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Date: Tue, 12 Oct 1999 15:53:14 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: Contrabass Sarrusophone in concert!
Reply-To: contrabass@contrabass.comTonight (7:30 PM), the San Jose State University Symphonic Band is
performing in the SJSU concert hall, and I with them. Among the
works is the "Children's March (Over the Hills and Far Away)" by
Percy Grainger, which includes an actual contrabass sarrusophone part.My first (and only) rehearsal was last night. Fortunately, the music
is not particularly difficult, although it is a little tricky as it
appears that my part is from a different arrangement from the rest of
the band. (It all fits together anyway, fortunately) It includes a
solo (if we can convince the tubas to stop playing all the cues) for
8 bars, starting at bar 61 of the piece, and smaller (4 bar) solos
scattered here and there throughout the work. The part covers most
of the range of the horn, from the lowest Bb to the D above the
staff. It is nice to see that he expected some agility as well: the
part has a number of quick figurations, and octave skips from the
lowest notes into the midrange, and from midrange notes into the
highest range and back. The piece ends with solo sarrusophone
playing after-beats under a sustained bassoon note.Also on the program is "Colonial Song" by Grainger, which apparently
also calls for sarrusophone. At least, the tubas have sarrusophone
cued in their parts: for lack of a part, I'm playing contrabass
clarinet and reading off the bass clarinet part.The rest of the program is: "Wachet Auf" (J.S. Bach); Overture to
Candide (Bernstein); "Prelude in the Dorian Mode" (deCabezone, arr.
Grainger - this one has a decent contrabass clarinet part); "American
Salute" (Morton Gould); "Symphony 20, Three Journeys to a Holy
Mountain" (Hovahaness); "March Op. 99" (Prokofiev); "Toccata from
Bachianas Brassilieras No. 2" (Villa Lobos); "The New Colonial March"
(R.B. Hall); and "The Royal Welch Fusaliers" (Sousa).Come and enjoy!
Grant
+++++++++++++++++++++++++++++++++++++++++++++
Grant Green gdgreen@contrabass.com
http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------Date: Tue, 12 Oct 1999 16:36:48 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: OTS bass
Reply-To: contrabass@contrabass.comFor anyone looking for over-the-shoulder horns, there's a 52-incher
on ebay at http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=176919879 .
They called it a "zoozaphone" :-)Enjoy!
Grant
+++++++++++++++++++++++++++++++++++++++++++++
Grant Green gdgreen@contrabass.com
http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------From: Opusnandy@aol.com
Date: Tue, 12 Oct 1999 20:49:39 EDT
Subject: Re: How low can we go?
Reply-To: contrabass@contrabass.comMy recollection is also that the octocontrabass and octocontraalto clarinets
went down to written low D. Of course, I've never actually seen one.Wanting to see one,
Jonathan Carreira
---------------------------------------------------------Date: Tue, 12 Oct 1999 19:04:38 -0700
From: Lawrence de Martin <demartin@tesser.com>
Subject: How low can we go - long
Reply-To: contrabass@contrabass.comI have been lurking on the list without posting since I have never
played a wind instrument; but I have been researching bass hearing so I
would like to give my observations on this topic. Long dissertation
follows, feel free to ignore.The limit to bass instruments is not hearing. There are power limits to
bass production and architectural limits to bass expression. There are
also considerable limits to bass speakers, which have formed a large
part of the bass ecology since Kellogg and Rice invented the dynamic
speaker in 1925. There may even be limits to wood, reeds and lips; but
none of the instruments described down to 8Hz are at the limit of
sensibility.The 20Hz figure was an arbitrary cutoff derived from Fletcher and Munson
in 1933. The use of headphones artificially limited the test to hearing
through the pinnae. The Robinson-Dadson experiment of 1956 used
loudspeakers to detect deeper bass sensitivity, but still hit the limit
of the equipment before the limits of humans.These hearing tests show an average mechanical rolloff occurring between
400Hz (speakers) and 600Hz (headphones), compressing the dynamic range
from 120dB at A440 to 70dB at 20Hz (E0). The actual lower limit of
hearing is unknown and below 5Hz, more than two octaves below "common
knowledge". Note that although the power required to hear bass goes up
as the note goes down, the thresholds of pain and damage also go up.
