clinton F. Nieweg <proofferr@-----.net>=0ATo: klarinet@woodwind= .org=0ASent: Sun, November 15, 2009 2:47:12 AM=0ASubject: [kl] Need help fr= om someone in Israel=0A=0AThe Library of Congress gives a birth date:=0A670= __ |a Und Worte reichen nicht, 1999: |b t.p. (Uri Toeplitz, musician) p. 2= 57 =0A(b. 04-06-13 in Go=CC=88ttingen; birth name, Erich Toeplitz)=0APrinci= pal Flute, Israel Philharmonic - Uri (Erich) Toeplitz 1938-1970.=0A------= =0ACassette tape at=0AHarvard University, Harvard College Library=0ACambrid= ge, MA 02139 United States=0A=C2=A0=C2=A0=C2=A0 =0ANamed Person:=C2=A0 =C2= =A0=C2=A0=C2=A0 Uri Erich Toeplitz PhD=0ADocument Type: =C2=A0=C2=A0=C2=A0 = Sound Recording=0AContributors: Uri Erich Toeplitz; Perry Haber; Tizmoret h= a-filharmonit ha-Yis=CC=81re=CA=BCelit.=0ANotes: Interviewed by Perry Haber= , March 18 and April 26, 1994. Accompanied by transcript, (59 p)=0ADescript= ion: 2 sound cassettes : 1 7/8 ips, stereo=0ASeries Title: Collection of th= e oral history of the Israel Philharmonic Orchestra.=0A=0AThere is a contac= t page for the administration on the website of the Israel Philharmonic.=0A= =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=0AFrom: = "Dan Leeson" <dnleeson@-----.net>=0ASubject: Need help from someone in = Israel=0AThe first principal flutist with the IPO was Uri Toeplitz (who hap= pened to =0Abe the son of one of the 20th century's most distinguished math= ematician, =0AOtto Toeplitz). Uri Toeplitz' son Gideon was the general mana= ger of the =0AHouston Symphony, and later the Boston, Pittsburg and Honolul= u Symphonies.=0A=0AI knew Uri quite well.=C2=A0 My wife and I visited him i= n Tel Aviv and he was our =0Aguest at our apartment in Eastern France a num= ber of years ago.=0A=0AI've spent several hours trying to the dates of birt= h and death (years only) =0Afor Toeplitz and have struck out.=C2=A0 Might s= omeone on this list who lives in =0AIsrael either know this information or = perhaps even getting it by calling =0Athe office of the IPO.=0A=0A=0A------= ------------------------------------------------------------=0ATo unsubscri= be: email klarinet-unsubscribe@-----.org,=0Aklarinet-digest-unsubscribe@= t-help@-----.org=0A=0A=0A = ------------------------------------------------------------------
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Subject: Re: [kl] Moonwinds From: Nancy Buckman <eefer@-----.com> Date: Sun, 15 Nov 2009 04:29:57 -0500 Fabulous group. I have that particular CD.=0D =0D Nancy=0D =0D Nancy Buckman=0D AACC Symphony=0D Opera AACC=0D Early Music Society of Northern MD=0D eefer@-----.com=0D =0D On Sat Nov 14 21:01 , 'Kevin Fay' <kevin.fay.home@-----.net> sent:=0D =0D >I just heard a terrific recording of Mozart's K361 on the radio, driving= =0D >home from my sons' 'cello recital. A group called "Moonwinds" - apparentl= y=0D >from Spain. Wonderful.=0D >=0D >kjf =0D =0D ------------------------------------------------------------------
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Subject: Re: [kl] Basset Horn Repair in Michigan From: "Michael Bryant (TT)" <michaelbryant@-----.net> Date: Sun, 15 Nov 2009 09:16:07 -0500 Thank you very much everyone. I have passed on the unanimous verdict. MB ----- Original Message ----- Gary Van Cott wrote on Sunday, November 15, 2009 4:51 AM Subject: Re: [kl] Basset Horn Repair in Michigan He fixed my son's clarinet after it had been sat upon. A late friend of mine here in Las Vegas who did repairs used to send him all his difficult jobs he didn't want to attempt himself. Gary +--------------------------------------------------------------------- | Gary Van Cott - Van Cott Information Services, Inc. | Woodwind and Brass: Books, Music, CDs and More | http://www.vcisinc.com/ --> VISA MasterCard Discover AmExp <-- | P.O. Box 9569, Las Vegas, NV 89191, USA | Phone: 702-438-2102 Fax: 801-650-1719 Email: Gary@-----.com | Become a VCIS Inc Facebook fan: http://tinyurl.com/vcisinc-facebook +--------------------------------------------------------------------- Nitai Levi wrote: > I've never seen work from Eric Satterlee (Meridian Winds), but I know him > a little from a instrument repair forum and from my impression I would > recommend him too. > > > > > ----- Original Message ---- > From: Mark Charette <charette@-----.org> > To: klarinet@-----.org > Sent: Sat, November 14, 2009 8:51:50 PM > Subject: Re: [kl] Basset Horn Repair in Michigan > > Mark Charette wrote: >> I would contact Meridian Winds , 2807 Jolly Rd, Okemos, MI 48864 (517) >> 339-7333. >> >> Just outside of East Lansing > This is the contact info: > > Contact: Eric Satterlee > 2807 Jolly Rd. Suite 300 Okemos, MI 48864 > (directly across Jolly Rd. from the > Okemos High School parking lot) > Phone – 517-339-REED(7333) 517-351-BAND(2263) > Fax - 517-339-3171 > Email – bandrepair@-----.net> > Directions > <http://maps.google.com/maps?f=q&hl=en&geocode=&q=2807+Jolly+Rd+Suite+300,+Okemos,+MI+48864&sll=42.682861,-84.454823&sspn=0.011294,0.019312&ie=UTF8&ll=42.671519,-84.433193&spn=0.045185,0.077248&z=14> > > ------------------------------------------------------------------ > > > > > ------------------------------------------------------------------ > ------------------------------------------------------------------ -------------------------------------------------------------------------------- No virus found in this incoming message. Checked by AVG - www.avg.com Version: 9.0.707 / Virus Database: 270.14.65/2502 - Release Date: 11/14/09 07:43:00 ------------------------------------------------------------------
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Subject: [kl] My thanks From: "Dan Leeson" <dnleeson@-----.net> Date: Sun, 15 Nov 2009 14:18:41 -0500 I thank both Nital Levi and Clinton Nieweg for providing me with information about Uri Toeplits' date of death. Dan Leeson ------------------------------------------------------------------
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Subject: [kl] Peter and the Wolf From: Kennen White <white1kd@-----.edu> Date: Sun, 15 Nov 2009 15:35:01 -0500 Someone last week asked about Peter and the Wolf for WW Quintet. My = quintet (Powers Quintet, Central Michigan University Faculty) has = recorded the version by Robert Ostermeyer on the Centaur label (CRC = 2774). It is a setting of the entire piece, with narration included. = http://www.centaurrecords.com/search_engine.php?session=3D50&base_row=3D80= &offset=3D5&search_string=3D&category=3Dcontemporary It is a good arrangement, but, at least in the edition we had several = years ago, there were quite a few misprints and poorly notated passages = (things like E major chords spelled with Ab, etc.). It is also a fairly = difficult arrangement, with the clarinet part going up to a high C# or D = (I can't remember which). A good source of information about WW quintet repertoire is my wife, = Joanna Cowan White's website: = http://www.music.cmich.edu/about_the_school/ensembles/the_powers_woodwind_= quintet/ The above also includes a list of works for quintet with added voice or = instrument. By the way, there is also information about flute/clarinet duo = repertoire here: http://www.music.cmich.edu/studios/flute_studio/rep.php Hope this helps. Kennen White Clarinet Professor Central Michigan University= ------------------------------------------------------------------
