434 Sentences With "contrabass" | Random Sentence Generator

Chase), contrabass clarinet (Evan Ziporyn) and live electronics (Hans Tutschku).

Something that sounds like synths is probably a contrabass clarinet or some number of them.

There is quite a bit of contrabass clarinet and bass clarinet and B-flat clarinet, for that matter.

The odd bowed cymbal or greedily gurgling contrabass clarinet prevented things from getting too fun in jazzed-up numbers.

The title comes from Chase's nickname for her monstrous contrabass instrument, which stands five and a half feet tall.

Peri Mauer has written for contrabass flute and cello, which I thought was very neat, because I didn't know anything like that.

On Wednesday the American Composer's Orchestra presents Angélica Negrón's song cycle "El Colapso" and on Thursday Lori Freedman performs solo bass and contrabass clarinet music.

The arrangements utilize the clunking, heavy-breathing focal points of a contrabass clarinet, rigged up with his signature contact microphones instead of the original's drifting strings.

He presents some of that music in concert with Mobile, his acoustic ensemble with Sha on bass and contrabass clarinets and Kaspar Rast and Nicolas Stocker on drums and percussion.

And her brooding work on contrabass flute wound up serving as a setup for one booming, climactic pulse from Mr. Sorey, working in this moment as drummer and dramatist both.

The live part for various flutes — including bass and contrabass varieties — occasionally imitated those prefashioned motifs, while at other junctures it seemed to trigger new twists in the work's progression.

Parker's "Scrapple From the Apple" loses its steady pulse, becoming an immersion in overtones and soupy interplay, especially between Mr. Braxton's contrabass clarinet and the sighing, slippery bass of Joe Fonda.

When he graduated from the University of Michigan in 19943 with a degree in contrabass and composition, opportunities for classically trained African American musicians were scarce to nonexistent in US symphonies.

The palette of the piece is very dark—low wind and brass, all underpinned by the rasping sound of the contrabass trombone, which descends as far as the bottom note on a piano.

"Bertha's Lair" leaves more to the discretion of the performers, yet this performance—with Sorey on drums and Chase switching between piccolo, C flute, and contrabass flute—unfolded like an impeccably choreographed routine.

Both Mr. Furrer's absurdly difficult "Solo" (1999) for cello — Chris Wild, insatiable — and Richard Barrett's "Interference" (2000) for contrabass clarinet — Alejandro Acierto, equally so — used the voice to break down the distinction between player and played.

Performing in an invented language is just one more challenge for the part of Pan, played by Ms. Chase on an array of flutes as small as the piccolo and as large as the mammoth contrabass flute.

They are a conceptual shift from earlier Liang works, including some selected for his Portrait concert: "Serashi Fragments" (2005), a string quartet inspired by a Mongolian chaorer (two-stringed fiddle); "Ascension" (2008), a rollicking brass quintet with percussion; and "Luminous" (2014), a concerto for the dexterous contrabass player Mark Dresser recently released on New World Records.

Instruments tuned below contrabass instruments, such as the double contrabass flute or subcontrabass saxophone, may be referred to as "double contrabass," "triple contrabass," "subcontrabass," or "octocontrabass" instruments. On the other hand, the "contrabass" classification often includes such instruments.

The contrabass sarrusophone is sometimes confused with the reed contrabass, to which it bears a superficial resemblance.

The contrabass was also used in Strauss's Elektra (1908), and Schoenberg's mammoth cantata Gurre-Lieder (1913), with the latter scored for a section of seven trombones including alto and contrabass. Puccini's last opera Turandot (1924) also employed the contrabass trombone, albeit that they were scored for the Italian-valved contrabass instrument (the "Cimbasso"). Although the contrabass trombone has not proven to be a permanent addition to the opera or concert orchestra, and is only required in a small number of mainly 20th century works, it has become increasingly used in film scores in recent years. Pierre Boulez wrote for the contrabass trombone in his work Pli selon pli ("Fold By Fold").

Contrabass (from ) refers to several musical instruments of very low pitch—generally one octave below bass register instruments. While the term most commonly refers to the double bass (which is the bass instrument in the orchestral string family, tuned lower than the cello), many other instruments in the contrabass register exist. The term "contrabass" is relative, usually denoting a very low-pitched instrument of its type, rather than one in a particular range. For example, the contrabass flute's lowest note is approximately an octave higher than that of the contrabass clarinet.

Benedikt Eppelsheim contrabass clarinet Benedikt Eppelsheim is a German maker of high- and low-voiced saxophones, the soprillo (sopranissimo) and tubax (subcontrabass and contrabass saxophone), which are available exclusively from him. He also makes bass saxophones, contrabass saxophones, subcontrabass saxophone (available as a special order), and contrabass clarinets. He builds sarrusophones as a special order as well. In cooperation with Guntram Wolf, he has also developed a new version of the contrabassoon called the "Contraforte".

The 3/4 sized contrabass came in D or F pistons with either F or F# rotary valves. The 4/4 contrabass came in F piston/F# rotor configuration, two piston, or three piston configuration. The 5/4 contrabass came in two piston, three piston, or four piston configuration. The 4/4 contrabass is still available in a three valve configuration, and has been built in both four piston, and two piston plus an F# rotor special order configurations.

Flute (C Flute, bass Flute and Piccolo), Recorder (sopranino Recorder, soprano Recorder, tenor Recorder, bass Recorder and Paetzold contrabass Recorder in F), Clarinet (Clarinet in Bb, bass Clarinet in Bb and contrabass Clarinet in Bb), Saxophone (soprano Saxophone, alto Saxophone and Eb Tubax), Trumpet in C (doubling Flugelhorn), Trombone, Percussion, Accordion, Violin, Viola, Violoncello, Contrabass, Electronics.

Contrabass sarrusophones are extremely light for contrabass instruments, weighing only about as much as a baritone saxophone, and being approximately four feet tall, about the same height as a bass saxophone. This makes them more convenient to carry around, fitting into cars more easily, and putting less strain on one's muscles while carrying or playing it. Conn made contrabass sarrusophones, instead of contrabass saxophones, because the sarrusophones were easier to ship across seas, and to send through the mail, due to their lightness.

Nonetheless, the instrument is best suited to more harmonic material, not unlike a tuba, rather than virtuosic melodies. Range of Contrabass Trombone in F The range of the contrabass trombone (excluding fundamentals or pedal notes) demanded by Wagner is from E1 to E4, though composers since then have required even lower notes – even as low as B0. Given that the older B contrabass is less common nowadays in professional ensembles, the F contrabass trombonist produces notes below G1 as fundamentals, allowing full access to the range of the older B contrabass trombone and extending the range even lower. The use of a contrabass trombone almost always requires the addition of a fourth player to the trombone section and while in the past parts of the instrument were sometimes played on a tuba or, more recently, a bass trombone, it is nowadays considered unacceptable to use anything but a contrabass trombone to play these parts, at least in professional settings.

Contrabass trombone in F In 1921, Ernst Dehmel, a German inspector of orchestras and bass trombonist from Berlin, patented a new design of contrabass trombone, utilising the old German military band bass trombone in F, equipped with two independent rotary valves to replace the handle required on the long slide and to fill in the missing notes between the first partial (fundamental) in closed position and the second partial with the slide fully extended. This bass-contrabass instrument is the precursor of the modern contrabass trombone, which is still largely constructed according to the same principles and, to all intents and purposes, completely replaced the older double slide variety, which is very rarely seen today. Bore sizes for the slide of the contrabass trombone are typically in the range; the most common sizes on contrabass trombones in F are between as the larger sizes are usually reserved for the contrabass trombone in low B. The bell diameter is typically . Since World War II the contrabass trombone in F with two valve attachments has been primarily in use in orchestras, though the 18′ B version is still used by many.

The sarrusophone was played by Earl Dumler. In 2013, Franklin Stover composed a Concerto Breve for E contrabass sarrusophone and winds. The English composer Kaikhosru Shapurji Sorabji used the contrabass sarrusophone in various of his orchestral works.

Gérard Buquet owns the only ever built contrabass Trombone with two bells.

Until the late 19th century, the instrument typically had a weak tone and poor intonation. For this reason, the contrabass woodwind parts often were scored for, and contrabassoon parts were often played on a serpent, contrabass sarrusophone or, less frequently, reed contrabass, until improvements by Heckel in the late 19th century secured the contrabassoon's place as the standard double reed contrabass. For more than a century, between 1880 and 2000, Heckel’s design remained relatively unchanged. Chip Owen, at the American company Fox, began manufacturing an instrument in 1971 with some improvements.

Some flute even goes beyond 1 meter length. There is no limit in the imagination of these kind of flute construction. Few examples are Double contrabass flute, Contrabass flute and Anahat Venu. These flute can go up to 12 feet.

Kunstkabinett was premiered by the Modern Art Ensemble and the composer's wife, the soprano Andión Fernández, in Berlin on 16 September 2007. It is scored for seven players (flute/contrabass flute, clarinet/contrabass clarinet, percussionist, piano, violin, viola, 'cello) and soprano.

The contrabass clarinet is also sometimes known by the name pedal clarinet, this term referring not to any aspect of the instrument's mechanism but to an analogy between its very low tones and the pedal division of the organ. Subcontrabass clarinets, lower in pitch than the contrabass, have been built on only an experimental basis. The E contra-alto clarinet is sometimes referred to as the "E contrabass clarinet".

The 5/4 contrabass is still available in a three valve configuration, with a four valve configuration as a special order. The four valve contrabass bugle is the lowest pitched brasswind ever mass produced. Some special order BBBb tubas and Sousaphones exist, but were not built in large quantities. With all four valves depressed, the lowest sounding note on the contrabass bugle is A0, the lowest note on a piano.

These parts are nowadays all normally played on the contrabassoon, though recordings of at least some of these pieces using sarrusophones are extant. In general when the term "sarrusophone" is used, it usually refers to the EE contrabass which appears to have been made in larger numbers than any other size. Although the CC contrabass was perhaps envisioned for these and other orchestral works, few instruments were made and those that did exist were most likely the property of the orchestras that they were made for. The CC contrabass has a range that is identical to the contrabassoon, while the EE contrabass, while having the same written range as the CC, due to its key, lacks the lowest 3 notes of the contrabassoon's range (C, B, B). The EE contrabass has also been used as an alternative to the EE contrabass saxophone, which due to its large size is impractical in many musical situations, especially marching.

The BBb side is a contrabass tuba, and the EEE side is a subcontrabass tuba.

The logical conception for the bass guitar > encompasses six strings. From 1982 onwards Jackson exclusively played a contrabass. Prior to 1982 his main instruments included a 1973 Fender Precision Bass, a 1973 Fender Jazz bass fitted with a 1975 Precision neck, and a Gibson EB-2D bass. In 1984 Fodera introduced their first Anthony Jackson Signature Model contrabass, followed in 1989 with a single cutaway model, the “Anthony Jackson Presentation Contrabass Guitar”.

A contrabass guitar is a low-register bass guitar with four, five or six strings. It is often called, simply, a six string bass guitar. The five string bass guitar is rarely called a contrabass guitar, even though it typically has the same lowest note.

Clarinet family from left to right: Leblanc B contrabass, Leblanc E contra-alto, Buffet B bass, E alto and B soprano 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 (also spelled bathyphone, Ger. and Fr. batyphon) was a contrabass clarinet which was the outcome of W. F. Wieprecht's endeavor to obtain a contrabass for the reed instruments. The batyphone was made to a scale twice the size of the clarinet in C, the divisions of the chromatic scale being arranged according to acoustic principles.

The contrabass saxophone was part of the original saxophone family as conceived by Adolphe Sax, and is included in his saxophone patent of 1846, as well as in Kastner's concurrently published Methode for saxophone. By 1849, Sax was displaying contrabass through sopranino saxophones at exhibitions. Patrick Gilmore's famous American band roster included a contrabass saxophone in 1892, and at least a dozen of these instruments were built by the Evette- Schaeffer company for the US military bands in the early 20th century. Saxophone ensembles were also popular at this time, and the contrabass saxophone was an eye-catching novelty for the groups that were able to obtain one.

Examples exist in E♭, C, B♭, and A♭ (soprano), F and E♭ (alto or quinticlave), B♭ and C (bass), and F or E♭ (contrabass). The most common members are the bass ophicleides pitched in B or C. Soprano and contrabass instruments are very rare. Adolphe Sax and the modern maker Robb Stewart have built examples of soprano ophicleides an octave above the bass. Currently, only five contrabass ophicleides are known to exist.

Contrabass bugle The contrabass bugle, or "contra", is the bugle equivalent of a marching tuba and its variants (the sousaphone and helicon). This bugle was designed in the 1960s. The original design for a contrabass called for an instrument in CC (the equivalent tubing length of a CC tuba), carried in front of the marcher like the higher voices. This was quickly replaced with a shoulder carried variant a full octave lower than the baritone voice.

150px The double contrabass flute (sometimes also called octobass flute) is pitched in the key of C, three octaves below the concert flute (two octaves below the bass flute, and one octave below the contrabass flute). Its lowest note is C1, one octave below the cello's lowest C. Despite the tendency of the larger sizes of flute to be quiet, the double contrabass flute has a surprisingly powerful tone, though it benefits from amplification in ensembles.

Anthony Braxton playing a paperclip contrabass clarinet in Rochester, NY. 1976 Benedikt Eppelsheim contrabass clarinet There are several present-day producers of the contrabass clarinet. Selmer Paris makes a rosewood version (model 28) looking much like a longer version of the bass clarinet, with full keywork, and Leblanc USA has a plastic instrument in a similar long-body design. Leblanc Paris was building two versions made of metal, model 340 (known as a paperclip contrabass due to its folded shape) with range to low C, and the model 342 (similar in shape to the Selmer and Leblanc USA models, with range to low E). In 2006 Benedikt Eppelsheim introduced a metal contrabass clarinet with a folded shape somewhat resembling that of a baritone saxophone, described as a full Boehm system instrument with a full set of four right hand trill keys.

According to oral history, his proficiency in instruments includes the organ, piano, violin, contrabass, flute, and trumpet.

In recent years, the rock group Violent Femmes have incorporated the contrabass saxophone into the band's live performances as well as their newest albums. Blaise Garza's contrabass saxophone often doubles the bass guitar,Bot generated title --> and is featured heavily on their ninth studio album We Can Do Anything.

Most opera house orchestras and some symphony orchestras require the bass trombonist to double on the contrabass trombone.

The bass tuba is commonly available in F and E, while contrabass tubas are available in C and B.

The melodic voice plays the notes of the A minor scale, and the tintinnabuli voice plays the notes of the A minor triad. When the cello and contrabass finish their melodic figure, the contrabass continues playing a pedal note "A," until in mm. 6, when the pattern reverses, and again the instrument sections are phased in, displaced by a half measure, but this time beginning with the lowest instrument pair (cello and contrabass). The string orchestra’s phasing pattern is reflected in the solo violin parts.

150px The contrabass flute (sometimes also called octobass flute) is used mostly in flute ensembles. Its range is similar to that of the regular concert flute, except that it is pitched two octaves lower; the lowest performable note is C2 (equivalent to the lowest C on the cello). Many contrabass flutes in C are also equipped with a low B1 (in the same manner as many modern standard sized flutes are). The contra-alto flute is sometimes referred to as a contrabass flute in G.

The tubax is a modified saxophone developed in 1999 by the German instrument maker Benedikt Eppelsheim. It is available in both E contrabass and B or C subcontrabass sizes. Its name is a portmanteau of the words "tuba" and "sax". The first size of tubax to be developed was the E contrabass.

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 B, sounding two octaves lower than the common B soprano clarinet and one octave lower than the B bass clarinet. Some contrabass clarinet models have a range extending down to low (written) E, while others can play down to low D or further to low C. This range, C(3) – E(6), sounds B(0) – D(4). Some early instruments were pitched in C; Arnold Schoenberg's Fünf Orchesterstücke specifies a contrabass clarinet in A,Arnold Schoenberg, Five Orchestral Pieces (Courier Dover, 1999) but there is no evidence of such an instrument ever having existed.

Contrabass trombone in B/F Range of Contrabass Trombone in B♭/F The contrabass trombone is usually pitched in 12′ F a perfect fourth lower than the modern tenor or bass trombone and has been through a number of changes in its history. Its first incarnation during the Renaissance was in 18′ B as the "Octav-Posaune", while it was the Bass Trombone that was pitched in F, E, or D. During this period the Contrabass Trombone was built with a long slide and extension handle to reach the lower positions. This horn was generally unsatisfactory with players, being unwieldy and incredibly taxing to play. The innovation of the double slide took place in 1816, proposed by Gottfried Weber in which he described its construction.

Bertram Jay Turetzky (born February 14, 1933) is a contemporary American double bass (contrabass) soloist, composer, teacher, and author of The Contemporary Contrabass (1974, 1989), a book that looked at a number of new and interesting ways of playing the double bass including featuring it as a solo performance vehicle with no other instrumental accompaniment.

Contrabass sarrusophones take rather large reeds; they are larger than contrabassoon reeds. This leads to most people making their own reeds (as is the practice of most oboe and bassoon players). Contrabass sarrusophone reeds are still manufactured by Vandoren. Sarrusophones are traditionally played with a double reed, but single reed mouthpieces have also been used.

Because the contrabass bugle can get in the way of commonly worn headgear, such as a shako, it is not uncommon for contrabass players to wear a beret instead of whatever else the rest of the ensemble is wearing for headgear. This also gives the players some distinction from the rest of the brass ensemble.

After guitar maker Carl Thompson made a first, arguably non-satisfying attempt to create such an instrument in 1974, Ken Smith built the first entirely usable electric contrabass guitar in 1982. This was again at the request of bassist Anthony Jackson, who later asked Vinnie Fodera and Joey Lauricella of Fodera Guitars to build several instruments according to his ideas."Contrabass Conception: Anthony Jackson's Journey To 6-String Supremacy" interview with Chris Jisi (Bass Player magazine US) The contrabass guitar influenced the development of the six-string electric bass.

Jazz bassist Ron Carter pictured playing with his Quartet at "Altes Pfandhaus" in Cologne A person who plays this instrument is called a "bassist", "double bassist", "double bass player", "contrabassist", "contrabass player" or "bass player". The names contrabass and double bass refer to the instrument's range and use one octave lower than the cello (i.e. doubling on cello). The terms for the instrument among classical performers are contrabass (which comes from the instrument's Italian name, contrabbasso), string bass (to distinguish it from brass bass instruments in a concert band, such as tubas), or simply bass.

The EE♭ sarrusophone has the tone of a reedy contrabass saxophone, while the CC sarrusophone sounds much like the contrabassoon. The BB♭ contrabass sarrusophone is the lowest of the sarrusophones, and was the lowest-pitched wind instrument until the invention of the EEE♭ octocontra-alto and the BBB♭ octocontrabass clarinets, and the BB♭ subcontrabass tubax. Contrabass sarrusophones come in two bore widths: big pipes, which sound mellower and softer, but are still reedy; and small pipes, which are extremely reedy. The EE and BB sarrusophones are transposing instruments.

Stern sang in the synagogue as a boy and began music in the public schools; playing tuba and contrabass in bands, orchestras, shows etc. In high school, he studied contrabass with Frederick Zimmermann, (NYC,1963–65), and participated in chamber music workshops led by the Budapest String Quartet at SUNY at Buffalo (1963–64). Composition- Samuel Adler, theory- Robert Gauldin, orchestration- Bernard Rogers, contrabass-Oscar Zimmerman, voice classes of Julius Huehn at the Eastman School of Music University of Rochester,הפועל זונה Class Notes.(BM, Rochester, New York 1969); privately Hall Overton (NYC, 1966 & 67).

Originally, Danny Elfman, the composer for the previous installments, did not plan to return for the third installment of Spider-Man because of difficulties with director Sam Raimi. Elfman said that he had a "miserable experience" working with Raimi on Spider-Man 2 and could not comfortably adapt his music. Christopher Young was then announced to score Spider-Man 3 in Elfman's absence. According to Young, Sandman's theme uses "two contrabass saxophones, two contrabass clarinets, two contrabass bassoons and eight very low French horns" in order to sound "low, aggressive and heavy".

Many large scale instrument retailers still sell the contrabass trumpet, even though it is significantly less popular than other trumpet models.

The work is scored for twelve instruments: flute, oboe, cor anglais, clarinet, bassoon, horn, trumpet, violin, viola, cello, contrabass, and piano.

By the onset of the Great Depression, the saxophone craze had ended, and the contrabass, already rare, almost disappeared from public view.

Sigi Lemmerer is an Austrian Hackbrett (hammered dulcimer) player and musical composition arranger. He also plays Steirische Harmonika, piano, guitar, percussion, and contrabass.

While there are few orchestral works that call specifically for the contrabass saxophone, the growing number of contrabass saxophonists has led to the creation of an increasing body of solo and chamber music literature. It is particularly effective as a foundation for large ensembles of saxophones. As an example, the eminent saxophonist Sigurd Raschèr (1907-2001) played the instrument in his Raschèr Saxophone Ensemble, and it is featured on most of the albums by the Nuclear Whales Saxophone Orchestra. The Scottish composer Alistair Hinton has included parts for soprano, alto, baritone and contrabass saxophones in his Concerto for 22 Instruments completed in 2005.

Today, the sarrusophone is used in a handful of symphonic wind ensembles and as a novelty instrument on occasions. There appears to be a resurgence of interest in the instrument and there are amateur players (mostly of the EE contrabass). Bruce Broughton made extensive use of a contrabass sarrusophone in his score for the film Tombstone.Bruce Broughton, OMPS "Tombstone", liner notes, Intrada (1993).

An unusual characteristic of the Contrabass was that its distortion components went down as sound pressure level went up, until 105 decibels was reached.

Maria Ramey playing a double contrabass flute The double contrabass flute (sometimes also called the octobass flute or subcontrabass flute) with over of tubing is the largest and lowest pitched metal flute in the world (the hyperbass flute has an even lower range, though it is made out of PVC pipes and wood). It is pitched in the key of C, three octaves below the concert flute (two octaves below the bass flute and one octave below the contrabass flute). Its lowest note is C1, one octave below the cello's lowest C. This flute is relatively easy to play in comparison to most other large flutes. Despite the tendency of the larger sizes of flute to be softer than their higher pitched relatives, the double contrabass flute has a relatively powerful tone, although it usually benefits from amplification in ensembles.

It is popular in Fado bands in Portugal and South America. In this sense, it may actually be considered as an acoustic bass guitar, for it shares the same low-end range. Although called a contrabass guitar, the fact that it is tuned only an octave lower than a normal guitar makes it—in modern terminology—more an acoustic bass guitar than a contrabass instrument.

The first contrabass bugles used the same bore size as the baritone bugle, with double the length of tubing, utilizing a concert Euphonium bell and having a small shank tuba mouthpiece receiver. The combination of the small bell, small bore, and small mouthpiece made slotting notes very difficult. Eventually manufacturers began increasing the size of the contrabass first to the equivalent size of a 3/4 size concert tuba, then to the equivalent of a 4/4 tuba, and finally to the equivalent of a 5/4 tuba. The original small sized contrabass came in D piston or F piston configurations, with F#, F, or E rotary valve tuning slides.

Center: Piccolo. Right: larger flute The piccolo plays an octave higher than the regular treble flute. Lower members of the flute family include the G alto and C bass flutes that are used occasionally, and are pitched a perfect fourth and an octave below the concert flute, respectively. The contrabass, double contrabass, and hyperbass are other rare forms of the flute pitched two, three, and four octaves below middle C respectively.

In 1967 while playing with the Los Angeles Philharmonic, Roger Bobo was looking for an instrument that would fit the sound he was imagining for ‘Canzonas’ by Gabrieli. Unhappy with the sound of the contrabass trombone he sought assistance from George Strucel. The pair worked together to put together a makeshift instrument that later became known as the contrabass trumpet. The bell and tubing were provided by Bach.

Anthony Braxton (born June 4, 1945) is an American composer and multi- instrumentalist who is known in the genre of free jazz. Since the 1960s, he has released more than 100 albums. He plays many types of saxophone (soprano, alto, tenor, baritone, bass, contrabass, sopranino, C-melody, mezzo-soprano) and clarinet (E-flat, B-flat, contrabass), in addition to flute, alto flute, and piano. Braxton studied philosophy at Roosevelt University.

The contra-alto clarinet is higher-pitched than the contrabass and is pitched in the key of E rather than B. The unhyphenated form "contra alto clarinet" is also sometimes used, as is "contralto clarinet", but the latter is confusing since the instrument's range is much lower than the contralto vocal range; the more correct term "contra-alto" is meant to convey, by analogy with "contrabass", that the instrument plays an octave lower than the alto clarinet. It is also referred to as the E contrabass clarinet and the great bass It is the second-largest member of the clarinet family in regular use, larger than the more common bass clarinet but not as large as the B contrabass clarinet. Like other clarinets, the contra-alto clarinet is a wind instrument that uses a reed to produce sound. The keys of the contra-alto are similar to the keys on smaller clarinets, and are played in the same way.

The modern bass trombone is the same length as a tenor trombone, but typically has two valves, one pitched in F and one in G. When combined, these valves put the instrument into D. Modern contrabass trombones are constructed in F and B. The F contrabass trombone is often fitted with a valve that puts it into D, and a valve that puts it into E, and when combined, these put the instrument into the key of B. The B contrabass is often fitted with a valve in F and has been fitted with both a valve in F and G, so that it matches its bass trombone counterpart, but is pitched an octave lower.

