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Stomu Yamasht'a Podcast
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Download: Stomu Yamash'ta PODCAST Stomu Yamash'ta performed his first concert, Percussion Concerto , with the Kyoto Philharmonic Orchestra in 1963 at the age of 16. By age 17, he had transplanted to NYC and entered Julliard. During the 1970s, he became internationally renowned, releasing a series of albums adapting his adventurous style to creating a new fusion of experimental jazz, symphonic, electronic and rock music. He released 3 albums entitled Go , featuring a cast of international superstar musicians.

In the 1980s, he reached a spiritual impasse, returning to live in Kyoto where he took up Buddhist studies. Yamash’ta returned to music when in the 1990s he discovered the musical powers of Sanukit stones which generate sound over an 8000 hertz spectrum, creating an 88-tone range. Using these stones, he created an entire line of instruments and began exploring a new sound concept “sacred music of the stones”.
  Hiro Kawahara Heretic Interview & Podcast
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Download: Heretic PODCAST During the late 1970s and early 1980s, the Japan experimental scene was in its embryonic phase. Fools Mate Magazine was the main vehicle for promotion and a handful of groups were beginning to mutate the sounds of pop, rock and electronics into a new modern fusion of styles and influences. Hiro Kawahara was one of the early pioneers of a new form of Zen electronics, His early bands Astral Temple, Dr. Jekyll & Mr. Hyde, followed by Osiris combined mystical and spiritual influences with experimental electronic rock. With the formation of his longest running band Heretic, his music transcended time and space. His guitar playing fused with electronics became truly transcendent. In this Interview he talks about the history of his music and release of the new album Requiem (see the Reviews page).

In the recent past while Skyping w/ Hiro Kawahara I learned that the air, water, rice and meat are approaching unsafe radiation levels in Tokyo. While mainstream media moves from one sensational headline to the next, it is important to always know and understand the real human story and consequences of what happens. In many ways music can tell that story, in the case or Requiem listening may will give you chills and fill your heart with the deepest of emotions for all the people in Japan who are now going through the aftermath of this disaster.
  AskaTemple Podcast
Read : John Ubel RIP
Download: Aska Temple PODCAST

One of the most provocative bands and musicians I have come across in my years spent chronicling the world scene of experimental and underground music is AskaTemple, led by Muneharu Yuuba whose stage name was John Ubel. The band name, derived from the small village he lived, also makes reference to the spiritual & shamanist mysticism of his music that also contains strong influences from the psychedelic era. He passed away on October 20 2012 and though he was a virtual unknown, it's a loss to the world of music today in more ways than we can know. In this age of media saturation, it is rare that such intensity of emotion as evidenced in the music of AskaTemple is conveyed. Be it his guitar playing, synthesized guitar compositions or the band recordings, his music was devotedly non-commercial and filled with a depth of passion that only an artist who lives and works outside the realm of daily life as we know it today can create. The article by Nicolai Murahama, keyboardist for AskaTemple,  reflects on his strange story and includes an insightful look at his musical history and life history.
  Eurock Audio Archives #5 CON-Speaks 2008
Listen: Con-Speak1MP3   Con-Speak2MP3   Con-Speak3MP3

Eurock Magazine had published articles and run an early mini-interview with CON. In the summer of 2008, I sent him some questions for a new interview and he kindly obliged. He even went a step further bringing his own special form of creativity to the mix. He chose also to create a recorded addendum that told his story, and conveyed the essence of what he really wanted to say. He sent me the answers to the questions and a recording, which consisted of three different treated versions of his monologue to use how I liked. CON passed away August 4, 2011. Listening now to this series of audio recordings I think serves as a wonderful reminder of the man, His creative energy knew no boundaries, and certainly in so many ways played an integral part in the beginnings of the German "Neumusik" revolution in Berlin back in the late 1960s.

