Contrabass Digest
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2000-02-07

 
From: "Mark Trinko" <mtrinko@prodigy.net>
Subject: Las Vegas Low Ensemble
Date: Sun, 6 Feb 2000 16:11:31 -0800
Reply-To: contrabass@contrabass.com

Wow!  I knew I could count on you guys for more feedback than I needed!

So here is my decision.
We will advertise it by a list of instruments which will include auditions for:

Now the issue about music.  Fortunately, our up front sponsor is a band music store.  They are going to help us identify appropriate music that this type of group (or groups) can play.  It seems like a big list for a city with over 1.3 million people, but most of these instruments are not played by our youth of today.  We shall see and as we go, if changes need to be made instrategy, we shall adapt.  At least we have a starting point now.  Should anyone have any score they have composed for any combination of these instruments (at least half of them), we would be happy to consider playing them in the group during the radio stations live concert and mini-tour after the auditions.

So, here is the starting point.  Get involved.  Come to Vegas!  Still looking for the other up front $500 sponsor.  Any takers?

Mark

Mark Trinko
MTrinko@Prodigy.net

http://pages.prodigy.net/mtrinko/index.html
http://www.lvrj.com/communtylink/sundowners.html
---------------------------------------------------------

Date: Sun, 06 Feb 2000 19:18:21 -0500
From: John Howell <John.Howell@vt.edu>
Subject: Verdi's bass drum
Reply-To: contrabass@contrabass.com

>From: "Aaron Rabushka" <arabushk@cowtown.net>

>Did Verdi design a special bass drum for use in his Requiem? In Fort Worth
>the guy played the louder strokes simultaneously on two drums.

I suspect that he used whatever the orchestra had.  The "tuba" parts in his
operas are labeled ophecleide because that's what the opera houses had in
the pit.

The tuning of the drum is probably more significant than its construction.
I heard the National Symphony do the Verdi many years ago in Constitution
Hall, and the percussionist had obviously tuned the bass drum precisely to
the resonant frequency of the hall.  Awesome sound!

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

---------------------------------------------------------

From: "Jay Easton" <whistler@aznet.net>
Subject: one more
Date: Sun, 6 Feb 2000 23:22:19 -0800
Reply-To: contrabass@contrabass.com

This IS contrabass.com isn't it? I think what we're
trying to do here is a)make sure that our own
instrument gets included, b) include as many other
instruments as we can. We all want to fit it (human
nature) and we simply don't want to leave anybody out.
After all, the more the merrier.

Hear, Hear!!!  and we forgot bass harmonica (to low C, same as baritone sax)

Jay

---------------------------------------------------------

Date: Mon, 7 Feb 2000 15:43:33 +0000 (GMT)
From: Dafydd y garreg wen <mavnw@csv.warwick.ac.uk>
Subject: Re: Writing for Euph
Reply-To: contrabass@contrabass.com

On Sun, 6 Feb 2000, Grant Green wrote:

> >The Euph as an independent line - obviously it can be used to great effect
> >blending in tandem with Tubas or even French Horns, but a part that
> >restricts itself entirely to the role of doubling has simply missed the
> >capabilities of the instrument - not to say that this isn't sometimes
> >necessary throughout a piece, but it does happen rather too often for this
> >to be argued.
>
> Clear enough.  What sort of *line* do you like?  Lyrical (e.g., Holst 1st
> suite opening)? Humoresque, with jumps and leaps?

The Euph can be a very versatile instrument in the right hands - either of
the above (and the various shadings in between) work well.
>
> > > What do you really dislike?
> >the tuba, almost always). Also, as above, parts written in a silly
> >range. The problem of composers writing continously at the bottom end of
> >the instrument arises mainly from using the Euph to fill in texture and
> >double the tubas - rather a novice's mistake in scoring I would have
>
> Keeping in mind that some of us have never been euph players, where do the
> ranges fall on the staff?  E.g., which notes do you consider "low range",
> which comfortable, which uncomfortably high, which rarely accessible?
 