The gallery has collaborated with numerous musicians, such as Tetsu Saitoh (contrabass), Shota Koyama (drum), Nobuyoshi Ino (contrabass), Kazutoki Umezu (sax), Takamasa Segi (siku), Yoshiro Nakamura (guitar / vocal), Shun Sakai (vocal), Hasegawa Kiyoshi (guitar / vocal), Ono Lisa (guitar / vocal), Jorge Cumbo (quena / vocal), Hugo Fattoruso (piano), Michel Doneda (sax), Barre Phillips (contrabass), Onuma Yosuke (guitar), Kosuke Atari (vocal), Pierre Barouh (guitar / vocal), Choisori (percussionist), Eiichi Hayashi (sax), Hayasaka Sachi (sax), Tagata Toshiki(bass), Agatsuma Hiromitsu (shamisen player), Masato Tomobe (folk singer) and Takateru Kudo (butoh dance) The gallery has also worked together with GAIA CUATRO, a group that consists of Yahiro Tomohiro, Kaneko Asuka (violin), Carlos Buschini (bass), and Gerardo Di Giusto (piano).

The album was mixed in the US by Bruce Swedien. The didgeridoo was replaced by Göran Månsson's sub contrabass recorder as the drone effect and bass of the band.

Modern birbynės are made of wood with bells of horn and usually have ten tone holes. They are divided by pitch range into three categories: soprano, tenor, and contrabass.

This description of the Besson pedal clarinet is condensed from Schlesinger (1911) Pedal Clarinet. The date of 1889 is from Rendall. A contrabass clarinet (left) compared to a contra-alto clarinet (right). None of these instruments saw widespread use, but they provided a basis for contrabass clarinets made beginning in the late 19th and early 20th centuries by several manufacturers, notably those designed by Charles Houvenaghel for Leblanc, which were more successful.

Size comparison between the contrabass clarinet and the octocontrabass clarinet Demonstration of the lowest notes on an Octocontralto clarinet The octo-contra-alto clarinet (also known as octo contra alto, sub contra alto, or octocontralto clarinet) is the second largest member of the clarinet family. The instrument is pitched one octave lower than the E contra-alto clarinet, two octaves lower than the E alto clarinet, and two octaves and a fifth lower than the standard B soprano clarinet (making it an E transposing instrument). The octocontrabass clarinet (also known as octo-contrabass or subcontrabass clarinet) is the largest, longest, and lowest playing member of the clarinet family. It is pitched an octave below the contrabass clarinet, or three octaves lower than the standard B soprano clarinet.

Modern construction: arched back and belly, sound post and bass bar place the double bass squarely in the violin family. Only strings in fourths and the sloped shoulders remain, neither of which is universal. Recordings and performances of sub-contrabass string instruments are rare; over tall, the triple contrabass viol must be played with the performer on an elevated platform. It was originally a three- stringed baroque instrument tuned C0–G0–C1 or C0–G0–D1 with the lower C coming in at 16.35 Hz. This is equivalent to the C two octaves below the cello's lowest C. A four-string variant of the contrabass viol is played by bassist Brian Smith on Roscoe Mitchell's recording, Four Compositions (Lovely Music, 1988).

Performing solo, Streicher was able to showcase the expressive power of the instrument. As a soloist he recorded pieces ranging from Carl Ditters von Dittersdorf's 18th century compositions to contemporary contrabass pieces.

The group, which used to perform only with its own members, now has a supporting band consisting of drums, 6-string guitar, contrabass, percussion, cavaquinho and piano. The group in the early 1940s.

Roberto Fabbriciani with hyperbass flute. The hyperbass flute is the largest and lowest instrument in the flute family. It is pitched in C, four octaves below the concert flute (and three octaves below the bass flute, two octaves below the contrabass flute, and one octave below the double contrabass flute). It is made of PVC and wood, its tubing is over in length and its lowest note is C0 (16 Hz), below what is generally considered the range of human hearing.

One other personnel change occurred this year. Elpidio Vázquez, a son of Bubú, replaced him on contrabass. The conjunto made its first overseas tour in 1955. It performed in Panama, Colombia, and Costa Rica.

Piano, organ, violin, viola, cello, contrabass, guitar, flute, oboe, clarinet, bassoon, trumpet, French horn, trombone, tuba, percussion instruments, solo-singing, solmization, theory of music, folk music, church music and jazz (singing, percussion, saxophon, trumpet), harpsichord.

Matthias Ziegler (b. Bern, Switzerland, February 13, 1955) is a Swiss flautist and professor of flute who specializes in contemporary music for various sizes of flute (including flute, alto flute, bass flute, and contrabass flute).

After the Baroque era the art died out.Except among some English cathedral organists who continued to practise it up to the early 20th century: ; ; . By the time of the popular revival of J.S. Bach's music (by Mendelssohn, 1829) the performing traditions had been forgotten; musicians took no account of Bach's figured basses; they played him without a continuo realization — sometimes with grotesque results."The public was treated to a dialogue between a contrabass and a flute, or even to a contrabass monologue" (Schweitzer, 1923b).

When mandolin orchestras were being organized in numbers, the members became aware of a problem of adding bass to their orchestras. In trying to play the bass range, many mandolin players were reluctant to switch to the contrabass, because they saw its bowed action as an intrusion into their plucked-string world. They faced the problem, however, that mandolin basses were too quiet; it was hard to get forte (loud sound) from them. Furthermore, they didn't get the deep bass notes of the contrabass.

Dependent means that the second valve only works when used in combination with the first, as it is located directly on the F- or E-attachment tubing. Newer bass trombones have independent (in-line) valves instead, meaning that the second valve is located on the neckpipe of the instrument and can therefore operate independently of the other.Douglas Yeo FAQ: Bass Trombone Valve Systems Contrabass trombones also can have valve attachments. Contrabass trombones in the key of F typically have two valves tuned to C and D respectively.

The work is scored for five flutes (1st and 2nd doubling piccolo; 4th doubling alto flute and piccolo; 3rd and 5th antiphonal), two oboes, two bassoons (2nd doubling contrabassoon), six clarinets (3rd doubling E-flat clarinet; 4th, 5th, and 6th antiphonal), bass clarinet (doubling contrabass clarinet), two alto saxophones (1st doubling soprano saxophone), tenor Saxophone, baritone saxophone, six trumpets (1st, 2nd, and 5th doubling piccolo trumpet; 4th, 5th, and 6th antiphonal), four French horns (3rd and 4th antiphonal), four trombones, euphonium, tuba, harp, contrabass, and percussion.

The Japanese firm of Kotato & Fukushima sell their double contrabass flutes for US$38,000.KOTATO FLUTE - Best Contra Bass in the World! Their main use has been in large flute choirs and occasionally in film scores.

150px An instrument in the key of G, pitched a fourth below the contrabass flute in C and two octaves below the alto flute in G; it is sometimes also called a double contra-alto flute.

Additionally, although originally intended to replace the oboe and the bassoon, the practical ranges of the corresponding sarrusophones, the soprano and bass, as per famed band conductor Edwin Franko Goldman and organologist Anthony Baines, did not lend themselves to proper playing of oboe and bassoon parts, especially in orchestra transcriptions for wind band. The need for a contrabass pitched woodwind has existed since at least the 19th century. During the 19th century and into the 20th there were sporadic attempts by Sax, Buffet, Besson and others to build a successful contrabass clarinet in either E or B. In the early 1930s, upon the suggestion of the American Bandmaster's Association, the French firm Selmer succeeded when they introduced their E contrabass model (the popular E and B contrabass models by the French firm LeBlanc not being placed into production until the late 1940s, although invented earlier). It can be conjectured that the compactness and musical qualities of these instruments may have contributed to the non-use of the sarrusophone, as they are now very common in musical circles ranging from junior high school through professional.

The application of valves was first applied to the Tenor and Bass Trombones, with the older bass in F being replaced by a horn pitched in B with F and D triggers. At the turn of the 20th century, Conn manufactured a small number of contrabass trombones, of which three are known to survive. Wagner's Der Ring des Nibelungen (1876) employed the contrabass trombone for the first time in the opera house. He had a horn with double slides built in 18’ B♭ (without a valve) in Berlin, by C.A. Moritz. This horn had only 6 positions, and the low E1 called for in Der Ring des Nibelungen was only possible by lipping down. This type of contrabass trombone has lasted into the 20th century, and is complemented by a valve which changes the pitch of the horn to F1.

The work is scored for solo horn and an orchestra comprising two piccolos, flute, two oboes, cor anglais, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, two trumpets, two trombones, tuba, three percussionists, piano, and strings.

The 87-bar long work in D minor, which shows affinities with the patriotic Germanenzug (1863), Sängerbund (1882) and Helgoland (1893), is scored for choir and brass instruments (4 horns, 3 trumpets, 3 trombones and contrabass-tuba).

Maarten van Regteren Altena (born January 22, 1943) is a Dutch composer and contrabassist. Altena attended the Conservatorium van Amsterdam (he studied contrabass) and graduated in 1968. Between 1980 and 1985, he studied composition with Robert Heppener.

The song "Mandy Make Up Your Mind" recorded in 1924 with Louis Armstrong features an extended solo by Sidney Bechet on EEb Contrabass Sarrussophone and continues to feature him for approximately the last half of the song.

It has the same register as a regular contrabass saxophone but is much more compact due to its tubing being folded more times. While the timbre of the E tubax is more focused and compact than that of the full-sized contrabass saxophone, it still blends well with other sizes of saxophones and can be played with surprising agility compared to its size. The subcontrabass tubax uses a baritone saxophone or bass saxophone mouthpiece. While several B subcontrabasses are already in use, only one C model has been manufactured.

Contrabass guitars have been around since 1899, when a "Grand Concert Contra Bass Guitar" was listed in Joseph Bohmann's catalogue. Bohmann Catalogue 1899 with image of "Contra Bass Harp Guitar" at harpguitars.net Bohmann, a violin, mandolin, guitar and zither manufacturer from Chicago, developed a large 6-string guitar. While some logically speculate that this instrument was tuned one octave lower than a standard guitar, no reliable information is available about its tuning. A "classical contrabass guitar" is tuned E1–A1–D2–G2–B2–E3, like the classical guitar, but one octave lower.

Roberto Fabbriciani with hyperbass flute. The hyperbass flute is an extremely rare and the largest and lowest pitched instrument in the flute family, with tubing reaching over in length. It is pitched in C, four octaves below the concert flute (three octaves below the bass flute, two octaves below the contrabass flute, and one octave below the double contrabass flute), with its lowest note being C0, one octave below the lowest C on a standard piano. At 16 hertz, this is below what is generally considered the range of human hearing (20 to 20,000 Hz).

Trombone triggers are primarily but not exclusivelyYamaha Catalog YSL-350C with ascending B/C rotor installed on the F-trigger, bass, and contrabass trombones to alter the length of tubing, thus making certain ranges and pitches more accessible.

The work is scored for full string orchestra, with staves for Violin I & 2, Viola, Cello and Contrabass (double bass). It is typically performed with 4–6 instruments per part, though usually 2 or 3 double basses are sufficient.

The first contrabass bugle was developed in the 1960s by Whaley Royce, a Canadian instrument manufacturer which produced bugles for many drum corps of that era. Matching all other competition bugles at the time, these early contrabass bugles were pitched in the key of G, making them significantly larger than all tubas to that date, save the large E and BB concert tubas used in all brass bands. The contrabass bugle is the only member of the drum corps bugle line that has never been produced in a valve-less style, as it was developed when the drum corps rules allowed one piston valve and one rotary valve. They changed to fit new rules along with the rest of the drum corps hornline, first receiving two vertical (or in this case, slanted for ease of use) piston valves, then 3 and later 4 valves to make the instrument fully chromatic.

The Clossor is the 1st remodeled instrument it features work in external design,1 new option of pre- recording in cassette-mode mounted in the back part of the body fretless neck and soon a switchable bridge from bass to contrabass.

Offertory (2010) for cello and piano, dur. 4 minutes. Written for cellist Florent Renard-Payen. Premiered November 6, 2010 at Expressiones, New London, CT. Little Ant Got Hurt "Der kleinen Ameise tat's weh" (2010) for clarinet, bassoon, contrabass and narrator.

A double contrabass flute constructed of PVC, called a subcontrabass flute by its creator, the Dutch instrument maker Jelle Hogenhuis, has the tubing in a notably different arrangement from its metal counterpart.Hogenhuis flutes -Subcontrabassflute in C Although the PVC instrument was designed to be an ensemble instrument it was soon discovered by various solo artists who saw the merits of the instrument for their musical purposes. The bore is wider than what one usually finds in a metal double contrabass flute. The instrument is comparatively light, weighing only (compared to for the brass version), and can be produced relatively quickly and inexpensively.

During or after World War I, US Military personnel noted the use of the contrabass sarrusophone in French military bands and thereafter, commissioned the U.S. firm C. G. Conn to manufacture the EE contrabass for use in U.S. military bands beginning in approximately 1921, as per Conn's advertising of the time. The instrument was offered for sale to the general public as well, but production appears to have ceased in the 1930s. Conns as late as 1936 are known to exist. Beginning in 1921, the John Philip Sousa band used the Conn sarrusophone for an unknown period of time.

In 1908 when Sir Thomas Beecham wished to perform the work "Apollo and the Seaman" by the British composer Josef Holbrooke (who had included parts for several sizes of sarrusophones), the sarrusophone parts had to be played by performers brought over from France. Paderewski included three E contrabass sarrusophones in his Symphony in B Minor ("Polonia"). Frank Zappa used the E contrabass sarrusophone in his scores for "Think It Over", "Big Swifty", "Ulterior Motive", "The Adventures of Greggery Peccary", "For Calvin", "Waka/Jawaka", and many others. These pieces can be found on his albums "Waka/Jawaka", "The Grand Wazoo", & "Zappa/Wazoo".

In a drum and bugle corps, the marching style for contrabass bugles are the same as for the rest of the hornline. However, there can be small differences, especially with effects such as ripples of the hornline. Often, instead of snapping the horn up or down or to the side, the players will have their horns bell down on the ground and will snap their hands on top of the horn. The mouth of the large bell of a contrabass bugle can be used to display a colored elastic screen with a logo, as was done by the Madison Scouts in 1985.

The contrabass saxophone has most frequently been used as a solo instrument by woodwind players in the genres of jazz and improvised music who are searching for an extreme or otherworldly tone. The difficulty of holding and controlling the instrument (let alone playing it) makes performing on the instrument a somewhat theatrical experience in and of itself. On older instruments, playing is difficult too; it takes an enormous amount of air to sound notes in the low register. Thanks to refinements in their acoustical designs and keywork, modern contrabass saxophones are no more difficult to play than most other saxophones.

The orchestral forces for this symphony are commonly thought to be the largest employed in the symphonic repertoire. In practice, some small reductions can be made without discernible loss (e.g. cutting two of the orchestral trumpets and the doubling to 2nd contrabass trombone).

The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, contrabass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, four trombones, tuba, timpani, percussion (three players), harp, celesta, and strings (violins I & II, violas, violoncellos, and double basses).

Celia Cruz in performance, 1980. In 1980, the contrabass and the piano were replaced by electronic counterparts (in the case of the piano for the second time). In this year Celia Cruz returned to record one more album.Celia Cruz y la Sonora Matancera.

It is up of piano, violin, cello, viola, contrabass, harp, brass and musical education departments. Besides the school's main curriculum, the school has a children's choir, an orchestra, and a band (which is made up of smaller symphonic, jazz, and brass bands).

The composition is scored for 1 flute, 1 oboe, 1 clarinet, 1 bassoon, 1 horn, 1 trumpet piccolo, 1 trombone, 1 percussion, 1 piano, 2 violins, 1 viola, 1 cello and 1 contrabass. The piece has numerous doublings including human whistle and voices.

Full and half-period instrumental lessons are offered in piano, pipe organ, guitar, violin, viola, violoncello, contrabass, tuba, horn, trombone, trumpet, saxophone, flute, clarinet, percussion (orchestral and drum-kit), bagpipes, and voice, are available. The school has a variety of music tutors.

The interpreted traditional dances are accompanied by sones with guitar, violin, vihuela and contrabass and specially at the moment when the flower is carried and when the arc is decorated. A floral arc is placed on the reception of the Virgin image.

Similarly, his solo contrabass parts for the orchestral work Atlas Eclipticalis can also be performed as solos. Cage's indeterminate works such as Variations I, Variations II, Fontana Mix, Cartridge Music et al. can be arranged for a solo contrabassist. His work 26.1.

The work is scored for a large orchestra comprising piccolo, two flutes (2nd doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, four percussionists, harp, piano, celesta, and strings.

Typical instruments for Austrian folk dance are the Styrian harmonica (a type of accordion), the fiddle, the clarinet, the harp, the flute and brass bands. Dances are often accompanied by the contrabass or the guitar. Unlike modern Austrian folk-pop music, drums are not used.

62, 1822), Franz Berwald, and Adolphe Blanc (Op. 40, ca. 1864),Category:For clarinet, bassoon, horn, violin, viola, cello, double bass imslp.org, accessed 5 October 2020 and, with small changes in the instrumentation, Franz Lachner (1824; violin, viola, violoncello, contrabass, flute, clarinet, horn),See: [Mus.ms.

The first instrument, which Möslang learned to play was piano. Then, he learned soprano saxophone and contrabass clarinet by self study. From 1972, he worked with Andy Guhl in a duet for 30 years. Since 1984, they have been both in the duet Voice Crack.

In Karlsson's version it is performed by Karlsson (vocals, whistle), Hazelius (cittern, violin, vocals), Tallroth (tenor guitar, vocals), Linder (contrabass, percussion, vocals). All four of them arranged the song. "Jag längtar" was originally a traditional Norwegian song. Here it is performed with music by Karlsson.

There are many different types of trombone. The most frequently encountered trombones today are the tenor and bass, though as with other Renaissance instruments such as the recorder, the trombone has been built in every size from piccolo to contrabass (see pitch of brass instruments).

The first work to actually bear the title of nonet was Louis Spohr's Grand Nonetto in F major, op. 31 (1813), for flute, oboe, clarinet, bassoon, horn, violin, viola, cello, and double bass. Earlier compositions, however, had been composed for nine instruments (Joseph Haydn's four Divertimenti (or Cassations), for 2 oboes, 2 horns, 2 violins, 2 violas, and contrabass, HII:9, 17 [2 clarinets instead of oboes], 20, and G1, Ignaz Pleyel's Nocturne of 1785, for 2 clarinets, 2 horns, 2 violas, contrabass, and 2 hurdy-gurdies, and Franz Schubert's Begräbnis-Feyer (Eine kleine Trauermusik) of 1813 (D 79), for two clarinets, two bassoons, contrabassoon, two horns, and two trombones).

Probably the best- known musician who has made significant use of the contrabass clarinet as a solo instrument is Anthony Braxton. Other performers (most of whom use the instrument in the genres of jazz and free improvised music) include James Carter, Brian Landrus, Douglas Ewart, Vinny Golia, Mwata Bowden, Ernst Ulrich Deuker, Paolo Ravaglia, Hamiet Bluiett, Edward "Kidd" Jordan, and Jason Alder. Leroi Moore of the Dave Matthews Band played a contrabass clarinet on the song "So Right" from the 2001 album Everyday and John Linnell of They Might Be Giants utilizes the contra-alto clarinet on their 2013 album Nanobots, as well as subsequent releases by the band.

In the Renaissance and Baroque era and even in the 2000s, there are players who changed or adapted their instruments in unique ways. In this category we might find bass viols that are tuned in E (instead of D), or where the bottom string is tuned an extra step lower, to a C2 (a pitch found in numerous Baroque works). Or we might find a contrabass/double bass tuned in fourths, but with a top string a fourth higher than is standard (A1–D2–G2–C3) or another contrabass/double bass tuned in fourths but with its bottom string tuned down to a low C.

Members of the Brigadiers Drum & Bugle Corps (NY) hornline in 2007, with contrabass horns (contras). The contrabass bugle (usually shortened to contra or simply called the marching tuba) is the lowest-pitched brass instrument in the drum and bugle corps and marching band hornline. It is essentially the drum corps' counterpart to the marching band's sousaphone: the lowest-pitched member of the hornline, and a replacement for the concert tuba on the marching field. It is different from the other members of the marching band and drum corps hornlines in that it rests on the shoulder of the player, rather than being held in front of the body.

The work is scored for an orchestra comprising piccolo, two flutes (doubling piccolo), two oboes, cor anglais, two clarinets (first doubling E-flat clarinet, second doubling bass clarinet), contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, two percussionists, piano, and strings.

The work is scored for solo cello and an orchestra comprising three flutes (third doubling piccolo), two oboes, cor anglais, two clarinets (second doubling bass clarinet), bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, three percussionists, harp, and strings.

In Slovakia, the Fašiangy (fašiang, fašangy) takes place from Three Kings Day (Traja králi) until the midnight before Ash Wednesday (Škaredá streda or Popolcová streda). At the midnight marking the end of fašiangy, a symbolic burial ceremony for the contrabass is performed, because music ceases for Lent.

The sarrusophone is rarely called for in orchestral music. However, around the turn of the 20th century, the contrabass sarrusophones in EE and CC enjoyed a vogue, the latter as a substitute for the contrabassoon (the French model patterned after the German Heckel model, having been introduced later around 1906 by Buffet et al.) so that it is called for in, for example, Jules Massenet's Esclarmonde (1889), Visions (1891) and Suite parnassienne (1912); Maurice Ravel's Shéhérazade overture (1898), Rapsodie espagnole (1907) and L'heure espagnole (1907–09); Ignacy Jan Paderewski's Symphony in B minor "Polonia" (1903–08; 3 sarrusophones are called for); Frederick Delius's Requiem (1913–16) and Songs of Sunset (1906–07); Claude Debussy's Jeux (1913), Lili Boulanger's Psalm 129 (1916) and Psalm 130 (1917) and Arrigo Boito's Nerone (1924). Igor Stravinsky included a part for contrabass sarrusophone in Threni. The composer Paul Dukas used the contrabass sarrusophone to great effect in 1897 in his The Sorcerer's Apprentice, where the instrument begins the bassoon's macabre dance motif (familiar to all who recall Disney's animated film Fantasia).

Anthony Jackson (June 23, 1952) is an American bassist known for his many session recordings, live performances, and his role in developing a new design of the six-string bass guitar, which he called a contrabass guitar. He has been described as “one of the masters of the instrument”.

The work is scored for a large orchestra comprising three flutes (2nd and 3rd doubling piccolo), two oboes, cor anglais, two clarinets (2nd doubling bass clarinet), bass clarinet, contrabass clarinet, three bassoons (3rd doubling contrabassoon), four horns, three trumpets, three trombones, tuba, timpani, three percussionists, piano, harp, and strings.

Stefan Keller (born 1961) is a classical and jazz flute player and composer from Switzerland. He plays all kind of flutes like Quartertone, Glissando, Bebe, alto flute, and bass flute. Most unusual is his contrabass flute made by Kotato and Fukushima. All these instruments are also electronic flutes.

The work is scored for solo piano and a large orchestra consisting of piccolo, two flutes, two oboes, English horn, two clarinets, E-flat clarinet, bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, five percussionists, celesta, harp, and strings.

Prohaska was born in Zagreb and he first began learning the violin at a children's music school in Zagreb. He went on to enroll at a secondary music school where he was educated as a contrabass player and graduated in 1951, before continuing his studies at the Zagreb Music Academy and graduating in 1956 from the music teaching department. Since the mid-1950s until the late 1980s Prohaska was a contrabass player with the Zagreb Philharmonic Orchestra, the Radio Zagreb Symphony Orchestra, the Yugoslav Radio Orchestra, the Zagreb Jazz Quartet and many other musical ensembles. He was also the director of the Zagreb Festival of Popular Music (Zagrebfest) from 1967 to 1969.

It had a less conical and wide bore than both the saxophone and the sarrusophone. As per advertising of the time, the well-known American saxophone manufacturer, Buescher imported a number of these instruments into the United States during the late 1920s or early 1930s, perhaps as an answer to C.G. Conn's production of the contrabass sarrusophone. Per advertisements for this instrument and photos that have appeared in books, the lowest note on the Rothphone is a low B natural, not low B as with the saxophone and sarrusophone. In the 1930s the band at the University of Illinois under Austin Harding had a full sarrusophone section from soprano to E contrabass that included at least the tenor rothphone.

Frances- Marie Uitti, dedicatee of all Scelsi's cello works, collaborated intensively with him for over 10 years editing and then recording La Trilogia, a massive 3 part work of 45 minutes in length which Morton Feldman called his "autobiography in sound". It was first premiered in Festival di Como, and recorded on Fore records (Raretone) with Scelsi in the studio and later for Etcetera Records. A more recent acclaimed version with several of the Latin Prayers is to be found on ECM under the title Natura Renovatur. Uitti also transcribed many of the chamber works for contrabass, contrabass and cello, viola, and two improvisations based on the ondiolina tapes that are found under the title Voyages.

