Posts Tagged ‘clarinet sale’

Clarinet and Saxophone

Wednesday, December 28th, 2016



Clarinet and saxophone, in house performance and presentation on instruments of the clarinet and saxophone families of instruments, for education.



As part of our touring schedule, we are encouraging education facilities to receive us.So to perform and promote instruments of the clarinet and saxophone families. A good thing to instrument students and the learning musician.



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone





Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet and Saxophone



Clarinet Family

Saturday, May 7th, 2016

Clarinet Family

Clarinet Family

The clarinet family of instruments family includes the well-known B♭ clarinet, the slightly less familiar E♭, A, and bass clarinets, and other clarinets as well. The standard B♭ and A clarinets are the best known, however, there are many other clarinet types in clarinet family, which are less common.

Clarinet Family Instruments

A very special link on the Clarinet Family sent to me and created by a very special person in Paris, enjoy and have fun, David


Clarinet Family Instruments

Octave clarinets

Very rare. Pitched around an octave higher than the B♭ clarinet.
A♭ piccolo clarinet.

E♭ clarinet/E♭ sopranino clarinet Fairly common in the United States and western Europe; less common in eastern Europe.

D clarinet — Rare in the United States and western Europe. Required in Molter’s very early clarinet concertos.

Rendall lists the E♭ and D clarinets, along with obsolete instruments in G, F, and E, as sopranino clarinets.

Shackleton lists the E♭ and D clarinets, along with obsolete instruments in F, and E, as sopranino clarinets.

The E♭ and D clarinets are commonly called piccolo clarinets in eastern Europe and Russia.

BeFunky_Melanie 2.jpg

C Clarinet

This instrument became practically obsolete in the orchestras of Europe and the United States in the early twentieth century. The inclusion of the C clarinet, however was not unusual in orchestral scores from the era of Haydn and Mozart right through to the early 20th century. Mahler certainly included them up until his fourth symphony. Much of the orchestral repertoire of Beethoven and Schubert requires the C clarinet. This being the case, the nineteenth century clarinetists were faced with the difficult task of maintaining and alternating between instruments in A, B♭ and C. Since this was not always necessary or desirable for a first rate clarinetist, who could transpose easily between instruments and may not have wished to change from a warm to a cold instrument, the tendency has been to reduce, with the result that the usage of the C clarinet has gradually declined from the standard classical orchestra.

Recently, however, the C clarinet is enjoying a resurgence, as there is now a renewed interest in playing older works on their authentic instruments. This applies to orchestral music and also to popular folk styles such as klezmer music. At the same time there has been an innovation in Britain to use a simplified cheaper version of the C clarinet as the principle wind instrument for young learners, a position until recently, enjoyed (or suffered) by the recorder.

The clarinet in C is sometimes called for in clarinet choirs, often as a substitute for the oboe.
B♭ clarinet The most common type of clarinet.

A clarinet Standard orchestral instrument used alongside the B♭ soprano.

G clarinet Also called a “Turkish clarinet”

Primarily used in certain ethnic music. This type of clarinet is rare.

Rendall lists the C, B♭, and A clarinets along with the obsolete instrument in B as sopranos, and the clarinette d’amour in A♭ and G and the clarinet in G as obsolete altos.

Shackleton lists the C, B♭, A, and G clarinets along with obsolete instruments in B and A♭ as sopranos, noting that the A♭ and G often occurred as clarinette d’amour in the mid-18th century.

Rice classifies G clarinets with flared bells as altos, with pear- or bulb-shaped bells as clarinets d’amour.

Basset clarinet, Essentially a soprano clarinet with a range extension to low C (written).

A basset clarinet — Most common type. Basset clarinets in C, B♭, and G also exist

Rendall includes no basset clarinets in his classifications. Shackleton has three in his collection: Numbers 5389 (B♭ and A set) and 5393 (in A). See Catalogue of the Sir Nicholas Shackleton Collection, Edinburgh University Collection.

Basset horn Alto-to-tenor range instrument with (usually) a smaller bore than the alto clarinet, and a range extended to low (written) C.

F basset horn — Most common type

Rendall lists basset horns in G (obsolete) and F as tenors.
Shackleton lists also basset horns in G and D from the 18th century.

