1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves
2.
Angel Orensanz Center
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The Angel Orensanz Center is located at 172 Norfolk Street in the Lower East Side of Manhattan, New York. It is housed in a Gothic Revival synagogue, built in 1849 for Congregation Ansche Chesed and it is the oldest surviving synagogue building in New York City, and the fourth-oldest surviving synagogue building in the United States. It was the largest synagogue in the United States at the time of its construction, the synagogue was built by Reform Congregation Ansche Chesed, a congregation of primarily German Jews that was the third Jewish congregation in New York City. The building was designed by Eisenach -born architect Alexander Saeltzer and it was sold to Congregation Shaari Rachmim in 1873, to The First Hungarian Congregation Ohab Zedek in 1886, and to congregation Sheveth Achim Anshe Slonim in 1921, which used it until 1974. That year, the synagogue was abandoned, and it was later vandalized, Spanish sculptor and painter Angel Orensanz purchased the property in 1986. He restored it, and converted it into an art gallery, the building was designated a historic landmark by New York City the following year. It has subsequently become home to the Shul of New York, the synagogue was built by Congregation Ansche Chesed. Formed in 1825, Congregation Ansche Chesed consisted primarily of German Jews, as well as Dutch Jews and it was the third Jewish congregation in New York City, after Shearith Israel and Bnai Jeshurun. Congregation Achsche Chesed purchased the three lots upon which the synagogue was built, at 172 Norfolk Street, on the Lower East Side of New York City, New York, in April 1849, the lots had originally been part of Peter Stuyvesants estate. The synagogue building was designed by Eisenach-born architect Alexander Saeltzer, who was engaged in February 1849, Saeltzer also later designed the original Astor Library in 1851, and the Academy of Music on Astor Place in 1854. The synagogues Gothic Revival style was inspired by the Cologne Cathedral in Cologne, Germany, the building opened in 1849 as Anshe Chesed Synagogue, and was also known as the Norfolk Street Congregation. The synagogue was opened and consecrated on May 16,1850, with New York Citys mayor. It was the largest synagogue in the United States, and could hold up to 1,500 worshipers and it was the first German-Jewish synagogue in New York, and the second Reform synagogue after Congregation Emanu-El. Its members were traditional in their beliefs, and the congregation was moderately traditionalist, services were conducted primarily in German. A choir of men and women was also introduced, in the 1850s, it had the largest membership of any synagogue in the United States. Munich-born Dr. Max Lilienthal was the first rabbi at the new synagogue, Dr. Jonah Bondy became the synagogues rabbi in 1858. In 1874, Congregation Ansche Chesed merged with Congregation Adas Jeshurun and re-located uptown to Lexington Avenue and East 63rd Street and that congregation subsequently merged into Congregation Emanu-El, in 1927. The synagogue was used by Eastern European Orthodox Jewish congregations
3.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
4.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
5.
AUM Fidelity
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AUM Fidelity is an independent record label in New York City primarily devoted to avant-garde jazz artists such as William Parker, Matthew Shipp, and David S. Ware. It has also released recordings by improvisational rock band Shrimp Boat and exclusively distributes the CaseQuarter and it was founded in 1997 by former Homestead Records label manager Steven Joerg. Founder Steven Joerg is a native of Chicago and has stated that in school he was heavily influenced by the do-it-yourself approach of punk rock. Moving to New York City after graduating college, Joerg worked for Bar/None Records and he became a manager of the indie rock label Homestead Records in 1992, where he signed and promoted albums by Babe the Blue Ox, Tara Key, Sleepyhead, Soul-Junk, and others. After releasing an album by free jazz drummer William Hooker, Joerg convinced a reluctant Homestead to sign notable jazz musician David S. Ware. Their first release on the label, Cryptology, received a review in Rolling Stone. Joerg left Homestead in December 1996 and founded AUM Fidelity in Brooklyn in January 1997 and his intent was to concentrate on modern jazz. He liquidated his savings, sold half his record collection, not low fidelity or high fidelity, but AUM Fidelity. The label launched in September 1997 with the release of David S. Wares Wisdom of Uncertainty, AUM has released over 90 albums which have been acclaimed around the world. AUM Fidelity began distributing Joe Morris Riti label in 2002, in 2003 it co-launched the CaseQuarter label, which is devoted to gospel music of the American south. AUM Fidelity has supported the New York City downtown jazz scene, Joerg has volunteered at the Vision Festival since 1996 and produced Vision One, a two-disc benefit compilation of material recorded at the festival. In January 2009, the label was instrumental in finding a donor for David S. Ware. Following his recovery and prior to his passing, Ware released five new albums with the label, including a recording of his concert appearance. Setsuko S. Ware, David Wares widow, and Joerg produced the Memorial Service for David S. Ware, a Label With Swing to Spare. Smashing Jazzheads on the Punk Rock with AUM Fidelity, official website AUM Fidelity on Facebook
6.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu
7.
Vision Festival
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It usually consists of between thirty and sixty performances, spread out over a number of days. Inspired by the 1984 and 1988 Sound Unity Festivals, it was a outgrowth of the seminal. The festival also features special event performances, such as the 2004 reunion of the Revolutionary Ensemble. Arts For Art supports diversity in music, dance, art and ideas that embrace improvisation as a means to transform both artist and audience
8.
AllMusic
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AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website
9.
Pitchfork (website)
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Pitchfork is an American online magazine launched in 1995 by Ryan Schreiber, based in Chicago, Illinois and owned by Condé Nast. The site generally concentrates on new music, but Pitchfork journalists have also reviewed reissues, in late 1995, Ryan Schreiber, a recent high school graduate, created the magazine in Minneapolis. Influenced by local fanzines and KUOM, Schreiber, who had no writing experience. At first being Turntable, the site was updated monthly with interviews and reviews, in May 1996, the site began publishing daily and was renamed Pitchfork, alluding to Tony Montanas tattoo in Scarface. In early 1999, Schreiber relocated Pitchfork to Chicago, Illinois, by then, the site had expanded to four full-length album reviews daily, as well as sporadic interviews, features, and columns. It had also begun garnering a following for its coverage of underground music and its writing style. In October, the added a daily music news section. Pitchfork has launched a variety of subsidiary websites, Pitchfork. tv, a website displaying videos related to many independent music acts, launched in April 2008. It features bands that are found on Pitchfork. In July 2010, Pitchfork announced Altered Zones, a blog devoted to underground. On 21 May 2011, Pitchfork announced a partnership with Kill Screen, Altered Zones was closed on November 30. On December 26,2012, Pitchfork launched Nothing Major, a website that covered visual arts such as fine art, Nothing Major closed in October 2013. On October 13,2015, Condé Nast announced that it had acquired Pitchfork, following the sale, Schreiber remained as editor-in-chief. On March 13,2016, Pitchfork was redesigned, some publications have cited Pitchfork in having played a part in breaking artists such as Arcade Fire, Sufjan Stevens, Clap Your Hands Say Yeah, Interpol, The Go. Conversely, Pitchfork has also seen as being a negative influence on some indie artists. A dismissive 0.0 review of former Dismemberment Plan frontman Travis Morrisons Travistan album led to a sales drop. On the other hand, an endorsement from Pitchfork – which dispenses its approval one-tenth of a point at a time, up to a maximum of 10 points – is very valuable, indeed. Examples of Pitchforks impact include, Arcade Fire is among the bands most commonly cited to have benefited from a Pitchfork review
10.