The reduce this risk, some bass pedals have plastic covers over some of the buttons or "U"-shaped "switch guard" protectors near some buttons. Some 1990s and later bass pedals gave the player the option of selecting a monophonic or polyphonic setting. The polyphonic setting could sound more than one pitch at a time. Even though contrabass instruments are less likely to be used to play chords (three or more notes sounded together) than their higher- pitched cousins (as deep-pitched chords can sound unclear and "muddy"), a contrabass instrument like a bass pedal unit can still effectively play some dyads (two-notes sounded together), such as perfect fifths, perfect fourths, and octaves.

The advantage of using C-G-D-A in orchestras is so that the daruan can easily double the cello part. Other members of the ruan family are gaoyinruan (soprano, tuning G3-D4-G4-D5); xiaoruan (alto, tuning D3-A3-D4-A4) and diyinruan (contrabass, tuning G1-D2-G2-D3).

The work is scored for an orchestra comprising piccolo, 1 flute, alto flute, two oboes, cor anglais, 2 clarinets ( 2nd doubling E-flat clarinet), bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four French horns, three trumpets (3rd doubling piccolo trumpet), three trombones, tuba, timpani, three percussionists, harp, celesta, synthesizer, and strings.

The pedal note of any contrabass bugle is G0, regardless of the number of valves. A talented musician may be able to play lower than G0 utilizing the pedal range of the bugle, but these notes would be felt more than heard due to the limitations of the human ear.

Zia is skilled in playing Warwick infinity NT, Ibanez SR5000E Prestige, Hartke bass attack, Morley Pedals. Additionally, he plays Bass guitar, Cello, Sarod and many other instruments for the compositions and does the production for Shironamhin band. For their self-titled album Shironamhin Shironamhin, he learnt playing violin, cello and contrabass.

The concert band's woodwind section typically includes piccolos, flutes, oboes, B clarinets, bass clarinets, bassoons, alto saxophones, tenor saxophones, and baritone saxophones. The alto flute, cor anglais, E clarinet, alto clarinet, contra-alto clarinet, contrabass clarinet, contrabassoon, and soprano saxophone are also used, but not as frequently as the other woodwinds.

The work is scored for a solo piano and a large orchestra consisting of three flutes (2nd and 3rd doubling piccolo), two oboes, English horn, two clarinets, bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, three trumpets, two trombones, bass trombone, tuba, six percussionists, celesta, harp, and strings.

Charlie Looker: Guitar, Vocals Travis Laplante: keyboards, tenor sax, EWI Anthony Gedrich: bass, contrabass Nick Podgurski: drums, percussion Caley Monahon-Ward: violin, mandolin, engineer Guest musicians: Ian Antonio: glockenspiel, vibraphone, crotales, wood block Larkin Grimm: backing vocals on "One of Your Whores" and "Head Shrinker". All music and lyrics by Charlie Looker.

The work is scored for SATB choir and a large orchestra comprising three flutes (2nd doubling piccolo; 3rd doubling piccolo and alto flute), three oboes (3rd doubling cor anglais), two clarinets (2nd doubling bass clarinet), contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, four percussionists, celesta, and strings.

It had, nonetheless, a distinct tonal quality of its own. Richard Strauss states, in his edition of Hector Berlioz's Treatise on Instrumentation, that its tone "...had not the slightest similarity with the low tones of the bassoon" . Despite this distinction, the contrabass oboe never became popular or widely used, and few remain today.

The contra-alto flute (also called contrabass flute in G) is in the key of G, pitched one octave below the alto flute, and a fourth below the bass flute. It is so large that the instrument's body is held vertically, with an adjustable floor peg similar to that of the bass clarinet.

Lee plays contrabass recover, chalumeau, gemshorn, sopranino saxophone, Beaudin and medieval flutes, Kingma-system quarter-tone flute, and Kotato F flute. His duo work with Mary Halvorson combines her vintage guitar sound with Lee’s eight-key Baroque flute. Seed Triangular, Lee’s album with Mary Halvorson, was released by New Amsterdam Recordings in 2018.

Dr. Joyce Poole and Katy Payne of the Amboseli Elephant Research Project asked for a custom loudspeaker that would fit inside a sport utility vehicle, and provide strong output down to 14 Hz. Danley designed the Pachyderm 6, an enclosure with two 15-inch drivers connected to a servo motor, and four 18-inch passive radiators. The output at 14 Hz was measured at about 115 dB with about 200 watts from the amplifier. Based on this, another subwoofer model produced by ServoDrive was the Contrabass in 1987, similar to the Pachyderm 6 but with a smaller enclosure and half the number of passive radiators. The frequency response also reached down to 14 Hz. The Contrabass was popular for home theater installations, including George Lucas' home.

The symphony is scored for a large orchestra and brass band. The orchestra consists of: 2 piccolos, 3 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet, soprano saxophone, alto saxophone, tenor saxophone, baritone saxophone, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 4 trombones, tuba, timpani, cymbals, bass drum, drum, side drum, tam-tam, bells, sistrum, small frame drum, chocalho, sleigh bells, triangle, xylophone, celesta, 2 harps, piano, and strings. The wind band consists of: E clarinet, soprano saxophone, alto saxophone, euphonium, cornets, bugles, horn, 1 or more saxhorns, bass trombone, contrabass trombone in E, contrabass trombone in B, bass drum. There is also a concertino ensemble made up of E clarinet, soprano, alto, and tenor saxophones, euphonium, small frame drum, triangle, cymbals, and bass drum.

Born in Washington D.C. to an American father and a holocaust survivor mother who arrived in the US from Galicia in 1929, Farber’s first seven years of school at the Hebrew Academy of Washington (now called the Melvin J. Berman Hebrew Academy) were extremely difficult, as undiagnosed dyslexia prevented him from dealing with the two alphabets simultaneously. A self-taught clarinet player, Farber was asked to play the contrabass upon entering the public school system at 14. A single lesson from the orchestra’s conductor sufficed for Farber to continue on his own and play the bass in his high school big-band, and bass clarinet and contrabass in its orchestra. Having borrowed instruments from the school’s band, Farber taught himself saxophone, baritone horn, and other instruments.

If such a bell is not to be used, then a contrabassoon should be employed. All four parts have a very similar instrumentation. The core ensemble of instruments are one piccolo, three flutes (third doubling second piccolo), three oboes, cor anglais (doubling fourth oboe), three soprano clarinets, one bass clarinet, three bassoons; eight horns (fifth through eight doubling Wagner tubas), three trumpets, one bass trumpet, three tenor trombones, one contrabass trombone (doubling bass trombone), one contrabass tuba; a percussion section with 4 timpani (requiring two players), triangle, cymbals, glockenspiel; six harps and a string section consisting of 16 first and second violins, 12 violas, 12 violoncellos, and 8 double basses. Das Rheingold requires one bass drum, one tam-tam, one onstage harp and 18 onstage anvils.

The fundamental pitch of a CC tuba is 32 Hz, and for a BB tuba, 29 Hz. The CC tuba is used as an orchestral, and concert band instrument in the U.S., but BB tubas are the contrabass tuba of choice in German, Austrian, and Russian orchestras. In the United States, the BB tuba is the most common in schools (largely due to the use of BB sousaphones in high school marching bands) and for adult amateurs. Many professionals in the U.S. play CC tubas, with BB also common, and many train in the use of all four pitches of tubas. Comparison of euphonium (left) and tuba (right) The next smaller tubas are the bass tubas, pitched in F or E (a fourth above the contrabass tubas).

The work is scored for an SATB chorus, a children's choir, and an orchestra comprising piccolo, three flutes (3rd doubling piccolo), three oboes, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, four trumpets, three trombones, two tubas, timpani, four percussionists, piano, celesta, quarter tone piano, 2 harps, strings, and pre- recorded tape.

She started to play guitar and other instruments being used in Katzenjammer such as banjo, accordion, mandolin, ukulele, bass, domra and contrabass balalaika. She also debuted as a singer. Sol left Nordic Institute of Stage and Studio with the highest grades of her class and was awarded St. Olavsprisen as Student of the Year.

One of the earliest examples to use the English term is the Decet for oboe, clarinet, horn, bassoon, piano, 2 violins, viola, cello, and contrabass (ca. 1841) by John Henry Griesbach (1798–1875) . Perhaps the best-known work in this genre from the nineteenth century is Joachim Raff’s Sinfonietta for ten winds, Op. 188.

The contrabass sarrusophone is the deepest of the family of sarrusophones, and was made in three sizes. The EE version was the only sarrusophone that was ever mass-produced in the United States. It was made by companies such as Gautrot, Couesnon, Romeo Orsi, Rampone (and Cazzani), Buffet Crampon (Evette and Schaeffer), and C.G. Conn.

The work is scored for a large orchestra consisting of three flutes (3rd doubling piccolo), two oboes, cor anglais, three clarinets (3rd doubling E-flat clarinet), bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, four trumpets (4th doubling piccolo trumpet), three trombones, tuba timpani, three percussionists, harp, piano (doubling celesta), and strings.

Itzam Cano (born in Mexico City, Mexico) is a Mexican jazz double bassist. He studied ethnomusicology at the Escuela Nacional de Música from the Universidad Nacional Autónoma de México (UNAM). He studied electric bass and contrabass and the development of improvisation, jazz theory, and harmony. In late 2005, he joined free jazz ensemble Zero Point.

However, when these tones are reinforced by another instrument playing at the octave or fifteenth, they sound clearly defined and have tremendous resonance and presence. In some contemporary jazz/classical ensembles the contrabass saxophone doubles the baritone saxophone either at the same pitch or an octave below, depending on the register of the music.

The work is scored for solo piano and a large orchestra comprising three flutes (first and third doubling piccolo, second doubling alto flute), three oboes (second doubling cor anglais), two clarinets (second doubling bass clarinet), contrabass clarinet (also doubling bass clarinet), two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, four percussionists, and strings.

Text by Laura Marling (25mins approx). Premiered at Barbican Centre. ‘Volcano Diaries’ - with Haroon Mirza, for E flat, B Flat, bass and contrabass Clarinet, soprano, organ, video, LEDs and prepared turntables (45mins approx). Premiered at Union Chapel Islington. ‘Revolutions dethrone kings and enthrone columns and watering cans’ - for piano, turntables, trumpet, cello, clarinet and voice.

Born in Creve Coeur, Missouri, Irwin grew up in St. Louis County. Growing up he studied piano, violin (learning the Suzuki method), viola, trumpet, guitar, bass guitar, contrabass, baritone horn, and various synthesizers. Irwin also received vocal training by participating in various area choirs. He wrote and performed an overture for his 4th grade class' musical production of Magellan.

Wing on Wing is scored for two sopranos and an orchestra comprising four flutes (3rd doubling alto flute, 1st doubling alto flute and bass flute), three oboes, cor anglais, three clarinets (3rd doubling E-flat clarinet and bass clarinet), contrabass clarinet, four French horns, four trumpets, three trombones, tuba, timpani, four percussionists, two harps, celesta, sampler, and strings.

The fujara ()The ad hoc pronunciation in the UNESCO video, , is incorrect. originated in central Slovakia as a large sophisticated folk shepherd's overtone fipple flute of unique design. It is technically a contrabass in the tabor pipe class. Ranging from 160 to 200 cm long (5'3" - 6'6")"The Fujara and its Music": Description, Slideshow, Video, UNESCO, 2005, 2008.

She is mostly famous from Eurovision Song Contest 1985 when she and Hanne Krogh participated as Bobbysocks with the song "La det swinge", and won. Andreassen has sung in various genres such as country, pop, rock and in musicals. She plays three instruments; guitar, piano and contrabass. She has also been a revue and musical artist.

Grossmann was born in Prague. After his graduation, he started at the technical university ČVUT, but left in 1962 when he met Miloslav Šimek in the Olympik bar. Grossmann performed with Dixie Party Band in the Olympik bar, playing on contrabass also. They immediately established a theatre double and started writing poems, short-stories and stageplays.

The work is scored for an SATB chorus and a large orchestra consisting of three flutes (2nd doubling alto flute; 3rd doubling piccolo), two oboes, English horn, two clarinets, bass clarinet (doubling 3rd clarinet), contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets (3rd doubling piccolo trumpet), three trombones, tuba, timpani, four percussionists, harp, piano (doubling celesta), and strings.

The E-flat baritone sarrusophone, sometimes jokingly known as the combat bassoon, has the same range and key as the baritone saxophone, and is about the same size as a bassoon. Its body is wrapped around only once, whereas the contrabass sarrusophone wraps around twice. It is currently in production by the German instrument maker Benedikt Eppelsheim.

The pardessus was a French 18th century instrument that was introduced to allow ladies to play mostly violin or flute music but eventually acquired its own repertoire. The alto was a relatively rare smaller version of the tenor. The violones were never part of the consort of viols but functioned as the contrabass of all kinds of instrumental combinations.

A Russian folk-instrument quartet commonly consists of a bayan, a prima balalaika, a prima or alto domra, and a contrabass balalaika (e.g., Quartet Moskovskaya Balalaika). Configurations without a bayan include a prima domra, a prima balalaika, an alto domra, and a bass balalaika (Quartet Skaz); or two prima domras, a prima balalaika, and a bass balalaika.

Since 1994, he has been a member of Kölner Saxophon Mafia. Since 1996, he has been the leader of Bobby Burgess Big Band Explosion. Since 1997, he has been baariton saxophoniste in NDR Bigband. Beside his main instrument, baritone saxophone, Schorn plays several pother instruments such as piccolo, bass flute, bass saxophone, contralto clarinet, contrabass clarinet and tubax.

With most circuits now permitting B♭, C, and F instruments, the modern contrabass bugle is essentially a concert tuba converted for ease of marching. Generally, the primary differences between pure concert tubas and contrabass bugles are # On both pure marching and convertible tubas, the concert leadpipe, with the pipe curving around the bell to the valves, is replaced with one that curves forward and back, placing the mouthpiece in an appropriate location for the new playing position, on the left (or occasionally, right) shoulder (which has earned it the nicknames of "shoulder rocket" and "shoulder cannon"), rather than in front of the player. On some "Marching-Convertible" models, this leadpipe can be unscrewed and replaced with a concert model. # All dedicated marching instruments have the valve section rotated into a more comfortable playing position.

The contrabassoon is a very deep-sounding woodwind instrument that plays in the same sub-bass register as the tuba and the contrabass versions of the clarinet and saxophone. It has a sounding range beginning at B0 (or A0, on some instruments) and extending up three octaves and a major third to D4 (although, as outlined above, the top fourth is rarely used). Donald Erb and Kalevi Aho write even higher (to A4 and C5, respectively) in their concertos for the instrument, but were writing with virtuosi soloists in mind: the instrument is primarily a bass or contrabass for the orchestral woodwind section, and is generally written for in the according register. Contrabassoon is notated an octave above sounding pitch in all clefs, and typically uses bass clef.

The group began with recordings of extended instrumental improvisations with starkly contrasting electronic textures. In 2000, the contrabass recorder player Cesar Villavicencio joined the group after meeting Jeffery in the Meta Orchestra at Dartington International Summer School. Recordings continued throughout 2001 with Villavicencio and the British saxophonist Paul Dunmall. These original recordings became part of two limited edition CD-R releases.

The work is scored for solo piano and an orchestra comprising three flutes (1st doubling on 2nd piccolo; 2nd doubling alto flute & 3rd piccolo; 3rd doubling 1st piccolo), three oboes (3rd doubling cor anglais), three clarinets (3rd doubling alto saxophone), bass clarinet, contrabass clarinet, two bassoons, contrabassoon, three French horns, two trumpets, two trombones, timpani, four percussionists, harp, celesta, and strings.

Culp was born in Groningen, the Netherlands into a Jewish family of musicians and comedians. She was the daughter of contrabass player Baruch Culp and his wife Sara Cohen. At the age of seven she began to practice the violin, and at 11 had her first public violin performance. Her first performance as a singer was on 30 December 1893.

Since 1989, Tukur has been recording and touring as a musician. In 1995, he founded the dance band "Ulrich Tukur & the Rhythmus Boys" together with Kalle Mews (drums), Ulrich Mayer (guitar, vocals), and Günther Märtens (contrabass, guitar, vocals). Tukur has been married twice. Since 1999 he and his second wife, the photographer Katharina John, have been living in Venice (Italy), on Giudecca.

He has also played the contrabass in Pyotr Beryozkin's country band. Begunov played in the roles of the forest dryaba Bryaka in the radio play "Zhuzha. Drandalyot's travelling" which is based on Aleksandr Korotich's tale in 2009 and in that of the herald in a movie called "Legenda Ostrova Dvid" in 2010. Begunov was awarded the insignia of the Merit of Sverdlovskaja Oblast.

Robert "Bob" Schmidt is an American multi-instrumentalist and songwriter. He is a former member of Irish-American band Flogging Molly. He plays mandolin, tenor and 5-string banjo, bass, contrabass, guitar, lap steel, cello, bouzouki, mandocello, and is also a vocalist on a number of recordings. Schmidt was born and raised in Los Angeles, California, the oldest of 7 siblings.

Benyamin envied his father, and imitated him at home after their return. A member of his father's musical group became aware of his elder brother's musical talent and advised to send him to conservatory. His brother Mehmet Sönmez studied playing contrabass at Ankara State Conservatory. After winning an international prize, his brother went to Belgium to play with the Royal Orchestra.

A modern cimbasso in F The cimbasso is a brass instrument in the trombone family, with a sound ranging from warm and mellow to dark and menacing. It has three to six piston or rotary valves, a predominantly cylindrical bore, and in its modern incarnation is most often pitched in F, though models are available in E♭, C, and occasionally B♭. It is in the same range as a tuba or a contrabass trombone. Technique on the cimbasso can be much quicker than the contrabass trombone due to its use of valves. The modern cimbasso is most commonly used in opera scores by Giuseppe Verdi from Oberto to Aida, and by Giacomo Puccini, though only in Le Villi, though the word also appears in the score of Vincenzo Bellini's Norma, which premiered in 1831.

La Sonora Matancera is characterized by its use of two trumpets. Furthermore, contrabass, piano, timbalitos, bongós, cencerro, and tumbadora are prominently featured. Sonora Matancera was also distinguished by its backup singers, or coro. It usually consisted of Rogelio Martínez and Carlos Manuel "Caíto" Díaz Alonso, whose falsetto delivery was derived from a traditional singing style of the earliest soneros (called in Cuba voz de vieja).

For Godzilla's roar, the recording artists initially used multiple roars from various large animals. These recordings ended up sounding like their animal counterparts and went unused. The film's composer Akira Ifukube decided to create the roar with instruments. Ifukube rubbed a leather glove through the loosened lower strings of a contrabass and altered the pitch and speed of the recording until the final roar was conceived.

Most inexpensive clarinets are made of plastic resin, such as ABS. Resonite is Selmer's trademark name for its type of plastic. Metal soprano clarinets were popular in the early 20th century until plastic instruments supplanted them; metal construction is still used for the bodies of some contra-alto and contrabass clarinets and the necks and bells of nearly all alto and larger clarinets.Lawson, p.

The character's shriek was created by sound technician Ichiro Minawa, who sought to replicate the "contrabass technique" composer Akira Ifukube used for Godzilla. He layered it with a sped up human voice.Erik Homenick, "Biography: Part IX - Myths, Monsters and Laments", Akiraifukube.org (accessed May 30, 2016) The sound would be remixed and reused for several other Toho monsters, including the second incarnation of King Ghidorah and Battra.

A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence. The Nelahozeves Castle Music Room displays a spinet dated 1799 by imperial court instrument maker Engelbert Klingler, a contrabass by Posch and other string instruments as well as two pairs of copper and bronze kettledrums.

The string orchestra enters in pairs after the G.P. in the first "variation" on the pitch, "A." Pärt phases in each of the string instruments in pairs, violin I in two parts, violin II and viola, cello and contrabass. The pairs enter from highest to lowest pitch range every half measure, beginning with the first violins. Pärt divides each pair into a melodic and tintinnabuli voice.

Pastorale II (begun in 1963 but completed only in 1969) also includes the alto recorder, together with flute and guitar. More recently, Bois composed two pieces for the Dutch recorder virtuoso Baldrick Deerenberg: Adagio cantabile, for tenor recorder and piano (1979), and Spellbound (1976), which bears the extraordinary subtitle: On Baldrick's 110-inch Contrabass Recorder with Extension, or: How Dorinde Got a New-born Brother.

Camilo's regular trio lineup for many years had his long-term friends Anthony Jackson on contrabass guitar and Cliff Almond on drums. Charles Flores has occupied the trio's bass seat since their Grammy-winning album Live at the Blue Note. Lately Camilo has drummer Dafnis Prieto as part of his trio. This new trio released the album Spirit of the Moment in April 2007.

Sopranissimo (from Italian Sopra "above" and -issimo "extremely") is any pitch higher than soprano. One example is the sopranissimo saxophone in B♭. This instrument is pitched an octave above the normal soprano saxophone, and is currently manufactured under the Soprillo brand name. The Sopranissimo saxophone is the smallest instrument of the saxophone family. This includes sopranino, soprano, alto, tenor, baritone, bass, contrabass, and subcontrabass.

In the early 1990s Shoesmith was a member of Moustache 750 on double bass, contrabass and acoustic bass guitar. In 1995 he formed Woodcave as a jam band, which later included John Butler on lead vocals and guitar. Note: [on-line] version was expanded from the 2002 edition. Shoesmith, Butler and Jason McGann on drums formed John Butler Trio as a roots music and jam band.

The promotional website for Dutch artists dutchsound.nl wrote about their second album The Jezebel Shanty: “Subdued jazz, melancholy soul, soul-searching shanties, and baroque themes. Inner city blues, imaginary nighttime travels through town full of down-on-their-luck characters, dives, unrequited love and the inevitable morning hangover. (...) The make-up of piano, contrabass, and percussion lends a loose, almost jazzy feel to the proceedings.

The rural Appenzell region is a major center of folk music. While other parts of Switzerland adopted the accordion (Langnauerli and Schwyzerörgeli) in the 19th century, Appenzell kept the violin and hammered dulcimer. String music from Appenzell is popular throughout Switzerland. In its original arrangement (two violins, dulcimer, cello, contrabass) is of great importance, while the accordion and piano are also included in some formations.

The work exists in two different scorings: the original 1909 version for a very large orchestra and the revised version of 1949 which reduces the size of the orchestra to more- or-less normal proportions, "giving up the contrabass clarinet, as well as the four-fold scoring of the other woodwinds and two of the six horns". This version was published posthumously in 1952.

Gong Dreaming 2. SAF Publishing, 2009, p. 14. Occasional early Gong collaborator Dieter Gewissler, who normally played violin, also contributed some "free" bowed contrabass to two tracks. The LP sleeves were printed before the final track order and titles had been decided and so the songs "Rational Anthem" (AKA "Change the World") and "Glad To Sad To Say" were listed the wrong way round.

Most marching bands opt for the sousaphone, an instrument that is easier to carry since it was invented specifically for this and almost always cheaper than a true marching tuba. The earlier helicon is still used by bands in Europe and other parts of the world. Drum and bugle corps players, however, generally use marching tubas or Contrabass bugles. Standard tubas can also be played whilst standing.

The contrabass saxophone is the second-lowest-pitched extant member of the saxophone family proper. It is extremely large (twice the length of tubing of the baritone saxophone, with a bore twice as wide, standing 1.9 meters tall, or 6 feet 4 inches) and heavy (approximately 20 kilograms, or 45 pounds), and is pitched in the key of E, one octave below the baritone saxophone.

In 2000, he won the singer-songwriter of the year award at the Gala de la Chanson de Caraquet (fr) for his album La fiève des fèves (transl. Bean Fever). He then goes on tour with two of his friends, Rémi Arsenault (contrabass) and Steven LeBlanc (guitar). Also in 2000, he won the Prix Éloizes (fr) as "Newcomer of the Year" (Découverte de l'Année).

April 10, 2005. Cincinnati premiere of Quintet for Violin, Viola, Cello, Contrabass, and Piano by Ellen Taaffe Zwilich, co-commissioned by Ann & Harry Santen for Linton Chamber Music, performed by the Kalichstein-Laredo-Robinson Trio, Michael Tree, and Harold Robsinson. January 15, 2012. Cincinnati premiere of "Inventions on a Marriage", Duo for Violin & Cello by Richard Danielpour, consortium commission performed by Jaime Laredo & Sharon Robinson.

Nenad Vasilic was born in Niš, Serbia, site of an annual jazz festival since 1981, Nišville. He started playing piano at the age of 5. At the age of 12 he received his first bass guitar and at the age of 15 he enrolled in the Secondary Music School in Niš. When he was 19 he studied contrabass and bass guitar at the Jazz Academy in Graz, Austria.

His music is recorded on the Gasparo and Albany labels. As a conductor, Askim has served as Music Director of Branford Chamber Orchestra, and makes frequent guest conducting appearances, including the Wroclaw (Poland) Chamber Orchestra Sotto Voce and the Honolulu Symphony Orchestra. He has premiered numerous works: most recently Swansong by Richard Danielpour. He is a frequent recitalist for the International Society of Bassists and the International Contrabass Festival.

Alex Tintaru (born 25 April 1977 in Moldova) is the bass player for Turkish rock bands Direc-t and Dorian. In 1983 Tintaru entered the Music High School of Sergey Rahmanninov and graduated from the piano course in 1991. In 1993 he graduated from the piano and contrabass courses at Stefan Nyaga Music College. In 1998 he received honours as a music teacher from the M. Solokov Open Pedagogy University.