The quoted range is E below the bass staff to Bb in the treble staff. This
doesn't take account of either pedals or instruments with more than 3
valves - 4 valves can fill in the gap down to the pedals, but these notes
are rather 'stuffy' due to excessive bends in the tubing. In general,
though notes below E are there and quite playable by a decent player with
the right instrument, they should be avoided in large amounts (this is the
mistake that the pieces I was talking about made), as they strain the
lower jaw (an area I've had trouble with before). Pedal notes are
different, having a rather different timbre unless care is taken, but are
playable (mainly as special effects, though 'Sennets and Tuckets' went
down to the F# four leger lines below the bass stave. The lowest note I've
ever seen written for Euph was a pedal D (in a duet for the Childs
Brothers. Anyone heard of them? Fantastic exhibitions of technique).
At the top end, notes above Bb are possible too, though it's probably
unwise to write above about C, as few players will be able to reach these
notes. Constant writing above say D above the bass staff will tire a
player unduly.
In general, keep it between G in the low end of the bass staff and the G
above the staff, but don't feel that this is exclusive - just don't ever
write lower than say pedal G ( 3 leger lines) or higher than say C# in the
middle of the treble staff. Of course, if you're writing for a specific
individual, then tailor it to their abilities - the ranges given above
suit a fairly high standard. If in doubt, keep it in the 2 octaves G-G.

Hope this helps,
Dave Taylor

---------------------------------------------------------

Date: Mon, 7 Feb 2000 15:51:06 +0000 (GMT)
From: Dafydd y garreg wen <mavnw@csv.warwick.ac.uk>
Subject: Re: Euph question
Reply-To: contrabass@contrabass.com

On Sun, 6 Feb 2000, Chuck Guzis wrote:
> Hello Dave,
>
> Forgive my presumption, but I note from Grant Green's list that you're a UK
> euphonium player and I'd like to draw upon your knowledge.  >
> I recently came into possession of a Besson baritone (not euphonium) horn.
>   Not unusual in itself, but the construction of it has my collector
>friends scratching their collective head.  This is an instrument in
>nickel-silver with 4 valves in a front-action compensating
>arrangement.   I estimate the instrument to be more than 20 years
>old.  Not one of my friends was aware that Boosey ever made a
>compensating front-action instrument, much less in nickel-silver.
>
> Are these things common on your side of the pond or do I have a really
> rare bird here?
>
> Being primarily a tuba player, I like the convenience of 4-valve front-action
> instruments in general.  When I do get to play euphonium, it's a Willson
> 2975 4-front compensator, so this B&H baritone naturally caught my eye.

I'm really puzzled by this! I've never seen a front action Euph, much less
a Baritone over here, although Besson (under which name B&H now make
brass instruments) do make Sousaphones, I think. They've also in the last
few years (not as many as 20) introduced a range on Baritones with a
4-valve compensating system, very similar to their Euphs (i.e. 3 top, 1
side). Does anybody have a clue?

Dave Taylor

---------------------------------------------------------

From: Heliconman@aol.com
Date: Mon, 7 Feb 2000 13:40:30 EST
Subject: Re: one more
Reply-To: contrabass@contrabass.com

In a message dated 02/07/2000 2:27:09 AM Eastern Standard Time,
whistler@aznet.net writes:

<< Hear, Hear!!!  and we forgot bass harmonica (to low C, same as baritone sax)
 Jay >>

I've wanted a bass harmonica for many years, but never found any for sale in
the music stores here in Boston. Nobody wants to stock them! Any hot tips on
where to buy one at a decent price?
---------------------------------------------------------

Date: Mon, 7 Feb 2000 11:10:54 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: Re: one more
Reply-To: contrabass@contrabass.com

>In a message dated 02/07/2000 2:27:09 AM Eastern Standard Time,
>whistler@aznet.net writes:
>
><< Hear, Hear!!!  and we forgot bass harmonica (to low C, same as
>baritone sax)
> Jay >>
>
>I've wanted a bass harmonica for many years, but never found any for sale in
>the music stores here in Boston. Nobody wants to stock them! Any hot tips on
>where to buy one at a decent price?

Actually, the bass harmonica comes in a variety of different sizes and configurations.  The most popular (the Hohner 265/58 double bass) has a two octave chromatic range down to low E - the *second* E below the bass staff.  The string bass low E1.  The Huang #123 Octave Bass has the same range.