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  Eurock Audio Archives #4 2008 Interview w/ Cluster
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This is a Summer of 2008 Interview with Dieter Moebius & Joachim Roedelius w/ Tim Story done just before their USA Tour. Joachim Roedelius and Dieter Moebius made music together for over 40 years before finally going there own ways in 2010. Their final concert was on December 5th of that year . After several releases done with Kluster and Conrad Schnitzler, the duo were joined by Conny Plank on their self-titled debut album released in 1971 on the Philips Record label in Germany. In 1996 Cluster toured the US for the first time and we met in Portland. Their concert was a revelation and our pancake breakfast the morning after was legendary. Almast12 years later they returned to the US and toured again. Sadly the didn't play in Portland however. While in the States they spent time with their good friend and old pal of mine Tim Story who did this interview for Eurock. Tim is a renowned, pioneering US artist in his own right. He and Joachim have also done several excellent music collaborations together. Tim also produced what turned out to be the final Cluster album, QUA , released in 2009 by the Nepenthe US label. Nepenthe also released in 2009 the legendary Human Being recordings LIVE AT THE ZODIAC -BERLIN 1968 done at the Zodiac Club. So take a listen to & enjoy the famed duo and Tim having fun and talking music back then...

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  Eurock Audio Archives #3 Expo 1986 Gilbert Artman Interview
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In 1986, I witnessed the spectacle of Urban Sax LIVE at Midnight during the World EXPO in Vancouver, BC. It began with barges floating across the river amidst a shroud of fog while colored flood lights panned the water. The group was accompanied by a Native American drum circle and climbers rappelling overhead amidst the domed metal webbing constructed over top the open pavilion, as well as up and down the building walls. Urban Sax, attired in silver mesh and plastic tubing serenaded the packed outdoor arena for over an hour. Earlier in the day I interviewed Gilbert Artman, aided by his kind manager Gilles Yepremian serving as translator. We had a nice 25-minute conversation with Gilbert talking about his musical history and Urban Sax philosophy. The quality is quite good, so it makes for a very interesting listen with most of the information not dated at all. Again adjust your volume as needed & Enjoy!

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  Eurock Audio Archives #2 1980 Conversation w/ Malcolm Mooney
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For More INFO: Malcolm Mooney

I was living in LA at the beginning of the 1980s when I met Malcolm Mooney former lead singer of Can. At that point Eurock Magazine was at its high point in terms of distribution entering the 7th year. Malcolm called and said he'd heard of my work in promoting Euro rock and suggested we meet up. He invited me to his home and there we had a free ranging chat about his time with Can, music, his teaching, music and art. It was recorded on a small Panasonic portable recorder. What was recorded of that conversation is not bad quality and has not been tweaked or edited for the most part. Adjust your volume as needed. Malcolm was a great cat and is still active today in art and music. You can check out his web site to catch his latest projects.

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  Eurock Audio Archives #1 1977 Uli Trepte Interview
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In the late 1970's I was up in Portland running ITC and importing Euro music as well as well as co-programming a weekly radio program. In addition , Eurock Magazine was gaining traction in Europe and making many new contacts. One hilarious highlight of that era was the magazine being featured on the record store set of Robin Williams then popular TV program Mork & Mindy . Right next to the cash register in full display were visible several copies of the mag each time a counter scene was shot on the store set. In 1977, Uli Trepte of Guru Guru, Spacebox  and later Move Groove came to the US and stayed in LA with one of my original Euro musical guru's Dana Madore who ran a now legendary record store named Moby Disc at that time. A real high point for me early on doing Eurock was having a couple long conversations with him that led us to being life long friends. At one point we recorded and interview that was aired on KINK FM in 1977. In retrospect he recounts his personal history nicely I think. The unfamiliarity with the technology involved only add a touch of humanity to process. The recording quality is not bad. Adjust your volume accordingly. My old pal Dana supplies the humor at the outset when he answers the phone. Uli passed away May 21, 2009, and I'd like to think he's still playing music up in the ether. This recording lets you hear him "in the flesh", perhaps for the first time, and for me in some way keeps his spirit alive.