Pattern of 5 notes of Reed Phase played on soprano saxophone 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, which consists (from smallest to largest) of the soprillo, sopranino, soprano, alto, tenor, baritone, bass, contrabass saxophone and tubax. Soprano saxophones are the smallest and highest saxophone in common use.

The Royal Wind Music is a Dutch recorder consort. Founded by Paul Leenhouts in 1997, The Royal Wind Music is a consort of thirteen former students of the Amsterdam Conservatoire. They use a large range of Renaissance recorders by Adriana Breukink and Bob Marvin, from a 15 cm sopranino to a sub-contrabass. They have performed throughout Europe and the United States, including the Boston Early Music Festival.

In jazz music, a quintet is group of five players, usually consisting of two of any of the following instruments, guitar, trumpet, saxophone, clarinet, flute or trombone in addition to traditional jazz trio – piano, double bass, drums. In some modern bands there are quintets formed from the same family of instruments with various voices, as an all-brass ensemble, or all saxophones, in soprano, alto, baritone, and bass, and sometimes contrabass.

His late father was a keyboardist and songwriter in a gospel band called Pro Fide, his mother is a cantor and brother a drummer. Kela began his musical career playing various stringed instruments, including the violin, cello and contrabass. However he was more interested in rock music, and wanted to play bass instead. At the age of 13 in 1985 Kela formed a gospel band Yhdeksäs hetki with his school mates.

Top Cats is a Swedish rockabilly band formed in 2001. The earliest line-up was made up of Jon Kleppenes (as lead singer), Daniel Kjellberg (drummer), Henrik Törnevik (contrabass), Fredrik Lilja (guitar), Olle Sätterström (guitar, trumpet, piano), Erica Larsson and Sandra Zackrisson (both backing vocals). When in 2004 drummer Daniel Kjellberg left, he was replaced by Robert Jansson. In 2007, double bassist Henrik Törnevik left and was replaced by Martin Lindahl.

The work is scored for a large orchestra comprising five flutes (3rd, 4th, & 5th doubling piccolos; 3rd doubling bass flute), five oboes (4th doubling English horn; 5th doubling bass oboe), five clarinets (2nd doubling E-flat clarinet; 4th doubling E-flat and A clarinets; 5th doubling contrabass clarinet), four bassoons, contrabassoon, eight horns, five trumpets, three trombones, two tubas, timpani, two percussionists, harp, piano (doubling celesta), and strings.

In the late 1980s, Harrison increased his focus on the clarinet. He formed the Mama's Licking Stick clarinet ensemble, which features E flat soprano, B flat, alto, bass and contrabass clarinets. With this ensemble, Harrison recorded several albums: Mama's Licking Stick, Rush and Hustle, Live In Concert, and Forever Duke. Harrison has continued to bring attention to the jazz clarinet via education workshops, as well as public performances.

The bell was that of a contrabass trombone while the rest of the instrument was made from scrap material found at a music exchange. The final cost of the project by Roger Bobo and George Strucel amounted to merely $125. An 8ft version; on loan from Clairmont College in California, appeared on "I've Got a Secret" on May 21, 1962. Played by a tuba player held by 2 ushers.

Loris Ceroni is a musician and record producer who resides in Riolo Terme, Ravenna, Italy. He was educated at Pesaro's Conservatoire where he earned a degree in the contrabass. Throughout his career as a producer Ceroni has worked with major labels like Sony Music, EMI, Universal, Warner, and BMG. Ceroni has produced artists like Natalia Lafourcade, and a majority of his productions are marketed throughout Spain and Latin America.

The Corps included a horn section, drums, color guard, rifles, and drum majors. Sopranos, mellophones, French horns, baritones and contrabass made up the brass section, while bass, snare, triplets, timpanis, and cymbals made up the drum section. The first tours as a Drum Corps took the group to British Columbia, Washington, Idaho, Oregon, and back into Alberta. The Northwest Drum Corps Association provided most of their competition during touring dates.

Vienna Valves on a valve trombone A valve trombone The valve trombone has been built in every size from alto to contrabass just as a regular slide trombone has, though it is the tenor valve trombone which has seen the most widespread use. The most common valve-trombone has three valves. It plays just like a trumpet (an octave lower). They are built in either short or long form.

Other techniques utilize the bow of a contrabass, to be drawn slowly across the outside rim of the cymbal. This technique will give a very shrill, eerie sound, particularly useful in film music. Another lesser-known technique is to place a suspended cymbal upside down on a timpani head. The timpanist is instructed to roll ad lib on the suspended cymbal while moving the timpani pedal up and down as a glissando.

From the autumn of 2006 until February 2008, Rossi's career focussed mainly on studio work and string arranging. At the time of writing this is once again his focus. He uses his acoustic violins, violas, cellos and contrabass to re-create a whole orchestra. His work is featured in six songs of the Coldplay album Viva la Vida or Death and All His Friends, produced by Brian Eno, Markus Dravs and Rik Simpson.

Since 2017 he has been the member of the Ukrainian Film Academy. In 2018 he was the chairman of the jury of the Zaporizhia International Short Film Festival ZIFF. In 2018 he became a member of the European Film Academy.Павло Сушко став членом Європейської кіноакадемії Держкіно In 2018 he founded the Prime Story Pictures film company. In 2018 he was awarded the Golden Spinning Top (Viewer’s choice) for the film “DZIDZIO Contrabass”.

The ensemble was initially named Tuna Liberal for political reasons. The co-founders were Valentín Cané (director, tres, guitar and tumbadora, or as it is commonly called, conga. He was also a songwriter and later on a singer) and Pablo "Bubú" Vázquez Gobín (contrabass). The other original members were Manuel "Jimagua" Sánchez (timbales), Ismael Goberna (cornet/trumpet), Domingo Medina, José Manuel Valera, Julio Gobín, Juan Bautista Llópis (guitarists), and Eugenio Pérez, vocalist.

Ludwig Streicher 1974 on musical tour of Southern Africa, organised by Hans AdlerCelebrated musicians' concert tours of Southern Africa 1953-1978: "Ludwig Streicher, Austrian Double Bass Player" Ludwig Streicher (26 June 1920 – 11 March 2003) was a contrabassist from Vienna, Austria. Familiar to many as the former principal bass of the Vienna Philharmonic Orchestra and bass soloist, he is also known as an instructor and as the author of a contrabass textbook.

In 1860 Halliday was appointed a Knight Commander of the Order of the Bath. He served as a Member of the Council of India from 1868 to 1886. Halliday, who had a lifelong interest in music, was a player of the contrabass and from this acquired the nickname of "Big Fiddle". He married Eliza Barbara Macgregor, the daughter of an officer in the army of the East India Company, on 25 December 1834.

Sound sample The Solina String Ensemble, also marketed as the ARP String Ensemble, is a fully polyphonic multi-orchestral synthesizer with a 49-key keyboard, produced by Eminent BV (known for their Solina brand). It was distributed in the United States by ARP Instruments from 1974 to 1981. The sounds it incorporates are violin, viola, trumpet, horn, cello, and contrabass. The keyboard uses 'organ style' divide-down technology to make it polyphonic.

Todor Toshev () (1919/11/24- 1993/02/22) was a Bulgarian Double bass (contrabass) player. Todor Toshev was born in Bulgaria. He was the creator of the Bulgarian school of double bass and the first double bass professor in the country. Toshev graduated from the Music Academy in Sofia/class of Asen Vapordjiev (who was a well known Bulgarian musician, a graduate from the Prague Conservatory/class of Eduard Nani) in 1948 .

Germany placed 18th in the final, scoring 39 points. On stage, the members of Elaiza performed alone with band members Yvonne Grünwald playing the accordion, Natalie Plöger playing the contrabass and Ela Steinmetz performing lead vocals. The German performance featured paper streamers that fell over the stage during the first and last chorus. In Germany, both the semi-finals and the final were broadcast live on EinsPlus and on delay on EinsFestival.

The format of orchestra varies; in the most common form, it usually has one or two tamburitzas, a violin, a guitar and a contrabass (colloquially referred to as "begeš"); sometimes it also includes an accordion. Such orchestras are, somewhat archaically, called bandas (bande). There are also orchestras consisting only of tambourines; their repertoire is, however, somewhat limited to more gentle songs. The most renowned tamburitza orchestra was the one of late Janika Balázs.

Experiments with the trombone section included Richard Wagner's addition of a contrabass trombone in Der Ring des Nibelungen and Gustav Mahler's and Richard Strauss' augmentation by adding a second bass trombone to the usual trio of two tenor trombones and one bass trombone. The majority of orchestral works are still scored for the usual mid- to late-19th-century low brass section of two tenor trombones, one bass trombone, and one tuba.

All bass pedal units consist of foot-operated pedals mounted in a chassis that sits on the floor. The chassis has buttons on top, also designed to be operated with the feet, which enable the performer to change the sound. Typical buttons include a 16' and 8' button to give a contrabass or bass sound. Some models may have a sustain button; despite the name, it is used differently from an electronic piano's sustain pedal.

Balalaikas are often used for Russian folk music and dancing. The balalaika family of instruments includes instruments of various sizes, from the highest-pitched to the lowest: the piccolo balalaika, prima balalaika, secunda balalaika, alto balalaika, bass balalaika, and contrabass balalaika. There are balalaika orchestras which consist solely of different balalaikas; these ensembles typically play Classical music that has been arranged for balalaikas. The prima balalaika is the most common; the piccolo is rare.

The triple contrabass viol is a modern variant of the French octobass, which lost favor with most composers since its creation in 1850. It is an acoustic string instrument belonging to the family of the violin, viola, and cello. It is more closely related, however, to the double bass, the sole remaining arguable member of the viol family to remain in widespread use. Only the origins of the double bass are in question.

In 2010 he graduated from the Yaroslav Mudryi National Law University. In 2013 he graduated from the Kyiv National University of Culture and Arts majoring in “Cinema and TV arts” (television director). In 2016 he joined the film company "Solar Media Entertainment" and became the producer of the feature film “DZIDZIO Contrabass” which was the first profitable film in the history of Ukrainian cinema. Since 2017 he has been lecturing and conducting master classes for students in film production.

During 2000 and 2001 they were joined by Kateryna Serbina (cello), Oleksiy Tkachevsky (drums), Vitaliy Didyk (contrabass) and Oleksiy Dovhaliov(keyboards). The first official release was the CD "Touch" (which is English translation of "Прикосновение") released on the independent French label Prikosnovénie. Only the album's title was translated to English — all the lyrics and song titles in the CD's booklet are in Russian. One month later the Ukrainian edition of the album came out under the original title "Прикосновение".

Its instrumentation comes from bass, cello, contrabass, drums, guitar, piano, viola and violin. It starts with a piano opening backed by strings and, as noted by Bill Lamb of About.com, "as the words work their way to a climax accented by percussion then gently fade away again leaving the listener in stunned silence from the beauty of the moment." Lyrically, "Hurt" is an evocation of pain and guilt that accompanies the loss of a loved one.

His notable students include John Burke, Roger Briggs, John S. Hilliard, and Robert Morris. His best-known composition is The Last Contrabass in Las Vegas (1974), for double bass and female narrator, which was composed for Bertram Turetzky and his wife Nancy Turetzky, who have performed it frequently. He was also commissioned by Radio France. Kurtz was born in Atlanta and served in the U.S. Army during World War II; he first arrived in France in 1944.

Because of his rising popularity on the radio, he got a recording contract with Tetra Records in New York City. With his band members, Cat Gibson and Ted Barton, henceforth calling themselves The Rockabillies, Flagg recorded his first record in 1956, Howie Stange. The first singles, including Go Cat Go and Guitar Rock, recorded with a contrabass and two acoustic guitars, did not show on the Billboard charts. The records were marketed as "rockabillie" by Tetra.

In the 1980s, he also founded the Clarinet Family, a group of eight clarinetists playing clarinets of various sizes ranging from E-flat soprano to contrabass. Since the 1990s Bluiett led a quartet, the Bluiett Baritone Nation, made up entirely of baritone saxophones, with drum set accompaniment. Bluiett also worked with Babatunde Olatunji, Abdullah Ibrahim, Stevie Wonder, and Marvin Gaye. He returned to his hometown of Brooklyn, Illinois, in 2002 but moved back to New York City in 2012.

He quickly finds the perfect people and the group is built by Nicolae Bob Stănescu on cembalo, Nicolae Turcitu on accordion and Dumitru Jean on contrabass and they started a series of shows at "Constantin Tănase" theatre. There were Gr. Vasiliu Birlic and N. Stroe. From Maria Tănases' idea, he became the head of the orchestra and started to sing at night bar "Athenee Palace". In 1965 he recorded his first disc, a little vinyl with four songs.

Michael Rath Trombones is a British manufacturer of retail and custom hand- made trombones. Rath offers artist-quality and student instruments in its line of tenor, bass, contrabass and alto trombones. Rath Trombones was founded in 1996 by instrument technician Michael Rath, and is Britain's only trombone manufacturer. Rath's 12 craftspeople create as many as 500 trombones per year, exporting instruments through 25 distributors in North and South America, Japan, Europe, Australia, New Zealand, Singapore and Taiwan.

Material from these appearances was released on the album Jazz Ambassador: Scott Robinson Plays the Compositions of Louis Armstrong by Arbors Records. Throughout his career, Robinson has worked to keep unusual and obscure instruments in the public view. For example, he has recorded an album featuring the C-melody saxophone and performs with the ophicleide. He also owns and records with a vintage contrabass saxophone so rare that fewer than twenty in playable condition are known to exist.

RoqueForte is a 2010 studio album by Flemish acoustic avant-rock, experimental and neo-classical chamber music group Aranis, led by composer and contrabass player Joris Vanvinckenroye. It is their fourth album and was released in Belgium by Home Records. The album includes guest musicians Dave Kerman (drums) from Thinking Plague and Present, and Pierre Chevalier (keyboards) from Univers Zero and Present. The inclusion of a drummer on RoqueForte is a departure from Aranis' previous "signature drummerless acoustic sound".

Nurmsalu turned to her former school, where she was introduced to Mann Helstein playing the viola, Johanna Mängel playing the cello, a female contrabass player and a male keyboardist. The band re-scored the song "Hungry" by Kosheen03.08.2009 00:00 - Kaks takti ette (Video of the episode) Estonian Television and were pleased with the resulting televised and video recorded live performance. At the end of the series, Nurmsalu, Helstein and Mängel agreed to continue their collaboration.

Kerem Görsev is also known for his research and broadcasting work. Since 1997, he has hosted the “Kerem Görsev’le Jazz” (“Jazz with Kerem Görsev”) TV show and a series of radio shows, making significant contributions to the promotion and popularization of jazz in Turkey. During trio performances, Kağan Yıldız (contrabass) and Ferit Odman (drums) accompany Kerem Görsev; and the quartet project includes Engin Recepoğulları (saxophone). Kerem Görsev performs at three different projects with a trio, quartet and symphonic orchestra.

The work is scored for an orchestra comprising two flutes, alto flute (doubling piccolo), two oboes, cor anglais, two clarinets, bass clarinet, contrabass clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, four percussionists (playing marimba, tuned gongs, 5 temple blocks, snare drum, suspended cymbal, glockenspiel, steel drums, bass drum, crotales, tubular bells, 3 heavy metal bars, 2 congas, 2 timbales, medium tam-tam, cencerros, vibraphone, large tam-tam and thunder sheet), harp, piano, and strings.

Many trombones have valve attachments to aid in increasing the range of the instrument while also allowing alternate slide positions for difficult music passages. In addition, valve attachments make trills much easier. Valve attachments appear on alto, tenor, bass, and contrabass trombones. It is rare on the alto, but when the instrument does have it, the valve attachment changes the key of the instrument from E to B, allowing the alto trombone to play in the tenor trombone range.

This listing is of 2017 Horn Line The current horn line consists of 9 members including 4 sopranos, 2 mellophones, 2 baritones, and 1 contrabass. Battery Percussion The current drum line consists of 3 snare drums, 1 tenor drum and 3 bass drums. Pit Percussion The current pit Line consists of 2 electronic keyboards, 2 xylophones, 2 Marimba 1 Timpani, 1Drum Kit. Colour Guard The colour guard currently has 5 girls dancing with various flags and other guard equipment.

There are two manuscript scores of the symphony, one lacking the third movement and with a somewhat larger instrumentation than the later manuscript (and published) version. It is scored for (1) an orchestra consisting of: piccolo, 2 (or 4) flutes, 2 oboes, cor anglais, 2 (or 4) clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 (or 8) horns, 4 trumpets (or cornets), 4 trombones, tuba, 4 timpani, tam-tam, cymbals, matracas, 2 (or 4) bass drums, 2 (or 4) side drums, (xylophone), celesta, 2 harps, piano, and strings, (2) a small brass band consisting of piccolo bugle in E, 2 bugles in B, 4 cornets, 4 trombones, 2 alto saxhorns, 2 bass saxhorns, 2 contrabass saxhorns in B, and 2 contrabass saxhorns in E, and (3), in the last movement, an optional mixed chorus. The earlier, three- movement version also specified the numbers of stringed instruments: 26 first violins, 24 second violins, 12 violas, 12 cellos, and twelve double basses, bringing the total number of orchestral players to 164, surpassing the gigantic orchestras called for by Richard Strauss in Elektra and Salome .

Equivalent instruments in the key of BB and CC were produced by instrument manufacturers for marching bands who wished to possess the sound of these contrabass bugles, generally regarded as "darker", without losing hornline sonority by having the basses in a different overtone series from the rest of the hornline (or requiring marching tubists to learn another set of fingerings for tuba parts originally written for BB and CC instruments). In the 2000s, contrabass bugles often have three or four valves, as is common on concert tubas. Like most of their concert counterparts, they are pitched in either C or BB♭, although within the dwindling number of drum corps still using older instruments, they are, like the rest of the traditional bugle line, pitched in the key of G (or GG, depending on which naming convention is used). Instruments in any of these keys are generally larger in modern times compared to their older counterparts, although improved materials and construction techniques in the manufacture of instruments allows them to be made stronger and lighter than before.

He has served on the executive board of the Israel Composers' League (1991–92) and represented Israel's composers at a number of ISCM Festivals in Oslo, Zurich, Mexico City and Essen. He was selected as their first repräsentative to the Asia Composers League Festival, Manila, Philippines, 1997. He has toured Romania(1993), and South Africa (1994), participated in Festival Horowitz, Castelfranco, Italy(1994), Music Judaica, Prague (1995), and the Festival of the Old Testament, Prague (1996), and given solo contrabass recitals of his compositions in Zurich and Vienna (2000). , Max Stern at Israel Composers' League , Musical Traditions in the Middle East Max Stern worked as a freelance musician from 1969 to 1975, performing contrabass with the Rochester Philharmonic, New Haven Symphony, Bridgeport Symphony, Springfield Symphony Orchestra(principal), Brooklyn Philharmonic, Music for Westchester, National Orchestral Association, Radio City Music Hall, Caramoor Festival, Spoleto Festival, and American Ballet Theatre (principal) performing under Leonard Bernstein, Arthur Fiedler, Walter Hendl, Lazlo Somogy, Jose Iturbi, Lukas Foss, Frank Brief, David Gilbert, Leon Barzin and others.

According to the score, Solare's Epiclesis should be played on as "bass" a flute as is available (contrabass flute, bass, alto, soprano flute). Epiclesis achieved the Second Honorific Mention in the First National Competition "Juan Carlos Paz", organized in 1996 by the Fondo Nacional de las Artes (National Endowment for the Arts) in Argentina (category "piece for unaccompanied instrument"). Jury: Salvador Ranieri, María Teresa Luengo and Fernando González Casella. It was also finalist at the competition "Rarescale / Royal College of Music", London, 2004.

During his university years he, along with a drummer Armen Tutunjayn (known as Chico) and a contrabass player Arthur Abrahamyan, founded a jazz trio called "Levon Malkhasyan's Trio" which was the 1st jazz trio ever in Yerevan. The band held small concerts at "Union of Composers" concert hall, the Philharmonic Hall and other venues. The trio with a slightly different line-up exists until today. Several years later the trio is being joined by a saxophonist Alexander Zakaryan and becomes a quartet.

Born in Flint, Michigan, Brohn later studied Music Theory at Michigan State University, graduating with a Bachelor of Music in 1955. He also studied Composition at the New England Conservatory (1958) and took further education in Tanglewood, Massachusetts and in Salzburg, Austria. He was also mentored by the celebrated arranger Robert Russell Bennett. While a student, he performed on the Contrabass with dance bands, and some of these jazz and pop elements can be seen regularly in his Broadway arrangements.

Each pair, divided into melodic and tintinnabuli voices, begin on a central pitch, and move at a different rhythmic speeds. Pärt expands the music by adding one pitch above and below the central pitch of each pair in each successive section. Every time the solo violins reach their central pitch, “D,” the piano again plays a D minor chord and the contrabass plays an octave “D.” Once each of the sections reach their expanded octave range, they fade out of the texture.

Instruments: Triple woodwind (flutes, oboes, B flat clarinets, bassoons); brass: 8 horns in F (7th/8th also in B flat; horns 4-8 alternate with Wagner tubas: 2 tenor tubas in B flat and 2 bass tubas in F), 3 trumpets in F, alto, tenor and bass trombones, contrabass tuba; timpani; strings (violin I / II, viola, cello, double-bass).Liner notes, Anton Bruckner (composer), Gerd Schaller (conductor), Philharmonie Festiva (orchestra) Symphony No. 9 in D minor (1894 original version, ed.

He then composed Les Alpes aux Carpates for solo bass, two pan flutes, string orchestra, women's choir, synthesizers and drums in 1995 and premiered the work in Die, France. In 1998 he toured Belgium, Holland, Germany, Austria, and Italy in a quartet with Buster Williams, Anga Diaz (later Don Alias), and Ronnie Burrage. In that same year he was awarded the Civitella Ranieri Fellowship, Umbertide, Italy, to compose new music for contrabass soloist and orchestra. In 1999 he was invited to Samarkand, Uzbekistan.

Feldman has frequently worked with many jazz artists and music groups. Among those are Arnie Lawrence, Ayelet Rose Gottlieb, Bob Meyer, Boris Gammer, Ed Schuller, Eilon Tourgeman, Jerry Garval, Jean Claude Johns, Judy Lewis, Stephen Horenstein, Steve Peskoff, Yitzhak Yedid and others. Feldman's groups and projects as a leader: Julia Feldman Ensemble, Julia Feldman Jazz Quartet. > Feldman's Ensemble is a changing group- its first version consisted of > Feldman as a vocalist, the pianist Yitzhak Yedid, and contrabass player Ora > Boasson Horev.

20th Century Ukrainian Violin Music 1987 recording CYFP 2032 by Yevshan Corporation, Canada, Library of Congress Card no. 78-7509959 Turetzky is a versatile musician, conversant in chamber music, baroque music, classical, jazz, renaissance music, improvisational music and many different genres of world music. He has also developed a special affinity for klezmer music. In addition to The Contemporary Contrabass, Turetzky has co-edited a book series called The New Instrumentation; seven of a planned eight volumes have been finished.

A clarinet choir is a musical ensemble consisting entirely of instruments from the clarinet family. It will typically include E, B, alto, bass, and contra- alto or contrabass clarinets, although sometimes not all of these are included, and sometimes other varieties may be present. The size of the ensemble varies; it may have between 10 and 40 members. There are also clarinet trios, clarinet quartets, and clarinet quintets, usually consisting of two to four B clarinets and one bass clarinet.

Kotato & Fukushima Bass Flute The Contra-alto flute or bass flute in the key of G, is a musical instrument of the woodwind family that plays sounds one octave lower than the alto flute. It is a transposing instrument. The instrument's body is held either vertically or horizontally, with an adjustable floor peg similar to that of the bass clarinet. The contra-alto flute is primarily used to fill in harmonic and melodic voices between the bass and contrabass flute.

Since 2001, she has been a member of the 'e-jam' project, which is a mobile formation consisting of varying European musicians and performing mainly in Austria. In 2001, she performed repeated sold-out concerts with a repertoire of Hungarian Renaissance music, songs and poems, with the classical lute player, István Kónya. In 2001, she began her next project, an acoustic duo with a contrabass player, Attila Lőrinszky. In 2003, she received The SINGER OF THE YEAR eMeRton AWARD in Hungary.

Gerald Oshita (1942-1992) was an American musician, composer, and sound recordist. Oshita, who was of Japanese ancestry, lived in the San Francisco Bay Area and specialized in unusual wind instruments, particularly those of especially low register. He performed and recorded with straight alto saxophone, tenor and baritone saxophones, contrabass sarrusophone, and Conn-o- sax, and also made shakuhachi (Japanese bamboo flutes). Oshita's music drew on elements of jazz as well as contemporary classical music, and was often partly or wholly improvised.

Double bass professor Larry Hurst argues that the "modern double bass is not a true member of either the violin or viol families". He says that "most likely its first general shape was that of a violone, the largest member of the viol family. Some of the earliest basses extant are violones, (including C-shaped sound holes) that have been fitted with modern trappings." Some existing instruments, such as those by Gasparo da Salò, were converted from 16th-century six-string contrabass violoni.

