The bass flute is the tenor member of the flute family. It is in the key of C, pitched one octave below the concert flute; because of the length of its tube, it is made with a J-shaped head joint, which brings the embouchure hole within reach of the player. It is only used in flute choirs, as it is drowned out by other instruments of comparable register, such as the clarinet. Prior to the mid-20th century, the term "bass flute" was sometimes used in Great Britain, to refer to the alto flute instead. In 1910 Abelardo Albisi invented a bass flute known as the albisiphone, used in scores by Mascagni and Zandonai among other composers during the first half of the 20th century; the instrument's sounding range is from C3, one octave below middle C, to C6, two octaves above middle C. Bass flute music sounds an octave lower than it is written, the typical concert flute range. Notes written above A6 are not used as they are difficult to produce and have inferior tone; because manufacturers do not taper the flute body through the curve, intonation of all notes beginning with written D6 and higher tend to be sharp.
The player can use alternative fingerings. Bass flutes have a C foot rather than the B foot common to other flutes; the shorter tube reduces acoustic resistance, which quickens the response and makes the tone brighter and more resonant. The shorter tube makes the instrument somewhat lighter and less fatiguing for the player to hold. Bass flutes are most made with silver-plated bodies and head joints. Most basses come with trill keys which allow the player to stabilize some otherwise unstable middle register notes as well as trill between otherwise impossible notes. Kotato basses have addressed the weight problem of bass flutes by designing a graphite rod that screws onto the underside of the instrument and rests on the chair seat between the player's legs. Adjustable rods have been developed by Jeff Amos. Other manufacturers have added a left hand thumb support called a crutch, which helps some players with physical control of the instrument. Dutch flute maker Eva Kingma has created a vertical design for the bass flute which allows the weight of the instrument to be supported by the floor.
Many composers are beginning to write more pieces for the bass flute. These include Katherine Hoover's Two for Two, Bill Douglas's Karuna, Sophie Lacaze's Archelogos II, Mike Mower's Obstinato and Scareso, Gary Schocker's A Small Sonata for a Large Flute, Lorenzo Ferrero's Ellipse and Shadow Lines, Sonny Burnett's Stone Suite, Catherine McMichael's Baikal Journey and Ennio Morricone's Secrets of the Sahara. Other important works include Tristan Murail's Ethers for solo bass flute and small ensemble, Brian Ferneyhough's Mnemosyne for bass flute and tape, Mario Lavista's Lamento a la muerte de Raúl Lavista for solo bass flute, Michael Oliva's Moss Garden for bass flute and tape, John Palmer's Inwards for bass flute and live-electronics, She Cried by Shiva Feshareki, Marc Tweedie's Zoli, written for renowned flautist Carla Rees. Studies and concert etudes are beginning to appear that address the instrument's many challenges. Peter Sheridan has commissioned and arranged new compositions in this area, including a set of'Etudes for Low Flutes' by Hilary Taggart.
The sixth movement of Claude Bolling's suite for Flute and Jazz Trio,'Versatile' has the soloist playing the opening melody on a bass flute. Morton Feldman's composition "Crippled Symmetry" has a part for the bass flute, as does John Cage's late work "Seven2". Hans Pfitzner's 1917 opera Palestrina features an early C bass flute part. Another piece featuring the bass flute is John Mackey's "The Frozen Cathedral" in two separate sections of the piece. For an extensive list of repertoire for bass flute and contrabass flute see Repertoire Catalogue for Piccolo, Alto Flute and Bass Flute by Peter van Munster. Selected repertoire graded into ability levels with short descriptions and information about basses can be found in The Alto and Bass Flute Resource Guide published by Falls House Press, specialist low flutes publishing company Tetractys has a growing catalogue of works for bass flute. A handful of jazz musicians have used the bass flute, including saxophonists Henry Threadgill, Brian Landrus, James Carter, drummer Ronald Shannon Jackson who played bass flute as a second instrument.