Trumpet
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A trumpet is a musical instrument commonly used in classical and jazz ensembles. The trumpet group contains the instruments with the highest register in the brass family, trumpets are used in art music styles, for instance in orchestras, concert bands, and jazz ensembles, as well as in popular music. They are played by blowing air through almost-closed lips, producing a sound that starts a standing wave vibration in the air column inside the instrument. Since the late 15th century they have primarily been constructed of brass tubing, there are many distinct types of trumpet, with the most common being pitched in B♭, having a tubing length of about 1.48 m. Early trumpets did not provide means to change the length of tubing, most trumpets have valves of the piston type, while some have the rotary type. The use of rotary-valved trumpets is more common in orchestral settings, each valve, when engaged, increases the length of tubing, lowering the pitch of the instrument. A musician who plays the trumpet is called a trumpet player or trumpeter, the earliest trumpets date back to 1500 BC and earlier. The bronze and silver trumpets from Tutankhamuns grave in Egypt, bronze lurs from Scandinavia, trumpets from the Oxus civilization of Central Asia have decorated swellings in the middle, yet are made out of one sheet of metal, which is considered a technical wonder. The Shofar, made from a ram horn and the Hatzotzeroth and they were played in Solomons Temple around 3000 years ago. They were said to be used to blow down the walls of Jericho and they are still used on certain religious days. The Salpinx was a straight trumpet 62 inches long, made of bone or bronze, Salpinx contests were a part of the original Olympic Games. The Moche people of ancient Peru depicted trumpets in their art going back to AD300, the earliest trumpets were signaling instruments used for military or religious purposes, rather than music in the modern sense, and the modern bugle continues this signaling tradition. Improvements to instrument design and metal making in the late Middle Ages, the natural trumpets of this era consisted of a single coiled tube without valves and therefore could only produce the notes of a single overtone series. Changing keys required the player to change crooks of the instrument, the development of the upper, clarino register by specialist trumpeters—notably Cesare Bendinelli—would lend itself well to the Baroque era, also known as the Golden Age of the natural trumpet. During this period, a vast body of music was written for virtuoso trumpeters, the art was revived in the mid-20th century and natural trumpet playing is again a thriving art around the world. The melody-dominated homophony of the classical and romantic periods relegated the trumpet to a role by most major composers owing to the limitations of the natural trumpet. Berlioz wrote in 1844, Notwithstanding the real loftiness and distinguished nature of its quality of tone, there are few instruments that have been more degraded. The attempt to give the trumpet more chromatic freedom in its range saw the development of the keyed trumpet, the symphonies of Mozart, Beethoven, and as late as Brahms, were still played on natural trumpets
11.
Cornet
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The cornet /ˈkɔːrnɪt/ is a brass instrument similar to the trumpet but distinguished from it by its conical bore, more compact shape, and mellower tone quality. The most common cornet is an instrument in B♭, though there is also a soprano cornet in E♭. Both are unrelated to the renaissance and early baroque cornett, the cornet was initially derived from the post horn around 1820 in France. Among the first manufacturers of modern cornets was Parisian Jean Asté in 1828, cornets first appeared as separate instrumental parts in 19th century French compositions. This instrument could not have developed without the improvement of piston valves by Silesian oboe player Friedrich Blühmel. These two instrument makers almost simultaneously invented valves, though it is likely that Blühmel was the inventor and they jointly applied for a patent and were granted this for a period of ten years. Later, and most importantly, François Périnet received a patent in 1838 for a valve which is the basis of all modern brass instrument piston valves. Up until the early 20th century, the trumpet and cornet coexisted in musical ensembles, symphonic repertoire often involves separate parts for trumpet and cornet. As several instrument builders made improvements to instruments, they started to look and sound more alike. The modern day cornet is used in bands, concert bands. The name cornet derives from corne, meaning horn, itself from Latin cornu, while not musically related, instruments of the Zink family are named cornetto or cornett in modern English to distinguish them from the valved cornet described here. The 11th edition of the Encyclopædia Britannica referred to serpents as old wooden cornets, the Roman/Etruscan cornu is the lingual ancestor of these. It is a predecessor of the post horn from which the evolved and was used like a bugle to signal orders on the battlefield. The instrument was once referred to as a cornopean, referencing the earliest cornets with the Stölzel valve system. The cornet was invented by adding valves to the post horn in 1814, the valves allowed for melodic playing throughout the register of the cornet. Trumpets were slower to adopt the new technology, so for the next 100 years or more. The trumpet would play fanfare-like passages, while the cornet played more melodic passages, the modern trumpet has valves that allow it to play the same notes and fingerings as the cornet. Cornets and trumpets made in a key play at the same pitch
12.