A soprano sarrusophone is seen and heard in the song "Humpty-Dumpty Heart" played by Kay Kyser's band in the 1941 film Playmates. In the 1970s and 1980s the American jazz musician Gerald Oshita (based in Chicago and the San Francisco Bay Area and associated with Roscoe Mitchell) played avant-garde jazz on an EE♭ contrabass manufactured by Conn. More recently (1990–2006), recordings using sarrusophone have been released by saxophonists Scott Robinson, Lenny Pickett, James Carter, and Paul Winter.

Alumnus of the Frederick Chopin Music Academy in Warsaw, in the contrabass class of Professor Andrzej Mysiński. He began his jazz musician career in 1978, in the Kazimierz Jonkisz Quintet, where he played with Krzesimir Dębski, Andrzej Olejniczak and Janusz Skowron. The ensemble, with the same members, made a recording and took part in the 1980 Jazz Jamboree Festival in Warsaw. At the beginning of the 1980s, as a bass player, he was a recipient of an annual Krzysztof Komeda Prize musical scholarship.

The most influential such orchestra was called the Rashidiyya Orchestra, led by violinist Muhammad Triki. Rashidiyya Orchestra used a large chorus as well as contrabass, cello, violin, nay, qanun and 'ud sharqi, and followed the developing rules of Arab musical theory and notation. The thirteen surviving nubat were created during this time, distilled from the highly divergent folk forms still in use. Western musical notation was used; along with the popularization of recorded music, the use of improvisation quickly declined.

The concerto is scored for solo violin and an orchestra of: 3 flutes (no. 3 doubling alto flute), 2 oboes, cor anglais, 3 clarinets in B (no. 3 doubling bass clarinet in B), alto saxophone in E, 3 bassoons (no. 3 doubling contrabassoon), 4 horns in F, 4 trumpets in B, 4 trombones, contrabass tuba, percussion (6 players), harp, celesta, harpsichord, prepared piano, and strings. The movements are as follows: #Andante #Vivo #Adagio #Lento A performance typically lasts approximately 35 minutes.

The double-slide contrabass trombone has less resistance than a tuba, but takes more air to produce a tone, and despite its modern innovations over the Renaissance horns, it remains somewhat taxing to play. D'Indy used this instrument several times; in his Symphony No. 2 in B, Op. 57 (1902-3), Jour d'été à la montagne, Op. 61 (1905), Souvenirs, Op. 62 (1906), Symphony No. 3 (Sinfonia Brevis - de bello gallico), Op. 70 (1915), and Poème des rivages, Op. 77 (1919–21).

No instruments were ever constructed on his instigation. Widor's remarks come in light of the dismal state of the French contrabassoon in the late 19th century, which was generally replaced with a contrabass sarrusophone. Famous operetta composer Arthur Sullivan is said to have owned a semi-contra in F and included parts for it in some of his operettas. Aside from the Great (quart) bass dulcians, the only modern reproductions of historical semi-contras are being made by Guntram Wolf of Germany.

As a soloist, he performed under Herbert von Karajan, David Oistrach, Yehudi Menuhin, Claudio Abbado, and Sir Simon Rattle. He is the founder and director of The 14 Berlin Flutes, an ensemble formed in 1996 composed entirely of flute players from various Berlin orchestras. The ensemble plays various instruments in the flute family, ranging from the piccolo to the contrabass flute. Blau was the principal flute of the Berlin Philharmonic since 1969 before retiring in June 2015 after 46 years.

Friedrich Wilhelm Grund (7 October 1791, Hamburg, Germany - 24 November 1874, Hamburg, Germany) was a German composer, conductor and teacher. He studied with his father (piano, violin, cello and contrabass) and with the Hamburg cantor Christian Friedrich Gottlieb Schwencke. In 1819, he abandoned his career as a concert virtuoso because of the nerve disease of his right hand and he started to compose and teach. In the same year, he co-founded and led the Gesellschaft der Freunde des religiösen Gesangs (later the Hamburger Singakademie).

Kunath is a recorder maker in Fulda Germany. Joachim Kunath, who formerly worked for Mollenhauer, offers several lines of school recorders and reed instruments as well as the Paetzold by Kunath square recorders. Around 1975, Herbert Paetzold began to offer a square contrabass recorder made out of plywood that had been invented by his uncle Joachim Paetzold. In 1977 Frans Brüggen ordered three of these instruments for his trio Sour Cream, and they soon became popular among performers for their strength in low consorts.

Joris Vanvinckenroye began studying contrabass when he was 16 at the Music Academy of Lier in Belgium. He won Belgium's Axion Classics award in 2000, and continued his studies at the Royal Flemish Conservatoire in Antwerp, where he obtained a master's degree in double bass in 2005. Vanvinckenroye also obtained a secondary school teacher diploma in 2000 in physics, geography and mathematics. In 1994, while still studying, Vanvinckenroye co-founded Troissoeur, an electronic group, who toured Europe into the early 2000s, and released two CDs.

In Goslar, the Honcharenko brothers also developed bass and contrabass orchestral banduras. After the war they rejoined the Shevchenko Bandurist Chorus and moved to Detroit where they continued to train bandura craftsmen such as Vasyl Hirych, Pavlo Stepovy and William Vetzal. The instruments and mechanism designed by the Honcharenko brothers were used by bandurists in the Ukrainian Bandurist Chorus and became a standard design made by most bandura makers in the West. In 1980, Olexander retired from his tool and die business and returned to bandura construction.

In hip hop, producer Rick Rubin popularized the technique of creating basslines by lengthening the bass drum decay of the TR-808 drum machine and tuning it to different pitches. Chinese orchestras use the zhōng ruǎn (中阮) and dà ruǎn (大阮) for creating basslines. Other, less common bass instruments are the lā ruǎn (拉阮), dī yīn gé hú (低音革胡), and da dī hú (大低胡) developed during the 1930s. Russian balalaika orchestra use bass balalaika and contrabass balalaika.

Canticum Sacrum is scored for tenor and baritone soloists, mixed chorus, and an orchestra of 1 flute (which plays only in the second movement), 2 oboes, cor anglais, 2 bassoons, contrabassoon, 3 trumpets in C, bass trumpet in C, 2 tenor trombones, bass trombone, contrabass trombone, organ, harp, violas, and double basses. Clarinets, horns, violins, and cellos are all absent. Canticum Sacrum is Stravinsky's only piece to make use of the organ. Its use represents one of many tributes to the traditions of Saint Mark's Basilica.

During the Vietnam War era he enlisted in the U.S. Air Force; after his discharge he studied contrabass at the Chicago Conservatory College with Rudolf Fahsbender of the Chicago Symphony Orchestra. In 1969 he moved to New York City and studied under Julius Levine at the Mannes College of Music. There, in New York, he met Pharoah Sanders, with whom he played his first jazz concerts in New York. James played with Monty Alexander and Sun Ra at the end of the 1960s as well.

He also played contrabass in his school's orchestra. At age 17, Carey moved to New Hampshire to start a new band called Blessings with a singer he knew, and soon the band had a major recording contract with ABC Dunhill. After two years of working on the project, the band was unable to complete its first album. In a 2013 interview, Carey listed his own involvement with girls, the producer's drug use, and "too much bullshit" from Dunhill as the reasons the album was never completed.

Its strings are much thinner than a conventional acoustic bass guitar, so it lacks the "thick" tone of those instruments. Contrabass guitars from the 1970s are often tuned B0–E1–A1–D2–G2–C3 (B0 being the lowest B on a standard 88-key piano). Some players prefer B0–E1–A1–D2–F2–B2, which preserves the intervals of a standard guitar tuning (lowered by a twelfth) and makes the top and bottom notes the same pitch. They are usually electric instruments with a solid wooden body.

Dąbrowska was born in Chełm, Poland, and started her musical education as a teenager. When in high school, Ania also attended music school where she learned to play contrabass and participated in numerous vocal competitions. She later studied in Warsaw School of Social Sciences and Humanities. Dąbrowska first appeared publicly in 2002, as a participant of the vocal talent show Idol which was the first Polish edition of Pop Idol. She managed to reach the final top 10, but was eliminated while in eighth place.

Another highlight of 2012's festival was that of April 1. The Chloe Cailleton Trio, a mix of popular French music and jazz standard, took on the stage by serving to the audience a very spectacular performance. This trio included the vocalist and percussionist Chloe Cailleton, Ronan Court in contrabass and Armel Dupas in piano, their performance reaching the climax in the second part of their piece. Famous Kosovar pianist Lule Elezi and soprano Besa Llugiqi were among the national participants of 2012's Festival.

In five movements with a total duration of about 40 minutes, the concerto is scored for piccolo, 2 flutes, 2 oboes, English horn, B clarinet, E clarinet, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, and strings. The symphonic band version is scored for piccolo, 4 flutes, 2 oboes, English horn, E clarinet, 4 B clarinets, bass clarinet, 2 bassoons, contrabassoon, soprano, alto, tenor, and baritone saxophones, 4 horns, 4 trumpets, 2 trombones, bass trombone, 3 euphoniums, 2 tubas, and contrabass.

Only 165 heckelphones have ever been made. Not surprisingly, competent heckelphone players are difficult to find due to the extreme rarity of this particular instrument. The least common of all are the musette (also called oboe musette or piccolo oboe), the sopranino member of the family (it is usually pitched in E or F above the oboe), and the contrabass oboe (typically pitched in C, two octaves deeper than the standard oboe). Folk versions of the oboe, sometimes equipped with extensive keywork, are found throughout Europe.

For those reasons, most mandolin orchestras preferred to use the ordinary contra-bass, rather than a specialized mandolin family instrument. The bow not only helps with volume for forte sections of music, but the contrabass has deeper notes available.Op Cit. Sparks, p.199 Up until 1911, the mandolin family of instruments as known in the United States had no true bass member. Mandolins were relatively new to the United States, beginning to be known in the mid-1880s and reaching the peak of popularity before 1910.

"Lift Me Up" was written and produced by Linda Perry. Perry was also responsible for providing piano, percussion, bass, programming, guitar and keyboards, while Andrew Chavez served as the right hand man and Pro Tools engineer. The song also features drums, violin, strings, viola, cello and contrabass as instruments. Recorded at the Kung Fu Gardens, The Red Lips Room, and mixed at the Larrabee Studios, "Lift Me Up" is written in the key of E major, having a "gentle" tempo of 74 beats per minute.

SNYSB play a range of music including show music, film music, big band, swing, classical and contemporary. They have one of the largest music library's owned by any band of this kind. Some members of the band own their own instruments, while others borrow the SNYSB ones. SNYSB has received various donations of money, including a large sum from the National Lottery, which have allowed them to purchase some more expensive instruments such as a bassoon, a contrabass clarinet, and a full percussion section.

There have also been descant and tenor balalaikas, but these are considered obsolete. All have three-sided bodies; spruce, evergreen, or fir tops; and backs made of three to nine wooden sections (usually maple). The prima balalaika, secunda and alto are played either with the fingers or a plectrum (pick), depending on the music being played, and the bass and contrabass (equipped with extension legs that rest on the floor) are played with leather plectra. The rare piccolo instrument is usually played with a pick.

Until recently, the BB contrabass had the distinguishing feature of being the lowest pitched reed instrument ever placed in production, since it is capable of producing a low A, one semitone lower than the lowest note on the standard piano and the extended range contrabassoon's low A. However, the German instrument maker Benedikt Eppelsheim has recently introduced a brand new instrument called the tubax (a saxophone hybrid), one model of which, the BB subcontrabass, also has A as its lowest pitch. The French firm of G. Leblanc for many years (1950s-1980s?) featured photographs of its EEE octocontra-alto and BBB octocontrabass clarinets, instruments that could play lower still, in its advertising. However, despite their notoriety and frequent citation in books on musical instruments and in on-line discussion forums, these instruments were never placed in production and were, perhaps, more along the lines of engineering achievements and curiosities (despite the fact that the EEE model could be a viable instrument, it is said that only three were made). Even then, it appears that few BB contrabass sarrusophones were ever built, the EE being much more portable and perhaps, practical.

Dead Elvis, also known as Develvis for Solo Bassoon and Chamber Ensemble (1993) by American composer Michael Daugherty, is a 10-minute, single-movement work inspired by the King of Rock-n-Roll, Elvis Presley. Dead Elvis was commissioned by bassoonist Charles (Chuck) Ullery and The Grand Tetons Festival, and Richard Pittman/Boston Musica Viva. The Chamber Ensemble instrumentation calls for solo bassoon, E flat clarinet, trumpet, bass trombone, violin, contrabass, and percussion. The premiere was performed by The Grand Tetons Chamber Players, Michael Daugherty conducting and Charles Ullery as soloist, in July 1993.

The Eastman Wind Ensemble was founded by Frederick Fennell at the Eastman School of Music in 1952. It is often credited with helping re-define the performance of wind band music. At the time, concert bands used all their players for every piece, regardless of whether the composer had written a part for that instrument. If there was no part for an instrument you had in the band - for example, a contrabass clarinet or a string bass - the conductor or the publisher would have an arranger add one.

The instrumentation of the piece consists of two flutes and piccolo, two oboes, two soprano clarinets and bass clarinet, three bassoons and contrabassoon (or contrabass sarrusophone), four horns, two trumpets (in C), two cornets, three trombones, timpani, glockenspiel, bass drum, cymbals, triangle, harp and strings. The formidable glockenspiel part is sometimes handled by a pianist playing a keyboard glockenspiel or celesta, but is usually played by a percussionist on a traditional glockenspiel making it a common orchestral excerpt for percussion auditions. Dukas also made a transcription for two pianos of this orchestral piece.

Chávez was born in Quito and studied at the National Conservatorio Nacional de Música de Quito, where in 1952 he became professor of guitar and composition.Edufuturo > In 1962, Bonilla founded the first guitar department at the National > Conservatory of Music in Quito, Ecuador. Sought after to perform many of his > own compositions which featured solo guitar and orchestra, Bonilla > frequently performed with the National Symphony Orchestra of Ecuador and the > Colombian Philharmonic Orchestra. Ever since the Ecuadorian National > Symphony Orchestra was established in 1956, Bonilla served as principal > contrabass until his retirement in 1985.

Recorders from Michael Praetorius's Syntagma Musicum (1619): great bass in F (contrabass, two views) at the left, quint bass (great bass) in B, bass (basset, two views), etc. The great bass recorder is a member of the recorder family. With the revival of the recorder by Arnold Dolmetsch, who chose Baroque music and the corresponding recorder types as a fixed point, consideration was given to the design of recorder types larger than the bass recorder. The great bass recorder has up to seven keys, which serve to facilitate access to the finger holes.

Today, it is replaced with two tubas in modern orchestral performances but the original effect is lost. The tubas are too loud for the intended sound. The instrument was standard in French mid-19th century serious operas by Meyerbeer, Halevy, and Auber, as well as English operas by Michael Balfe, Vincent Wallace, and others. Verdi, Saverio Mercadante and Wagner also composed for the ophicleide before switching to the bass tuba or contrabass trombone, as did Sir Arthur Sullivan in his Overture Di Ballo (which, like Wagner's Rienzi, also has an additional part for serpent).

As with most other members of the saxophone family, the lowest written note is the B below the staff—sounding as a concert A in the first octave (~ 51.9 Hz). German wind instrument maker Benedikt Eppelsheim has made bass saxophones to low A, similarly to the extension in the baritone saxophone. This sounds as a concert G in the first octave (~ 49 Hz). Until the start of the 21st century, the largest existing member of the saxophone family was the rare contrabass, pitched in E, a perfect fifth lower than the bass.

Piccolo, Prima and Bass banduras Orchestral banduras were first developed by Leonid Haydamaka in Kharkiv 1928 to extend the range of the bandura section in his orchestra of Ukrainian folk instruments. He developed piccolo- and bass-sized instruments tuned, respectively, an octave higher and lower than the standard Kharkiv bandura. Other Kyiv-style instruments were developed by Ivan Skliar for use in the Kyiv Bandurist Capella, in particular alto-, bass- and contrabass-sized banduras. However, these instruments were not commercially available and were made in very small quantities.

The instrument, played by the group's leader and founder Don Stevens, was formerly owned by Robert Seaton of Louisville, Kentucky, a noted civil engineer and amateur musician who played the sax on WHAS big band programs in the 1920s and 1930s. Mr. Seaton found the contrabass saxophone in a shop in Newark, New Jersey in the 1960s. Inscriptions on the instrument indicate that it was produced for the US Army Band in 1902. Mr. Seaton sold the instrument to the Nuclear Whales sometime before his death in 1990.

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 clarinet mouthpiece of suitable size connected by means of a cylindrical brass crook with the upper part of the tube and a brass bell. The pitch was two octaves below the clarinet in C, the compass being the same, and thus corresponding to the modern bass tuba. The tone was pleasant and full, but not powerful enough for the contrabass register in a military band.

Since 2008 he is a member of Trio Hot with Albrecht Maurer, violin and Peter Jacquemyn, bass, and in 2009 he started the Deep Down Clarinet Duo with the contrabass clarinet player Ernst Ulrich Deuker. They also work together in the Tribal Trio, a clarinet trio with the French- American clarinetist Etienne Rolin. In 2009 Jörgensmann performed a few concerts with younger musicians from UK (Seb Rochford, Dominic Lash, Shabaka Hutchings and Noel Taylor) in London. In 2011 he formed the Freedom Trio with bassist Christian Sydney Ramond and acoustic guitar player Hagen Stüdemann.

The work is scored for a solo cello and a large orchestra consisting of a piccolo, two flutes (2nd doubling alto flute), two oboes, cor anglais, two clarinets (2nd doubling E-flat clarinet), bass clarinet (doubling contrabass clarinet), two bassoons, contrabassoon, four horns, two trumpets, trombone, bass trombone, timpani, three percussionists, harp, piano (doubling celesta), and strings. The concerto also uses live electronics: the solo cello is recorded in real time and the recordings are played back via speakers so that the live cello becomes accompanied by a recorded "echo" of itself.

One widely applauded and popular 1962 addition was the contrabass, the biggest horn and lowest voice, two octaves below the soprano, which partially rests on the shoulder. The mellophone or mellophonium was introduced soon after, and was quickly popular for its capability of soaring above the rest of the bugle section. However it did not supplant the French horn, which remained the dominant middle voice. Other less-popular bugle types introduced in the 1960 included herald bugles, euphoniums, pistonless slide sopranos and piccolo bugles or "angel bugles" pitched an octave above the sopranos.

Currently, there are three performing groups which play and record on the instruments of the violin octet. The Hutchins Consort (based in San Diego, California) plays on Carleen Hutchins' instruments. The Hutchins Consort Quartet is a subset of the consort and plays on soprano violin, tenor violin, baritone violin and contrabass violin. The Albert Consort (based in Ithaca, New York) uses a set of instruments made by Robert Spear and the New Violin Family Orchestra, organized by the association Octavivo, which also uses instruments made by Robert Spear.

In 2003, Igor Milić founded his music studio "Emaus" in which he works as record producer, arranger, composer, audio mastering engineer, studio instrumentalist and singer. Since 2005, he has focused his studio work on spiritual Christian music. Under "Emaus" he has produced several albums: Izbroj darove (production), Sanctus (production, arrangement, instrumentation: guitar, bass guitar, solo guitar, berda, contrabass), Radost s neba (production, arrangement, instrumentation: guitar, bass guitar). He also produced songs for several religious music festivals: Bonofest, Krapinafest, Svjetlost dolazi for which he made arrangements and instrumentation in addition to production.

In the next fixture match, against Red Star Belgrade, Vujaklija scored 2 goals and demonstrated his goal celebration with imitation of playing the violin. Before the cup match against Red Star, Miodrag Božović said in joking, how his team will answer Vujaklija with playing contrabass. Borac won that match with a 5–1 result and Vujaklija made 2 assists and scored 1 goal, after which he repeated the same goal celebration. In the meantime of two matches, Vujaklija also scored 2 goals, against Voždovac and FK Radnik Surdulica.

During these years he also served as the Longueuil Concert Society's orchestra conductor and bandmaster, and taught solfège at the Société St-Jean-Baptiste. Pratt was a clarinetist in the Symphonie Dubois in 1916–1917 and in the Canadian Grenadier Guards Band from 1919 to 1939. He was the Montreal Orchestra's bass clarinetist from 1931-1941 and played the contrabass clarinet for the CSM orchestra from 1935 to 1946. He also played the clarinet in the Little Symphony of Montreal and the Van der Meerschen band in St-Lambert.

Alejandro Coello was born in León, Spain, the only son of composer Emilio Coello and flautist María Luisa Calvo. His maternal grandfather, Mr. Luis Calvo Rey, was conductor of the Municipal Music Band of Astorga, allowing him to grow up in a musical environment. At the age of five, Coello started attending his first music lessons at the "Alcobendas Municipal School of Music and Dance" (Escuela Municipal de Música y Danza de Alcobendas). Subsequently, he attended contrabass lessons at the "Salamanca Professional Conservatory of Music" (Conservatorio profesional de Música de Salamanca).

Benjamin Patterson was born in Pittsburgh on May 29, 1934. He attended the University of Michigan from 1952 to 1956, where he studied the contrabass, Composition, and Film Direction. As an African-American musician, he found it impossible to get a job at a symphony orchestra in the United States, so he started playing with Canadian orchestras. From 1956 to 1960, he worked as a double bassist at the Halifax Symphony Orchestra (1956–57), the US Army 7th Army Symphony Orchestra (1957–59) and the Ottawa Philharmonic Orchestra (1959–60).

The contrabass trumpet is the lowest sounding member of the trumpet family, most closely related to the Bass trumpet. It is a specialty instrument, very rarely used except when the performer deems it necessary. The bell of current models being sold is approximately 24.5 cm while the bell of a regular trumpet is approximately 10 cm-12 cm. The mouthpiece that was designed separately from the main project is similar to a tuba mouthpiece in size and diameter which is approximately 30mm, while regular trumpet mouthpieces which are approximately 15mm in diameter.

The classical orchestra includes violin I and II, viola, cello, contrabass, two flutes (piccola), two oboes (English horn), two clarinets, bass clarinet, two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, two percussionists playing bells, tom-tom, triangle, xylophone, vibraphone, and harp. The scaled-down "pop orchestra" consists of guitar (classical, electric) for solo and harmony, synthesizer, two descant recorders (played by real descant recorder players but whose music is also written in the flautists' notes and in synthesizer notes, to make options available), piano, bass guitar, and drum set.

The baritone ukulele usually uses linear G6 tuning: D3–G3–B3–E4, the same as the highest four strings of a standard 6-string guitar. Bass ukuleles are tuned similarly to bass guitars: E1–A1–D2–G2 for U-Bass style instruments (sometimes called contrabass), or an octave higher, E2–A2–D3–G3, for Ohana type metal-string basses. Sopranino ukulele tuning is less standardized. They usually are tuned re-entrantly, but frequently at a higher pitch than C; for example, re-entrant G6 tuning: D5–G4–B4–E5.

The drama and intrigue continue through three generations of protagonists, until the final cataclysm at the end of Götterdämmerung. The music of the cycle is thick and richly textured, and grows in complexity as the cycle proceeds. Wagner wrote for an orchestra of gargantuan proportions, including a greatly enlarged brass section with new instruments such as the Wagner tuba, bass trumpet and contrabass trombone. Remarkably, he uses a chorus only relatively briefly, in acts 2 and 3 of Götterdämmerung, and then mostly of men with just a few women.

A music video of the song "Abar Hashimukh" directed by Tanim Rahman Anshu, starring 2007 Miss Bangladesh beauty pageant titleholder Jannatul Ferdoush Peya. The album strives to compile their confessions, demands, rage, hopes and anticipation to invite new light through the old windows of the untitled past. From the lyrical point of view, the album is more specific on topic, searching the positive sides of negative living. Musically, Shironamhin tried western classic orchestration based on violin, cello, contrabass section fused with rock guitar, bass and drums in public classical orchestration.

One popular example of the use of the French C tuba is the Bydło movement in Ravel's orchestration of Mussorgsky's Pictures at an Exhibition, though the rest of the work is scored for this instrument as well. Larger BBB subcontrabass tubas exist, but are extremely rare (there are at least four known examples). The first two were built by Gustave Besson in BBB, one octave below the BB Contrabass tuba, on the suggestion of John Philip Sousa. The monster instruments were not completed until just after Sousa's death.

A balalaika Russians have distinctive traditions of folk music. Typical ethnic Russian musical instruments are gusli, balalaika, zhaleika, balalaika contrabass, bayan accordion, Gypsy guitar and garmoshka. Folk music had great influence on the Russian classical composers, and in modern times it is a source of inspiration for a number of popular folk bands, most prominent being Golden Ring, Ural's Nation Choir, Lyudmila Zykina. Russian folk songs, as well as patriotic songs of the Soviet era, constitute the bulk of repertoire of the world-renowned Red Army choir and other popular Russian ensembles.

An orchestral clarinetist must own both a clarinet in A and B since the repertoire is divided fairly evenly between the two. Since the middle of the 19th century, the bass clarinet (nowadays invariably in B but with extra keys to extend the register down to low written C3) has become an essential addition to the orchestra. The clarinet family ranges from the (extremely rare) BBB octo- contrabass to the A piccolo clarinet. The clarinet has proved to be an exceptionally flexible instrument, used in the classical repertoire as in concert bands, military bands, marching bands, klezmer, jazz, and other styles.