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Subject: [kl] Re: Magnus Lindberg chamber music repertoire query From: Simon Aldrich <simonaldrich@-----.ca> Date: Sun, 15 Nov 2009 17:39:57 -0500 "The Clarinet Quintet is very difficult. I have played it twice and recorded it for CBC. The clarinetist needs to be able to double-tongue for long stretches (like in a lot of Lindberg's music)." Forest wrote: "Simon. Thanks for this info. Can you describe the double-tongue sections in more detail? i.e. temp, not values...etc." The Quintet starts with groups of eight 32nd-notes, quarter = 72 (equivalent to 16th-notes at quarter = 144). Most people can single-tongue this quickly in bursts but not for extended periods of time, which is the essence of this piece (repeated 32nds for long stretches). Sometimes the eight 32nds become nonuplets or 10-tuplets (ie faster). At measure 168 the tempo is quarter = 108 with repeated sextuplets. For most people this obliges double-tounguing over long periods. At measure 211 the tempo drops to quarter = 63 but there are repeated 10-tuplets. And then the coup-de-grace near the end of the piece: at measure 367 the tempo jumps to quarter = 108 with repeated 32nd octuplets (try saying tiki tiki tiki tiki in one beat, quarter = 108). At that tempo, the detached notes are as fast as one can physically *double-tongue* them. At one point the clarinet has 7 straight bars of detached 32nd- notes but luckily it is in unison with the viola and cello so you can go only as fast as the cellist's arm can scrub 32nd-notes at 108. My description might seem to paint a vulgar picture of the piece but I listened to it again last night and it is an excellent piece. ------------------------------------------------------------ Simon Aldrich Clarinet Faculty - McGill University Principal Clarinet - Orchestre Metropolitain de Montreal Principal Clarinet - Orchestre de l'Opera de Montreal Artistic Director - Jeffery Summer Concerts Clarinet - Nouvel Ensemble Moderne ------------------------------------------------------------------
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Subject: [kl] Putnam County Spelling Bee From: Brent Eresman <beresman2003@-----.com> Date: Sun, 15 Nov 2009 19:58:58 -0500 =0A=0A=0AI will be playing the woodwind book in "25th Annual Putnam County = Spelling Bee" early next year.=A0 I see from Bret Pimentel's site that the = book requires flute, oboe, clarinet and alto.=A0 My concern is the oboe par= t of it.=A0 Can anyone tell me how much oboe the book requires and how diff= icult the part is?=A0 A little bit of oboe won't bother me, but i'll need t= o be prepared to transpose for some other instrument else if there's a lot.= =0A=0Athanks!=0A=0ABrent Eresman=0A=0A=0A=0A=0A=0A =0A=0A=0A ------------------------------------------------------------------
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Subject: [kl] Gunnar de Frumerie From: Fred Jacobowitz <fbjacobo@-----.net> Date: Sun, 15 Nov 2009 22:50:51 -0500 Here's a shout out to our Swedish friends: Has anyone played the works of Gunnar de Frumerie (d. 1987)? I heard a charming piece for Flute and Orchestra on the radio and looked him up. Seems he has a couple of works which include clarinet. So, can someone tell me if the Divertimento is in a similar vein as the flute work? (Or has he changed styles the way Stravinsky and Copland did?) Also, how long is the piece and who publishes it. Thanks in advance. Fred Jacobowitz CASE CLOSED Musical Instrument Case Repair Service Kol Haruach Klezmer Band Ebony and Ivory Duo You don't get harmony when everybody sings the same note. ~Doug Floyd ------------------------------------------------------------------
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Subject: [kl] grenadilla and Buffet clarinets, saxophones, oboes From: BSP6263@-----.com Date: Mon, 16 Nov 2009 11:18:50 -0500 Dear Wind Players, Buffet Crampon is sponsoring another event where you can try instruments for FREE. This time there will be every model of clarinet, as well as saxophones and oboes. I will be there with samples of grenadilla wood you can pick up and the slide show of where it comes from, how its harvested, and what the people are like who live with it. This is not the full scale lecture, but I will answer questions one on one. I'll also have a small display of museum quality Makonde sculptures also made from grenadilla. Saturday, November, 21, 2009 1PM until 5PM The Magic Flute Music Store 182 Northgate One, San Rafael just off Freitas Parkway. The Magic Flute is next to Ideal Office supplies. Brenda Schuman-Post www.oboesoftheworld.com www.youtube.com/brendaschumanpost 415 608-2027 ------------------------------------------------------------------
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Subject: RE: [kl] Re: Magnus Lindberg chamber music repertoire query From: "Forest Aten" <forestaten@-----.com> Date: Mon, 16 Nov 2009 13:45:11 -0500 Wow...sounds like a "bloody" affair. LOL Thanks for this information. -----Original Message----- From: Simon Aldrich [mailto:simonaldrich@-----.ca] Sent: Sunday, November 15, 2009 4:40 PM To: klarinet@-----.org Subject: [kl] Re: Magnus Lindberg chamber music repertoire query "The Clarinet Quintet is very difficult. I have played it twice and recorded it for CBC. The clarinetist needs to be able to double-tongue for long stretches (like in a lot of Lindberg's music)." Forest wrote: "Simon. Thanks for this info. Can you describe the double-tongue sections in more detail? i.e. temp, not values...etc." The Quintet starts with groups of eight 32nd-notes, quarter = 72 (equivalent to 16th-notes at quarter = 144). Most people can single-tongue this quickly in bursts but not for extended periods of time, which is the essence of this piece (repeated 32nds for long stretches). Sometimes the eight 32nds become nonuplets or 10-tuplets (ie faster). At measure 168 the tempo is quarter = 108 with repeated sextuplets. For most people this obliges double-tounguing over long periods. At measure 211 the tempo drops to quarter = 63 but there are repeated 10-tuplets. And then the coup-de-grace near the end of the piece: at measure 367 the tempo jumps to quarter = 108 with repeated 32nd octuplets (try saying tiki tiki tiki tiki in one beat, quarter = 108). At that tempo, the detached notes are as fast as one can physically *double-tongue* them. At one point the clarinet has 7 straight bars of detached 32nd- notes but luckily it is in unison with the viola and cello so you can go only as fast as the cellist's arm can scrub 32nd-notes at 108. My description might seem to paint a vulgar picture of the piece but I listened to it again last night and it is an excellent piece. ------------------------------------------------------------ Simon Aldrich Clarinet Faculty - McGill University Principal Clarinet - Orchestre Metropolitain de Montreal Principal Clarinet - Orchestre de l'Opera de Montreal Artistic Director - Jeffery Summer Concerts Clarinet - Nouvel Ensemble Moderne ------------------------------------------------------------------ ------------------------------------------------------------------
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Subject: [kl] Re: Der Fledermaus transpositions From: Nancy Buckman <eefer@-----.com> Date: Tue, 17 Nov 2009 13:34:43 -0500 List,=0D =0D I am looking for transpositions of the C clarinet parts from the opera "Der= =0D Fledermaus". If anyone can help please, contact me. Thanks.=0D =0D =0D =0D Nancy Buckman=0D AACC Symphony=0D Opera AACC=0D Early Music Society of Northern MD=0D eefer@-----.com=0D =0D =0D =0D ------------------------------------------------------------------