Hubert Laws features the bass flute on his recording of "Amazing Grace," in which he plays the first verse on bass flute, the second on alto, the third on soprano. In electronic music, Jack Dangers has sometimes used bass flute as the leader of the Meat Beat Manifesto. A bass flute is heard throughout George Bruns' score for The Jungle Book and the original Pirates of the Caribbean attraction; the best-known work to feature the bass flute is the album Wave by Antônio Carlos Jobim. Http://Lowflutes.com https://web.archive.org/web/20101104012435/http://www.hogenhuis-flutes.com/pages/bassflute.html Bassflute Jelle Hogenhuis
Singing is the act of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, a variety of vocal techniques. A person who sings is called a vocalist. Singers perform music that can be sung without accompaniment by musical instruments. Singing is done in an ensemble of musicians, such as a choir of singers or a band of instrumentalists. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music and religious music styles such as gospel, traditional music styles, world music, blues and popular music styles such as pop, electronic dance music and filmi. Singing arranged or improvised, it may be done as a form of religious devotion, as a hobby, as a source of pleasure, comfort or ritual, as part of music education or as a profession. Excellence in singing requires time, dedication and regular practice.
If practice is done on a regular basis the sounds can become more clear and strong. Professional singers build their careers around one specific musical genre, such as classical or rock, although there are singers with crossover success, they take voice training provided by voice teachers or vocal coaches throughout their careers. In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows. Though these four mechanisms function independently, they are coordinated in the establishment of a vocal technique and are made to interact upon one another. During passive breathing, air is inhaled with the diaphragm while exhalation occurs without any effort. Exhalation may be aided by lower pelvis/pelvic muscles. Inhalation is aided by use of external intercostals and sternocleidomastoid muscles; the pitch is altered with the vocal cords. With the lips closed, this is called humming; the sound of each individual's singing voice is unique not only because of the actual shape and size of an individual's vocal cords but due to the size and shape of the rest of that person's body.
Humans have vocal folds which can loosen, tighten, or change their thickness, over which breath can be transferred at varying pressures. The shape of the chest and neck, the position of the tongue, the tightness of otherwise unrelated muscles can be altered. Any one of these actions results in a change in pitch, timbre, or tone of the sound produced. Sound resonates within different parts of the body and an individual's size and bone structure can affect the sound produced by an individual. Singers can learn to project sound in certain ways so that it resonates better within their vocal tract; this is known as vocal resonation. Another major influence on vocal sound and production is the function of the larynx which people can manipulate in different ways to produce different sounds; these different kinds of laryngeal function are described as different kinds of vocal registers. The primary method for singers to accomplish this is through the use of the Singer's Formant, it has been shown that a more powerful voice may be achieved with a fatter and fluid-like vocal fold mucosa.
The more pliable the mucosa, the more efficient the transfer of energy from the airflow to the vocal folds. Vocal registration refers to the system of vocal registers within the voice. A register in the voice is a particular series of tones, produced in the same vibratory pattern of the vocal folds, possessing the same quality. Registers originate in laryngeal function, they occur. Each of these vibratory patterns appears within a particular range of pitches and produces certain characteristic sounds; the occurrence of registers has been attributed to effects of the acoustic interaction between the vocal fold oscillation and the vocal tract. The term "register" can be somewhat confusing; the term register can be used to refer to any of the following: A particular part of the vocal range such as the upper, middle, or lower registers. A resonance area such as chest voice or head voice. A phonatory process A certain vocal timbre or vocal "color" A region of the voice, defined or delimited by vocal breaks.
In linguistics, a register language is a language which combines tone and vowel phonation into a single phonological system. Within speech pathology, the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the vocal fry register, the modal register, the falsetto register, the whistle register; this view is adopted by many vocal pedagogues. Vocal resonation is the process by which the basic product of phonation is en
The Chrono Show
The Chrono Show is a live album by Richard Thompson. The album is compiled from recordings made during Thompson's 2004 tour of America, features songs from Thompson's back catalog, most of them written prior to 1983 and arranged in chronological order; the opening "Watch Me Go" had been more written and never before released and the closing "She May Call You Up Tonight" is a Left Banke cover that he has featured in live performances since the 1970s. "Jack O'Diamonds" dates back to Fairport Convention's first album. The lyrics to "Hokey Pokey" are revised from the original version, recorded in 1974. All songs composed by Richard Thompson except where noted "Watch Me Go" "Jack O'Diamonds" "Meet On The Ledge" "The Poor Ditching Boy" "Nobody's Wedding" "I Want To See The Bright Lights Tonight" "The Great Valerio" "I'll Regret It All In The Morning" "Hokey Pokey" "For Shame Of Doing Wrong" "Banish Misfortune" "Did She Jump Or Was She Pushed" "Hand Of Kindness" "Devonside" "Sibella" "She May Call You Up Tonight" Richard Thompson - guitar and vocals Teddy Thompson - vocals on "She May Call You Up Tonight".