Iannis Xenakis composed many chamber-music works for comparatively large numbers of instruments. Among them are the nonets Akanthos, for 9 instruments (1977), Kaï, for flute, clarinet, bassoon, trumpet, trombone, violin, viola, cello, and contrabass (1995), and Kuïlenn, for the classical 18th-century serenade scoring favoured by the Netherlands Wind Ensemble, for whom it was written: flute, 2 oboes, 2 clarinets, 2 bassoons, and 2 horns (1995) . Brian Ferneyhough's Terrain (1992), is scored for nine instruments, but is for solo violin accompanied by an octet consisting of flute (+ piccolo), oboe (+ cor anglais), clarinet (+ bass clarinet), bassoon, horn, trumpet, trombone, and double bass.

Being the only constant member, Grigsby assembled an everchanging lineup, that featured vocalist Emily Hay, as well as Rod Poole (acoustic guitar), Bridget Convey (piano), Hannes Giger (contrabass), and David Kerman (drums). Grigsby disbanded the group in 1989 to focus on the project U-Totem. Nevertheless, Grigsby and Hay reunited the group in 1997 with a largely expanded lineup, including former members Lynn Johnston (clarinets, saxophone) and Eric Johnson-Tamai (bassoon). The new lineup also featured musicians from 1990s West Coast new jazz scene, such as Vinny Golia (clarinets, saxes), Jeff Kaiser (trumpet), and Brad Dutz (marimba and vibraphone).

Presently, Dr. Kasparov serves as a Professor of Music at Old Dominion University in Norfolk, Virginia, where he teaches undergraduate and graduate music composition, piano, and all levels of undergraduate music theory, as well as leading the new music ensemble. Between 1998 and 2008, Kasparov led Creo, the Old Dominion University's resident ensemble for contemporary music.Stanus, Joan. “Ensemble explores new works.” Virginian-Pilot, The Compass 1 October 1998: 10. The group's final performance in March 2008, featured the premiere of Kasparov's composition, Tsitsernakabert, for modern dance and six musicians: alto flute, bass/ contrabass flute, violin, two percussionists, and mezzo-soprano.

In 2015, the Stafford James Strings, Percussion and Horns Ensemble toured Europe, performing original compositions in tandem with compositions by other Jazz composers. The arrangements by Stafford James featured contrabass soloist, harp, string quartet, flute, trumpet doubling on flugelhorn, saxes doubling on bass clarinet, trombone, tuba, guitar, support bass, drums and percussion. The presentation is that of a double bass concerto. 2016-17 there was a new series of three productions in Chicago of the Stafford James Strings, Percussion and Horns Ensemble, a string quartet and a string quintet at the EDGE Theater located in Edgewater, Chicago.

The curriculum of each respective field of study at Richard Wagner Conservatory is structured according to semesters, equal to the structure of academic studies as implemented at Austrian universities. The fields of study include: various instruments and voice; music education in instruments and voice, all of which lead to an internationally recognized diploma. There is a music school connected to the conservatory where students can practice implementing their teaching skills. There are students from various different countries, studying the piano, organ, voice, violin, cello, viola, contrabass, transverse flute, clarinet, saxophone, bassoon, horn, trumpet, tuba, guitar, and accordion.

The outside of the instrument can also be covered in leather, like the cornett. Although the bass in F is the most common size, the dulcian comes in many other sizes: tenor (in C), alto (in F or G) and soprano (in C). There are also examples of a "quart bass" dulcian in C and contrabass in F. The range of each instrument is two and a half octaves, centred on the range of the corresponding singing voice: for example, the bass ranges from C2 (two octaves below middle C), to G4 (the G above middle C).

A Pagan Poem is a tone poem for orchestra composed in 1906 by Charles Martin Loeffler. Originally scored for piano, woodwinds, violin, and contrabass, the work was rescored for two pianos and three trumpets. The final version, which, in addition to traditional forces includes piano, solo English horn, and three solo trumpets, was introduced on November 23, 1907, by the Boston Symphony under the direction of Karl Muck. Loeffler derived inspiration for the work from the eighth eclogue of Virgil, in which a maiden of Thessaly uses magic to revive her lover's ardor once he deserts her.

The H'arpeggione is an instrument built by Fred Carlson for Killick Hinds. It is an electric upright quartertone-fretted six string instrument tuned from a contrabass A♭ up to E♭ (half-step below the high E on a guitar). The H'arpeggione also has 12 resonating sympathetic strings which run through the neck and emerge over the body and run to a separate buzzing bridge. The body is larger than an acoustic guitar, with an arched fingerboard and bridge for bowing or plucking, a spike for upright playing position and a top of (recycled) redwood.

Shironamhin tried to compile confession, demand, rage, hope & anticipation in their self-titled album to invite a new light through old windows. From lyrical point of view, this album is more specific on topic, searching the positive sides of a negative living. Musically Shironamhin tried western classic orchestration based on violin, cello, contrabass section fused with rock guitar, bass & drums accompaniment. Shironamhin recalls all the members & persons who worked for Shironamhin once and forever, expressed their gratitude to those who carried shironamhin this long & dedicated their songs to the listeners whom shironamhin is comfortable to call friends.

Ron has also composed music for film dance and theatre. In 2012, Ron Korb's classical crossover album Europa (officially released in 2013, won the Global Music Awards, California, in 4 categories including: Award of Excellence-Album, Composition (St. Johann), Album Art/Graphics (Designer: Jade Yeh); Award of Merit: Acoustic Instrumental Solo Performance (St. Johann). His composition, Beckett's Whisper, originally written for Irish flute, pennywhistle, violin, cello, Celtic harp, accordion, double bass and piano, was rearranged by Korb himself for the Canadian Flute Association for flute choir: Piccolo, 4 C Flutes (flute 4 requires low B foot), Alto flute, Bass flute, Contrabass flute.

Pedro Greene had come to work with the guitarist Edgardo Riquelme in an electric intervention of the song Gracias a la vida by Violeta Parra, while Pablo Lecaros had directed the Macondo group, with which recorded his Tonada para la pachamama. This melody was soon to become one of the maximum pieces of the new fusion ensemble. La Marraqueta recorded her debut album (La Marraqueta, 1995) as a trio, using the same structure as a basic jazz rhythm section (piano- contrabass-drums), although this time electrified (keyboards-bass-percussions ). This marked his staging and the sound profile that would characterize it for years.

A very unusual example of the sarrusophone in jazz is on the 1924 recording by the Clarence Williams Blue 5 of "Mandy, Make Up Your Mind," with the sarrusophone played by the jazz soprano saxophone and clarinet virtuoso Sidney Bechet. One can conjecture that the sarrusophone played was most likely a contrabass with a single reed mouthpiece, as Bechet was not a trained double reed player. Bechet later denied having ever played the sarrusophone. According to the biography by Chilton, Sidney "pulled a face" when asked about the solo on "Mandy", though he did not deny playing it.

The tone of the sarrusophone is less clear but much reedier than that of the saxophone. In humorous terms, the sarrusophone can be said to sound rather "industrial" or perhaps "unrefined." Historically, the Orsi Instrument Company, Rampone (later Rampone & Cazzani), Buffet (under the ownership of Evette & Schaeffer), Conn (E contrabass only), Gautrot and Couesnon (Gautrot's successor) were the best known and possibly, only makers that produced in quantity. The somewhat harsh tone quality of the sarrusophone and the need for a double reed may have contributed to it not becoming a standard member of the wind band.

The symphony is scored for baritone solo and SATB chorus, and an orchestra consisting of piccolo, 3 flutes, alto flute, 3 oboes, 3 clarinets in A, bass clarinet, contrabass clarinet, 3 bassoons (third doubling 2nd contrabassoon), contrabassoon, 4 horns in F, 4 trumpets in C, 2 trombones, bass trombone, tuba, timpani (with medium temple bowl), percussion (6 players: glockenspiel, marimba, crotales, 3 suspended cymbals [small, medium, large] with bow, 3 nipple gongs [small, medium, large], tubular bells, 2 metal bars [medium, large], snare drum, tenor drum, very large bass drum, 2 tom-toms [small, medium], flexatone), and strings.

893 (Hachi Kyū San, "Yakuza") is a band Sheena formed to perform her Chotto Shita Reco Hatsu mini-tour in 2014, and also to record the song "Sakasa ni Kazoete" from her "Nippon" (2014) single. It featured Midorin from Soil & "Pimp" Sessions on drums, Keisuke Torigoe on contrabass, Yoshiaki Sato on accordion, Masaki Hayashi on piano and Ringo Sheena on vocals and guitars. All of the members had performed at Sheena's Tōtaikai: Heisei Nijūgo-nendo Kamiyama-chō Taikai concert in 2013. Sato also arranged the song "Saisakizaka" for Sheena's album Gyakuyunyū: Kōwankyoku, released at the time of the concerts.

The work is scored for baritone, mezzo-soprano, and a large orchestra consisting of three flutes (1st and 2nd doubling piccolo; 3rd doubling piccolo and alto flute), three oboes (3rd doubling cor anglais), three clarinets (1st in B-flat and A, doubling E-flat clarinet); 2nd in A, doubling bass clarinet; 3rd in A, doubling bass clarinet with low C), three bassoons (2nd doubling contrabassoon; 3rd doubling contraforte or contrabassoon with low A), four horns, three trumpets (all doubling flugelhorn), two trombones, bass trombone, contrabass tuba, timpani (doubling rototoms), six to eight percussionists, harp, piano (doubling celesta), and strings.

Orsi, however, does make curved sopranino saxophones. Top to bottom: a curved E sopranino saxophone, a straight E sopranino saxophone, a C soprano saxophone, and a B soprano saxophone. The original patented saxophone family, as developed by Adolphe Sax, included sopranino, soprano, alto, tenor, baritone, bass, contrabass, and subcontrabass instruments (although he never built the last). Since the late 20th century, however, a B piccolo, or sopranissimo saxophone (called soprillo, and tuned a fifth above the sopranino) and a B subcontrabass instrument (called tubax, also made in C) have been developed by the German instrument maker Benedikt Eppelsheim.

Adams composed two versions of Dark Waves: one for two pianos and another for orchestra. The orchestral version calls for an ensemble comprising: ;Woodwinds :2 piccolos :2 oboes :2 clarinets in B :contrabass clarinet in B or E :2 bassoons :contrabassoon ;Brass :2 horns in F :2 trumpets in C :2 trombones :bass trombone :tuba ;Percussion, 2 players :bass drum :cymbal, suspended :tubular bells :2 vibraphones ;Keyboards :celesta :piano ;Strings :violins I (minimum of 12 players) :violins II (minimum of 12 players) :violas (minimum of 9 players) :cellos (minimum of 9 players) :double basses (minimum of 6 players) and electronics.

Some orchestral players tune to C-G-D-A, which is exactly the same as cello tuning. The advantage of using C-G-D-A in orchestras is so that the daruan can easily double the cello part. A ruan ensemble (重奏) consists of two or more members of the ruan family, for instance, an ensemble of the xiaoruan, zhongruan and daruan. The wide range covered by the ruan, its easily blended tone quality, and the variety of soprano, alto, tenor, bass, and contrabass instruments all make ruan ensembles very effective in playing polyphonic music.

The next half of Super One starts with "Better Days", a song with the message of warm comfort and empathy from SuperM in the current difficult situationexpressed through flexible rap flows and warm vocals, led by a vintage upright piano and contrabass. Vocal group Heritage participated as choir. The ninth track "Together At Home" is described as an R&B; disco song driven by a funky bass line, with lyrics that create a good time uniting one another in a new way, not a physical space. The next track, "Drip", is a trendy trap hip-hop genre with a sexy and provocative atmosphere.

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 (see below on pitch systems). Sax's 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 (who moved from France to Britain) and Henry Distin (who eventually found his way to America).Clifford Bevan, The Tuba Family, Scriveners, 1978. . The Cimbasso is also seen instead of a tuba in the orchestral repertoire.

The euphonium is sometimes referred to as a tenor tuba and is pitched in B, one octave higher than the BB contrabass tuba. The term "tenor tuba" is often used more specifically to refer to B rotary-valved tubas pitched in the same octave as euphoniums. The "Small Swiss Tuba in C" is a tenor tuba pitched in C, and provided with 6 valves to make the lower notes in the orchestral repertoire possible. The French C tuba was the standard instrument in French orchestras until overtaken by F and C tubas since the Second World War.

Ingvar Lidholm, private interview with Bruce Brolsma conducted 18 May 1978, in Rönninge, Sweden. This early period also included orchestration studies with Natanael Berg in Stockholm. Lidholm's primary performance area was stringed instruments; he eventually studied and mastered all four instruments of the string family. As a gymnasium student, he played viola and contrabass in the school orchestra, and studied violin from the German master Hermann Gramss. He remained active in composition throughout his school years and completed what may be considered his final student work early in 1940: the Elegisk svit (“Elegiac Suite”) for string quartet.

The work is scored for an ensemble of soloists and a large orchestra consisting of four flutes (4th doubling piccolo), alto flute, three oboes, cor anglais, three clarinets (doubling E-flat clarinet), bass clarinet, alto saxophone, three bassoons, contrabassoon, four horns, four trumpets, four trombones, tuba, four percussionists, two harps, piano (doubling celesta), and strings. The soloists comprise a clarinet (doubling E-flat clarinet, bass clarinet, and contrabass clarinet), two percussionists, piano, cello, a sound controller, and the conductor; these soloists must from time to time leave the stage to play an assortment of junkyard percussion instruments or perform various other extended techniques.

In 1830 the first double-slide trombone was produced (pitched in F with very short slide positions) by Halary in Paris. The slide was wound back on itself to produce four tubes, each of which moved in tandem with its partner and halved the usual length of the slide shifts. During this time, the contrabass trombone enjoyed a revival and it was constructed according to the double slide principle. As with developments in the other members of the Trombone family at the time, the bores were enlarged and bell flares were widened to give a more broad, darker tone.

The onstage jazz band in Act I, scene iii (instrumentalists can be drawn from the pit players) consists of: : 2 clarinets in B : alto saxophone in E : tenor saxophone in B : 2 Jazz trumpets in C : 2 Jazz trombones : sousaphone : Jazz drum set (3 players) : banjo : piano : 3 violins with jazz horns : contrabass In Act III, scene ii, Cerha's edition uses a small onstage ensemble that requires: : piccolo : flute : 3 clarinets in B : bass clarinet in B : contrabassoon In Lulu, Berg introduced the vibraphone into the orchestra of Western art music, an instrument that had been previously solely associated with jazz.

The American edition of this album was called Jerry González y el Comando de la Clave (Sunnyside, 2011) was nominated to the Latin Grammy Awards as Best Latin Jazz Album and was voted Best Latin Jazz Album of the Year 2011 by jazz critics Ted Panken (Down Beat magazine) and Doug Ramsey. In 2010, he was given the "Latino of the Year Award" in the 100 Latinos Awards-Madrid. His next releases were an album with the Spanish contrabass player Javier Colina, a duet album with the flamenco guitarist Niño Josele and a Fort Apache album recorded live at the Blue Note in 2012 for the label Half Note Records.

But perhaps his most important recent contribution to the story of Jazz and improvised musics, The Long View, was completed at a residency in Harvard. The composition (scored for an ensemble of both strings and horns) is inspired from abstract paintings by Oliver Jackson, and has been hailed as "one of a handful of integral long-form works in jazz, standing beside those of the likes of Hemphill, Mingus, and Ellington" (Boston Phoenix). Ehrlich currently lives in New York City, commuting to teach at Hampshire College, and devoting much energy to his duo with pianist Myra Melford, and trio with Mark Dresser (contrabass) and Andrew Cyrille (drums).

When Maciunas collected the scores together the typeset style was kept, but the signatures were removed. The reliance on bullet points (•) separating the performances from their title was a feature that remained consistent throughout the versions. The cards are all different sizes. The scores divide roughly into three sections; the earliest ones, 1959–62, describe events intended to be performed (such as Solo for Violin, Viola, Cello or Contrabass • Polish, July 1962); a second group of scores from '62-63 tend towards describing the temporary creation of assemblages; (such as Chair Event • on a white chair a grater, tape measure, alphabet, flag, black and spectral colours, April 1962).

Salim Dada learned to play classical guitar and the oud, contrabass, mondole, kwitra and percussions. He also studied harmony, Western and Eastern musical theory, and presented several works for guitar solo and small ensembles. Between 2002 and 2005 he prepared a cycle of musical writing (harmony, counterpoint and analysis) in school of distance learning polyphonies with the composer Jean-Luc Kuczynski in France, and the Institute National Supérieur de la Musique in Algiers in the class of the academician Golnara Bouyagoub. His nomination in 2007 as a Composer-in-Residence with the Algerian National Symphony Orchestra allowed him to create seven compositions and conduct 30 concerts in two years.

His orchestra piece, Seven Songs of the Insomniac (), won the Morgondagens tonsättare () prize in Helsingborg, Sweden 2003. A year later, Helsingborg Symphony Orchestra premiered two pieces by Haraldur, 7 Songs of the Insomniac in February, and Hraun in May. 7 Songs of the Insomniac was also nominated as best contemporary music at the Icelandic Music Awards 2005. Other notable pieces include Memento Mei (2005) for mixed choir Piece & Harmony (2001) for string orchestra Duel (2003) for solo contrabass and electronics Dawn (2007) for percussion duo Hodie (2009) for women's choir Forget-me-not (2016) for flute, violin and piano Painting (2016) for harp & percussion & Dots, commas, lines (2019) for wind octett.

Add to this the fact that the contrabass clarinet in Eb, though pitched below the bass clarinet, is sometimes referred to as a "contralto clarinet", there is ample ground for confusion in clarinet nomenclature. Considering the wide range of the clarinet (more than three octaves) and focussing on the first two octaves, this would compare better with the classifications given, for example, to the saxophone family. The "soprano" clarinets in B and A share their lowest octaves with the alto saxophone (minus a semitone in the case of the B clarinet). In the case of the E alto, the range usually extends to a tone below that of the tenor saxophone.

Danelectro (1956), Fender (1961) and other manufacturers had produced six- string basses tuned one octave below a guitar (EADGBE), and Jackson had briefly played a Fender five-string bass tuned EADGC. Jackson first approached various luthiers in 1974 about the construction of his idea for a “contrabass guitar” tuned in fourths BEADGC, and Carl Thompson built the first six-string for Jackson in 1975. He first performed on the Thompson-built bass in 1975, recording with Carlos Garnett and touring with Roberta Flack. He later approached luthier Ken Smith to build him a six string bass before finally playing instruments made by New York-based bass makers, Fodera.

In 1976 he founded the Hyperion Ensemble, which he describes as "a multimedia group dedicated to experimental music". Several of Dumitrescu's early works for solo contrabass were recorded by the noted avant-garde bassist Fernando Grillo. Dumitrescu has composed a large body of works for acoustic instruments and ensembles as well as works combining acoustic and electronic sounds and works composed entirely using tape or computer. In its emphasis on long tones that undergo transformations of timbre, Dumitrescu's music can be loosely grouped with that of Italian composer Giacinto Scelsi and with the spectral music of fellow Romanian Horațiu Rădulescu and the French composers of the spectral school.

The band is Finnish and hails from Ostrobothnia, a Swedish-speaking region on the west coast of Finland, one of the four regions of the historical province of Ostrobothnia and the only region in Finland outside the Åland Islands where more people speak Swedish rather than Finnish. The music of the band remains Swedish in character. Most of their repertoire is the acoustic folk music of these Swedish-speaking Finns, from the unique minuets and ballads that have only survived in Ostrobothnia, to the old traditional waltzes. The didgeridoo and sub-contrabass recorder offer an underlying drone, a technique shared by some other Nordic bands such as Garmarna.

A treble clef with a 15 above (sounding two octaves above the standard treble clef) is used for the garklein (sopranissimo) recorder, whose lowest note is two octaves above middle C. The F clef can also be notated with an octave marker. The F clef notated to sound an octave lower is used for contrabass instruments such as the double bass and contrabassoon. The F clef notated to sound an octave higher is used for the bass recorder. However, both of these are extremely rare (and, in fact, the countertenor clef is largely intended to be humorous as with the works of P.D.Q. Bach).

Husadel chose Italian symphonic brass orchestras as models for the new Luftwaffe Musikkorps. He was particularly impressed with the reform work initiated by Alessandro Vessela (1860-1929) with the Carabinieri Band of Rome. There were other models: the bands of the Guardia di Finanza, the Polizia di Pubblica Sicurezza (now Banda Musicale della Polizia di Stato), and Italy's Air Force Band - the Banda della Reggia Aeronautica Militare (which had the honor of the composer Pietro Mascagni conducting its first concert). Husadel introduced additional instruments: the Cor anglais (English Horn); a fuller range of Clarinet including A♭ piccolo clarinet, soprano clarinet, basset clarinet, and contrabass clarinet; Trumpet; and alto slide trombone.

The violone is also not always a contrabass instrument. In modern parlance, one usually tries to clarify the 'type' of violone by adding a qualifier based on the tuning (such as "G violone" or "D violone") or on geography (such as "Viennese violone"), or by using other terms that have a more precise connotation (such as "bass violin" or "violoncello" or "bass viol"). The term violone may be used correctly to describe many different instruments, yet distinguishing among these types can be difficult, especially for those not familiar with the historical instruments of the viol and violin families and their respective variations in tuning.

The group, whose membership changes from year to year, typically is composed of young professional musicians. Many of the works it performs feature an unusually large instrumentation usually including at least 4 flutes (doubling on piccolo, alto flute, and bass flute), 4 oboes (doubling on English horn and oboe d'amore), 4 bassoons (doubling on contrabassoon and heckelphone), 4 clarinets (doubling on E-flat clarinet, basset horn, bass clarinet, and contrabass clarinet), 4-6 trumpets, 4-7 horns, 4-6 trombones, a bass trombone, and 1-2 tubas. Percussion, harp, piano, and celeste are usually included as well, but, unlike most concert bands, saxophones and euphoniums are never used.

Magick Brother is the debut studio album by the progressive rock band Gong, recorded in Paris during September and October 1969 and released in March 1970 on the French BYG Actuel label. The band's recently recruited bass player Christian Tritsch was not ready in time to play on the album, and so singer/songwriter/guitarist Daevid Allen played the bass guitar himself; a photo of Allen recording bass tracks for the album is featured on the cover artwork. They also made use of jazz contrabass (double bass) players Earl Freeman and Barre Phillips, who were recording for the label at the same time, on three tracks.Allen, Daevid.

All of his performances at the 'Gyllene Cirkeln' (Golden Circle) in Stockholm and at the Montmartre Jazz Club in Copenhagen, where the most famous celebrities of American jazz performed, turned out to be a real success. Metronome, the Swedish record company, recorded his music played by an international quintet: Allan Botschinsky (trumpet), Jan "Ptaszyn" Wróblewski (tenor saxophone), Krzysztof Komeda (piano), Roman Dyląg (stage name: Gucio; contrabass) and Rune Carlsson (percussion). The famous Danish director Hennig Carlsen ordered music for his movies Hvad Med Os, and Sult (the movie based on Knut Hamsun's novel Hunger). Komeda also wrote the music for Tom Segerberg's movie Kattorna and several Polański scores.

In 2001 she was the "high soprano" in music of Luigi Nono, in a concert performance in the "Zeitfluss" series at the Salzburg Festival of his Io, Frammento da Prometeo (Io, excerpts from Prometeo) for three sopranos, small chorus, bass flute, contrabass clarinet and live electronics (1981) that took place at the Kollegienkirche, Salzburg. The performance was recorded and released in 2004, at which time a reviewer wrote: "The singers are astonishing in their accuracy and tuning in these fiendishly difficult harmonies. Especially marvellous is the coloratura soprano Katia Plaschka." John Story commented in Fanfare: The recording was awarded the 2004 Preis der deutschen Schallplattenkritik in the choral works category.

A five-string cello banjo, set up like a bluegrass banjo (with the short fifth string), but tuned one octave lower, has been produced by the Goldtone company. Bass banjo Bass banjos have been produced in both upright bass formats and with standard, horizontally carried banjo bodies. Contrabass banjos with either three or four strings have also been made; some of these had headstocks similar to those of bass violins. Tuning varies on these large instruments, with four-string models sometimes being tuned in 4ths like a bass violin (E1-A1-D2-G2) and sometimes in 5ths, like a four-string cello banjo, one octave lower (C1-G1-D2-A2).

Due to its large body and wide bore, the sound of the contrabass saxophone has great acoustical presence and a very rich tone. It can be smooth and mellow, or harsh and buzzy depending on the player, and on the mouthpiece and reed combination used. Its middle and upper registers are warm, full, and expressive. Because its deepest tones vibrate so slowly (as with the contrabassoon or pedal notes on a pipe organ) it can be difficult for listeners to perceive individual pitches at the bottom of its range; instead of hearing a clearly delineated melody, listeners may instead hear a series of rattling tones with little pitch definition.

First Heckel-system tenoroon by Guntram Wolf, 1989 During the Renaissance, instruments were made in every size available, from sopranos, sopraninos, and garkleins down to bass, great bass, and contrabass. The bassoon (or more properly in this era, the dulcian or curtal) was to be found in at least six sizes. The larger sizes, the bass and the great bass, were more popular, but the smaller sizes were still used, being found in several of Heinrich Schütz's motets; they were also quite popular in Spain, where they were known as "bajoncillos". Smaller bassoons appeared throughout the later Baroque and Classical eras, although their exact use is somewhat clouded.

