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Date: Tue, 6 May 1997 11:31:19 -0400 (EDT)
Today's Topics:
Date: Sun, 04 May 1997 22:10:45 -0700
From: Bob
Bailey <bbailey@nwol.net> (by way of Grant Green
<gdgreen@contrabass.com>)
To:
contrabass-list@contrabass.com
Subject: various
Do my messages to you get posted automatically on the digest?
How could I find out more about Kotato's 16' double contrabass flutes? I can't imagine how big they are and how big the embouchure hole is-- how is it not a physical impossibility to play one? Is the fingering Boehm system?
The contra alto and contrabass clarinets I play have no vent keys for the altissimo register. What kinds do?
Is there any alto clarinet or lower such that the lowest note(coming through the bell) has as nice a tone as the rest of the chalumeau register? The rest of the register has notes with obvious odd-numbered-harmonic tone, yet the note through the bell sounds like the lowest note on an unresonant cello, almost irritating.
I have a Leblanc brochure of clarinet choir, and one of the pages has a black-and-white photograph of an array of Leblanc clarinets from Ab sopranino to the Eb Octo-contra alto clarinet. The octo looks like a looped contrabass but longer, and with a bell that comes very short of the top loop. The octo in the picture of Leblanc playing one looks much narrower. Have you seen any good photographs of an octo contra alto or "the" octo contrabass clarinet? Why does Leblanc make an alto clarinet with a slightly curved neck and one with a straight neck?
I was surprised to see Leblanc's preference of clarinet choir in a band of 90-100; the brochure says that in a band of 90-100 members, the following clarinet instrumentation would be very practical and in good balance:
_
48
The above proportions will also work very well for the clarinet choir as a unit.
Because having a contra alto, contrabass, and lower clarinets playing notes other than doubling octaves with each other would produce gross difference tones, do all parts just double in these registers?
Date: Sun, 04 May 1997 22:29:31 -0700
From: Grant
Green <gdgreen@contrabass.com>
To:
bbailey@nwol.net
Cc:
contrabass-list@contrabass.com
Subject: Re: various
At 03:15 PM 7/28/95 -0700, you wrote:
>Do my messages to you get posted automatically on the digest?
They do if you send them to "contrabass-list@contrabass.com". Otherwise, when I receive email that looks like it was intended for the list, I often forward it there.
> How could I find out more about Kotato's 16' double contrabass flutes?
> I can't imagine how big they are and how big the embouchure hole is--
> how is it not a physical impossibility to play one? Is the fingering
> Boehm system?
Well, there's an image of one on the "big flutes" page ( http://www.contrabass.com/pages/flutes.html ). I would think that they're no more impossible to play than the contrabassoon (also a 16' pipe) or the BBb tuba. The fingering, I believe is Boehm. The embouchure hole is probably somewhat larger than a bass flute's, but not necessarily twice the diameter.
> The contra alto and contrabass clarinets I play have no vent keys for
> the altissimo register. What kinds do?
That I don't know. My contra also lacks an altissimo vent. I find that I can play in the altissimo register anyway: just takes more practice.
> narrower. Have you seen any good photographs of an octo contra alto or
> "the" octo contrabass clarinet? Why does Leblanc make an alto clarinet
See the bottom of http://www.contrabass.com/pages/cbcl.html .
> with a slightly curved neck and one with a straight neck?
Not sure which clarinets you're referring to: there's the standard Eb alto, and also a basset horn in F, which are about the same size. The basset horn has a narrower bore, but has the low range extended down to written C (a half step below the alto's low Eb). I believe the basset horn has a straighter neck.
Grant
Date: Sun, 4 May 1997 22:48:04 -0700 (PDT)
From:
mgrf@pacificnet.net (Marion)
To:
contrabass-list@contrabass.com
Subject: Re:
contrabass-list Digest V97 #36
Hi all
Pierre-Yves Artaud is the flute professor at the Paris Conservatoire of Music in Paris, France. The Conservatoire is the place where Taffanel and Gaubert used to teach. He is also a master of new music for the really low flutes. I have been consulting him on music for bass flute in C and lower flutes. He's made many recordings and he's a real nice guy, too.