The requirements of speakers are quadrupled for each octave and ten
times for every 10dB, so it is very difficult to produce, say, 120dB at
5Hz; but it is easy to sense it and quite safe (barring architectural damage).All this relates to the lowest audible fundamental; but musical notes
start and stop. Staccato bass notes actually include a lot of spectral
energy below 20Hz, even with fundamentals up to 100Hz. 100Hz is a magic
number because the period of oscillation is equal to the Haas limit, the
psychoacoustic threshold where time domain hearing starts.Mathematically, a 1 second note has a frequency component of 1Hz, which
is clearly audible between the starting and stopping of the note. Of
course, conventional speakers with bass rolloff at 40Hz or above can't
reproduce nearly this low, nor can phonographs or analog tape. You also
need a room with dimensions over 55 feet (or a lot of acoustical holes
in the walls) to give expression to the lowest octaves.What normally results is a distortion of the rhythm, initial and final
pitch on staccato bass notes. The rhythm and pitch errors are
compensated by good technique on acoustic instruments, but moving cone
speakers never sound right because they can't follow the starting and
stopping accurately. Consequently, most recording engineers roll off
and/or dynamically alter the bass.I am on this list to gather musician's observations about deep bass,
which is a frontier that has not moved significantly in this century. I
hope to spread the word that deeper bass is audible and musically
satisfying, so that we can unite in exploring the deep.I would like to ask if anyone has bass recordings that capture full bass
transient sounds, octo-contrabass fundamentals, or speakers that sound
good on those recordings?Thank you,
Larry de Martin
---------------------------------------------------------Date: Tue, 12 Oct 1999 20:46:13 -0700
From: Frank Diaz <frankd@lmi.net>
Subject: Re: [Contra digest]
Reply-To: contrabass@contrabass.comGrant, my older additions of the Guinness book list the BBBb
Octocontrabass clarinet having a C as the lowest sounding pitch. This
would be a written D.Given that the instruments that Leblanc has were most likely made in the
'50 or '60's (The Galpin Society devoted an article to it in 1959), it
stands to reason that the BBBb horn went to D since the BBb Contrabass's
being built at the time went down to D.Another interesting note, I have the 1959 Galpin article, but no mention
is made of the EEEb Octocontra-alto. In a 1971 issue of Woodwind World,
there is a photo of Leon Leblanc playing the Octocontra-alto and it is
billed as a "new" instrument. I guess the low BBBb horn came out first.Regarding the works that include these horns, have they every been
performed, or do they just "exist"? This may explain the low C's. The
composers probably wrote the music without ever even seeing the horns.Does anyone know otherwise?
FRank Diaz
List Server wrote:
> The modern contrabass clarinet reaches the piano's lowest Bb. The Eb
> octocontralto clarinet could reach the Eb below that, while the Bb
> octocontrabass was pitched a full octave below the Bb contrabass:
> down to the Bb nearly an octave past the left end of the keyboard.
> Those probably qualify ;-) The BBb contrabass sarrusophone reaches
> the Ab just below the piano's lowest A: still an audible pitch, but
> pretty close to the edge...
>
> Grant
---------------------------------------------------------Date: Wed, 13 Oct 1999 00:28:09 -0500
From: John Howell <John.Howell@vt.edu>
Subject: CB Strings?!
Reply-To: contrabass@contrabass.com>From: Heliconman@aol.com
>Interesting point! I don't think I've EVER seen anything on this list about
>contrabass string instruments! Was there ever a Contrabass Viol made?Sure was. In the early 17th century contrabass instruments of both the
violin family and the viol family came on the scene. They're shown in the
woodcuts in Praetorius' treatise on musical instruments. Monteverdi used
both in "L'Orfeo," and was very careful to indicate which one he wants in
each place.However, these were "ordinary" contrabass instruments. The contrabass
violin evolved into the modern double bass. The contrabass viol (called
"violone"--the suffix "one" denotes "a big one" as in "provolone," a big
cheeze!) was a 6-stringed fretted instrument tuned an octave below the
normal bass viol, going down to DDD.Double basses are still the least standardized stringed instruments. In a
typical orchestra you'll see both violin shaped (rounded shoulders, carved
rounded back) and viol shaped (sloping shoulders, flat back angled in at
the top) instruments. And you'll see both French bows (modified
violin/cello bows) and German bows (actually directly descended from the
underhand grip bows used for all sizes of viol).There is--maybe in existence and maybe just in theory--a subcontrabass
violin. I've seen either a picture of it or an artist's conception, and it
would be worth trying to track down that picture. (Hint: her articles
first appeared in Scientific American 'way back in the 60s.) It was
designed by the woman in New Jersey who has done so much good research on
the physics of violins, as the lowest of 8 sizes in her "perfect" consort
of violins. The smallest size was impractical because there are no strings
with enough tensile strength to pull it up to the theoretical correct
pitch, and the subcontrabass is so tall that ALL the notes have to be
fingered mechanically, sort of like what an ordinary orchestral bassist
does for the extension notes down to low CCC.John
John & Susie Howell
Virginia Tech Department of Music
Blacksburg, Virginia, U.S.A. 24061-0240
Vox (540) 231-8411 Fax (540) 231-5034
(mailto:John.Howell@vt.edu)
http://www.music.vt.edu/faculty/howell/howell.html
---------------------------------------------------------
Date: Tue, 12 Oct 1999 21:46:21 -0700 (PDT)
From: Adam Kent-Isaac <lokibassoon@yahoo.com>
Subject: massive string instruments
Reply-To: contrabass@contrabass.comSupposedly, the largest string instrument ever build
was a fourteen-foot-tall double bass, built on
special-order from the "Arch-Angel Gabriel." The bass
had long leather strings.A guitar which was something like 38 feet was built! I
wonder how low that went.The largest string instrument ever built was a
pantaleon which had 270 strings stretching over 50
square feet!!!BTW, what is a pantaleon? I've never heard of it!