Sweet Warrior is the twelfth studio album by Richard Thompson, released in 2007. Thompson financed the recording of this album himself and licensed the finished album to various labels for distribution. On its release, Sweet Warrior entered Amazon.com's top 20 for music sales. The track "Dad's Gon na Kill Me" was given an advance release via iTunes; the song was singled out for praise by critics and featured prominently in Thompson's live performances in early 2007. This song's lyrics make extensive use of U. S. military slang, convey the thoughts and feelings of an uneasy U. S. soldier fighting in Iraq. It was subsequently used on the closing montage of the first episode of the third season of Sons of Anarchy; this advance release enjoyed airplay on several radio stations and attracted favourable comments from the press and advance publicity for the album. The album received favourable reviews. All songs written by Richard Thompson: "Needle and Thread" - 4:43 "I'll Never Give It Up " - 3:22 "Take Care the Road You Choose" - 6:44 "Mr. Stupid" - 3:53 "Dad's Gonna Kill Me" - 5:16 "Poppy-Red" - 4:37 "Bad Monkey" - 5:13 "Francesca" - 5:17 "Too Late to Come Fishing" - 4:36 "Sneaky Boy" - 2:59 "She Sang Angels to Rest" - 3:25 "Johnny's Far Away" - 4:53 "Guns Are the Tongues" - 7:27 "Sunset Song" - 5:38Bonus tracks on the P-Vine Records release for the Japanese market: "Any Old Body" "Dust and Wine" MusicalRichard Thompson - vocals, electric guitar, steel-string acoustic guitar, accordion, tin whistle, harmonium, hurdy-gurdy, electronic organ, handclaps Michael Hays - rhythm guitar, electric guitar, acoustic guitar, backing vocals Danny Thompson - double bass Taras Prodaniuk - electric bass guitar Michael Jerome - drums, percussion Judith Owen - backing vocals, handclaps Sara Watkins - fiddle Joe Sublett - tenor saxophone Joe Buck - first violin Al Michaels - second violin Novi Ola - viola Simon Tassano - handclaps Chris Kasych - handclaps TechnicalDoug Tyo - engineer Chris Kasych - assistant engineer Simon Tassano - mixing Jim Wilson - mastering Sources consultedOfficial credits pageEndnotes Official lyrics page
Front Parlour Ballads
Front Parlour Ballads is the eleventh studio album by Richard Thompson, released in 2005. His 2005 release on the Cooking Vinyl label was a homemade album. Thompson's aim was to create an album that sounded intimate. Front Parlour Ballads has been hailed as his first solo, all acoustic album since 1981 but speaking it's neither of those things - percussionist Debra Dobkin plays on two tracks, "Let It Blow" and "My Soul, My Soul" and Thompson himself adds electric guitar to the same two tracks. Thompson had a small studio built in his garage at home and recorded the tracks onto his laptop computer, adding overdubs as he deemed necessary. Dobkin's contributions were recorded in the same way. Thompson did not expect to sell many copies of Front Parlour Ballads; the critics, as usual, acclaimed the new release, but rather more surprising were strong early sales in both the U. S. and Britain, Front Parlour Ballads debuted in the indie charts on both sides of the Atlantic. All songs written by Richard Thompson "Let It Blow" "For Whose Sake?"
