Joe Zephier wrote: >> Rather than lurk, I thought for several reasons that I might introduce myself much to the horror ":-) of any and >> I have finally found an instrument worthy of re-learning the conscious application of music theory as applicable in both conventional means, and by way of Slonimisky as an ever-present slide-rule to adjust and gauge how far out I might go before leaving the realm of humanly conceivable harmonic accompanyment/development and extrapolative bi/multi-harmonic progression for improvisation/composition. and >>The bass clarinet I love it but am unwilling to learn or even pay attention to the notes because if I do, I cannot play along to the radio. I am at a point on all reeds where I MUST disregard names of things like; songs, key or any named pitch or interval in order to play well.
and >> What I feel my needs are: ... 2. ability to produce from a whisper staccato, and legato fp with a good guthold and not much effort to adjust to distant range with relative dynamic held/advanced and/or controllable. ... 4. A good tonal center with a rich sonorous midrange with bright edge overtones, yet a bass that doesnąt break up at high volumes; that almost/can produces a unison-ous subharmonic (at will): more aptly described as a controllable character to tonal structure from said. ... A big and centered flexible sound which I can use to blend with. DARK yet BRIGHT and >> I do not have the option or the experience of going into a shop a play-testing. and >> So after putting my saxes away (temp.) from practise to tackle the Bass Clarinet so as to also use it as a Bb Soprano with an 8vb foot, but never quite getting the consistency on my Cortious Flugel and faring worse on trumpet, the instrument which always put me in a trans since a boy found me only 6 months ago at an auction, in the form of an $85. Getzen single Horn in F; and I found a use for my reverse embouchure which a trumpet player told me would never work. It works for the Horn. So much that playing the horn improved my embouchure for Sax, Clarinet and for the first time I can get a sweet professional sound on the flute. This is due to the Horn because it helped me develope a natural inclination of my bocal musculature which effects positively other instrumentation subtly but surely. It also may help my contrabass violone fingering. << To which I reply: I think you answered your own question. You should stick with that Getzen. Dave Weiner Brass Arts Unlimited _______________________________________________ post: [EMAIL PROTECTED] unsubscribe or set options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