=====
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
---------------------------------------------------------From: <Colin.HARRIS@dfee.gov.uk>
Subject: RE: How low can we go - long
Date: Wed, 13 Oct 1999 09:32:26 +0100
Reply-To: contrabass@contrabass.comApart from being an absolute wiz, thanks for the post.
To add, normal playback equipment couldn't handle these very low notes as
was stated before. The only way you could experience them was to be there "live"I can hit a contrabass E on my Eb Tuba (4th below A on a piano) and this is
quite recognisable. The best way to experience these pedals though is in
octave combination: this seems to amplify these lowest notes. To be
perfectly honest, these notes below the piano A have no musical value unless
you double them with something else.The more overtones an instrument has, the more effective these pedals are.
That is why a contra's lower register is very usable on its own, as it is
reedy, whereas the low diapason or bourdon organ pedals are almost inaudible
at the same level.
For use of pedals, go and see a good top section brass band in concert. The
boys at the back make the floor vibrate!-----Original Message-----
From: Lawrence de Martin [mailto:demartin@tesser.com]
Sent: 13 October 1999 03:05
To: contrabass@contrabass.com
Subject: How low can we go - long
CONTRABASS@contrabass.com
=========================
*I have been lurking on the list without posting since I have never
played a wind instrument; but I have been researching bass hearing so I
would like to give my observations on this topic. Long dissertation
follows, feel free to ignore.The limit to bass instruments is not hearing. There are power limits to
bass production and architectural limits to bass expression. There are
also considerable limits to bass speakers, which have formed a large
part of the bass ecology since Kellogg and Rice invented the dynamic
speaker in 1925. There may even be limits to wood, reeds and lips; but
none of the instruments described down to 8Hz are at the limit of
sensibility.The 20Hz figure was an arbitrary cutoff derived from Fletcher and Munson
in 1933. The use of headphones artificially limited the test to hearing
through the pinnae. The Robinson-Dadson experiment of 1956 used
loudspeakers to detect deeper bass sensitivity, but still hit the limit
of the equipment before the limits of humans.These hearing tests show an average mechanical rolloff occurring between
400Hz (speakers) and 600Hz (headphones), compressing the dynamic range
from 120dB at A440 to 70dB at 20Hz (E0). The actual lower limit of
hearing is unknown and below 5Hz, more than two octaves below "common
knowledge". Note that although the power required to hear bass goes up
as the note goes down, the thresholds of pain and damage also go up.
