Baritone saxophone

Florida’s School of Music hosted a concert at the University Auditorium where the Jazz band performed. The band consisted of four sections: saxophones, trumpets, trombone, and rhythm. The Saxophone section performers included Greg Snider (Alto), Dustin Fergerson (Alto), Ben Grier (Tenor), John Peasant (tenor), Tony Laracuente (tenor), and Ryan Colon (Baritone). The Trumpet section performers included Sean Bocinsky, Ben Rochford, Lucas Owen, and Brantley Daniel. The trombone section performers included

In “Body and Soul” the bass occasionally changes to a walking bass line. In “West End Blues” each instrument is given a solo while the other instruments play the harmony and keep the beat. In “Body & Soul” only the Alto Saxophone gets a solo. In “West end Blues” there are more instruments to accompany the harmony, a Clarinet and Trombone. While in “Body & Soul” only the bass and piano play the harmony. The chords being used in “Body and Soul” and “West End Blues” are all

sign ups again, and joined a few months into my sixth grade year. My first choice was percussion, but because I was so late, I was not able to join the percussion if i wanted to reach up to the level my classmates were at. So I tried out on flute, saxophone, and clarinet, and instantly fell in

If I had to choose what my favorite room in my house was, I would say my bedroom. You will be placed on the south east corner of the room in front of the door. You are in a twenty foot in width by fifteen foot in length by eight foot in height room. In this essay i will describe the area of my room without using the actual names of each item. There is one door and one window within the room. In the middle of the ceiling is a white mechanism with rotating blades that helps cool the air. Each blade

“Black Bottom Stomp” is a complex piece in which Jelly Roll Morton deftly incorporates multiple solos, each performer infusing his own personality and improvisation into the tune. For the first section of the song (00:00 to 00:20), the band is playing the first part of the piece in unison, which certainly sounds composed – but that is essentially when the sheet music is thrown out the window. After Morton establishes the general melody for the piece, he lets his musicians’ creativity take over, and

Each time I set my embouchure on my mouthpiece, I create a mass-spring system with my lips. They oscillate, providing an air current. As my lips transition through a series of motions and contort to control the tension, I scale through a large range of pitches. I produce multiple series of resonance as my trombone resonates, each one creating a different standing wave from the last. I change the frequency of the vibration of my lips, increasing it in order to reach a higher note. I try to sneak in

Boasting an impeccable tonal control and range, saxophonist Geof Bradfield hires a sterling cast of musicians to give wings to his seventh album of originals, Yes, and…Music For Nine Improvisers. The album title was taken from an improvisational theater game implemented by Compass Players, a cabaret revue from the 50s. Combining genres and moods to achieve a versatile sonic palette, the group works dynamics whether in nonet or trio, following written material and free improvisation as convenient

Jon Guerra Mr. Myers Honors Band 03 October 2016 Saxophone The saxophone, pronounced “sax·o·phone” (ˈsaksəˌfōn/), was invented by Adolphe Sax in 1841 which was the year he had his first working model. The History of the Inventor The story and history of the invention of the saxophone is best understood by looking at the inventors (Adolphe Sax) lifelong achievements and goals throughout his life The life of Adolphe Sax. Adolphe Sax, born November 6, 1814, in Dinant Belgium. The son of Belgium's

the sections is handled differently, with the last chorus section being shortened to six bars after the transitions between different instruments, from the saxophone and brass to the piano (seen from 2:16 to about 2:24). The song overall has a light tone, and has many instruments that contribute, including two alto saxophones, one tenor saxophone, three trumpets, two trombones, a guitar, a piano, a bass, and drums, as observed from the written sheet music. The piece is different from others in multiple

HISTORICAL AND REHEARSAL NOTES This is one of Thad Jones’ most iconic arrangements. Don’t Git Sassy recalls the energetic, hand-clapping tradition of a church camp meeting, and the energy level stays strong throughout. This new edition of Thad’s work is taken directly from the original ink parts Thad handed out to the band in 1967, and from Thad’s original pencil score now housed in the Thad Jones Archive at William Paterson University, where Thad served as Founding Director of Jazz Studies. The