Flugelhorn
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The flugelhorn is a brass instrument pitched in B♭, and resembles a trumpet, but has a wider, conical bore. The instrument known today as the flugelhorn is a descendant of the valved bugle, the valved bugle provided Adolphe Sax with the inspiration for his B♭ soprano saxhorns, on which the modern-day flugelhorn is modeled. The German word Flügel translates into English as wing or flank, the flugelhorn is built in the same B♭ pitch as many trumpets and cornets. It usually has three valves and employs the same fingering system as other brass instruments, but four-piston valve. It can thus be played too much trouble by trumpet and cornet players. It is usually played with a more deeply conical mouthpiece than either trumpets or cornets, some modern flugelhorns feature a fourth valve that lowers the pitch a perfect fourth. This adds a low range that, coupled with the flugelhorns dark sound. More often, however, players use the valve in place of the first and third valve combination. A pair of bass flugelhorns in C, called fiscorns, are played in the Catalan cobla bands which provide music for sardana dancers, the tone is fatter and usually regarded as more mellow and dark than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a French horn, whereas the sound is halfway between a trumpet and a flugelhorn. The flugelhorn is as agile as the cornet but more difficult to control in the high register and it is not generally used for aggressive or bright displays as trumpets and cornets often are, but tends more towards a softer and more reflective role. The flugelhorn is a member of the British-style brass band. It also appears occasionally in orchestral and concert band music, famous orchestral works with flugelhorn include Igor Stravinskys Threni, Ralph Vaughan Williamss Ninth Symphony, Danzon no.2 by Arturo Marquez, and Michael Tippetts third symphony. The flugelhorn is sometimes substituted for the post horn in Mahlers Third Symphony, in HK Grubers trumpet concerto Busking the soloist is directed to play a flugelhorn in the slow middle movement. The flugelhorn figured prominently in many of Burt Bacharachs 1960s pop song arrangements and it is featured in a solo role in Bert Kaempferts 1962 recording of That Happy Feeling. Flugelhorns have occasionally used as the alto or low soprano voice in a drum. The flugelhorns in these orchestras are pitched in B-flat, with sporadically an E-flat soloïst, due to bad intonation these E-flat flugelhorns are mostly being replaced by the E-flat trumpet or cornet. Joe Bishop, as a member of the Woody Herman band in 1936, was one of the earliest jazz musicians to use the flugelhorn, shorty Rogers and Kenny Baker began playing it in the early fifties, and Clark Terry used it in Duke Ellingtons orchestra in the mid-1950s
13.
Steve Swell
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Steve Swell is an American free jazz trombonist, composer, and educator. He is greatly influenced by Roswell Rudd, with whom he studied in the mid-1970s and he was also a student of Grachan Moncur III and Jimmy Knepper. Swell has led a number of projects, including Slammin the Infinite, Fire Into Music, Unified Theory of Sound and he was chosen Trombonist of the Year 2008-2010,2012 & 2014-2016 by El Intruso, the Argentine jazz journal. He also received the 2014 Creative Curricula grant from the Lower Manhattan Cultural Council, steve earned a Bachelor of Arts degree in Music from SUNY in 2016. Resonance Ensemble, Kafka in Flight Resonance Ensemble, Live in Krakow Resonance Ensemble, Live in the Ukraine With Tom Varner The Mystery of Compassion Official website
14.
Trombone
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The trombone is a musical instrument in the brass family. Like all brass instruments, sound is produced when the players vibrating lips cause the air column inside the instrument to vibrate, nearly all trombones have a telescoping slide mechanism that varies the length of the instrument to change the pitch. Many modern trombone models also utilize a rotary valve as a means to lower pitch of the instrument, variants such as the valve trombone and superbone have three valves like those on the trumpet. The word trombone derives from Italian tromba and -one, so the name means large trumpet, the trombone has a predominantly cylindrical bore like its valved counterpart the baritone and in contrast to its conical valved counterparts, the euphonium and the horn. The most frequently encountered trombones are the trombone and bass trombone. The most common variant, the tenor, is an instrument pitched in B♭, an octave below the B♭ trumpet. A person who plays the trombone is called a trombonist or trombone player, the trombone is a predominantly cylindrical tube bent into an elongated S shape. Rather than being completely cylindrical from end to end, the tube is a series of tapers with the smallest at the mouthpiece receiver. The design of these affects the intonation of the instrument. As with other instruments, sound is produced by blowing air through pursed lips producing a vibration that creates a standing wave in the instrument. The detachable cup-shaped mouthpiece is similar to that of the baritone horn and it has the venturi, a small constriction of the air column that adds resistance greatly affecting the tone of the instrument, and is inserted into the mouthpiece receiver in the slide section. The slide section consists of a leadpipe, the inner and outer tubes. Modern stays are soldered, while sackbuts were made with loose, the slide, the most distinctive feature of the trombone, allows the player to extend the length of the air column, lowering the pitch. To prevent friction from slowing the action of the slide, additional sleeves were developed during the Renaissance, and this part of the slide must be lubricated frequently. Additional tubing connects the slide to the bell of the instrument through a neckpipe, for example, second position A is not in exactly the same place on the slide as second position E. Many types of trombone also include one or more rotary valves used to increase the length of the instrument by directing the air flow through additional tubing. This allows the instrument to reach notes that are not possible without the valve as well as play other notes in alternate positions. Like the trumpet, the trombone is considered a cylindrical bore instrument since it has sections of tubing, principally in the slide section
15.
Tuba
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The tuba is the largest and lowest-pitched musical instrument in the brass family. Like all brass instruments, sound is produced by moving air past the lips and it first appeared in the mid 19th-century, making it one of the newer instruments in the modern orchestra and concert band. The tuba largely replaced the ophicleide, in America a person who plays the tuba is known as a tubaist or tubist. In the United Kingdom a person who plays the tuba in an orchestra is simply as a tuba player. Prussian Patent No.19 was granted to Wilhelm Friedrich Wieprecht, the original Wieprecht and Moritz instrument used five valves of the Berlinerpumpen type that were the forerunners of the modern piston valve. The first tenor tuba was invented in 1838 by Carl Wilhelm Moritz, the addition of valves made it possible to play low in the harmonic series of the instrument and still have a complete selection of notes. Prior to the invention of valves, brass instruments were limited to notes in the harmonic series, harmonics starting three octaves above the fundamental pitch are about a whole step apart, making a useful variety of notes possible. The ophicleide used a brass instrument mouthpiece but employed keys. Another forerunner to the tuba was the serpent, an instrument that was shaped in a wavy form to make the tone holes accessible to the player. Tone holes changed the pitch by providing an intentional leak in the bugle of the instrument, while this changed the pitch, it also had a pronounced effect on the timbre. By using valves to adjust the length of the bugle the tuba produced a tone that eventually led to its popularity. Adolphe Sax, like Wieprecht, was interested in marketing systems of instruments from soprano to bass, the instruments developed by Sax were generally pitched in E♭ and B♭, while the Wieprecht basstuba and the subsequent Cerveny contrabass tuba were pitched in F and C. Saxs instruments gained dominance in France, and later in Britain and America, as a result of the popularity and movements of instrument makers such as Gustave Auguste Besson and Henry Distin. Afterwards there have many other various types of the Tuba including some with different types of valves different numbers. An orchestra usually has a single tuba, though an additional tuba may be asked for and it serves as the bass of the orchestral brass section and it can reinforce the bass voices of the strings and woodwinds. It provides the bass of brass quintets and choirs and it is the principal bass instrument in concert bands, brass bands and military bands, and those ensembles generally have two to four tubas. It is also a solo instrument, tubas are used in marching bands, drum and bugle corps and in many jazz bands. In British style brass bands, two E♭ and two B♭ tubas are used and are referred to as basses, tubas are found in various pitches, most commonly in F, E♭, C, or B♭
16.