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Subject: Re: [kl] Re: Der Fledermaus transpositions From: billfoss47 <billfoss47@-----.net> Date: Tue, 17 Nov 2009 14:14:08 -0500 It "plays" in C very nicely (on either C or Bb clarinet). I have done both= .. =20 Don't know of any transpositions unless a player has done one on their own. =20 Good luck and have fun with it. Bill Foss U.S. Army Retired USC Aiken, Woodwind Professor Aiken Prep, Director of Bands --- On Tue, 11/17/09, Nancy Buckman <eefer@-----.com> wrote: From: Nancy Buckman <eefer@-----.com> Subject: [kl] Re: Der Fledermaus transpositions To: klarinet@-----.org Date: Tuesday, November 17, 2009, 1:34 PM List, I am looking for transpositions of the C clarinet parts from the opera "Der= =20 Fledermaus".=A0 If anyone can help please, contact me.=A0 Thanks. Nancy Buckman AACC Symphony Opera AACC Early Music Society of Northern=A0 MD eefer@-----.com ------------------------------------------------------------------ ------------------------------------------------------------------
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Subject: [kl] Supporting Composers From: retiredprof55 <retiredprof55@-----.com> Date: Wed, 18 Nov 2009 09:55:28 -0500 I believe that it was the late Dr. Neil Humfeld, former Trombone =20 Professor at the University of Texas at Commerce, who had a =20 requirement that all his students giving recitals needed to contribute =20= in some way to expanding the repertoire of their instrument. They =20 needed to do an arrangement of something currently not available for =20 that instrumentation or have a composer write a new piece. He was =20 trying to instill in all his students the idea that performers have a =20= responsibility to expand the repertoire for their instrument and to =20 support the contemporary creators of music. As a performer, conductor, =20= educator and composer, I wholeheartedly agree with his philosophy and =20= throughout my career have embraced this practice. I was exposed to the value of commissioning projects during my =20 undergraduate years at Ithaca College where Kappa Gamma Psi, the music =20= fraternity to which I belonged, annually commissioned a composer to =20 write a piece to be performed by some of the students at its spring =20 recital. It was a very exciting time for us, knowing that we were =20 contributing to the growth of the literature and working directly with =20= the creator of the music. When I began teaching public school in Bath, N.Y., I wanted to =20 experiment with the idea of commissioning as applied to elementary =20 band. In 1967, I decided to approach Elie Siegmeister, whom I met at =20 Ithaca College when he was commissioned by Kappa Gamma Psi and with =20 whom I later studied. When I first approached him with the idea of =20 writing for elementary band, he was intrigued, as he had never before =20= been commissioned to write for young performers. We requested a five-=20 minute piece for which he would supply score and parts and attend a =20 rehearsal and the concert. This meant driving 500 miles round trip =20 plus the cost of motel rooms, all for a fee of $250! The resulting =20 piece, "Ballad for Band", was an excellent addition to the =20 intermediate level band repertoire. The students were inspired to =20 perform at an increased level of musicianship and developed a sense of =20= understanding for a more modern musical language. When I began my career as a university professor, I created a unique =20 project as part of my twentieth century music class. Each member of =20 the class contributed $10 to a fund used to commission a composer to =20 write a piece for the instrumentation of the class. The class was =20 involved in selecting the composer, contacting him or her, writing =20 grants for additional funds, writing a letter of agreement, and =20 rehearsing and performing the piece. My wife and I also commissioned =20 and premiered about a dozen works written for us to perform at the =20 close of our faculty recitals. Today I am mostly involved from the composer and arranger end. How =20 many times as performers or conductors have we wished we could contact =20= the composer and as him/her what they intended? We can=92t do that with =20= composers who are no longer living, but we can do that with composers =20= who are alive! The process of working closely with composers enables =20 us to understand the composer=92s intentions and grow in our ability to =20= interpret music. In addition, having a composer attend a rehearsal and =20= performance and talk to the performers and audience gives everyone =20 involved a further understanding of the cycle of music, from creator =20 to interpreter to listener. Hopefully by now I have interested you in working closely with a =20 composer whether by commissioning a new piece, or by giving and =20 existing piece its premiere or additional performances. The next =20 question you may have is =93How to I go about finding a composer to work = =20 with?=94 One of the places to start is with composer organizations such =20= as: American Composers Forum http://www.composersforum.org/ National Association of Composers, USA http://www.music-usa.org/nacusa/ Center for Promotion of Contemporary Composers = http://www.under.org/cpcc/ American Music Center http://www.amc.net/ Society of Composers http://www.societyofcomposers.org/ These organizations have links to where you can sample the composer=92s =20= works and find contact information. Another way of having performers and composers come in contact with =20 each other is for news groups and list serves to fully embrace =20 composers as part of their membership. The orchestralist for example =20 has this as part of their description, =93ORCHESTRALIST is an =20 international forum for conductors, composers, players, and their =20 colleagues in the orchestra business. Discussion on Orchestralist =20 ranges over a variety of topics of interest to orchestra =20 professionals. Those encouraged to participate include: (1) conductors =20= of professional, college or community orchestras that perform standard =20= repertory (including choral-orchestral music and opera); (2) musicians =20= who play in such orchestras; (3) composers who write music for such =20 orchestras. Also invited to participate are publishers, =20 administrators, board members, scholars, patrons, and artists-in-=20 training.=94 Too many lists have a policy of no commercial advertising =20= or self-promotion. With the state of the publishing industry =20 concentrating only on items that sell well, many composers are making =20= their music available via the internet. The prices they charge are =20 just trying to cover their expenses and they cannot afford commercial =20= advertising rates. Often, news groups serve as the only means of =20 informing performers of the availability of their music. It would be =20 nice if all news groups welcomed composers in the manner that the =20 orchestralist does so that performers and composers can easily =20 communicate with each other. Lastly, many performers are concerned about the finances of working =20 with composers and commissioning works. In an ideal world, all artists =20= would be paid what they are worth. But in the real world, composers =20 are often more anxious to get a performance of their music than to =20 earn a lot of money. To help with linking performers with composers, =20 there are several grants available: Meet The Composer Met Life Creative Connections Grants = http://www.meetthecomposer.org/node/10 American Composer=92s Forum Encore Grants = http://www.composersforum.org/programs_detail.cfm?oid=3D10956§ion=3Dpe= rformances Co-op Press Fund Grants for Performers = http://www.cooppress.hostrack.net/grants.html I apologize for the length of this post, but I hope that I have =20 convinced the performer and conductor members of this group, no matter =20= your level of accomplishment, to seek out and work with a composer of =20= your choice. You will be creating an invaluable educational experience =20= and adding to the repertoire. It is a win-win situation for all =20 involved. Dr. Sy Brandon Professor Emeritus Millersville University of PA= ------------------------------------------------------------------