One of you other guys has the Kotato rep. address, don't you? I'll hunt for it here; I have it somewhere around!!!
Good luck Angela!
Marion Garver
Marion Garver
mgrf@pacificnet.net
http://www.supernet.ab.ca/~shawnp/
Date: Mon, 5 May 1997 10:43:59, -0500
From:
KUUP84A@prodigy.com (MR MARK A TRINKO)
To:
contrabass-list@contrabass.com
cc: [deleted]
Subject:
Need your reply
A while back I asked who is coming to the contra-bassoon ccompetition (keep in mind we are expanding to include all contra and sub and octo instruments) in Jan 5-8, 1998 in Las Vegas.
The response from you all was poor. Maybe it is a little too early in the year to plan Jan 98, but for our purposes, please help us out. Simply reply to this and say:
This should help us out a lot. Oh yes, also, list your instrument that you will be bringing with you.
Thanks,
Mark
Date: Mon, 05 May 1997 15:08:54 -0700
From: Grant
Green <gdgreen@contrabass.com>
To:
contrabass-list@contrabass.com
Subject: CB Trumpet
Mpcs?
Carl said:
>As for mouthpiece choice with the CB trumpets I've built, during play
>testing, I found only the shallowest of mouthpieces would work. Otherwise
>intonation goes bad, and a flabby TOOBA sound is produced that is the
>antithesis of the agile instrument that I was trying to create. After all,
>trumpet mouthpieces aren't funnel shaped (tuba mouthpieces are, though).
Carl, can you recommend a decent mpc for me to start out on? Joe sold me his PT-60 (which is made for F tuba solo work), which seems like a good mpc, but does not have a particularly shallow cup.
Thanks,
Grant
Date: Mon, 05 May 1997 15:15:32 -0700
From: Grant
Green <gdgreen@contrabass.com>
To:
contrabass-list@contrabass.com
Subject: Kotato
Angela inquired:
> Where can I get the Kotato
>catalogue? It sounds very interesting.
Kotato's US distributor is:
West Music Company
1214 5th Street, Box
5521
Coralville, IA 52241
Telephone: 319-351-2005
You can find this (and Kotato's Japanese address) at http://www.contrabass.com/pages/kotato.html
Grant
Date: Mon, 5 May 1997 18:54:21 -0400 (EDT)
From:
WilPryde@aol.com
To:
contrabass-list@contrabass.com
Subject: Re:
contrabass-list Digest V97 #36
Thanks everyone,I think as to building my own Octo-Contrabass Tuba(BBBBflat)I'll try to gain some experiance building smaller horns (Maybe a CB Trumpet in BBflat w\4 valves?)And all the while save up money for the already dubbed "Sousa Monster". Their's probably going to be quite a few walls in my path with the "Big One",but I have a long life ahead of me(hopefully!)And nothing can stop a motivated musician.By the way anyone heard of where I could pick up a copy of the Nuclear Whales Saxaphone Orchestra's C.D.:"Gone Fission."?
Date: Tue, 06 May 97 16:17:00 BST
From: Francis
Firth <Francis.Firth@uce.ac.uk>
To:
"'contrabass-l'"
<contrabass-list@contrabass.com>
Subject: Pitch,
Tone on Contrabass Trumpet
"Nope. Tone comes later. Pitch comes first!.
I was assuming pitch, I suppose.
Now, as everyone knows, there are valve trombones, tenor, bass and contrabass (one of the forms of the cimbasso).
What differentiates their tone from that of bass, contrabass trumpets. It can't be just a matter of valves but of a concept/ideal of what a trumpet or trombone should sound like.
I would imagine that mouthpieces make some difference but mainly to help or hinder a desired tone (tuning issues apart).
Francis Firth
Francis.Firth@uce.ac.uk