Bassoon
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The bassoon is a woodwind instrument in the double reed family that typically plays music written in the bass and tenor clefs, and occasionally the treble. Appearing in its form in the 19th century, the bassoon figures prominently in orchestral, concert band. The bassoon is an instrument known for its distinctive tone color, wide range, variety of character. Listeners often compare its warm, dark, reedy timbre to that of a baritone voice. Someone who plays the bassoon is called a bassoonist, the word bassoon comes from French basson and from Italian bassone. However, the Italian name for the instrument is fagotto. B♭1–C5 The range of the bassoon begins at B♭1 and extends upward over three octaves, roughly to the G above the treble staff, higher notes are possible but difficult to produce, and rarely called for, orchestral and concert band parts rarely go higher than C5 or D5. Even Stravinskys famously difficult opening solo in The Rite of Spring only ascends to D5, a1 is possible with a special extension to the instrument—see Extended techniques below. The bassoon disassembles into six pieces, including the reed. Bassoons are double reed instruments like the oboe and the English horn, a modern beginners bassoon is generally made of maple, with medium-hardness types such as sycamore maple and sugar maple preferred. Both bore and tone holes are precision-machined, and each instrument is finished by hand for proper tuning and this ensures coverage by the fingers of the average adult hand. Wooden instruments are lined with hard rubber along the interior of the wing and boot joints to prevent damage from moisture, the end of the bell is usually fitted with a ring, either of metal, plastic or ivory. The joints between sections consist of a tenon fitting into a socket, the tenons are wrapped in either cork or string as a seal against air leaks. The bocal connects the reed to the rest of the instrument and is inserted into a socket at the top of the wing joint, bocals come in many different lengths and styles, depending on the desired tuning and playing characteristics. Folded upon itself, the bassoon stands 1.34 m tall, there are also short-reach bassoons made for the benefit of young or petite players. The origins of the dulcian are obscure, but by the century it was available in as many as eight different sizes. Otherwise, dulcian technique was rather primitive, with eight finger holes, the dulcian came to be known as fagotto in Italy. However, the etymology that equates fagotto with bundle of sticks is somewhat misleading
17.
Bass clarinet
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The bass clarinet is a musical instrument of the clarinet family. Like the more common soprano B♭ clarinet, it is pitched in B♭. Bass clarinets in other keys, notably C and A, also exist, Bass clarinets regularly perform in orchestras, wind ensembles/concert bands, occasionally in marching bands, and play an occasional solo role in contemporary music and jazz in particular. Someone who plays a clarinet is called a bass clarinetist. Most modern bass clarinets are straight-bodied, with a small upturned silver-colored metal bell, Early examples varied in shape, some having a doubled body making them look similar to bassoons. The bass clarinet is fairly heavy and is supported either with a strap or with an adjustable peg attached to its body. While Adolphe Sax imitated its upturned metal bell in his design of the larger saxophones, Bass clarinet bodies are most often made of grenadilla or plastic resin, while saxophones are typically made entirely of metal. More significantly, all including the bass have a bore that is basically the same diameter along the body of the instrument. This cylindrical bore differs from the saxophones conical one and gives the clarinet its characteristic tone, causing it to overblow at the twelfth compared with the saxophones octave. A majority of modern bass clarinets, like other clarinets in the family, have the Boehm system of keys and fingering, most modern Boehm system bass clarinets have an extension key allowing them to play to the E♭. This key was added to allow easy transposition of parts for the relatively rare bass clarinet pitched in A. A significant difference between soprano and bass clarinet key work is a key pad played by the index finger with a vent that may be uncovered for certain high notes. This allows a form of half-hole fingering that allows notes in higher registers to be played on the instrument, in addition, older bass clarinets have two register keys, one for middle D♯ and below, the other for middle E and higher. Newer models typically only have one, the second register key makes the altissimo range much easier to play. In addition to differences in keywork, many professional and advanced bass clarinetists own instruments with extensions down to a C a full two octaves below written middle C. At concert pitch this note is the B♭ below the second ledger line below the bass staff, overall, the instrument sounds an octave lower than the B♭ soprano clarinet. As with all instruments, the upper limit of the range depends on the quality of the instrument. According to Aber and Lerstad, who give fingerings up to written C8, the bass clarinet has been regularly used in scoring for orchestra and concert band since the late 19th century, becoming more common during the middle and latter part of the 20th century
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Contrabass clarinet
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The contrabass clarinet and contra-alto clarinet are the two largest members of the clarinet family that are in common usage. Modern contrabass clarinets are pitched in BB♭, sounding two octaves lower than the common B♭ soprano clarinet and one lower than the B♭ bass clarinet. Some contrabass clarinet models have a range extending down to low E♭, some early instruments were pitched in C, Arnold Schoenbergs Fünf Orchesterstücke specifies a contrabass clarinet in A, but there is no evidence of such an instrument ever having existed. Subcontrabass clarinets, lower in pitch than the contrabass, have built on only an experimental basis. The EE♭ contra-alto clarinet is sometimes referred to as the EE♭ contrabass clarinet, the earliest known contrabass clarinet was the contre-basse guerrière invented in 1808 by a goldsmith named Dumas of Sommières, little else is known of this instrument. The batyphone was a contrabass clarinet which was the outcome of W. F. Wieprechts endeavor to obtain a contrabass for the reed instruments. The batyphone was made to a scale twice the size of the clarinet in C, for convenience in stopping holes too far apart to be covered by the fingers, crank or swivel keys were used. The instrument was constructed of maple-wood, had a mouthpiece of suitable size connected by means of a cylindrical brass crook with the upper part of the tube. The pitch was two octaves below the clarinet in C, the compass being the same, and thus corresponding to the bass tuba. The tone was pleasant and full, but not powerful enough for the register in a military band. The batyphone had besides one serious disadvantage, it could be played with facility only in its nearly related keys, G and F major. The batyphone was invented and patented in 1839 by F. W. Wieprecht, director general of all the Prussian military bands, and E. Skorra, in practice the instrument was found to be of little use, and was superseded by the bass tuba. A batyphone bearing the name of its inventors formed part of the Snoeck collection which was acquired for Berlins collection of ancient musical instruments at the Hochschule für Musik, soon after Wieprechts invention, Adolphe Sax created his clarinette-bourdon in B♭. In 1889, Fontaine-Besson began producing a new pedal clarinet and this instrument consists of a tube 10 feet long, in which cylindrical and conical bores are combined. The tube is doubled up twice upon itself, there are 13 keys and 2 rings on the tube, and the fingering is the same as for the B♭ clarinet except for the eight highest semitones. The tone is rich and full except for the lowest notes, which are unavoidably a little rough in quality, the upper register resembles the chalumeau register of the B♭ clarinet, being reedy and sweet. The contra-alto clarinet is higher-pitched than the contrabass and is pitched in the key of E♭ rather than B♭ and these days it is more often referred to as the E♭ contrabass clarinet. It is the second-largest member of the family in regular use, larger than the more common bass clarinet
19.