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Subject: RE: [kl] Supporting Composers From: "Forest Aten" <forestaten@-----.com> Date: Wed, 18 Nov 2009 13:33:29 -0500 That's A&M Commerce...not UT Commerce. Commissions by "good" composers....are way too expensive for most student efforts. (and....most often, you get what you pay for) There is a big public discussion about the lousy quality level being written to a target market....public school band programs. Much of the offering, even by big name publishers...is rubbish. Students should never be required to perform new compositions...without careful review and evaluation. If the work is trash....it needs to hit the circular file ASAP. LOL -----Original Message----- From: retiredprof55 [mailto:retiredprof55@-----.com] Sent: Wednesday, November 18, 2009 8:55 AM To: Klarinet@-----.org Subject: [kl] Supporting Composers I believe that it was the late Dr. Neil Humfeld, former Trombone Professor at the University of Texas at Commerce, who had a requirement that all his students giving recitals needed to contribute in some way to expanding the repertoire of their instrument. They needed to do an arrangement of something currently not available for that instrumentation or have a composer write a new piece. He was trying to instill in all his students the idea that performers have a responsibility to expand the repertoire for their instrument and to support the contemporary creators of music. As a performer, conductor, educator and composer, I wholeheartedly agree with his philosophy and throughout my career have embraced this practice. I was exposed to the value of commissioning projects during my undergraduate years at Ithaca College where Kappa Gamma Psi, the music fraternity to which I belonged, annually commissioned a composer to write a piece to be performed by some of the students at its spring recital. It was a very exciting time for us, knowing that we were contributing to the growth of the literature and working directly with the creator of the music. When I began teaching public school in Bath, N.Y., I wanted to experiment with the idea of commissioning as applied to elementary band. In 1967, I decided to approach Elie Siegmeister, whom I met at Ithaca College when he was commissioned by Kappa Gamma Psi and with whom I later studied. When I first approached him with the idea of writing for elementary band, he was intrigued, as he had never before been commissioned to write for young performers. We requested a five- minute piece for which he would supply score and parts and attend a rehearsal and the concert. This meant driving 500 miles round trip plus the cost of motel rooms, all for a fee of $250! The resulting piece, "Ballad for Band", was an excellent addition to the intermediate level band repertoire. The students were inspired to perform at an increased level of musicianship and developed a sense of understanding for a more modern musical language. When I began my career as a university professor, I created a unique project as part of my twentieth century music class. Each member of the class contributed $10 to a fund used to commission a composer to write a piece for the instrumentation of the class. The class was involved in selecting the composer, contacting him or her, writing grants for additional funds, writing a letter of agreement, and rehearsing and performing the piece. My wife and I also commissioned and premiered about a dozen works written for us to perform at the close of our faculty recitals. Today I am mostly involved from the composer and arranger end. How many times as performers or conductors have we wished we could contact the composer and as him/her what they intended? We can't do that with composers who are no longer living, but we can do that with composers who are alive! The process of working closely with composers enables us to understand the composer's intentions and grow in our ability to interpret music. In addition, having a composer attend a rehearsal and performance and talk to the performers and audience gives everyone involved a further understanding of the cycle of music, from creator to interpreter to listener. Hopefully by now I have interested you in working closely with a composer whether by commissioning a new piece, or by giving and existing piece its premiere or additional performances. The next question you may have is "How to I go about finding a composer to work with?" One of the places to start is with composer organizations such as: American Composers Forum http://www.composersforum.org/ National Association of Composers, USA http://www.music-usa.org/nacusa/ Center for Promotion of Contemporary Composers http://www.under.org/cpcc/ American Music Center http://www.amc.net/ Society of Composers http://www.societyofcomposers.org/ These organizations have links to where you can sample the composer's works and find contact information. Another way of having performers and composers come in contact with each other is for news groups and list serves to fully embrace composers as part of their membership. The orchestralist for example has this as part of their description, "ORCHESTRALIST is an international forum for conductors, composers, players, and their colleagues in the orchestra business. Discussion on Orchestralist ranges over a variety of topics of interest to orchestra professionals. Those encouraged to participate include: (1) conductors of professional, college or community orchestras that perform standard repertory (including choral-orchestral music and opera); (2) musicians who play in such orchestras; (3) composers who write music for such orchestras. Also invited to participate are publishers, administrators, board members, scholars, patrons, and artists-in- training." Too many lists have a policy of no commercial advertising or self-promotion. With the state of the publishing industry concentrating only on items that sell well, many composers are making their music available via the internet. The prices they charge are just trying to cover their expenses and they cannot afford commercial advertising rates. Often, news groups serve as the only means of informing performers of the availability of their music. It would be nice if all news groups welcomed composers in the manner that the orchestralist does so that performers and composers can easily communicate with each other. Lastly, many performers are concerned about the finances of working with composers and commissioning works. In an ideal world, all artists would be paid what they are worth. But in the real world, composers are often more anxious to get a performance of their music than to earn a lot of money. To help with linking performers with composers, there are several grants available: Meet The Composer Met Life Creative Connections Grants http://www.meetthecomposer.org/node/10 American Composer's Forum Encore Grants http://www.composersforum.org/programs_detail.cfm?oid=10956§ion=performances Co-op Press Fund Grants for Performers http://www.cooppress.hostrack.net/grants.html I apologize for the length of this post, but I hope that I have convinced the performer and conductor members of this group, no matter your level of accomplishment, to seek out and work with a composer of your choice. You will be creating an invaluable educational experience and adding to the repertoire. It is a win-win situation for all involved. Dr. Sy Brandon Professor Emeritus Millersville University of PA ------------------------------------------------------------------ ------------------------------------------------------------------