"Miss Patsy" "Old Thames Side" "How Does Your Garden Grow?" "My Soul, My Soul" "Cressida" "Row, Boys Row" "The Boys Of Mutton Street" "Precious One" "A Solitary Life" "Should I Betray?" "When We Were Boys At School" Richard Thompson – electric guitar, acoustic guitar, accordion, bass guitar and vocals Debra Dobkin – percussion
Pour Down Like Silver
Pour Down Like Silver is the third album by the British duo of singer-songwriter and guitarist Richard and vocalist Linda Thompson. It was recorded in the summer of 1975 and released in November 1975; the Thompsons had moved into a commune in London. The songs on this album reflect their new faith and the relief that Richard Thompson had found in that faith, it seems that conflicting pressures were bearing down on the duo at the time. Linda Thompson:'... At one point our Sheikh forbade Richard to do music... On the other hand, he always encouraged me, "you have a voice and you've got to sing".' Jo Lustig:'Richard came to me and said "look, my Mullah doesn't want me to play electric guitar. I don't know what I'm going to do about my career... I'm not going to be working."'And there was a recording contract. The Thompsons owed Island Records an album; the compromise seems to have been that the album to be delivered was to have a strong spiritual aspect. Linda Thompson:'Pour Down Like Silver was when Sheikh Abdul Q'adir said we could make music as long as it was to God...
"Dimming of the Day", "Beat the Retreat", "Night Comes In", they're all about God, considering they're all about God some of them aren't bad.' Despite these surrounding constraints and conflicts, the album is recognisably a Richard and Linda Thompson album in terms of melodies and the lyrical style. Pour Down Like Silver was recorded at Sound Techniques studio with John Wood engineering. Richard Thompson would have been familiar with both engineer and studio from his time with Fairport Convention. Joe Boyd, who had both produced and managed Fairport, did the vast majority of his production work at Sound Techniques and with Wood at the controls. Richard Thompson had left Fairport Convention in 1971 with a considerable reputation as an electric guitar soloist. However, the first few albums of his post-Fairport career had placed more emphasis on the vocals and the songs themselves; as noted above, Thompson was under increasing pressure from his spiritual teacher to abandon the electric guitar. What recent live work there had been had placed the emphasis on acoustic guitar.
So it was notable that Pour Down Like Silver and the live shows either side of the album’s release saw Thompson’s electric guitar returning to the spotlight. Concert performances featured extended guitar solos on "The Calvary Cross" and on "Night Comes In" and "For Shame of Doing Wrong" from the newly released Pour Down Like Silver; the electric guitar is prominent indeed on the third Linda album. More so because of the sparser arrangements and production that distinguish this album from its more lush sounding predecessor. Subsequently, Thompson disclosed that this stark and simple production was more by accident than design. "It was a stark record, but I think it was by accident in a sense – we were intending to have Simon come and play rhythm guitar but he wasn’t available so everything ended up sounding stark and I was always going to overdub rhythm guitar and stuff, but we thought we’ll just leave it, what the hell."Thompson may be regarded as being a little too off-hand here. In fact he overdubbed mandolin and multiple guitar parts on some tracks, session musicians were called in.
Another noticeable instrumental element of the album is the accordion of John Kirkpatrick, prominent both on this album and during the Thompsons' live shows in 1975. The understated and elegant "Dimming of the Day" was sung by Linda Thompson on this album, but Richard Thompson has continued to feature it in his own live shows for many years - an indication of its deep personal significance; this song is an example of Thompson writing in a centuries-old Sufic tradition of expressing divine love in earthly terms. On the album "Dimming of the Day" segues into a solo guitar performance of Scots composer James Scott Skinner's "Dargai" that matches the mood of the song and serves to bring the album to a contemplative conclusion. "Night Comes In" is another song of profound personal significance and recounts Richard Thompson's formal initiation into the Sufi faith. The song is notable for several prominent passages of electric guitar playing notable for their lyrical intensity - the closing, multi-tracked solo.