Soprano sax
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The soprano saxophone is a higher-register variety of the saxophone, a woodwind instrument, invented in the 1840s. The soprano is the third smallest member of the saxophone family, a transposing instrument pitched in the key of B♭, modern soprano saxophones with a high F♯ key have a range from A♭3 to E6 and are therefore pitched one octave above the tenor saxophone. Some saxophones have additional keys, allowing them to play an additional F♯ and these extra keys are commonly found on more modern saxophones. Additionally, skilled players can make use of the altissimo register, there is also a soprano pitched in C, which is less common and until recently had not been made since around 1940. The soprano saxophone can be compared to the B♭ clarinet, although the clarinet can play a fourth lower and over a fifth higher. Professional players will use the technique of voicing to fix problems with intonation, due to its similarity in tone to the oboe, the soprano saxophone is sometimes used as a substitute for it. In addition to straight sopranos, there are also slightly and fully curved sopranos, the fully curved variety looks much like a small alto saxophone with a straighter crook. There is some debate over the effect of the straight and curved neck, with some believing that a curved neck on a soprano gives it a warmer. The soprano has all the keys of other models and some may have a top G key next to the F♯ key. Soprano saxophone mouthpieces are available in various designs, allowing players to tailor their tone as required, in 2001, François Louis created the aulochrome, a woodwind instrument made of two joined soprano saxophones, which can be played either in unison or in harmony. The soprano saxophone is used as a solo and chamber instrument in classical music. It is included in the quartet and plays a lead role. Many solo pieces have been written for it by such as Heitor Villa-Lobos, Alan Hovhaness, Jennifer Higdon, Takashi Yoshimatsu. As an orchestral instrument, it has used in several compositions. It was used by Richard Strauss in his Sinfonia Domestica, where included in the music are parts for four saxophones and it is also used in Maurice Ravels Bolero and has a featured solo directly following the tenor saxophones solo. Vincent dIndy includes a soprano in his opera Fervaal, greats of the jazz soprano sax include 1930s virtuoso Sidney Bechet, 1950s innovator Steve Lacy, and, beginning with his landmark 1960 album My Favorite Things, John Coltrane. Other notable soprano saxophonists include Jay Beckenstein, Dave Koz, Grover Washington, Jr. Ronnie Laws, and Nigerian Afrobeat multi-instrumentalist Fela Kuti
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Tenor saxophone
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The tenor saxophone is a medium-sized member of the saxophone family, a group of instruments invented by Adolphe Sax in the 1840s. The tenor and the alto are the two most commonly used saxophones, the tenor is pitched in the key of B♭, and written as a transposing instrument in the treble clef, sounding an octave and a major second lower than the written pitch. Modern tenor saxophones which have a high F♯ key have a range from A♭2 to E5 and are pitched one octave below the soprano saxophone. People who play the saxophone are known as tenor saxophonists or tenor sax players. The tenor saxophone uses a larger mouthpiece, reed and ligature than the alto, visually, it is easily distinguished by the bend in its neck, or its crook, near the mouthpiece. The alto saxophone lacks this and its neck goes straight to the mouthpiece, the tenor saxophone is commonly used in classical music, military bands, marching bands and jazz. In concert bands, the plays mostly a supporting role, sometimes sharing parts with the euphonium, horn. In jazz ensembles, the plays a more prominent role as a member of a section that includes the alto. Many of the most innovative and influential musicians have been tenor saxophonists. These include Coleman Hawkins, Lester Young, Ben Webster, Dexter Gordon, Wardell Gray, Stan Getz, Sonny Rollins, John Coltrane, the work of younger players such as Michael Brecker and Chris Potter has been an important influence in more recent jazz. The tenor saxophone was one of a family of fourteen instruments constructed in 1846 by Adolphe Sax, saxs patent, granted on 28 June 1846, divided the family into two groups of seven instruments, each ranging from sopranino down to contrabass. One family, pitched alternatively in B♭ and E♭, was designed specifically to integrate with the instruments then common in military bands. The tenor saxophone, pitched in B♭, is the member of this family. The tenor saxophone, like all saxophones, consists of a conical tube of thin brass. The wider end of the tube is flared slightly to form a bell, at intervals down the bore are placed between 20 and 23 tone holes, these are covered by pads which can be pressed onto the holes to form an airtight seal. There are also two small holes which, when opened, disrupt the lower harmonics of the instrument. The pads are controlled by pressing a number of keys with the fingers of the left and right hands, the tenor saxophone is also curved at the top, above the highest tone-hole but below the highest speaker hole. While the alto is usually bent only through 80–90° to make the mouthpiece fit more easily in the mouth, the reed is shaved to come to an extremely thin point, and is clamped over the mouthpiece by the use of a ligature
21.