Neither Rendall nor Shackleton lists A, E, or E♭ basset horns though these apparently existed in the eighteenth century.

Alto clarinet, Pitched a perfect fifth (or, rarely, a perfect fourth) lower than the B♭ soprano clarinet.

E♭ alto clarinet — Most common type. Range usually down to low E♭ (written).

Rendall lists the E♭ alto and F tenor clarinets as tenors (along with the basset horns).

Shackleton lists the F alto clarinet as obsolete.

Bass clarinet an octave below the B♭ clarinet often with an extended low range.

B♭ bass clarinet — The standard bass

A bass clarinet — Very rare today, more common around 1900.

C bass clarinet — Obsolete.

Rendall and Shackleton list C, B♭, and A; Rendall lists only C as obsolete, while Shackleton calls A “rare”. Rendall groups these in baritone and bass.

Contra-alto clarinet An octave below the alto clarinet

EE♭ contra-alto clarinet, also called EE♭ contra-bass clarinet.

Rendall lists “contrabasset-horns” in G, F, and E♭ (none marked obsolete), grouping these in baritone and bass.

Shackleton lists only E♭ contra-bass clarinet, grouping it in contrabass (pedal) clarinets.

Contra-bass clarinet An octave below the bass clarinet

BB♭ contra-bass clarinet.

Rendall lists also contra-bass clarinet in C as obsolete, and groups it and the BB♭ contra-bass in baritone and bass.

Shackleton lists only the BB♭ contra-bass, grouping it in contra-bass (pedal) clarinets.

Two larger types have been built on an experimental basis:
EEE♭ octocontra-alto An octave below the contra-alto clarinet. Only three have been built.

BBB♭ octocontra-bass An octave below the contra-bass clarinet. Only one was ever built.

Have fun with it…

The clarinet family

Clarinet Family

    The Magic of The Performance

    Monday, March 7th, 2016

    10513532_10202115082709508_3606363460575573529_nDavid Jean-Baptiste In Conversation with Anton Weinberg

    Anton Weinberg a student of Hans Keller has held international professorships of music at Indiana University, professor of clarinet at the Guildhall School of Music and Drama in London’s Barbican Centre, a professor in the new Gulbenkian and Leverhulme Trusts, and a member of the faculty for the government-sponsored National Youth Orchestra of Spain.

    He has been a professor at Darlington International Summer School under the directorship of Peter Maxwell Davies, a faculty member at the National Centre of Orchestral Studies in New York, and a visiting professor at the Conservatories of Peking and Shanghai, where he gave lectures as part of the first Anglo/American cultural visits. He is also an authority on the sociology and psychology of music.

    Anton’s book ‘Unfinished Sentences,’ with a preface from Lord Menuhin, stands as a testament to mastery.

    ‘Brilliant concepts, I recommend Anton Weinberg as a marvellous musician, interpreter, teacher and thinker’. (Lord Menuhin)

    ‘The most versatile of us all, he can be regarded as an expert in so many different fields. In addition he is unusually articulate revealing matters which many of us can only hope to demonstrate’. (Jack Brymer O.B.E)

    I met with Anton one early autumnal evening in Paddington station, over a coffee to discover what light this man may be able to shine on mindset in relation to performing. Naturally I have my own practical techniques on this. Other than the obvious one of visualizing a perfect performance, I approached the meeting with one main question…What can a performer do mentally in preparation for a performance, to increase the likelihood of giving the audience a wow! Moment…a moment of magic?

    A moment of magic can best be described as a point in time where thoughts disappear and the viewer is suddenly in another world.

    Performing to an audience as I see it is a multi-directional wave of consciousness connecting everyone in the room. A connection comprised of sounds, bodily sensations and impressions. The performer creates a moment of magic when in such a state of complete flow that they draw the audience into a moment of total awareness.

    Anton agreed, adding that a performance mindset that creates magic is totally instinctive, and the essence of art is interaction. He talked of Andres Segovia and how he would take a passage or phrase of music and interpret it in thirty different ways in preparation. This was certainly an ah ha moment and struck a chord with me.

    He spoke of cellist Rostropovich and Sting how they can summon these great musical moments with a jazz like improvisatory flair. How Katya Labeque plays chords so improvisatory, formal and simple with an unexpected quality; as Beethoven and Bach used to improvise at parties.