The requirements of speakers are quadrupled for each octave and ten
times for every 10dB, so it is very difficult to produce, say, 120dB at
5Hz; but it is easy to sense it and quite safe (barring architectural
damage).All this relates to the lowest audible fundamental; but musical notes
start and stop. Staccato bass notes actually include a lot of spectral
energy below 20Hz, even with fundamentals up to 100Hz. 100Hz is a magic
number because the period of oscillation is equal to the Haas limit, the
psychoacoustic threshold where time domain hearing starts.Mathematically, a 1 second note has a frequency component of 1Hz, which
is clearly audible between the starting and stopping of the note. Of
course, conventional speakers with bass rolloff at 40Hz or above can't
reproduce nearly this low, nor can phonographs or analog tape. You also
need a room with dimensions over 55 feet (or a lot of acoustical holes
in the walls) to give expression to the lowest octaves.What normally results is a distortion of the rhythm, initial and final
pitch on staccato bass notes. The rhythm and pitch errors are
compensated by good technique on acoustic instruments, but moving cone
speakers never sound right because they can't follow the starting and
stopping accurately. Consequently, most recording engineers roll off
and/or dynamically alter the bass.I am on this list to gather musician's observations about deep bass,
which is a frontier that has not moved significantly in this century. I
hope to spread the word that deeper bass is audible and musically
satisfying, so that we can unite in exploring the deep.I would like to ask if anyone has bass recordings that capture full bass
transient sounds, octo-contrabass fundamentals, or speakers that sound
good on those recordings?Thank you,
Larry de Martin
----------------------
end contrabass list
---------------------------------------------------------From: <Colin.HARRIS@dfee.gov.uk>
Subject: RE: Contrabass Sarrusophone in concert!
Date: Wed, 13 Oct 1999 09:33:40 +0100
Reply-To: contrabass@contrabass.comIt is because contras and bass clarinets are never there at wind bands, so
it is an automatic reaction to put in cues!!!!>It includes a solo (if we can convince the tubas to stop playing all the cues)
---------------------------------------------------------From: <Colin.HARRIS@dfee.gov.uk>
Subject: Out of the shadows.
Date: Wed, 13 Oct 1999 09:43:37 +0100
Reply-To: contrabass@contrabass.com
Dear list,I have been hiding in the shadows for too long now!
I am a Eb and BBb bass (tuba) player with Backworth Colliery Brass Band (www.backworth.org.uk) . I am also a bass
trombone player, so I am well suited to this list.I have also done orchestral tuba playing, and on one occasion, played the contra part for Handel's Fireworks Suite!
I, like the rest of us, have a fascination for the low notes. I enjoy playing BBb bass more the Eb bass, but it is easier to play Eb bass, so I play that the most!
Hope to add more insights into the rumblings I do.
Colin Harris
---------------------------------------------------------
Date: Wed, 13 Oct 1999 11:24:37 +0100 (BST)
From: Dafydd y garreg wen <mavnw@csv.warwick.ac.uk>
Subject: RE: How low can we go - long
Reply-To: contrabass@contrabass.comOn Wed, 13 Oct 1999 Colin.HARRIS@dfee.gov.uk wrote:
> octave combination: this seems to amplify these lowest notes. To be
> perfectly honest, these notes below the piano A have no musical value unless
> you double them with something else.Tell that to Philip Wilby! There's a solo fortissimo Gb (concert pitch)
below the piano in the BBb bass part to Revelation.> For use of pedals, go and see a good top section brass band in concert. The
> boys at the back make the floor vibrate!
>
Yes - and exactly how many of those notes are written in the parts?:)Dave Taylor
---------------------------------------------------------
From: <Colin.HARRIS@dfee.gov.uk>
Subject: RE: How low can we go - long
Date: Wed, 13 Oct 1999 11:38:00 +0100
Reply-To: contrabass@contrabass.com
-----Original Message-----
From: Dafydd y garreg wen [mailto:mavnw@csv.warwick.ac.uk]
Sent: 13 October 1999 11:25
To: contrabass@contrabass.com
Subject: RE: How low can we go - long
Yes Dave, there has been great discussion about this on the brass band
mailing list. It take it that means a pedal Ab. It is a lot easier to get
than pedal G, that's all I'll say.I find that pedals on a Eb bass are much better than the corresponding notes
on a BBb bass in terms of volume and quality i.e a pedal A on an Eb bass is
much better than a bottom d (1st+3rd+4th) on a BBb Bass. I my band, when
the BBb has to go to these depth, me and the my BBb bass playing colleague
swap octaves i.e. I take the pedals and he plays the upper octave. IMHO it
sounds more satisfactory
>Tell that to Philip Wilby! There's a solo fortissimo Gb (concert pitch)
>below the piano in the BBb bass part to Revelation.In the region of 1-2%!?!?!?
>> For use of pedals, go and see a good top section brass band in concert. The
>> boys at the back make the floor vibrate!