Baritone saxophone
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The baritone saxophone or bari sax is one of the largest members of the saxophone family, only being smaller than the bass, contrabass and subcontrabass saxophones. The baritone saxophone is used in classical music, military bands, marching bands. The baritone saxophone was created in 1846 by the Belgian instrument maker Adolphe Sax as one of a family of 14 instruments, the saxophone was created to be a tonal link between the woodwinds and brasses, which Sax believed to be lacking. The family was divided two groups of seven saxophones each from the soprano to the contrabass. The family consisting of saxophones ranged in the keys of B♭, the bari sax, pitched in E♭, is the fifth member of this family. The baritone saxophone, like saxophones, is a conical tube of thin brass. It has an end, flared to form a bell. The baritone saxophone uses a single reed mouthpiece like that of a clarinet, there is a loop in the neck to reduce it to a practical height, colloquially referred to as a “Q”. Baritone saxophones come in two sizes with one ranging to low A and the other to low B♭, originally, all baritone saxophones were low B♭ instruments, but over time players began modifying their horns to reach the low A below. In the 1980s, it common for saxophone manufacturers to produce low A instruments. In modern times, the low A is considered standard and is written in sheet music for the instrument. Despite the ubiquity of the low A horn, some still prefer to use B♭ horns because of the added weight. As is true for other saxophones, the F♯ key was also an addition to the horn now considered standard. The baritone saxophone’s relatively large mass has led to the development of harness-style neckstrap that distributes the weight across the users shoulders. Several different kinds exist, produced by brands as well known as Neotech and Vandoren, and each distributes weight differently across the neck, clavicle. Many marching saxophonists prefer this style for its ability to decrease fatigue and those who mainly perform seated, on the other hand, may dislike the decreased ability to move one’s upper body. It is an instrument in the key of E♭, pitched an octave plus a major sixth lower than written. It is one octave lower than the alto saxophone, modern baritones with a low A key and high F♯ key have a range from C2 to A4
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Bass saxophone
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The bass saxophone is one of the largest members of the saxophone family—larger than the more commonly encountered baritone saxophone. It was the first type of saxophone presented to the public, the modern bass saxophone is a transposing instrument pitched in B♭, an octave below the tenor saxophone. The bass saxophone is not commonly used in any music, but it is heard on some 1920s jazz recordings, in free jazz, and in the saxophone choir or large ensemble tradition. The instrument was first used in 1844, both by Hector Berlioz in an arrangement of his Chant sacred, and by Georges Kastner in his opera Le Dernier Roi de Judas, american composer Warren Benson has championed the use of the instrument in his music for concert band. Although bass saxophones in C were made for use, modern instruments are in B♭. This puts them a fourth lower than the baritone sax. The range is similar to that of the B♭ contrabass clarinet, music is written in treble clef, just as for the other saxophones, with the pitches sounding two octaves and a major second lower than written. As with most other members of the family, the lowest written note is the B♭ below the staff—sounding as a concert A♭ in the first octave. Until the start of the 21st century, the largest existing member of the family was the rare contrabass, pitched in E♭. Inventor Adolphe Sax had a patent for a saxophone. In 1999, German wind instrument maker Benedikt Eppelsheim introduced the subcontrabass tubax, notable players of this era include Billy Fowler, Coleman Hawkins, Otto Hardwicke, Adrian Rollini, Min Leibrook, Spencer Clark, and Vern Brown of the Six Brown Brothers. The bass sax become more scarce in standard jazz band instrumentation during the mid to late 1920s, sheet music of the period shows many bands photographed with a bass sax in their collection of instruments. It was sometimes played by the tuba or string bass player rather a member of the sax section, american bandleader Boyd Raeburn, who led an avant-garde big band in the 1940s, was a sometime bass saxophonist. In Britain, the leader of the Oscar Rabin Band also played it, harry Gold, a member of Rabins band, played bass saxophone in his own band, Pieces of Eight. American bandleader Stan Kentons Mellophonium Orchestra featured fourteen brass players and used a section of one alto. Joel Kaye played baritone and bass saxophone in that band, the ensemble recorded several successful albums, winning two Grammys. The Lawrence Welk Band featured Bill Page soloing on bass sax on several broadcasts during the 1960s, shorty Rogerss Swingin Nutcracker featured a bass saxophone on four of the movements. The 1970s traditional jazz band The Memphis Nighthawks built their sound around diminutive bass saxophonist Dave Feinman, some revivalist bass saxophonists performing today in the 1920s-1930s style are Vince Giordano and Bert Brandsma, leader of the Dixieland Crackerjacks
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Bamboo flute
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Bamboos natural hollow form makes it an obvious choice for many musical instruments, most commonly flutes. There are numerous types of flutes made all over the world, such as the dizi, xiao, shakuhachi, palendag. In Bangladesh and India, it is a popular and highly respected musical instrument, available even to the poorest. It is known and revered above all as the divine flute forever associated with Lord Krishna, four of the instruments used in Polynesia for traditional hula are made of bamboo, nose flute, rattle, stamping pipes and the jaw harp. Bamboo may be used in the construction of the Australian didgeridoo instead of the more traditional eucalyptus wood, in Indonesia and the Philippines, bamboo has been used for making various kinds of musical instruments, including the kolintang, angklung and bumbong. Bamboo is also used to make slit drums, the Las Piñas Bamboo Organ in the Philippines has pipes made of bamboo culms. The modern amplified string instrument, the Chapman stick, is constructed using bamboo. In the Indian Ocean island of Madagascar, the valiha, a tube zither made of a single bamboo stalk, is considered the national instrument. Bamboo has also recently used for the manufacture of guitars. Bamboo Ukuleles are constructed of solid cross laminated bamboo strips not plywood, the bamboo solid wood strips are similar to bamboo manufactured flooring. Erik the Flute Maker, a prominent manufacturer of bamboo flutes
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Double bass