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Subject: [kl] Music for Clarinet and Voice (Soprano) From: Chris Ciarlariello <cdc_1013@-----.com> Date: Wed, 18 Nov 2009 16:03:37 -0500 Hello Everyone, I am looking for pieces for Clarinet and Voice (Soprano). I'm hoping to find something that is not so heavily influenced by the 20th Century style (heavy chromaticism/atonal). If you have any pieces or know of any, please let me know. Thanks, Chris ------------------------------------------------------------------
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Subject: Re: [kl] Music for Clarinet and Voice (Soprano) From: Lyle Smith <lyle.c.smith@-----.com> Date: Wed, 18 Nov 2009 16:12:13 -0500 I know Vaughan-Williams wrote some vocalises for soprano and clarinet. Of course there is also Shepherd on the Rock by Schubert. They're all pretty tonal I'm sure ;-) ------------------------------------------------------------------
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Subject: Re: [kl] Music for Clarinet and Voice (Soprano) From: "Dan Leeson" <dnleeson@-----.net> Date: Wed, 18 Nov 2009 16:55:00 -0500 The editor of the Clarinet magazine, did his doctoral dissertation on music for clarinet and voice, with a variety of accompanying instruments. Look him up and contact him. He will drown you with data related to clarinet and voice. Dan Leeson ----- Original Message ----- From: "Chris Ciarlariello" <cdc_1013@-----.com> To: "Klarinet List" <klarinet@-----.org> Sent: Wednesday, November 18, 2009 1:03 PM Subject: [kl] Music for Clarinet and Voice (Soprano) > Hello Everyone, > I am looking for pieces for Clarinet and Voice (Soprano). I'm hoping to > find something that is not so heavily influenced by the 20th Century style > (heavy chromaticism/atonal). If you have any pieces or know of any, > please let me know. > > Thanks, > Chris > > > > > ------------------------------------------------------------------ > ------------------------------------------------------------------
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Subject: Re: [kl] Music for Clarinet and Voice (Soprano) From: James Langdell <jameslangdell@-----.com> Date: Wed, 18 Nov 2009 16:55:43 -0500 The "Three Songs" by Gordon Jacobs for soprano and clarinet (no piano) are nice. They're new settings of Elizabethan texts. Even though the melodies are not from that period, they should be satisfyingly tonal enough for your purposes. --James On Wed, Nov 18, 2009 at 1:03 PM, Chris Ciarlariello <cdc_1013@-----.com> wrote: > Hello Everyone, > I am looking for pieces for Clarinet and Voice (Soprano). I'm hoping to find something that is not so heavily influenced by the 20th Century style (heavy chromaticism/atonal). If you have any pieces or know of any, please let me know. > > Thanks, > Chris ------------------------------------------------------------------
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Subject: Re: [kl] Music for Clarinet and Voice (Soprano) From: John Smith <jacksmith7@-----.net> Date: Wed, 18 Nov 2009 17:19:33 -0500 On Nov 18, 2009, at 4:03 PM, Chris Ciarlariello wrote: > Hello Everyone, > I am looking for pieces for Clarinet and Voice (Soprano). I'm hoping = to find something that is not so heavily influenced by the 20th Century = style (heavy chromaticism/atonal). If you have any pieces or know of = any, please let me know. >=20 > Thanks, > Chris >=20 >=20 >=20 >=20 > ------------------------------------------------------------------ >=20 ------------------------------------------------------------------
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Subject: [kl] Pad Thickness Buffet B12 From: wenbier@-----.net Date: Wed, 18 Nov 2009 20:32:01 -0500 Hello,=20 I have a Buffet B12 that needs new pads.=C2=A0 I purchased this horn about = six years ago for my daughter.=C2=A0 She lost interest, and it has been sit= ting in the closet -- forgotten and barely used -- for=C2=A0about five year= s.=C2=A0 Recently, my wife asked me what I wanted to do with it.=C2=A0 I de= cided that it would make a nice back-up instrument.=C2=A0 Unfortunately, ma= ny of the pads have deteriorated seriously.=C2=A0 I understand that this is= often caused by little creatures living in the case, and I've already give= n the case the fire-and-ice treatment.=C2=A0 As for the horn itself, I deci= ded to apply the same padding strategy that I use one my instruments, using= a combination of synthetic and pressed felt pads.=20 Here's the problem. =C2=A0When I sit down to order the pads, I need to know= which thickness to use: small, medium or thick.=C2=A0 I have searched far = and wide on the Internet, but what little information I have found is contr= adictory.=C2=A0 I found a lot of what I already knew: beveled and unbeveled= pad are measured differently, etc., but no specific information for the B1= 2.=C2=A0 I have considered measuring the old pads, but they are deteriorate= d.=C2=A0 Further, the are pads! I have a caliper, but I could measure them= ten times and get different results each time. Does anyone have actual experience with the B12 that could advise me?=C2=A0= Should, I just assume that the B12 uses the same thickness and a pro model= Buffet?=20 Any advice would=C2=A0 be greatly appreciated.=20 Thank you,=20 Wen=20 ------------------------------------------------------------------
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Subject: Re: [kl] Pad Thickness Buffet B12 From: hns692@-----.com Date: Wed, 18 Nov 2009 22:44:41 -0500 Try this link at Weiner Music. Not cheap, but you can check with Weiner to see if there's a comparable, cheaper pad that will fit. I would expect the Buffet set would work. Weiner's 800 phone number is a New York only toll free number. They'd have to be called on their regular line if you're outside of New York. _http://shop.weinermusic.com/BUFFET-GORTEX-PAD-SET-Bb-CLARINET/productinfo/Y BGORT/_ (http://shop.weinermusic.com/BUFFET-GORTEX-PAD-SET-Bb-CLARINET/productinfo/YBGORT/) Lee Ann Hansen First John Philip Sousa Memorial Band In a message dated 11/18/2009 7:32:42 P.M. Central Standard Time, wenbier@-----.net writes: Hello, I have a Buffet B12 that needs new pads. I purchased this horn about six years ago for my daughter. She lost interest, and it has been sitting in the closet -- forgotten and barely used -- for about five years. Recently, my wife asked me what I wanted to do with it. I decided that it would make a nice back-up instrument. Unfortunately, many of the pads have deteriorated seriously. I understand that this is often caused by little creatures living in the case, and I've already given the case the fire-and-ice treatment. As for the horn itself, I decided to apply the same padding strategy that I use one my instruments, using a combination of synthetic and pressed felt pads. Here's the problem. When I sit down to order the pads, I need to know which thickness to use: small, medium or thick. I have searched far and wide on the Internet, but what little information I have found is contradictory. I found a lot of what I already knew: beveled and unbeveled pad are measured differently, etc., but no specific information for the B12. I have considered measuring the old pads, but they are deteriorated. Further, the are pads! I have a caliper, but I could measure them ten times and get different results each time. Does anyone have actual experience with the B12 that could advise me? Should, I just assume that the B12 uses the same thickness and a pro model Buffet? Any advice would be greatly appreciated. Thank you, Wen ------------------------------------------------------------------ To unsubscribe: email klarinet-unsubscribe@-----.org, ------------------------------------------------------------------