There is a wealth of information about the bass harmonica (aka bass harp) at http://www.bassharp.com/bh_101.htm - where most of my information comes from.

I actually have a Hohner double bass, just haven't gotten around to posting pictures/pages, etc., yet.  They aren't easy to find, and are relatively expensive compared to most harmonicas.  I ordered mine through Harp Depot, at a good price.  If they need to order it from Germany, you can expect a wait...

Grant

+++++++++++++++++++++++++++++++++++++++++++++
Grant Green            gdgreen@contrabass.com
                     http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------

Date: Mon, 07 Feb 2000 14:46:27 -0500
From: Abi Tenenbaum <abi@brandeis.edu>
Subject: Re: one more
Reply-To: contrabass@contrabass.com

I am by no means a harmonica player of any kind, but I have several
close friends who are.  They're more than willing to explain to me the
difference between chromatic and diatonic "harps", but they don't know
why exactly harmonicas are called harps.  I could see a shortening to
"harm", but where did the "p" come from???

Abi

Grant Green wrote:
> There is a wealth of information about the bass harmonica (aka bass
> harp) at http://www.bassharp.com/bh_101.htm - where most of my
> information comes from.

---------------------------------------------------------

Date: Mon, 7 Feb 2000 12:16:55 -0700
From: Grant Green <gdgreen@contrabass.com>
Subject: Re: Harps
Reply-To: contrabass@contrabass.com

>I am by no means a harmonica player of any kind, but I have several
>close friends who are.  They're more than willing to explain to me the
>difference between chromatic and diatonic "harps", but they don't know
>why exactly harmonicas are called harps.  I could see a shortening to
>"harm", but where did the "p" come from???
>
>Abi

My recollection is that "harp" derives from "mouth harp", which is an alternate name for the harmonica (along with "mouth organ", and "tin sandwich").

Incidentally, the chromatic bass works differently from the typical chromatic harp.  Most modern chromatics have a slide (a button at one end of the harp) that changes the pitch by a half step.  The open positions are natural notes (at least on a C chromatic), usually laid out something like: C-E-G-C-C-E-G-C-C... for the "blow" notes, and D-F-A-B-D-F-A-B... for the "draw" (inhale) notes.  Pushing the slide button moves a perforated piece of metal across the mouthpiece (the front of the harp), covering all the natural note holes and uncovering the sharps: effectively, each hole is raised a half step, blow and draw.  Some chromatics are available in different keys because it determines which chords you can play (try to play a D  major chord on a C chromatic: you just don't get F# at the same time as D and A).

In contrast, the bass harp (at least the Hohner works this way - I don't have any experience with other makes) is "all blow", and has two bodies that are hinged together.  The bottom half has the C major scale, while the top half has all the sharps.  There is no slide - you just switch from one set of holes to the other.  The holes are large enough that you generally don't play chords, although you can play an interval of a third by blocking one hole with your tongue while blowing the holes on either side of it.  Again, you can't play D and F# at the same time...

Grant

+++++++++++++++++++++++++++++++++++++++++++++
Grant Green            gdgreen@contrabass.com
                     http://www.contrabass.com
+++++++++++++++++++++++++++++++++++++++++++++
---------------------------------------------------------

From: "Leanne Enck" <kontragirl@hotmail.com>
Subject: Re: Las Vegas Low Ensemble
Date: Mon, 07 Feb 2000 15:42:05 MST
Reply-To: contrabass@contrabass.com

Now the issue about music.  Fortunately, our up front sponsor is a band
music store.  They are going to help us identify appropriate music that this
type of group (or groups) can play.  It seems like a big list for a city
with over 1.3 million people, but most of these instruments are not played
by our youth of today.  We shall see and as we go, if changes need to be
made instrategy, we shall adapt.  At least we have a starting point now.
Should anyone have any score they have composed for any combination of these
instruments (at least half of them), we would be happy to consider playing
them in the group during the radio stations live concert and mini-tour after
the auditions.
 

Hey, if you tell me what key everything's in, I'll get working on something
for you!

Leanne, the contralto clarinetist.

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