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The double bass, or simply the bass, is the largest and lowest-pitched bowed string instrument in the modern symphony orchestra. It is an instrument and is typically notated one octave higher than sounding to avoid excessive ledger lines below the staff. The double bass is the modern bowed string instrument that is tuned in fourths, rather than fifths, with strings usually tuned to E1, A1, D2. The instruments exact lineage is still a matter of some debate, the double bass is a standard member of the orchestras string section, as well as the concert band, and is featured in concertos, solo and chamber music in Western classical music. The bass is used in a range of genres, such as jazz, 1950s-style blues and rock and roll, rockabilly, psychobilly, traditional country music, bluegrass, tango. The double bass is played either with a bow or by plucking the strings, in orchestral repertoire and tango music, both arco and pizzicato are employed. In jazz, blues, and rockabilly, pizzicato is the norm, Classical music uses just the natural sound produced acoustically by the instrument, so does traditional bluegrass. In jazz, blues, and related genres, the bass is typically amplified with an amplifier and speaker, the double bass stands around 180 cm from scroll to endpin. However, other sizes are available, such as a 1⁄2 or 3⁄4 and these sizes do not reflect the size relative to a full size, or 4⁄4 bass, a 1⁄2 bass is not half the size of a bass but is only slightly smaller. It is typically constructed from several types of wood, including maple for the back, spruce for the top and it is uncertain whether the instrument is a descendant of the viola da gamba or of the violin, but it is traditionally aligned with the violin family. While the double bass is nearly identical in construction to other violin family instruments, like other violin and viol-family string instruments, the double bass is played either with a bow or by plucking the strings. In orchestral repertoire and tango music, both arco and pizzicato are employed, in jazz, blues, and rockabilly, pizzicato is the norm, except for some solos and also occasional written parts in modern jazz that call for bowing. In classical pedagogy, almost all of the focus is on performing with the bow and producing a good bowed tone, some of these articulations can be combined, for example, the combination of sul ponticello and tremolo can produce eerie, ghostly sounds. Classical bass players do play pizzicato parts in orchestra, but these parts generally require simple notes, vibrato is used to add expression to string playing. In general, very loud, low-register passages are played with little or no vibrato, mid- and higher-register melodies are typically played with more vibrato. The speed and intensity of the vibrato is varied by the performer for an emotional and musical effect, in jazz, rockabilly and other related genres, much or all of the focus is on playing pizzicato. In jazz and jump blues, bassists are required to play extremely rapid pizzicato walking basslines for extended periods, as well, jazz and rockabilly bassists develop virtuoso pizzicato techniques that enable them to play rapid solos that incorporate fast-moving triplet and sixteenth note figures. In jazz and related styles, bassists often add semi-percussive ghost notes into basslines, to add to the rhythmic feel and to add fills to a bassline
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Cello
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The cello or violoncello is a bowed or plucked string instrument with four strings tuned in perfect fifths. The strings from low to high are generally tuned to C2, G2, D3 and A3 and it is a member of the violin family of musical instruments, which also includes the violin and viola and the double bass. The cello is used as a musical instrument, as well as in chamber music ensembles, string orchestras, as a member of the string section of symphony orchestras. It is the second-largest and second lowest bowed string instrument in the symphony orchestra. Cello parts are written in the bass clef, but both tenor clef and treble clefs are used for higher-range parts, both in orchestral/chamber music parts and in solo cello works. A person who plays the cello is called a cellist or violoncellist, in a small Classical ensemble, such as a string quartet, the cello typically plays the bass part, the lowest-pitched musical line of the piece. In orchestra, in Baroque era and Classical music period, the cello plays the bass part. In Baroque era music, the cello is used to play the basso continuo bassline, in a Baroque performance, the cello player might be joined by other bass instruments, playing double bass, viol or other low-register instruments. The name cello is a contraction of the Italian violoncello, which means little violone, in modern symphony orchestras, it is the second largest stringed instrument. Thus, the name contained both the augmentative -one and the diminutive -cello. By the turn of the 20th century, it had become common to shorten the name to cello and it is now customary to use cello without apostrophe as the full designation. Viol is derived from the viola, which was derived from Medieval Latin vitula. Cellos are tuned in fifths, starting with C2, followed by G2, D3 and it is tuned in the same intervals as the viola, but an octave lower. Unlike the violin or viola but similar to the double bass, the cello is most closely associated with European classical music, and has been described as the closest sounding instrument to the human voice. The instrument is a part of the orchestra, as part of the string section. A large number of concertos and sonatas have been written for the cello, among the most well-known Baroque works for the cello are Johann Sebastian Bachs six unaccompanied Suites. The Prelude from the First Suite is particularly famous, romantic era repertoire includes the Robert Schumann Concerto, the Antonín Dvořák Concerto as well as the two sonatas and the Double Concerto by Johannes Brahms. The cello is increasingly common in traditional music, especially Scottish fiddle music
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Drum kit
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A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
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Percussion
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A percussion instrument is a musical instrument that is sounded by being struck or scraped by a beater, struck, scraped or rubbed by hand, or struck against another similar instrument. The percussion family is believed to include the oldest musical instruments, the percussion section of an orchestra most commonly contains instruments such as timpani, snare drum, bass drum, cymbals, triangle and tambourine. However, the section can also contain non-percussive instruments, such as whistles and sirens, percussive techniques can also be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not normally part of the percussion section, Percussion instruments may play not only rhythm, but also melody and harmony. Percussion is commonly referred to as the backbone or the heartbeat of an ensemble, often working in close collaboration with bass instruments. In jazz and other popular ensembles, the pianist, bassist, drummer. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings, woodwinds, however, often at least one pair of timpani is included, though they rarely play continuously. Rather, they serve to provide additional accents when needed, in the 18th and 19th centuries, other percussion instruments have been used, again generally sparingly. The use of percussion instruments became more frequent in the 20th century classical music, in almost every style of music, percussion plays a pivotal role. In classic jazz, one almost immediately thinks of the rhythm of the hi-hats or the ride cymbal when the word swing is spoken. Because of the diversity of instruments, it is not uncommon to find large musical ensembles composed entirely of percussion. Rhythm, melody, and harmony are all represented in these ensembles, music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a pitch can be notated with a specialist rhythm or percussion-clef. The word percussion has evolved from Latin terms, percussio, as a noun in contemporary English it is described in Wiktionary as the collision of two bodies to produce a sound. Hornbostel–Sachs has no high-level section for percussion, Most percussion instruments are classified as idiophones and membranophones.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks. 111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a mallet, such as the hang, gongs and the xylophone. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, (Included in most drum sets or 412. Stringed instruments played with such as the hammered dulcimer
28.