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Subject: RE: [kl] Pad Thickness Buffet B12 From: "Forest Aten" <forestaten@-----.com> Date: Wed, 18 Nov 2009 22:52:34 -0500 Here for very fine felt pads: http://www.prestiniusa.com/ Valentino Synthetics here: http://www.valentinopads.com/ -----Original Message----- From: wenbier@-----.net]=20 Sent: Wednesday, November 18, 2009 7:32 PM To: klarinet@-----.org Subject: [kl] Pad Thickness Buffet B12 Hello,=20 I have a Buffet B12 that needs new pads. I purchased this horn about = six years ago for my daughter. She lost interest, and it has been = sitting in the closet -- forgotten and barely used -- for about five = years. Recently, my wife asked me what I wanted to do with it. I = decided that it would make a nice back-up instrument. Unfortunately, = many of the pads have deteriorated seriously. I understand that this is = often caused by little creatures living in the case, and I've already = given the case the fire-and-ice treatment. As for the horn itself, I = decided to apply the same padding strategy that I use one my = instruments, using a combination of synthetic and pressed felt pads.=20 Here's the problem. When I sit down to order the pads, I need to know = which thickness to use: small, medium or thick. I have searched far and = wide on the Internet, but what little information I have found is = contradictory. I found a lot of what I already knew: beveled and = unbeveled pad are measured differently, etc., but no specific = information for the B12. I have considered measuring the old pads, but = they are deteriorated. Further, the are pads! I have a caliper, but I = could measure them ten times and get different results each time. Does anyone have actual experience with the B12 that could advise me? = Should, I just assume that the B12 uses the same thickness and a pro = model Buffet?=20 Any advice would be greatly appreciated.=20 Thank you,=20 Wen=20 ------------------------------------------------------------------ ------------------------------------------------------------------
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Subject: Re: [kl] Pad Thickness Buffet B12 From: Bill Hausmann <bhausmann1@-----.net> Date: Wed, 18 Nov 2009 23:19:25 -0500 At 09:44 PM 11/18/2009, you wrote: >Try this link at Weiner Music. Not cheap, but you can check with Weiner >to see if there's a comparable, cheaper pad that will fit. I would expect >the Buffet set would work. Weiner's 800 phone number is a New York only >toll free number. They'd have to be called on their regular line if you're >outside of New York. Frankly, I don't think it is POSSIBLE to find cheaper pads that the ones they use on Buffet student clarinets, including E-11's. R-13 pads seem to die prematurely as well. Bill Hausmann If you have to mic a saxophone, the rest of the band is TOO LOUD! ------------------------------------------------------------------
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Subject: Re: [kl] Pad Thickness Buffet B12 From: Nitai Levi <clarnibass@-----.com> Date: Thu, 19 Nov 2009 00:57:38 -0500 Maybe you should ask the pad supplier you order from? There's a chance they= would have a recommendation.=0A=0AGenerally it's not really possible to kn= ow. First, even different model of pads in the same style can be different.= For example I have two different models of bladder pads that I need 0.5mm = size apart for the same key, plus their thickness difference is bigger than= it is because of their shape. Also depends on the type of pad, for example= for stepped bladder pads the felt thickness is more important than the bac= k thickness.=0A=0AA lot of repairers (maybe most? all?) don't stock pads in= "thin", "thick", etc. instead order a specific measurement usually to 0.1m= m. Some makers are more accurate than others. So basically no one can know = what your" thin", "medium" and "thick" really mean. My best guess (and it's= just a guess) is that "thin"=A0won't be a good idea. From what I vaguely r= emember last time I saw a B12 the pads seemed about the same or maybe sligh= tly thicker than pro Buffet models.=0A=0ARe the links someone posted, I kno= w Prestini pads they are ok but I prefer the pads made by Music Center (fka= Pisoni). Also same for the synthetic Valentino pads,=A0I prefer synthetic = Omni pads (though they are available only to registered repair businesses).= nbier@-----.org=0ASent: Thu, November 19, 20= 09 3:32:01 AM=0ASubject: [kl] Pad Thickness Buffet B12=0A=0AHello, =0A=0AI = have a Buffet B12 that needs new pads.=A0 I purchased this horn about six y= ears ago for my daughter.=A0 She lost interest, and it has been sitting in = the closet -- forgotten and barely used -- for=A0about five years.=A0 Recen= tly, my wife asked me what I wanted to do with it.=A0 I decided that it wou= ld make a nice back-up instrument.=A0 Unfortunately, many of the pads have = deteriorated seriously.=A0 I understand that this is often caused by little= creatures living in the case, and I've already given the case the fire-and= -ice treatment.=A0 As for the horn itself, I decided to apply the same padd= ing strategy that I use one my instruments, using a combination of syntheti= c and pressed felt pads. =0A=0AHere's the problem. =A0When I sit down to or= der the pads, I need to know which thickness to use: small, medium or thick= .=A0 I have searched far and wide on the Internet, but what little informat= ion I have found is contradictory.=A0 I found a lot of what I already knew:= beveled and unbeveled pad are measured differently, etc., but no specific = information for the B12.=A0 I have considered measuring the old pads, but t= hey are deteriorated.=A0 Further, the are pads!=A0 I have a caliper, but I = could measure them ten times and get different results each time.=0A=0ADoes= anyone have actual experience with the B12 that could advise me?=A0 Should= , I just assume that the B12 uses the same thickness and a pro model Buffet= ? =0A=0AAny advice would=A0 be greatly appreciated. =0A=0AThank you, =0AWen= =0A=0A=0A-----------------------------------------------------------------= est-unsubscribe@-----.=0AFor a list of command= nd.org=0A=0A=0A ------------------------------------------------------------------