An important part of balalaika technique is the use of the left thumb to fret notes on the lower string, particularly on the prima, where it is used to form chords. Traditionally, the side of the index finger of the right hand is used to sound notes on the prima, while a plectrum is used on the larger sizes. Because of the large size of the contrabass's strings, it is not uncommon to see players using plectra made from a leather shoe or boot heel. The bass balalaika and contrabass balalaika rest on the ground, on a wooden or metal pin that is drilled into one of its corners.

The valve trombone enjoyed its greatest popularity in the 19th century when the technology of rotary valve and piston valve instruments was developing rapidly. By the end of the 19th century, mass production of reliable, higher quality slide trombones led to a return of its popularity. Despite the continuing popularity of the slide trombone, valve trombones have remained popular in, for example, Austria, Italy, Bohemia, Moravia, Slovakia, Spain, Portugal, South America and India, almost to the exclusion of the slide trombone. A bass or contrabass version of the valve trombone is the cimbasso and is used mainly in operatic works by Giuseppe Verdi and Giacomo Puccini.

The contests were held annually until 1863 with the final two contests containing only one event. The 1861 event saw a solo competition for bass players, which was won by a performer from the Keighley band: he was given a sonorophone E-flat contrabass as a prize. While most other winners had come from the North, 1863 winner came from Blandford in Dorset; the set test piece for that year was a selection from Verdi's opera La forza del destino arranged by J. Smyth. The growing success of other contests saw the decline of Jackson's Crystal Palace contests, with only 21 bands competing in the final year, perhaps explaining why no more Jackson contests were held there.

The orchestra consisted of musicians Skënder Reka on the accordion, Liu Nushi and Çerçiz Mehmeti on the violin, Reshit Shehu at the dayereh, Mustafa Zyberi on the clarinet, Riza Selita on the contrabass, Emil Miloti and Fadili of the Army Ensemble in the guitar. Initially she started working as a singer at the Estrada of Tirana and then her singing activity was held entirely by the Albanian National Song and Dance Ensemble in Tirana until her retirement in 1981. Among the most beautiful songs sung by F. Rexha are I'm dressed in white, There, to the seven hyacinths, Two beautiful ones in a door ecc. She has recorded about 200 popular songs of Middle Albania.

For modern large bass recorders woods like maple or African Bubinga are used. The term usually applies to an instrument with range is c–d2 (g2), but has also been used to describe an instrument descending to B or else to the low bass recorder in F, alternatively known as a contrabass. When "great bass" is used for the instrument in low F, the instruments in C and B are referred to as "quart- bass" and "quint-bass", respectively, because they are a fourth and fifth below the ordinary small bass, or "basset" . The prefixes "great" and "contra" refer to the registers from C to B and from ͵C to ͵B, respectively, in Helmholtz pitch notation.

Also in 2005, the University of Chicago included his compositions into the Regenstein Library. In 2008, his new recording The Stafford James String Ensemble was released by Staja Music, featuring Ralph Morrison, Sara Parkins, Jennie Hansen, Wolf Sebastian and Douglas Sides. In 2009, James taught master classes at the University of Graz, Graz, Austria, Bruckner University, Linz, Austria, Roosevelt University, Chicago, and tours with members of the Bruckner Orchestra Linz, Austria and concerts in the United States. In 2010, the Chicago-based WFMT Radio Network, which is the official radio station of both the Chicago Symphony Orchestra and the New York Philharmonic, did a two-hour program on his life and compositions, entitled Composing for the Contrabass.

The Nuclear Whales Saxophone Orchestra were a group of six American saxophonists who played as a saxophone ensemble in recordings and live performance.[ "Nuclear Whales Saxophone Orchestra"], Ron Wynn, Allmusic They were based in Santa Cruz, California"Calling All Saxophonists... Gunther Schuller to Conduct 1,000-Saxophone Concert Atop the Great Wall", PR Newswire, 24 October 2002 and were active from about 1980 till some time in the 1990s."The Nuclear Whales – The Early Years" The group was notable for its contrabass saxophone, which is 203 centimetres tall with a 43-centimetre- diameter bell."Sax 'family' of six set to play", China Daily, 27 September 2003 It is a very low-pitched instrument that is very rarely heard.

The piece is divided into two movements, titled A New Day and Sri Moonshine, which are intended as homages to Lou Harrison and Terry Riley, respectively. It is scored for 2 bass clarinets, 4 horns, 4 trumpets, 2 trombones, contrabass trombone, tuba, timpani, 4 percussionists (playing vibraphone, glockenspiel, marimba, tubular bells, almglocken, xylophone, 4 small bowl gongs and 10 large tuned gongs, triangle, 2 flower pots, crotales), piano, 2 harps, 2 keyboard samplers, strings, and solo electric violin (6-string instrument with additional low C and F strings). The two harps are tuned in just intonation in B and E, respectively. The piano and the samplers are tuned in B just intonation.

When he achieved his first musical successes, Jiri Helekal was already able to play the guitar, violin, cello, piano, flute, banjo, contrabass, accordion and others. One of his first greater successes was in a band called Shut Up (beat and country). Then he defected to a band called “Comets” (rock'n'roll, twist, rhythm & blues, soul, big beat, pop), at that time composed of Hladik (guitar), Žižka (saxophone), Vladimír Mišík and Jan Hrůza (both sang with Helekal). Later he established his own, mainly country, path. Supported by his two daughters (Katerina and Aneta) he found ‘Hele-kaly family’ and released five albums: Rambler oasis 1, Rambler oasis 2, Rambler oasis 3, Ringlet in the grass and At the time.

The contrabass was sent for, and the Sonata, n°2, of Op.5, was selected. Beethoven played his part, with his eyes immovably fixed upon his companion, and, in the finale, where the arpeggios occur, was so delighted and excited that at the close he sprang up and threw his arms around both player and instrument". The unlucky contrabassists of orchestras had frequent occasions during the next few years to know that this new revelation of the powers and possibilities of their instrument to Beethoven was not forgotten." (Alexander Wheelock Thayer, 1867) To this day, the mastering of the Beethoven double bass symphonic parts are considered a basic standard for all orchestral double bass players.

However, as with the Wagner tuba and the contrabass trombone, Wagner's other additions to the opera house orchestra for Der Ring des Nibelungen, the bass trumpet has not become a regular member of the orchestral brass and is seen rarely. Other composers who have used the bass trumpet in the orchestra include Arthur Sullivan (in the opera Ivanhoe), Richard Strauss (in the tone poem Macbeth and the opera Elektra), Arnold Schoenberg (in the cantata Gurrelieder), Igor Stravinsky (in the ballet Le sacre du printemps - fourth trumpet doubling bass trumpet in E), Leoš Janáček (in the Sinfonietta - two bass trumpets in B). György Ligeti used the bass trumpet as one of Nekrotzar's "Entourage" instruments in his opera Le Grand Macabre.

Henriett did not make eye contact in her early childhood. In 1987, all the primary schools in her town refused her admission application because of her communication problems. She was placed in a music and art class, but she never sang songs, so, in 1989, she was sent to a mentally handicapped primary school by two teachers, although she remained in music and art class. She played flute at the age of 8 and played contrabass at the age of 10–12, and until the age of 13, she was in many concerts in the Garrison and Soldiers of Club (in Hungarian: Helyorsegi Klub) She was also found to have echolalia, communications problems and repetitive behaviors.

In 1976 American minimalist composer Tom Johnson wrote "Failing - a very difficult piece for solo string bass" in which the player has to perform an extremely virtuosic solo on the bass whilst simultaneously reciting a text which says how very difficult the piece is and how unlikely he or she is to successfully complete the performance without making a mistake. In 1977 Dutch-Hungarian composer Geza Frid wrote a set of variations on The Elephant from Saint-Saëns' Le Carnaval des Animaux for scordatura Double Bass and string orchestra. In 1987 Lowell Liebermann wrote his Sonata for Contrabass and Piano Op. 24\. Fernando Grillo wrote the "Suite No. 1" for double bass (1983/2005).

The bell of a buccin (MDMB 369, 1800–1860) in the musical instrument collection of the Museu de la Música de Barcelona Superbone The most frequently encountered type of trombone today is the tenor, followed by the bass, though as with many other Renaissance instruments the trombone has been built in sizes from piccolo to contrabass. Trombones are usually constructed with a slide that is used to change the pitch. Valve trombones use three valves (singly or in combination) instead of the slide. The valves follow the same schema as other valved instruments-the first valve lowers the pitch by one step, the second valve by a half-step, and the third valve by one and a half steps.

Wagner made significant innovations in orchestration in this work. He wrote for a very large orchestra, using the whole range of instruments used singly or in combination to express the great range of emotion and events of the drama. Wagner even commissioned the production of new instruments, including the Wagner tuba, invented to fill a gap he found between the tone qualities of the horn and the trombone, as well as variations of existing instruments, such as the bass trumpet and a contrabass trombone with a double slide. He also developed the "Wagner bell", enabling the bassoon to reach the low A-natural, whereas normally B-flat is the instrument's lowest note.

Traditional British-style brass band parts for the tuba are usually written in treble clef, with the B tuba sounding two octaves and one step below and the E tuba sounding one octave and a major sixth below the written pitch. This allows musicians to change instruments without learning new fingerings for the same written music. Consequently, when its music is written in treble clef, the tuba is a transposing instrument, but not when the music is in bass clef. The lowest pitched tubas are the contrabass tubas, pitched in C or B, referred to as CC and BB tubas respectively, based on a traditional distortion of a now-obsolete octave naming convention.

The E tuba often plays an octave above the contrabass tubas in brass bands, and the F tuba is commonly used by professional players as a solo instrument and, in America, to play higher parts in the classical repertoire (or parts that were originally written for the F tuba, as is the case with Berlioz). In most of Europe, the F tuba is the standard orchestral instrument, supplemented by the CC or BB only when the extra weight is desired. Wagner, for example, specifically notates the low tuba parts for Kontrabasstuba, which are played on CC or BB tubas in most regions. In the United Kingdom, the E is the standard orchestral tuba.

The contrabass oboe is a double reed woodwind instrument in the key of C or F, sounding two octaves or an octave and a fifth (respectively) lower than the standard oboe. Recent research, in particular that by oboe historian Bruce Haynes, suggests that such instruments may have been developed in France as part of an original attempt to maintain the complete family of double reed instruments when the oboe was created from the shawm. There was an instrument referred to by H. de Garsault in 1761 as the basse de cromorne or basse de hautbois which was used by Lully, Charpentier, and other French Baroque composers. This apparently was an oboe-type instrument in the bassoon range.

EXs3 ($149) includes over 700 MB of brass and woodwind samples, perfect for orchestral and pop productions. Recorded using world-class instruments and players, the collection features piccolo, flute, alto flute, clarinet, bass clarinet, oboe, English horn, bassoon, contrabassoon, soprano sax, alto sax, tenor sax, baritone sax, trumpet, piccolo trumpet, cornet, flugelhorn, trombone, French horn, bass tuba, contrabass tuba, dual-trumpets, dual-trombones, and brass ensemble. Designed to be richly expressive, the samples include multiple dynamics, straight and vibrato versions, breathy and overblown tones, legato, staccato, trills, flutter, growl, sforzando, glissando up/down, falls, doits, voice, breath, attack elements, grace notes, and key noise elements. 128 Programs and 64 Combinations take full advantage of the new sounds.

Angelhead (2007), also produced by Bogaert delved further into pop electronica and helped him secure a live following as well as a steady summer festival presence. A change of course saw Ríos abandoning electronic instruments and beats and recording his third album The Dangerous Return (2010), with jazz pianist Jef Neve and frequent collaborator Kobe Proesmans on percussion. In 2011, Ríos moved to New York City to write songs for a new record that he hoped would feature little more than guitar and vocals. A growing attraction to performing solo led to a three-year informal residency at Rockwood Music Hall where he met musician/producer Ruben Samama, who would go on to play contrabass and also produce the record.

Low reed books may contain bass, contraalto, and contrabass clarinet, baritone and bass saxophone, and bassoon. Double reed books may contain oboe, English horn, and occasionally Bb clarinet. Due to the need for certain instruments to play solo or group parts throughout a musical, higher reed books often contain more doubled instruments throughout, whereas lower reed books contain fewer. For example, in West Side Story, clarinet and bass clarinet parts are present in each of the top four reed books, even though they rarely play simultaneously; rather, in certain sections of the music, a few of these parts must play simultaneously while instruments that are only present on a single part (such as alto saxophone, Eb clarinet, oboe, English horn, and soprano saxophone) play separately.

Other, slightly more melodious, instruments have included the shofar, the E♭ contrabass sarrusophone, a didgeridoo (the didge), and the B♭ lenthopipe (an 8-foot length of electrical conduit, with rubber hose and horn mouthpiece at the bottom end, and funnel at the extreme end). Band members had a long history of raiding competitive Ivy League schools and other institutions for memorabilia, including flags of Princeton University, University of Pennsylvania and University of California, Berkeley and the outsized stick used to beat the Harvard University Band's iconic giant bass drum. In a guerrilla action, the band once surreptitiously switched its regular dress for the dark blue of Yale University and appeared in the Yale Bowl as the Yale Precision Marching Band.

McKnight earned her bachelor of music degree from The Juilliard School under Frederick Zimmermann and pursued additional studies with Stuart Sankey, Joseph Cascelli, Warren Benfield, Henry Portnoi, and Homer Mensch. She is a member of the Colonial Symphony of New Jersey and has appeared in chamber groups in Michigan, Iowa, and Indiana during conventions of the International Society of Bassists. Her summer teaching has included the New Jersey Summer Conference for String Education and Chamber Music (formerly NJ-ASTA Summer Conference), Manhattan School of Music Summer Music Camp, and the Oklahoma Summer Arts Institute. McKnight has been a featured guest artist at workshops and clinics from Maine to Texas, addressing groups of parents, educators, and students on the contrabass and music education.

A year later, already on double bass, he provided music for silent movies in his neighborhood theater, in the company of a pianist who would become a true superstar, the great cabaret performer Ignacio Villa, known as Bola de Nieve."Israel ‘Cachao’ López: Cuban double-bassist and composer who, with his brother, invented the Cuban dance style of mambo in the late 1930s", The Times (London), March 24, 2008. His parents made sure he was classically trained, first at home and then at a conservatory. In his early teens he was already playing contrabass with the Orquesta Filarmónica de La Habana (of which Orestes was a founding member), under the baton of guest conductors such as Herbert von Karajan, Igor Stravinsky and Heitor Villa- Lobos.

The solo violins, moving at the slowest rhythmic speed, reach their octave span in measure 130, and then begin a downward descent of a D minor four-octave scale. As the violins move down the scale, the lower voices return to the texture and assist in the downward motion, until the violins finish their scale, leaving solo viola, solo cello, and solo bass to continue the scale in their low register. The viola and the cello finish the scale, leaving only the contrabass, which continues to play until reaching “E,” or the second scale degree of the D minor scale. Pärt omits the final “D” of the scale, leaving the listener with four written bars of silence in which to resolve the piece.

There is also a contrabass gehu that functions as a Chinese double bass, known as the diyingehu, digehu, or beigehu (倍革胡). By the late 20th century the gehu had become a rare instrument, even within China, as the tendency for the snakeskin to lose its tightness increases with humidity. Today, it is used mostly in Hong Kong and Taiwan, although even there, the cello is beginning to become a popular replacement for it. There are also other Chinese instruments that are able to take on the role of bowed bass range instrument, such as the laruan (which uses the structure and acoustics of the ruan), the lapa (also known as paqin, using the structure of the pipa), and the bass matouqin.

The drum and bugle corps activity has been a driving force of innovation behind the creation of marching brass instruments for many decades. The mellophone and the contrabass bugle are among the creations spawned by instrument manufacturers for use in the marching activity due to the influence of drum and bugle corps hornlines. The bugles utilized in modern drum corps are distinguished from their marching band counterparts mostly by their key: bugles are keyed in G; band instruments are keyed in B. Bugle voices are grouped and referenced by the equivalent voices in a choir (Soprano, Alto, Tenor, and Bass). The naming conventions for these various instruments can be confusing however, due to the evolution of the bugles used in the drum and bugle corps activity.

Parker and Drake may call the contrabass and trap drums their primary instruments, but 2001's Piercing the Veil offered the full range of the duo's musical vocabulary, including a showcase for Parker's affection for exotic double-reeds".Stockton, J., All About Jazz Review, June 3, 2007 PopMatters stated "Among the finest and most accessible recordings made by “free players” in recent years is Piercing the Veil by the duo of bassist William Parker and drummer Hamid Drake. You can tell it’s a bunch of kooky-crazy out-jazz because—“What?! Just drums and acoustic bass and no ‘real’ instruments!?” And then you listen and what you hear is: swing, groove, excitement, melody, and beauty. And you thought you didn’t like “free jazz”.

1499 For A String Player is often realized by a solo contrabass player, although it can also be played by a violinist, violist, or cellist. From the 1960s through the end of the century Gary Karr was the leading proponent of the double bass as a solo instrument and was active in commissioning or having hundreds of new works and concerti written especially for him. Karr was given Koussevitzky's famous solo double bass by Olga Koussevitsky and played it in concerts around the world for 40 years before, in turn, giving the instrument to the International Society of Bassists for talented soloists to use in concert. Another important performer in this period, Bertram Turetzky, commissioned and premiered more than 300 double bass works.

Michael Leinert has been invited to direct plays and operas in Germany, Italy, Denmark, Russia, United States and Cyprus. He created and directed the first Cypriote Opera "Manoli" by Vassos Arghyrides and Giorgos Neophytou, also the world premiere of Ingomar Gruenauer's Amleth und Fengo in Heidelberg and Jürg Baur's first chamber opera (Libretto: M. Leinert after Anton Chechov's The novel with the contrabass), in Düsseldorf, 2005. At Florida’s Palm Beach Opera, Leinert directed successfully Samson et Dalila, Richard Wagner's Der Fliegende Holländer and Tannhäuser in 2002. With great acclaim from International press, he directed in 2002 at the National Theatre of Cyprus in Nicosia the World Premiere of the Greek translation of Goethe's FAUST by the famous poet Nikos Kazantzakis.

The concerto is in four movements and takes around half an hour to perform. The movement list is as follows: It was scored for three flutes, two oboes, one cor anglais, two clarinets, one bass clarinet, one contrabass clarinet, two bassoons, one contrabassoon, two horns in F, two trumpets in C, two trombones, timpani, a medium-sized percussion group formed by a vibraphone, a bass drum, a glockenspiel, a high-pitched log drum, a marimba, four tom-toms, one tam-tam, tuned gongs, and one large drumset, harp, celesta, and the usual set of strings, made up of twelve first violins, twelve second violins, ten violas, eight cellos, and eight double basses, apart from the main soloist, which is the violin.

The most common size, the soprano tárogató in B♭, is about 29 inches (74 cm) in length and has a mournful sound similar to a cross between an English horn and a soprano saxophone. Other sizes exist: one maker, János Stowasser, advertised a family of seven sizes of which the largest was a contrabass tárogató in E♭. The new tárogató bears very little resemblance with the historical tárogató and the two instruments should not be confused. It has been suggested that the name schundaphone would have been more accurate, but tárogató was used because of the nationalistic image that the original instrument had. This instrument was a symbol of Hungarian aristocracy, and the favorite woodwind instrument of Governor Miklós Horthy.

Turandot is scored for three flutes (the third doubling piccolo), two oboes, one English horn, two clarinets in B-flat, one bass clarinet in B-flat, two bassoons, one contrabassoon, two onstage Alto saxophones in E-flat; four French horns in F, three trumpets in F, three tenor trombones, one contrabass trombone, six onstage trumpets in B-flat, three onstage trombones, and one onstage bass trombone; a percussion section with timpani, cymbals, gong, one triangle, one snare drum, one bass drum, one tam-tam, one glockenspiel, one xylophone, one bass xylophone, tubular bells, tuned Chinese gongs,Blades, James, Percussion instruments and their history, Bold Strummer, 1992, p. 344. one onstage wood block, one onstage large gong; one celesta, one pipe organ; two harps and strings.

It may use tenor or even treble clef as appropriate (as bassoonists are accustomed to reading them) but very rarely plays high enough for clefs besides bass to be useful. Tonally, it sounds similar to the bassoon, but at all parts of its compass is distinctly different in tone from it. There is a "thinning" of the sound in extreme high register, as in all double reeds, but unlike oboe and bassoon which become more penetrative and "intense" in this register, the contrabassoon's sound becomes less audibly substantial and is easily drowned out. Conversely, contrabassoon also has a booming quality, similar to organ pedals, in its lowest register; enabling it to produce powerful contrabass tones when desired (aided by the flared bell, which bassoon does not have).

In this totally acoustic album, the flamenco guitarist Miguel de Córdoba exerts a certain influence. The musical arrangements of the album are collective. The musicians for the album, A Tapar La Calle, were the following: Miguel de Córdoba: flamenco guitar; Nacho Sáenz de Tejada: flamenco guitar y mandolin; Juan Alberto Arteche: buzuki y mandolin; Miguel Ángel Chastang: contrabass; and Javier Estrella: percussion. Thematically it is a quite varied album, but undoubtedly his most politically and socially committed album. Although it is an album with some songs of social protest and vindication, Guerrero avoids political “pamphleteering” by using symbolic language approaching poetry, because during 1978, Spain was experiencing socially unsettled times and freedom and democracy were not yet fully established in all the pre- constitutional Spanish institutions or within society.

The early history of the string quartet is in many ways the history of Haydn's journey with the genre. Not that he composed the first quartet of all: before Haydn alighted on the genre there had been examples of divertimenti for two solo violins, viola and cello by Viennese composers such as Georg Christoph Wagenseil and Ignaz Holzbauer; and there had long been a tradition of performing orchestral works one instrument to a part. David Wyn Jones cites the widespread practice of four players, one to a part, playing works written for string orchestra, such as divertimenti and serenades, there being no separate (fifth) contrabass part in string scoring before the 19th century. However, these composers showed no interest in exploring the development of the string quartet as a medium.

The 317-bar long composition in G minor, scored for male choir and orchestra (2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, contrabass tuba, timpani, cymbal and strings), is set as a three-part sonata form with coda. The piece is full of strength and enthusiasm, and carries the mark of Wagner's influence.Patrick C Waller review for Barenboim's BPO Bruckner cycle The orchestral introduction depicts already the atmosphere of storm and fate, which hangs over the text. The first part (first three strophes) depicts the approach of the enemies and the announcement of the prayer, the mid-part (next two strophes) depicts the invocation of the deity, and the third part (reprise with development) depicts the storm and the sinking of the enemies.

Speer’s trombone sonatas are all written using the same basic instrumentation – 2 or 3 cornetti, 3 or 4 trombones, and continuo. In these sonatas the trombones play the main subject or theme while the cornetti provide a counter-melody and the continuo plays in harmony. The melody line trades between all 4 trombones in different ranges; generally the alto trombone would play the first iteration of the theme, then the theme would move down to the second alto/tenor trombone, then the tenor trombone takes over, and finally the bass trombone or contrabass trombone would play the final iteration of the theme and the 4 trombones will either end in unison or in harmony on the tonic chord. This specific sonata is written for six voices: 2 cornetti, 3 trombones, and basso continuo.

Born in Mexico City, he studied piano and composition at the Escuela Nacional de Música and the Centro de Investigación y Estudios de la Música in Mexico, the Conservatorio Giuseppe Verdi (Milan and the Accademia Chigiana (Siena). His opera Anacleto Morones was one of the winners of the Premio Orpheus for new chamber operas and was premiered in Spoleto at the Teatro Caio Melisso on 9 September 1994 in a production by Luca Ronconi. That same year his Revontulet (Fantasia for piano, percussion, and instrumental ensemble) premiered in Siena. Other notable compositions include his 2001 children's opera, El conejo y el coyote (The Rabbit and the Coyote) and Revuelos (for trumpet, piano, contrabass and percussion), performed in Carnegie Hall during the Sonidos de las Americas festival in 1994.

For him using asymmetric Bulgarian meters and the unusual melodic intervals typical to Bulgarian folk music was not just an attempt to towards the unusual, but aiming to evoke specific associations of those popular metric structures. His style also marked the first steps towards blending extremities in musical classification - rough folk and refined classical, serious art music and entertainment music, composer’s and performer’s music. Leviev’s music was a criticism of the totalitarian regime and its conservative aesthetic and with that he attracted like-minded musicians and other artists that he collaborated with, including the famous poet Radoy Ralin, who encouraged him to form the Bulgarian Jazz Quartet. Also known as Jazz Focus ‘65, the quartet consisted of Milcho Leviev on piano, Simeon Shterev on flute, Lyubomir Mitsov on contrabass, and Petur Slavov on percussion.

1823 and 1824 were hard years for Schubert. For much of 1823 he was sick, some scholars believe with an outburst of tertiary stage syphilis, and in May had to be hospitalized. He was also without money: he had entered into a disastrous deal with Diabelli to publish a batch of works, and received almost no payment; and his latest attempt at opera, Fierabras, was a flop. In a letter to a friend, he wrote, Franz Schubert in 1825 (painting by Wilhelm August Rieder) Yet, despite his bad health, poverty and depression, Schubert continued to turn out the tuneful, light and gemütlich music that made him the toast of Viennese society: the song cycle Die schöne Müllerin, the octet for string quartet, contrabass, clarinet, horn and bassoon, more than 20 songs, and numerous light pieces for piano.