"Hard Luck Stories" is the most musically upbeat song on the album, with sardonic lyrics and a incisive guitar solo. After this album and the following short tour and Linda Thompson took a sabbatical from recording and performing music. All songs written by Richard Thompson except "Dargai", written by J. Scott Skinner and arranged by Thompson. "Streets of Paradise" - 4.17 "For Shame of Doing Wrong" - 4.44 "The Poor Boy Is Taken Away" - 3.35 "Night Comes In" - 8.12 "Jet Plane in a Rocking Chair" - 2.48 "Beat the Retreat" - 5.52 "Hard Luck Stories" - 3.51 "Dimming of the Day"/"Dargai" - 7.16 Available on 2003 Island Reissue "Streets of Paradise" - 3.57 "Night Comes In" - 12.22 "Dark End of the Street" - 4.16 "Beat the Retreat" - 6.25 Richard Thompson - guitar, mandolin, Appalachian dulcimer, Hammered dulcimer, electric piano Linda Thompson - vocals Timi Donald - drums Pat Donaldson - bass guitar Dave Mattacks - drums Dave Pegg - bass guitar John Kirkpatrick - accordion, concertina Ian Whiteman - flute, shakuhachi Aly Bain - fiddle Nic Jones - fiddle Henry Lowther - trumpet Clare Lowther - cello Jack Brymer - clarinet Dargai by James Scott Skinner
Acoustic Classics is the fifteenth solo studio album by British singer/songwriter Richard Thompson. It was released by Beeswing Records via Proper Records on 21 July 2014 in the UK and 22 July 2014 in the USA. Acoustic Classics is an album of acoustic versions of songs from Thompson's back catalogue, both as a solo artist and as part of the folk rock duo Richard & Linda Thompson. Thompson states that the album "was conceived to be something to sell at acoustic shows" as he did not have anything available, "representative of a solo show"; the album includes his first solo studio version of "Persuasion,", available in a live recording and a studio duet with son Teddy Thompson. Thompson wrote the song with Tim Finn of Crowded House & Split Enz. Finn had a minor hit with the song when released as a solo single in 1993; the song was included on Finn's solo album Before & After released in 1993. "From Galway to Graceland" is a song about an Irish woman, convinced she is married to Elvis Presley and travels to Graceland to kneel by his grave before being ejected at closing time.
The album was released on digital download. According to the album credits, Thompson plays Lowden guitars on Acoustic Classics. An article in Acoustic quotes George Lowden as stating that Thompson has played such a guitar since the early 80's and that he built a signature model for Thompson out of cedar wood, based on the Lowden F model guitar, with ziricote wood for the back and sides and no position markers on the fingerboard. On the Metacritic website, which aggregates reviews from critics and assigns a normalised rating out of 100, Acoustic Classics received a score of 76, based on 1 mixed and 9 positive reviews; the album was reviewed, with critics giving positive comments. Martin Chilton in The Daily Telegraph states that the album is "full of interesting guitar flourishes and rhythms which bring an imaginative touch to classics" and that "you will still find much to enjoy listening to a master re-touch some of his best works". John Paul of PopMatters writes that "Acoustic Classics serves as a fitting showcase for not only Thompson’s undeniable skills as a virtuoso guitarist, but as a phenomenal songwriter capable of deftly tapping into a wealth of human emotions".
He states that the album "plays like an hour-long live performance stripped of crowd noise, giving it an intimate immediacy that draws in the listener and makes them feel as though this were a command performance for one". The Financial Times critic David Honigmann feels differently, writing in his review that "this attempt to capture the spirit of Thompson’s celebrated acoustic concerts is unexpectedly bloodless". Timothy Monger of AllMusic states that "it's a true pleasure to hear effortless command of the instrument as well as his rich, commanding baritone in the warm, unplugged format" and feels Acoustic Classics is an essential album for Thompson fans and British folk fans in general"; the Guardian review by Neil Spencer is more conservative, writing that "most of these pieces are best heard in original form" but does concede that "Thompson brings the experience of his years to bear on 14 dazzlingly good songs, singing more intensely while playing more nimbly". American Songwriter's Hal Horowitz writes that "these updated versions bring a newfound fire and/or subtlety" and comments that you can "relish these terrific songs played and sung by a master still at the top of his game and wise enough to realize he can improve on the originals."
Joe Breen writing in The Irish Times writes that "there has always been a tension in Thompson’s writing...here it sounds starker in this solitary performance" and that "the “live” performance seems naked without applause". Colin Irwin writes in Mojo that these versions of the songs "are scarcely comparable to the original band versions...but there's a certain magic in hearing the classics in such intimate form". He summarises by stating that "the rugged, bluesy quality of Thompson's voice can be appreciated". All tracks written by Richard Thompson except “Persuasion” by Thompson and Tim Finn Richard Thompson - guitars and vocals