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Subject: RE: [kl] Pad Thickness Buffet B12 From: "Ronald Coleman" <ron.coleman@-----.com> Date: Thu, 19 Nov 2009 01:34:45 -0500 While you're at it ... Consider using cork pads for the upper half ... Brightens up the sound. The Downside is that they are noisier (closing) though I don't find that bothersome even playing in small groups.=20 I've also been very happy with the white leather pads I have on the = lower half of the instrument. Several years old now and still look new. And = they are played several hours every week. (Buffet R13s) Ron ron.coleman@-----.com -----Original Message----- From: wenbier@-----.net]=20 Sent: Wednesday, November 18, 2009 5:32 PM To: klarinet@-----.org Subject: [kl] Pad Thickness Buffet B12 Hello,=20 I have a Buffet B12 that needs new pads.=A0 I purchased this horn about = six years ago for my daughter.=A0 She lost interest, and it has been sitting = in the closet -- forgotten and barely used -- for=A0about five years.=A0 = Recently, my wife asked me what I wanted to do with it.=A0 I decided that it would = make a nice back-up instrument.=A0 Unfortunately, many of the pads have deteriorated seriously.=A0 I understand that this is often caused by = little creatures living in the case, and I've already given the case the fire-and-ice treatment.=A0 As for the horn itself, I decided to apply = the same padding strategy that I use one my instruments, using a combination of synthetic and pressed felt pads.=20 Here's the problem. =A0When I sit down to order the pads, I need to know = which thickness to use: small, medium or thick.=A0 I have searched far and = wide on the Internet, but what little information I have found is = contradictory.=A0 I found a lot of what I already knew: beveled and unbeveled pad are = measured differently, etc., but no specific information for the B12.=A0 I have considered measuring the old pads, but they are deteriorated.=A0 = Further, the are pads! I have a caliper, but I could measure them ten times and get different results each time. Does anyone have actual experience with the B12 that could advise me?=A0 Should, I just assume that the B12 uses the same thickness and a pro = model Buffet?=20 Any advice would=A0 be greatly appreciated.=20 Thank you, Wen=20 ------------------------------------------------------------------ ------------------------------------------------------------------
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Subject: Re: [kl] Music for Clarinet and Voice (Soprano) From: Martin Baxter <martinbaxter1@-----.com> Date: Thu, 19 Nov 2009 07:17:41 -0500 There is a very pleasant Ave Maria by Cherubini and Spohr's Six Songs to consider. I also heard in a recital by this combination one of the Mendelssohn songs for two female voices with the mezzo-soprano replaced by clarinet. It worked surprisingly well. I also once performed several of the Morley 2 voice madrigals with a soprano, taking the lower line on bassoon. Clarinet would have been an anachronism but I bet it would have worked as well or better. Incidentally the anachronism is purely in using the clarinet; these works were and are often performed with voice and instrument . When you think of it it is just as anachronistic to use a modern steel-strung violin as it is to use a clarinet, but that does not seem to bother people half as much. I think Peters still publish the complete set and it should not be too expensive, It is worth having to use as technically simple but musically demanding instrumental duets, Martin On 18 Nov 2009, at 21:12, Lyle Smith wrote: > I know Vaughan-Williams wrote some vocalises for soprano and clarinet. > Of course there is also Shepherd on the Rock by Schubert. They're all > pretty tonal I'm sure ;-) > > ------------------------------------------------------------------ > ------------------------------------------------------------------
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Subject: Re: [kl] Pad Thickness Buffet B12 From: Martin Baxter <martinbaxter1@-----.com> Date: Thu, 19 Nov 2009 07:25:39 -0500 Last time I repadded one of these John Myatt was able to supply me with a set of pads specifically for the instrument. I think they were better pads than those originally supplied too. If no-one your side of the pond offers a similar service Myatt has a website. Martin On 19 Nov 2009, at 03:44, hns692@-----.com wrote: > Try this link at Weiner Music. Not cheap, but you can check with Weiner > to see if there's a comparable, cheaper pad that will fit. I would expect > the Buffet set would work. Weiner's 800 phone number is a New York only > toll free number. They'd have to be called on their regular line if you're > outside of New York. > > _http://shop.weinermusic.com/BUFFET-GORTEX-PAD-SET-Bb-CLARINET/productinfo/Y > BGORT/_ > (http://shop.weinermusic.com/BUFFET-GORTEX-PAD-SET-Bb-CLARINET/productinfo/YBGORT/) > > Lee Ann Hansen > First John Philip > Sousa Memorial Band > > > > In a message dated 11/18/2009 7:32:42 P.M. Central Standard Time, > wenbier@-----.net writes: > Hello, > > I have a Buffet B12 that needs new pads. I purchased this horn about six > years ago for my daughter. She lost interest, and it has been sitting in > the closet -- forgotten and barely used -- for about five years. Recently, > my wife asked me what I wanted to do with it. I decided that it would make > a nice back-up instrument. Unfortunately, many of the pads have > deteriorated seriously. I understand that this is often caused by little creatures > living in the case, and I've already given the case the fire-and-ice > treatment. As for the horn itself, I decided to apply the same padding strategy > that I use one my instruments, using a combination of synthetic and pressed > felt pads. > > Here's the problem. When I sit down to order the pads, I need to know > which thickness to use: small, medium or thick. I have searched far and wide > on the Internet, but what little information I have found is contradictory. > I found a lot of what I already knew: beveled and unbeveled pad are > measured differently, etc., but no specific information for the B12. I have > considered measuring the old pads, but they are deteriorated. Further, the > are pads! I have a caliper, but I could measure them ten times and get > different results each time. > > Does anyone have actual experience with the B12 that could advise me? > Should, I just assume that the B12 uses the same thickness and a pro model > Buffet? > > Any advice would be greatly appreciated. > > Thank you, > Wen > > > ------------------------------------------------------------------ > To unsubscribe: email klarinet-unsubscribe@-----.org, > > > ------------------------------------------------------------------ > ------------------------------------------------------------------
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Subject: Re: [kl] Pad Thickness Buffet B12 From: Nancy Buckman <eefer@-----.com> Date: Thu, 19 Nov 2009 10:54:45 -0500 Hi Wen,=0D =0D In my personal experience, sets of pads don't always work well. I have pad= ded =0D countless B-12s, and I can honestly say that I have used different sized pa= ds on =0D keys on both upper and lower joints. Sometimes I have used the thin pads, = and =0D other times only the med. thick would work. =0D =0D I really like the Valentino pads. They are easy to seat and are impervious= to =0D little chewing critters. They can take the moisture without issue. They f= eel =0D wonderful under the fingers and are extremely quiet. =0D =0D You can order them from J.L. Smith or Votaw Tool. Smith is a tiny bit che= aper =0D (and I mean tiny), but Votaw will give quicker service. If you want exact = sizes, =0D write me back and I'll send a list. Best of luck.=0D =0D Nancy=0D =0D Nancy Buckman=0D AACC Symphony=0D Opera AACC=0D Early Music Society of Northern MD=0D eefer@-----.com=0D =0D =0D ------------------------------------------------------------------