The shuttle-loom sounds also indicate the structural levels, according to whether they occur singly, in pairs, or—at the dividing points between the six main sections of the work—in threes . Each of the four concealed wind groups consists of a bass instrument, which plays either a fundamental tone or a second or fourth harmonic above a virtual fundamental, and four treble instruments that provide a cluster of higher harmonics. For example, the first subsection has the central tone E, initially expressed as a fundamental tone on the second E below the bass clef (41.25 Hz), which is the lowest note of the contrabass. Above this the four flutes of Group I play harmonics 14, 15, 16, and 18, giving way to a second chord in the four oboes of Group II, playing harmonics 13, 15, 16, and 19.

In contrast to the elastic scoring of the First Suite, Holst was much more specific with the scoring of the Second Suite. His original manuscript specified the following instruments: ;Woodwinds: :Flutes :Piccolo in D :Oboe :Clarinet in E :Solo Clarinet in B :3 Clarinets in B :2 Bassoons :Alto saxophone in E :Tenor saxophone in B ;Brass: :2 Cornets in B :4 Horns in E and F :2 Tenor trombones :Bass trombone :Euphonium :Tubas ;Percussion: :Snare drum :Bass drum :Cymbals :Triangle :Tambourine :Anvil The 1948 full score published by Boosey and Hawkes added the following instruments: :Alto clarinet in E :Bass clarinet in B :Soprano saxophone in B :Baritone saxophone in E :Bass saxophone/Contrabass clarinet in B :2 Trumpets in B In his revised 1984 score, Colin Matthews omits all additional instruments except the bass clarinet, the baritone, and bass saxophones.

Gene Ramey (April 4, 1913 - December 8, 1984) was an American jazz double bassist. Ramey was born in Austin, Texas, and played trumpet in college, but switched to contrabass when playing with George Corley's Royal Aces, The Moonlight Serenaders, and Terrence Holder. In 1932 he moved to Kansas City and took up the bass, studying with Walter Page. He became a fixture on the Kansas City swing jazz scene in the 1930s, and played with Jay McShann's orchestra from 1938 to 1943. In 1944 he moved to New York City, where he played with Lester Young, Count Basie, Ben Webster, Coleman Hawkins, Charlie Parker, Hot Lips Page, Horace Silver, Thelonious Monk (as a member of Monk’s first trio in 1947, together with drummer Art Blakey),Texas State Historical Association Retrieved 2012-08-27 and Miles Davis.

He completed his studies over the years 1952–1958 in the Academy of Performing Arts in Prague (Czechoslovakia). During the years 1956-1958 in the city of Prague, he conducted: Franz Schubert's Rosamunda, Edvard Grieg's Peer Gynt's, Jiří Antonín Benda's Pygmalion, K. Dittersdorff "Concert symphony for violin and contrabass", and Franz Liszt's Les Preludes. In 1958 he returned to Tirana, where he started teaching at the Artistic Lyceum of Tirana and later in 1961 was among the first lecturers in Academy of Music and Arts of Albania, where he prepared whole generations of musicians and artists, teaching the subjects of polyphony, orchestration, conducting, intonation and chamber music. In 1958, while being a teacher, he also worked for the National Theatre of Opera and Ballet of Albania, where he conducted many worldwide renowned works, which were interpreted for the first time in Albania.

In Baroque music (1600–1750) and music from the early Classical period music (1750–1820), the percussion parts in orchestral works may only include timpani. A concert band is a large classical ensemble generally made up of between 40 and 70 musicians from the woodwind, brass, and percussion families, along with the double bass. The concert band has a larger number and variety of wind instruments than the symphony orchestra, but does not have a string section (although a single double bass is common in concert bands). The woodwind section of a concert band consists of piccolo, flutes, oboes (one doubling English horn), bassoons (one doubling contrabassoon), soprano clarinets (one doubling E clarinet, one doubling alto clarinet), bass clarinets (one doubling contrabass clarinet or contra-alto clarinet), alto saxophones (one doubling soprano saxophone), tenor saxophone, and baritone saxophone.

Nicholas Faber's organ for Halberstadt, built in 1361 and enlarged 1495. The illustration is from Praetorius' Syntagma Musicum (1619). At the top is the earliest example of the "seven plus five" layout. The bottom two illustrate the earlier "eight plus four" arrangement The chromatic range (also called compass) of keyboard instruments has tended to increase. Harpsichords often extended over five octaves (61+ keys) in the 18th century, while most pianos manufactured since about 1870 have 88 keys. The lowest pitch (frequency: 27.5 Hz) of an 88-key piano is equivalent to a sub contrabass in the range name. Some modern pianos have even more notes (a Bösendorfer 290 "Imperial" has 97 keys and a Stuart & Sons model has 108 keys ). While modern synthesizer keyboards commonly have either 61, 76 or 88 keys, small MIDI controllers are available with 25 notes.

Jet Zoon (born 1988 in Wageningen, Netherlands) is a Dutch diatonic accordionist/composer and winner of Nederlands Blazers Ensemble's jongNBE young composers competition for her piece, "Zooi op Zolder" (Mess In the Attic), which she performed in the VARA New Year's Concert in 2006 at the Concertgebouw in Amsterdam.Profile at De Harmonicahoek Having discovered the diatonic accordion at age 7, Zoon studied under Judica Lookman, Roberto Tombesi, Ronan Robert, Luke Daniels, Jannick Martin and Bruno Letron at the Accademia del Mantice.Fisar Musica Blog Zoon currently performs alongside cellist Tessel Grijp and contrabass player Paul de Vriesband in the band Koek. Zoon has performed with Koek all across Europe, playing repertoire focused on balfolk (traditional dances)Groef Profile of central France, as well as music from the Balkans and Italy, including an dro, bouree, polka, mazurka, rondeau, cercle, jig, and other styles.

In general, after the advent of the more conical bass tuba, the term cimbasso was used to refer to a more blending voice than the "basso tuba" or "bombardone", and began to imply the lowest trombone. Giuseppe Verdi, who at times specified a preference for the blending timbre of a low trombone over the heavier- sounding tuba, developed an instrument with the firm Pelliti, which was a contrabass trombone in BB wrapped in tuba form and configured with 4 rotary valves. In most of Verdi's operas the cimbasso used nowadays are the common types of the 'bucino' form: designed in the 1950s by Hans Kunitz, the mouthpipe and middle section are placed in front of the player, and the bell section is forward pointed, in a downward angle. This causes a very direct, concentrated sound to be projected towards conductor and audience.

After the move to the new facilities, three further productions were carried out before the end of the decade: John McGuire's Vanishing Points (1988), and two works by Michael Obst, Chansons for mezzo-soprano, bass and contrabass clarinets, synthesizer, live-electronics, and tape, and Ende gut for reader and tape (both 1987). In 1990, Stockhausen relinquished his position as Artistic Consultant to the studio, and was succeeded in the post by York Höller who, like Stockhausen before him, simultaneously held a professorship at the Hochschule für Musik und Tanz. Because Höller had worked at IRCAM, he was especially familiar with the latest digital equipment, and one of tasks was to bring the studio out of the analog era by re-equipping it for digital technology . In 1997, Wolfgang Becker- Carstens retired from his position as director of the WDR new-music department and administrative head of the studio.

The work is set for choir and soloists, orchestra (2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 4 horns in F, 3 trumpets in F, alto, tenor and bass trombones, contrabass tuba, timpani in C and G, and strings), and organ ad libitum . The setting in "arch form"William Carragan – Bruckner’s Golden Arches is in five sections: # "Te Deum laudamus" - Allegro, Feierlich, mit Kraft, C major # "Te ergo quaesumus" - Moderato, F minor # "Aeterna fac" - Allegro, Feierlich, mit Kraft, D minor # "Salvum fac populum tuum" - Moderato, F minor # "In Te, Domine speravi" - Mäßig bewegt, C major Total duration: about 24 minutes. The first section opens in blazing C major by the choir in unison, propelled by a powerful open-fifth pedal point by the organ and open- fifths motive in the strings. Thereafter, the soloists and the choir enter as the music moves through distinctly Brucknerian processes and modulations.

Assigning specific names and classifying violoni as different types, as we are doing here, is a modern attempt to clarify things. Loosely described, bowed string instruments are made in families so that different sized members can play in different ranges, with treble instruments corresponding to the soprano and bass instruments corresponding to the lowest vocal range (or even lower, down to the "contrabass" register). Members of the violin family are the easiest to identify in this way: with the violin corresponding to the soprano, the viola to the alto singer, violoncello to the tenor, and bass to the bass ranges of the human voice (historically, the violin family was made in more than just these four sizes: there were originally several sizes of violas, as well as instruments smaller than the modern violin, for example). The viol family also comprises instruments in a multitude of sizes.

The commonest approach in building a musical bridge to children has involved using a narrator with musical backing. Following the example of Sergei Prokoviev in "Peter and the Wolf" (1936), Vincent Persichetti set six for narrator and orchestra in his Fables (Op. 23 1943).Archivegrid fable list Richard Maltz also composed his Aesop's Fables (1993) to introduce the instruments of the orchestra to elementary students and to teach them about the elements of music,Composer’s site with recordings and fable list and Daniel Dorff's widely performed 3 Fun Fables (1996) has contrasting instruments interpreting characters: in "The Fox and the Crow" it is trumpet and contrabass; in "The Dog and Its Reflection" it is trombone and violin, harp and percussion; in "The Tortoise and the Hare" it is contrabassoon and clarinet.Excerpts on the composer’s website Others simply adapt the narrator's voice to a musical backing.

All entries must be built on folk-song source material from the John Donald Robb Archive of Southwestern Music. The winning composition is performed during the following UNM Composers' Symposium (University of New Mexico 2014). Past recipients have included Carl Donsbach (2004: Palomita: Canción for Piano Trio) ; Dr. Gary Smart (2008: Song of the Holy Ground for piano and string quartet) ; Colin Holter (2010: The Recording You Will Now Hear for piccolo, contrabass clarinet, clarinet, piano, vibraphone, violin and cello) ; Paul Clift (2012: 1950c for restrung classical guitar) ; Luke Dahn (2014: Buffalo Dance for alto saxophone and piano) ; Marta Gentilucci (2016: Dance, for flute, clarinet, violin, viola, cello, piano and percussion) ; and Kyong Mee Choi (2018: "Adiós a lo conocido" (Goodbye to the known) for violin, clarinet, saxophone, bassoon, piano, and percussion) (; ). In addition, the Trust supports a graduate assistantship and small grants that advance the mission of the Trust .

Composer Diego Stocco was chosen by Audio/Video Director Michael Metz to provide the musical score for The Conduit, with guitarist Rick Nielsen also being hired after expressing an interest in the game. Metz explained how Stocco was brought into the project, saying "From the hundreds of CDs that come across my desk, there was one that had recently stuck out to me. It was called Epic Textures from a company called Epic Score... With a little digging I found out that the man behind those awesome ambient tracks was mostly Diego Stocco... I gave Diego a call and he was very excited to help us out with the project." In creating the musical score, Stocco built several unique instruments as needed, such as a "DistroDrum," an acoustic drum combined with a toy piano, and a "Metal Contrabass," which consisted of piano and bass strings attached to a garage heater.

The 1887 version requires an instrumentation of three each of the following woodwind: flutes, a piccolo in the climax of the Adagio, and doubling the third flute in the Finale, oboes, clarinets, bassoons (the third doubling as contrabassoon in the Finale), and eight horns – the triple woodwinds and horns 5 to 8, however, only enter in the Finale (with double woodwind and four horns for the earlier movements) – in addition to three trumpets, three trombones, a quartet of Wagner tubas and a single contrabass tuba, along with timpani, cymbals, triangle, three harps, and strings. The 1890 version deletes the piccolo part, and extends the triple woodwinds and calls for eight horns on all four movements. Horns 5 to 8 replace the Wagner tubas in most of the first and third movements, doubling as Wagner tubas at some points of the symphony. This is the only symphony where Bruckner employs the harp.

For the tribal theme, they experimented with bows on piano wire and resonator guitars (with layered tracks of harmonicas on top of the latter) and playing cellos with plectrums or the back of a bow to convey how contemporary instruments would be played by someone to whom the instruments were unknown; de Man also used a contrabass flute and made synth pads from blowing on a Thai bamboo flute, noting "distant pads and ambiences, and wide, spread out chords seemed to work well". Circuit-bent synthesizers and percussive loops, run through impulse responses of metal and iron being beaten, were devoted to making a thematic identifier for the machines based on technology and metal. Van Tol required that the music be supplied in stems so that different pieces could be combined. The positive response to the first E3 trailer's main theme led it to be included in the main menu.

Du Bois's Springtime for ten winds and piano (1978) was composed for de Volharding. In 1976, the ensemble ICÉ from Hilversum, led by Will Eisma, with bass-clarinet soloist Harry Sparnaay, took Bois's composition Heliotrope (for a soloist and an optional number of accompanists, 1967) to the Wittinger Tage für neue Kammermusik, where Sparnaay created a sensation (Diederichs-Lafite 1976, 383). Bois created a number of other works especially for Sparnaay: Chemin for solo bass clarinet (1971), Fusion voor deux for bass clarinet and piano, and Iguanodon (1982), for six bass clarinets and three contrabass clarinets (; ; ; ). Many of Bois’s other compositions have also been written for friends and colleagues. For example, his Concerto pour Hrisanide (1968–71) was composed for the Romanian composer, improviser, and piano virtuoso Alexandru Hrisanide. It quotes from Hrisanide’s own compositions, and requires the soloist to play not only piano, but an electronic organ, a toy piano, and a large tom-tom .

The Devils of Loudun is scored for enormous musical forces, including nineteen soloists, five choruses (nuns, soldiers, guards, children, and monks), orchestra, and tape. The orchestra itself is of a great size too, making use of a very particular blending of instruments. The orchestra is composed of four flutes (alternating two piccolo and one alto), two English horns, an E♭ clarinet, a contrabass clarinet, two alto saxophones, two baritone saxophones, three bassoons, a contrabassoon, six horns, four B♭ trumpets (alternating one D trumpet), four trombones, two tubas, percussion (4 players), twenty violins, eight violas, eight celli, six basses, harp, piano, harmonium, organ, and bass electric guitar. The percussionists play timpani, military drum, friction drum, bass drum, slapstick, five wood blocks, ratchet, guiro, bamboo scrapers, cymbals, six suspended cymbals, 2 tam-tams, 2 gongs, Javanese gong, triangle, tubular bells, church bell, sacring bells, musical saw, flexatone, and siren (not mentioned in the instrumentation list at the beginning of the score).

In 2006, Shimizu made his playful one-man-band concept of the Saxophonettes into a real-life quintet, featuring Ryoko Egawa, Hirokazu Hayashida, Ryota Higashi and Hiroshi Suzuki in an ensemble of three tenor and two baritone saxophones. Their album Pentatonica (2007) transcends genre limitations in a recording based on the five-note pentatonic scale. Featuring new compositions as well as arrangements of Ethiopian traditional music, it displays Shimizu's individuality: from his choice of recording locations and painstaking approach to sound production, to the immediacy of live performance conveyed through the interplay between musicians. Beyond recording, the group has performed extensively in Japan as well as in Moscow, Havana and Hong Kong, with other tours in the works. At a performance in Tokyo (2010) commissioned by Sumida Triphony Hall, Shimizu reaffirmed his passion for Bach by premiering the world’s first saxophone/contrabass arrangement of Bach's Goldberg Variations, adding four contrabasses to his saxophone quintet.

The leading figure of the double bass in the early 20th century was Serge Koussevitzky, best known as conductor of the Boston Symphony Orchestra, who popularized the double bass in modern times as a solo instrument. Because of improvements to the double bass with steel strings and better set-ups, the bass is now played at a more advanced level than ever before and more and more composers have written works for the double bass. In the mid-century and in the following decades, many new concerti were written for the double bass, including Nikos Skalkottas's Concerto (1942), Eduard Tubin's Concerto (1948), Lars-Erik Larsson's Concertino (1957), Gunther Schuller's Concerto (1962), Hans Werner Henze's Concerto (1966) and Frank Proto's Concerto No. 1 (1968). The Solo For Contrabass is one of the parts of John Cage's Concert For Piano And Orchestra and can be played as a solo, or with any of the other parts both orchestral and/or piano.

This unusual composition takes 10 minutes to perform. It is score for a very large and powerful set of instruments. The list of instruments used in this piece is as follows: ;Woodwinds :4 flutes :4 oboes :3 clarinets in B :baritone saxophone :contrabass clarinet in B :3 bassoons :contrabassoon ;Brass :6 horns in F :4 trumpets in B :4 trombones :tuba ;Percussion :musical saw :vibraphone :bells I :bells II :4 timpani :2 bongos :bass drum :claves :5 wood blocks :ratchet :guiro :whip :4 cowbells :triangle :6 cymbals :2 gongs :gong ageng :2 tam-tams ;Other :bass guitar :harp :harmonium :piano ;Strings :solo violin :24 violins :10 violas :10 cellos :8 double basses The composition has no tempo marking at the beginning, even though the last bars are marked as Tempo di Valse. It is mentioned in the score that two or three of the bells from the second bell set should be made of 24-karat gold.

He also performed classical and tango music, including touring Germany with the Giora Feidman Ensemble, performing duo concerts for cello and contrabass, playing with the New York/Buenos Aires Connection at the Hollywood Bowl, and premiering a solo bass work, 'Yauchzen', by composer Kitty Brazelton. As the 21st century began, Filiano increased his busy recording and touring schedule, appearing on more than 70 albums. In addition to his continuing relationships from the 90s, he added performances and recordings with Dom Minasi, Fred Hess, Roswell Rudd, Paul Smoker, Rodrigo Amado, Andrea Wolper, Jason Kao Hwang, Marco Cappelli, and many others. He continued to perform at many of the premier clubs and festivals around the world, including at the Knitting Factory, the Bell Atlantic Jazz Festival (New York), Merkin Concert Hall (New York), the JVC Jazz Festival (New York), the Jazz ao Centro Festival (Portugal), the Cape Verde International Jazz Festival, the Vancouver International Jazz Festival, and others.

Contrabass trombones in B on the other hand typically only have one valve, which is tuned to F, though some have a second valve tuned to G. The most common type of valve seen for valve attachments is the rotary valve. Some trombones have piston valves used instead of rotary valves for valve attachments, but it is very rare and is today considered unconventional. Many variations of the rotary valve have been invented in the past half-century, such as the Thayer valve (or axial flow valve), the Hagmann valve, the Greenhoe rotor, and several others, all of which were designed to give the trombone a more open, free sound than a conventional rotary valve would allow due to the 90° bend in most conventional rotary valve designs. Many of these new trombone valve designs have enjoyed great success on the market, but the standard rotary valve remains the most common for trombone valve attachments.

Oxford University Press. The contradanza, when played as dance music, was performed by an orquesta típica composed of two violins, two clarinets, a contrabass, a cornet, a trombone, an ophicleide, paila and a güiro (Alén 1994:82). But the habanera was sung as well as danced. During the first half of the 19th century, the contradanza dominated the Cuban musical scene to such an extent that nearly all Cuban composers of the time, whether composing for the concert hall or the dance hall, tried their hands at the contradanza (Alén 1994:82). Among them Manuel Saumell (1817–1870) is the most noted (Carpentier 2001:185–193). The New Orleans born pianist/composer Louis Moreau Gottschalk (1829–1869) wrote several pieces with the rhythm, gleaned in part from his travels through Cuba and the West Indies: "Danza" (1857), "La Gallina, Danse Cubaine" (1859), "Ojos Criollos" (1859) and "Souvenir de Porto Rico" (1857) among others.

On 27 September 2014 he was awarded the MEI's prize PIMI as the best indie artist of the year, in Faenza, for the great success obtained by his last record "Al monte". On 31 December 2014 he participated in "Notte di Capodanno" organized by Comune di Roma Capitale at Circo Massimo with Subsonica and Daddy G. On 22 April 2015 he was assigned the "Premio Amnesty International Italia 2015", by Amnesty International Italia, for his piece "Scendi giù", considered "the best lyrics about human rights published in Italy in 2014" by a specialized jury (given during the event "Voci per la Libertà", on 19 July 2015). On 18 June 2015 he was invited as a guest to Michele Santoro's TV show "Rosso di Sera", a special episode for public service was broadcast in the early evening on La7, in which the singer songwriter performed his piece "Scendi Giù". On 4 July 2015 Mannarino organized a completely renewed show for the tour "Corde 2015" in which the protagonists were, once again, the strings of: guitars, contrabass, cello and violin.

A collection of brass instruments The high malleability and workability, relatively good resistance to corrosion, and traditionally attributed acoustic properties of brass, have made it the usual metal of choice for construction of musical instruments whose acoustic resonators consist of long, relatively narrow tubing, often folded or coiled for compactness; silver and its alloys, and even gold, have been used for the same reasons, but brass is the most economical choice. Collectively known as brass instruments, these include the trombone, tuba, trumpet, cornet, baritone horn, euphonium, tenor horn, and French horn, and many other "horns", many in variously-sized families, such as the saxhorns. Other wind instruments may be constructed of brass or other metals, and indeed most modern student-model flutes and piccolos are made of some variety of brass, usually a cupronickel alloy similar to nickel silver/German silver. Clarinets, especially low clarinets such as the contrabass and subcontrabass, are sometimes made of metal because of limited supplies of the dense, fine-grained tropical hardwoods traditionally preferred for smaller woodwinds.

Originally due to reasons of limited space conditions in opera orchestra pits, the bell section was provided with a coil to reduce the length of the bell bow, but since the 1970s the long, straight form has taken precedence. Through the combination of both valves, the extension handle on the outer slide also became redundant and the instrument is provided with five or six working positions on the slide. Instruments today are typically built in two configurations: the traditional style with two valves lowering the pitches to E♭ and B♭ (combined placing the instrument in A♭) and the “American” style with two valves in C and D♭ (combined to place the horn in A.) Some instrument makers provide special tuning slides that allow for changing the instrument to either configuration. Technical passages on the horn are generally able to be played with more agility than the double-slide contrabass trombone in B♭, since for much of its range it requires a shorter column of air to vibrate and has two valves instead of one, enabling more alternate positions.

The composition is scored for four flutes, four piccolos, four oboes, four clarinets, two bass clarinets, four bassoons, two contrabassoons, six horns, four trumpets, three trombones, two contrabass trombones, one tuba, two percussionists playing the timpani, two more playing the bass drum, and two more playing the tam-tam; a harp, amplified by a contact microphone placed on the soundboard, the loud speaker located near the harp; a solo piano, amplified from the 23-minute-and-38-second mark by a microphone placed under the piano, the loudspeaker placed separate from the piano; a soprano, a large string section consisting of twelve first violins, twelve second violins, twelve violas, twelve violoncelli, twelve doublebasses, and a four-channel tape machine, located halfway down, or almost at the back, of the hall. Since some instruments are meant to be amplified, up to five loudspeakers are needed, with at least 100 watts each, placed behind the orchestra in a rainbow shape. Four of them are situated from left to right at an equal distance, except for speakers two and three. The piano loudspeaker is placed in the center.

September 27, 2008: Rockland County October 2, 2008: New York, NY Joseph Haydn: L'isola disabitata > Concert performance of Haydn opera, L’isola disabitata (The Uninhabited > Island). Based on a 1754 text by the eminent poet Pietro Metastasio, the > story of shipwreck, pirates, and true love has been set by no fewer than 30 > composers. The concert featured singers Nicole Franklin, soprano; Soon Cho, > mezzo soprano; Scott Murphree, tenor; and Mischa Bouvier, baritone. -New > York Philomusica December 6, 2008: Rockland County December 11, 2008: New York, NY Benjamin Britten: Fantasy Quartet, Op. 1, for oboe, violin, viola, and cello Claude Debussy: Sonate in g minor for violin and piano Mozart: Quartet in F, K. 370, for oboe, violin, viola and cello Dvořák: Trio No. 4 in e minor, “Dumky,” Op. 90, for piano, violin and cello February 7, 2009: Rockland County February 12, 2009: New York, NY Joseph Haydn: Quartet in D, “The Frog,” Op. 50, No. 6, for string quartet Michael Berkeley: Torque & Velocity (1997) for string quartet Dvořák: Quintet in G, Op. 77, for 2 violins, viola, cello & contrabass April 4, 2009: Rockland County April 6, 2009: New York, NY Aaron Copland: Sextet for clarinet, piano & string quartet (arr.

Plate from Christopher Simpson's book, The Division Violist, England, 1659–1667 edition. Gambas (as the name is often abbreviated) come in seven sizes: "pardessus de viole" (which is relatively rare, exclusively French and did not exist before the 18th century), treble (in French dessus), alto, tenor (in French taille), bass, and two sizes of contrabass (also known as a violone), the smaller one tuned an octave below the tenor (violone in G, sometimes called great bass or in French grande basse) and the larger one tuned an octave below the bass (violone in D). Their tuning (see next section) alternates G and D instruments: pardessus in G, treble in D, tenor in G, bass in D (the seven string bass was a French invention, with an added low A), small violone in G, large violone in D. The alto, between the treble and the tenor, does not fit in this scheme. The treble has a size similar to a viola but with a deeper body; the typical bass is about the size of a cello. The pardessus and the treble were held vertically in the lap.