Warren Smith (jazz percussionist)
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Warren Smith is an American jazz drummer and percussionist, known as a contributor to Max Roachs Mboom ensemble and leader of the Composers Workshop Ensemble. Smith was born May 14,1934 in Chicago, Illinois to a musical family and his father played saxophone and clarinet with Noble Sissle and Jimmie Noone, and his mother was a harpist and pianist. At the age of four he studied studied clarinet with his fathe and he graduated from the University of Illinois in 1957, then received a masters degree in percussion from the Manhattan School of Music in 1958. One of his earliest major recording dates was with Miles Davis as a vibraphonist in 1957 and he found work in Broadway pit bands in 1958, and also played with Gil Evans that year. In 1961 he co-founded the Composers Workshop Ensemble, in the 1960s Smith accompanied Aretha Franklin, Nina Simone, Lloyd Price, and Nat King Cole, he worked with Sam Rivers from 1964–76 and with Gil Evans again from 1968 to 1976. In 1969 he played with Janis Joplin and in 1971 with King Curtis and he was also a founding member of Max Roachs percussion ensemble, MBoom, in 1970. In the 1970s and 1980s Smith had a loft called Studio Wis which acted as a performing and recording space for many young New York jazz musicians, such as Wadada Leo Smith and Oliver Lake. Through the 1970s Smith played with Andrew White, Julius Hemphill, Muhal Richard Abrams, Nancy Wilson, Quincy Jones, Count Basie, and Carmen McRae. Other credits include work with rock and pop musicians and time spent with Anthony Braxton, Charles Mingus, Henry Threadgill, Van Morrison. He continued to work on Broadway into the 1990s, and has performed with a number of classical ensembles. Smith taught in the New York City public school system from 1958 to 1968, at Third Street Settlement from 1960 to 1967, at Adelphi University in 1970–1, ware Shakti Onecept Warren Smith at Allmusic Leonard Feather and Ira Gitler, The Biographical Encyclopedia of Jazz
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Vibraphone
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The vibraphone is a musical instrument in the struck idiophone subfamily of the percussion family. The vibraphone resembles the xylophone, marimba, and glockenspiel, each bar is paired with a resonator tube that has a motor-driven butterfly valve at its upper end. The valves are mounted on a shaft, which produces a tremolo or vibrato effect while spinning. The vibraphone also has a sustain pedal similar to that on a piano, with the pedal up, the bars are all damped and produce a shortened sound. With the pedal down, they sound for several seconds, the vibraphone is commonly used in jazz music, in which it often plays a featured role and was a defining element of the sound of mid-20th-century Tiki lounge exotica, as popularized by Arthur Lyman. It is the second most popular solo keyboard percussion instrument in music, after the marimba. It is an instrument in the modern percussion section for orchestras. The first musical instrument called vibraphone was marketed by the Leedy Manufacturing Company in the United States in 1921, however, this instrument differed in significant details from the instrument now called the vibraphone. The Leedy vibraphone achieved a degree of popularity after it was used in the novelty recordings of Aloha Oe and this popularity led J. C. Deagan, Inc. in 1927 to ask its Chief Tuner, Henry Schluter, to develop a similar instrument. Schluters design was more popular than the Leedy design, and has become the template for all instruments now called vibraphone, however, when Deagan began marketing Schluters instrument in 1928, they called it the vibraharp. The name derived from similar aluminum bars that were mounted vertically, since Deagan trademarked the name, others were obliged to use the earlier vibraphone for their instruments incorporating the newer design. The name confusion continues, even to the present, but over time vibraphone became significantly more popular than vibraharp, by 1974, the Directory of the D. C. Federation of Musicians listed 39 vibraphone players and 3 vibraharp players, the initial purpose of the vibraphone was to add to the large arsenal of percussion sounds used by vaudeville orchestras for novelty effects. This use was quickly overwhelmed in the 1930s by its development as a jazz instrument, the use of the vibraphone in jazz was pioneered by Paul Barbarin, the drummer with Luis Russells band. Bergerault, of Ligueil, France also began manufacturing vibraphones in the 1930s, Deagan struck endorsement deals with many of the leading players, including Lionel Hampton and Milt Jackson. The Deagan company went out of business in the 1980s, its trademark, Yamaha continues to make percussion instruments based on Deagan designs. In 1948, the Musser Mallet Company was founded by Clair Omar Musser, the Musser company continues to manufacture vibraphones as part of the Ludwig Drum Company. The standard modern instrument has a range of three octaves, from the F below middle C, larger three-and-a-half or four octave models from the C below middle C are also becoming more common
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Timpani
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Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper and they are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras. Timpani is an Italian plural, the singular of which is timpano and they are also often incorrectly termed timpanis. A musician who plays the timpani is a timpanist, alternative spellings with y in place of either or both is—tympani, tympany, or timpany—are occasionally encountered in older English texts. Although the word timpani has been adopted in the English language. The German word for timpani is Pauken, the French and Spanish is timbales, the Ashanti pair of talking drums are known as atumpan. The tympanum is defined in the Etymologiae of St. Isidore of Seville, est enim pars media symphoniae in similitudinem cribri. Tympanum autem dictum quod medium est, unde, et margaritum medium tympanum dicitur, et ipsum ut symphonia ad virgulam percutitur. The tympanum is skin or hide stretched over a wooden vessel which extends out. It is said by the symphonias to resemble a sieve, but has also likened to half a pearl. It is struck with a wand, beating time for the symphonia, the reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder. The basic timpani drum consists of a drumhead stretched across the opening of a bowl made of copper or, in less expensive models, fiberglass. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones, the heads tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods, the shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones, another factor that affects the timbre of the drum is the quality of the bowls surface. Copper bowls may have a smooth, machined surface or a surface with many small dents hammered into it
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Intents and Purposes
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Intents and Purposes is an album by American jazz trumpeter Bill Dixon, which was released in 1967 on RCA Victor. Despite critical acclaim at the time, it was out of print except for appearances in 1972 on Japanese RCA. The album was reissued on CD by International Phonograph in 2011, in 1966 Dixon premiered his composition Pomegranate at the Newport jazz festival with dancer Judith Dunn, and this performance led to a contract with RCA. Dixon signed with producer Brad McCuen to do a quartet piece, the personal was an unusual mix of freemen and mainstream jazzers. Pozar and Levin were Dixons students at the time, and Lancaster, the JazzTimes review by Mike Shanley says that The whole release compares to very little from that period and offers a stellar example of the composer’s vision
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Papyrus Volume I
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Papyrus Volume I is an album by American jazz trumpeter Bill Dixon recorded in 1998 and released on the Italian Soul Note label. In his review for AllMusic, Steve Loewy states All 12 pieces are fully improvised, the music requires the listener to pay close attention, but the rewards are there. Overall, the music represented here resides on an elevated plane, simply stated, Dixon and Oxley are a stunning duo as the music shuns classification. Oxley is that rare kindred spirit who only enhances Dixons playing. H, pritchard -1,37 Bill Dixon - trumpet, piano Tony Oxley - drums, percussion
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