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Subject: RE: [kl] Pad Thickness Buffet B12 From: "Forest Aten" <forestaten@-----.com> Date: Thu, 19 Nov 2009 16:47:27 -0500 The Valentino synthetic pads seal better than cork, are easy to = install......and are very quiet.... -----Original Message----- From: Ronald Coleman [mailto:ron.coleman@-----.com]=20 Sent: Thursday, November 19, 2009 12:35 AM To: klarinet@-----.org Subject: RE: [kl] Pad Thickness Buffet B12 While you're at it ... Consider using cork pads for the upper half ... Brightens up the sound. The Downside is that they are noisier (closing) though I don't find that bothersome even playing in small groups.=20 I've also been very happy with the white leather pads I have on the = lower half of the instrument. Several years old now and still look new. And = they are played several hours every week. (Buffet R13s) Ron ron.coleman@-----.com -----Original Message----- From: wenbier@-----.net]=20 Sent: Wednesday, November 18, 2009 5:32 PM To: klarinet@-----.org Subject: [kl] Pad Thickness Buffet B12 Hello,=20 I have a Buffet B12 that needs new pads.=A0 I purchased this horn about = six years ago for my daughter.=A0 She lost interest, and it has been sitting = in the closet -- forgotten and barely used -- for=A0about five years.=A0 = Recently, my wife asked me what I wanted to do with it.=A0 I decided that it would = make a nice back-up instrument.=A0 Unfortunately, many of the pads have deteriorated seriously.=A0 I understand that this is often caused by = little creatures living in the case, and I've already given the case the fire-and-ice treatment.=A0 As for the horn itself, I decided to apply = the same padding strategy that I use one my instruments, using a combination of synthetic and pressed felt pads.=20 Here's the problem. =A0When I sit down to order the pads, I need to know = which thickness to use: small, medium or thick.=A0 I have searched far and = wide on the Internet, but what little information I have found is = contradictory.=A0 I found a lot of what I already knew: beveled and unbeveled pad are = measured differently, etc., but no specific information for the B12.=A0 I have considered measuring the old pads, but they are deteriorated.=A0 = Further, the are pads! I have a caliper, but I could measure them ten times and get different results each time. Does anyone have actual experience with the B12 that could advise me?=A0 Should, I just assume that the B12 uses the same thickness and a pro = model Buffet?=20 Any advice would=A0 be greatly appreciated.=20 Thank you, Wen=20 ------------------------------------------------------------------ ------------------------------------------------------------------ ------------------------------------------------------------------
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Subject: [kl] Re: Music for Clarinet and Voice (Soprano) From: carolames@-----.net Date: Thu, 19 Nov 2009 17:23:46 -0500 Mozarts' "La Clemenza de Tito" Nov 19, 2009 12:18:55 PM, klarinet@-----.org wrote: There is a very pleasant Ave Maria by Cherubini and Spohr's Six Songs to consider. I also heard in a recital by this combination one of the Mendelssohn songs for two female voices with the mezzo-soprano replaced by clarinet. It worked surprisingly well. I also once performed several of the Morley 2 voice madrigals with a soprano, taking the lower line on bassoon. Clarinet would have been an anachronism but I bet it would have worked as well or better. Incidentally the anachronism is purely in using the clarinet; these works were and are often performed with voice and instrument . When you think of it it is just as anachronistic to use a modern steel-strung violin as it is to use a clarinet, but that does not seem to bother people half as much. I think Peters still publish the complete set and it should not be too expensive, It is worth having to use as technically simple but musically demanding instrumental duets, Martin On 18 Nov 2009, at 21:12, Lyle Smith wrote: > I know Vaughan-Williams wrote some vocalises for soprano and clarinet. > Of course there is also Shepherd on the Rock by Schubert. They're all > pretty tonal I'm sure ;-) > > ------------------------------------------------------------------ > ------------------------------------------------------------------ ------------------------------------------------------------------
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Subject: [kl] Text or software to help develop musical understanding? From: matthew dineen <mgnat45@-----.com> Date: Sat, 21 Nov 2009 12:13:07 -0500 Is there a really good text or program or recording(s) that helps a student improve understanding of key ideas - harmony, rhythm, phrasing, development, interplay of different instruments, different tonalities, etc. - by providing examples from the repertoire that the student can play on, say, piano or electronic keyboard? And/or, hear and read the music at the same time? This is probably very vague - but sort of, learning by playing and/or listening, not just reading. I'm playing with a small ensemble. I'd like to get more attuned to what is going on musically in a piece, including around me on the other instruments. Thanks, Matthew Dineen ------------------------------------------------------------------
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Subject: Re: [kl] Text or software to help develop musical understanding? From: retiredprof55 <retiredprof55@-----.com> Date: Sat, 21 Nov 2009 12:26:22 -0500 Matthew, I have written a book called "A Composer's Guide to Understanding Music With Activities for Listeners, Interpreters, and Composers". The book talks about the elements of music from a composer's viewpoint and there are recorded examples to illustrate the concepts. Each chapter has individual activities geared towards listeners, interpreters, and composers. I recommend that all readers do the listening activities and the interpreter activities has you applying the ideas using music you are currently practicing. It should help you develop the skills you describe in your email. It is available as a download or hard copy through http://www.lulu.com/product/paperback/a-composers-guide-to-understanding-music/528207 Sy Brandon Professor Emeritus Millersville University of PA On Nov 21, 2009, at 10:13 AM, matthew dineen wrote: > Is there a really good text or program or recording(s) that helps a > student improve understanding of key ideas - harmony, rhythm, > phrasing, development, interplay of different instruments, different > tonalities, etc. - by providing examples from the repertoire that > the student can play on, say, piano or electronic keyboard? And/or, > hear and read the music at the same time? > > This is probably very vague - but sort of, learning by playing and/ > or listening, not just reading. I'm playing with a small ensemble. > I'd like to get more attuned to what is going on musically in a > piece, including around me on the other instruments. > > Thanks, > > Matthew Dineen > > ------------------------------------------------------------------ > ------------------------------------------------------------------
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