>>
>Yes - and exactly how many of those notes are written in the parts?:)Dave Taylor
----------------------
end contrabass list
---------------------------------------------------------Date: Wed, 13 Oct 1999 12:00:51 +0100 (BST)
From: Dafydd y garreg wen <mavnw@csv.warwick.ac.uk>
Subject: RE: How low can we go - long
Reply-To: contrabass@contrabass.com
On Wed, 13 Oct 1999 Colin.HARRIS@df>
>
> I find that pedals on a Eb bass are much better than the corresponding notes
> on a BBb bass in terms of volume and quality i.e a pedal A on an Eb bass is
> much better than a bottom d (1st+3rd+4th) on a BBb Bass. I my band, whenThis is because these notes are not pedals on the BBb bass - the player
has to force the air through just about every single bend in the
instrument to make it sound. A tone lower, and although pedal G on an Eb
bass is a spanking note, it's better on a BBb by the same principle.> the BBb has to go to these depth, me and the my BBb bass playing colleague
> swap octaves i.e. I take the pedals and he plays the upper octave. IMHO it
> sounds more satisfactoryYou're not alone - Elgar Howarth specifies this at the end of his
arrangement of 'The Great Gate of Kiev', when he has the Ebs
hyperventilating on pedal Cs for the last line, with the BBb on a middle
F. This is also because of the tone quality being affected by the amount
of tubing the air goes through.
BTW for the American readers, we're talking in transposing treble clef.
Sorry - it's a brass band habit.Dave Taylor
>
>
> >Tell that to Philip Wilby! There's a solo fortissimo Gb (concert pitch)
> >below the piano in the BBb bass part to Revelation.
>
> In the region of 1-2%!?!?!?
>
> >> For use of pedals, go and see a good top section brass band in concert.
> The
> >> boys at the back make the floor vibrate!
> >>
> >Yes - and exactly how many of those notes are written in the parts?:)
>
> Dave Taylor
>
> ----------------------
> end contrabass list
> ----------------------
> end contrabass list
>
---------------------------------------------------------
From: Fmmck@aol.com
Date: Wed, 13 Oct 1999 07:06:51 EDT
Subject: Re: RE: How low can we go - long
Reply-To: contrabass@contrabass.comIn a message dated 10/13/99 4:32:29 AM, Colin.HARRIS@dfee.gov.uk writes:
<< To be perfectly honest, these notes below the piano A have no musical value unless
you double them with something else.The more overtones an instrument has, the more effective these pedals are. >>
Colin-
This suggests that you don't really hear the low note - you hear the pulsing harmonics.
For example, when the Space Shuttle is launched my windows rattle at
approximately ten rattles per second. I hear this before any other sounds of
the rocket's roar.Fred McKenzie
MMB
---------------------------------------------------------From: <Colin.HARRIS@dfee.gov.uk>
Subject: RE: How low can we go - long
Date: Wed, 13 Oct 1999 12:21:51 +0100
Reply-To: contrabass@contrabass.comDave,
A bottom F on a BBb is a absolute peach note, very resonate and warm (this
is due I believe, to secondary resonance with it being a 5th below the
fundamental pitch). It is much better than the pedal C on an Eb, which can
sound coarse and out of tune at ff or louder.Still, never liked his stuff!
Your point about extra tubing is taken, but that is point I was making.
When composers write 4th valve notes for BBb at loud dynamics, they do not
realise that they involve so much tubing and effort just to get the damn
note going, that by the time the note is established, you're out of breath!
The eqv. on an Eb is much easier and takes less puff.Here's a nice example next time you are at band practise:
In the red book version of "Praise My Soul" (no. 72) there is a long Eb note
at ff for 4 bars at the end of the second verse. On a BBb, to play a low Eb
at ff for 4 bars takes a huge breath before, and is almost impossible,
whereas on an Eb bass, playing a pedal Bb is very easy, and takes the normal
amount of breath.If the lower octave was required in an arrangement, for example, an arranger
would put if for the BBb bass, whereas if it was written for the Eb, it
would be more effective.I also second Dave's apologies for writing about treble clef. It is the
strange world of brass bands where the deepest notes are still written in
treble!Colin
-----Original Message-----
From: Dafydd y garreg wen [mailto:mavnw@csv.warwick.ac.uk]
Sent: 13 October 1999 12:01
To: contrabass@contrabass.com
Subject: RE: How low can we go - long
> the BBb has to go to these depth, me and the my BBb bass playing colleague
> swap octaves i.e. I take the pedals and he plays the upper octave. IMHO
it
> sounds more satisfactoryYou're not alone - Elgar Howarth specifies this at the end of his
arrangement of 'The Great Gate of Kiev', when he has the Ebs
hyperventilating on pedal Cs for the last line, with the BBb on a middle
F. This is also because of the tone quality being affected by the amount
of tubing the air goes through.