    Anton told stories from the lives of actors and comedians Sid James, Morecombe and Wise, and Tony Hancock; stories of situations that created moments of magic in comical genius. He talked of Pushkin and that audiences in all forms of art seek these moments of magic be it literature, dance or visual art.

    Indeed I thought, these special moments have the power to enlighten people and change the course of their lives.

    “The instrument is just a vehicle, sense the audience, feel the corporate character of the audience,” he said. “It is something you can’t really prepare for, in fact too much preparation can be counter productive. When Leopold Stokowski the British born conducter conducted, if there was a fidgety audience he would play quieter and slower. Dynamics in the music have nothing to do with volume and everything to do with character. A silent whisper can be infinitely more potent than an outburst. Maintain a positive mindset question everything and believe nothing.”

    In my mind it had been a very satisfactory meeting, as Anton had totally over delivered on my question. Leaving me plenty to think about and had created ample growing room for me to improve on my own performance.

    We both agreed that performance is where the money is, as these days what is expected of the top players has become homogeneous in terms of sound, technique and musicality. Now unlike the past it is becoming harder to tell one top player from the other on recordings.

    “Everyone is a genius but if you end up measuring a fishes ability by his ability to climb trees he’ll end up thinking he’s stupid” (Einstein)

    So to summarise, to harness the power to create moments of magic do everything to play with increasing awareness and never over prepare. Ask yourself often, how can I create a moment in the now? Knowing in your ability to do this. The more we think of our own individual abilities to create magical moments, the stronger these thoughts will become and the more often they will happen.

    Have Fun David

    © The Wellness Clarinet Ltd 2016

    The Nebulous Paradox of Modern Clarinet

    Tuesday, May 1st, 2012

    May the classical player play Weber’s concertos differently from the last time performed. Some may say this is a challenge, but when looked upon in the bright light of reality it is not really. Great clarinetists do this consistently and naturally making hairs stand on end each time at that. We may embrace the same intention of awareness when playing the music of Brahms and Mozart, Poulenc and Milhaud. Playing the notes and then forgetting them. Meaning our spirit and true nature takes command over our controlling and suppressive musical tendencies. So we can flow and therefore speak through the notes of the music like a new wave of consciousness. So we can feed our audience something new and inspirational; even though the presentation of notes, their order, melodies rhythms and harmonies of the music, may have remained the same as they have always been for the past 300 years.

    A key goal in jazz music is to be open to the moment musically and to respond accordingly, rather like a medium of sort; a musical response to the musical inclinations of the other performing musicians on stage. Also to the audience; aiming to create a new melody or feeling. I know a Danish pianist composer and improviser who can improvise complete works of music. Every time he plays it will be different to anything you heard previously. He simply has an open channel to universal energy flow. So therefore if we can do this It must be possible for a clarinetist to tap into subtle energies in a room of people so to create a euphoric feeling in them when playing the music of Bach for example.

    Once at a small Improvised music event in London, two experimental improvisers toyed on stage. They toyed around looking for new ways to turn their performance, and to take the audience by surprise. At one point the bassist of the duet rolled up a carpet he was using to keep his bass in place while playing and began hitting his bass with the carpet, producing some weird but different acoustic effect. “What is that man doing to that lovely instrument?” was the general feeling in the room. Through the ensuing shock that followed and general apprehensive atmosphere in the audience created by this action, someone shouted out “Rubbish!” a brief pause followed, then…”rubbish rubbish, rubbish, rubbish, rubbish.” The very next turn in the music saw the musicians using the word rubbish spontaneously in their improvisation. Be clear on this, not to say improvisation is rubbish, because it is an art form as valid as any.

    The new iPhone 4s comes out this week, if you want to be on the edge of it all; include a new ringtone from the latest iPhone in your current recording. This is something that could never have happened in the past.

    So in summary modern clarinet performance has everything to do with present moment awareness and responsiveness to what’s happening in the moment. These might be thought processes, sensations, dreamscapes as well as physical occurrences. Both jazz and classical music it is the same processes at play; tune up and tune in.

    Have Fun, David

    © The Wellness Clarinet Ltd 2012