---------------------------------------------------------From: <Colin.HARRIS@dfee.gov.uk>
Subject: RE: RE: How low can we go - long
Date: Wed, 13 Oct 1999 12:23:56 +0100
Reply-To: contrabass@contrabass.com
I have heard that the 64 foot organ stops at Lincoln Cathedral (I think) had
to be turned off, as there were worries about the integrity of the building
when in use! They, as you say, are felt rather than heard.-----Original Message-----
From: Fmmck@aol.com [mailto:Fmmck@aol.com]
Sent: 13 October 1999 12:07
To: contrabass@contrabass.com
Subject: Re: RE: How low can we go - long
CONTRABASS@contrabass.com
=========================
*
In a message dated 10/13/99 4:32:29 AM, Colin.HARRIS@dfee.gov.uk writes:
<< To be perfectly honest, these notes below the piano A have no musical value unless
you double them with something else.The more overtones an instrument has, the more effective these pedals are.
>>Colin-
This suggests that you don't really hear the low note - you hear the pulsing
harmonics.
For example, when the Space Shuttle is launched my windows rattle at
approximately ten rattles per second. I hear this before any other sounds
of the rocket's roar.Fred McKenzie
<A HREF="http://www.dreamnetstudios.com/music/mmb/index.htm">MMB</A>
----------------------
end contrabass list
---------------------------------------------------------From: <Colin.HARRIS@dfee.gov.uk>
Subject: OctoContrabassons?
Date: Wed, 13 Oct 1999 12:26:26 +0100
Reply-To: contrabass@contrabass.comHas anyone ever heard of any instruments built which are a lower extension
of the bassoon family, i.e. octo and sub-contra instruments. I have been
unable to find any examples on the Internet or in publications.Thank you,
Colin Harris.
---------------------------------------------------------From: <Colin.HARRIS@dfee.gov.uk>
Subject: Anaconda (Contrabass Serpent)
Date: Wed, 13 Oct 1999 13:01:52 +0100
Reply-To: contrabass@contrabass.comAnyone who hasn't visited this site needs to do so NOW!!
http://www.music.ed.ac.uk/euchmi/ujt/ujt2929.html
Pictures, sounds clips and a short lecture on this fascinating instrument.
Can I have one for Christmas?
Colin Harris.
---------------------------------------------------------From: "David Neubauer" <dnmagic@earthlink.net>
Subject: Re: Susan Nigro
Date: Wed, 13 Oct 1999 10:43:39 -0700
Reply-To: contrabass@contrabass.comCan't wait to hear it! How much was it (Tower says I can't accept
cookies so I can't go there (however, my computer *does* accept
cookies)? I especially can't wait to hear the Mozart, I performed
that at Interlochen in 1979 on Contrabassoon with Contra Bass
Clarinet, and the response was so good that the next summer we did it
on Contrabassoon and Tuba (a 'rewritten' ("funny") version which
included our music exploding at the end) which I have somewhere on
(audio) tape.David Neubauer
www.dnmagic.com> I've just discovered the Susan Nigro's latest contrabassoon CD is now
> out. The title is "The 2 Contras" (1999 Crystal Records 349) and has
> both Susan Nigro and Burl Lane on contrabassoons. Tower
> (http://www.towerrecords.com), CDNow and Amazon.com have it listed,
> although for some reason CDNow has all of SN's CDs listed under
> popular music, rather than classical. Tower currently lists the
> lowest price for it. All three list it as a "special order" item.
>
> The tracks are:
> 1. Sonata d'Amore for 2 Contrabassoons (Daniel Dorff)
> 2. Sonata for 2 bassoons No. 1 (Etienne Ozi)
> 3. From the Deep (Arthur Weisberg)
> 4. Duo for Bassoon and Cello in Bb Major (Mozart)
> 5. Concerto for 2 bassoons in F major (Johann Baptist Vanhal)
> 6. The Impish Imp (Michael Curtis)
>
> Now waiting for my copy to arrive.... :-)
>
> Enjoy!
>
> Grant
---------------------------------------------------------
From: Heliconman@aol.com
Date: Wed, 13 Oct 1999 17:25:27 EDT
Subject: Re: OTS bass
Reply-To: contrabass@contrabass.comIn a message dated 10/12/1999 7:38:17 PM Eastern Daylight Time,
gdgreen@contrabass.com writes:> For anyone looking for over-the-shoulder horns, there's a 52-incher
> on ebay at
> http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=176919879 .
> They called it a "zoozaphone" :-)
>
Looked like it was going away cheap for a while! Bids went from $690 to $1625
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