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  Gentle Giant Derek Shulman Interview
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In the annals of "Prog-Rock" there were a couple English bands that didn't fall prey to the pomp & circumstance that led most others to the dinosaur bone yard, Gentle Giant was one of them. The Shulman brothers and their mates made intelligent rock laced with jazz, a quick breath of the classics at time and a bit of pop perhaps. It all combined into their own eccentric concoction that not surprisingly doesn't sound today like an old fossil from the past.

There’s no any in Russia. The most exciting shop is Sax . but i am totally sure you know it wery well ) Here’s my interwiev I made in Frankfurt Music Messe ...

The role of the C-melody saxophone in early jazz must not be overlooked, though it frequently is. Several major jazz musicians began their careers on the instrument. Benny Carter and Coleman Hawkins both began on the C-melody and, surprisingly, Paul Whiteman's pianist and arranger Bill Challis started his professional work in dance bands as a player of the C-melody. 22

Db Piccolo
Another special kind of piccolo, called a Db Piccolo (aka Military Piccolo), is sometimes used instead of the regular piccolo. Rarely used nowadays, the Db piccolo was commonly used in the first half of the 20th century. The Db piccolo is pitched a semi-tone higher than a regular piccolo. It used for some pieces that are played in keys with a lot of sharps or flats. The Db Piccolo is pitched in the key of Db (unlike the regular Piccolo which is in "concert pitch") which makes these pieces eaisier to play. One well known piece where this is the case is the Amercian march "The Stars and Stripes Forever", which we don't play very often because we are Canadians. Flute
The flute has a very clear and flowing sound to it. Most music has 2 or 3 flute parts. The flute alone cannot produce very much volume, so a lot of players are required in the flute section. A full-sized band will usually have 8-12 flute players. The word flute covers a wide range of woodwind instruments, in which sound is produced by directing air across the edge of a hole. Along with the flute which is pictured here the family includes the piccolo, the fife, and panpipes. Most flutes are made of metal, usually silver; modern flutes are only occasionally made of wood. The flute is used in orchestras, wind bands, and jazz bands to give a bright, silvery sound. It is played by blowing across the blowhole. Apart from the piccolo, the flute is the only instrument in the orchestra that is played in this way. The pitch range is three octaves, it is keyed in concert-pitch, and it measures approximately 26 inches long and just under 1 inch in diameter. There are other larger flutes called the alto flute and the bass flute, but they are very seldom used in concert bands, and are rarely used in orchestras. Eb Flute
At one time there was another kind of flute pitched in Eb, called the Eb Flute, that was often used in bands. However, the use of this instrument fell out of favour by about the 1930s. Pitched between the piccolo and the flute, it was sometimes used instead of the piccolo in band arrangments where the high range of the piccolo was not needed. If an an older piece of music has a part for Eb Flute it would exist as a "Eb Flute/Eb Clarinet" part which meant it could be played by either instrument. Eb Flutes are now long-gone and no longer used, but Eb clarinets are still part modern band. Fact: The flute's haunting sound has long been linked with magical properties, as in Mozart's opera, "The Magic Flute", or in the Pied-Piper legend. Double Reeds You can click on the images to see a bigger picture of each instrument. Oboe
The oboe has a piercing sound that cuts across the entire band and has many beautiful solos in many pieces. The band usually has both a first and a second oboe player. The pitch of the oboe is usually used to tune the band. The oboe consists of a conical keyed tube played with a double reed. The piercing sound, characteristic of oboe-type instruments, is particularly suitable for outdoor use. The oboe is the smallest of the orchestral, double reed instruments. Its expressive sound is often used to play sad or emotional melodies. Because air is forced at high pressure into the tiny reed, stale air can gather in the lungs, making you feel faint if the air is not expelled quickly. Because of this, it is often said to be a very difficult instrument to play. The pitch range of the oboe is two-and-a-half octaves, and it is made of wood. The oboe plays in concert-pitch. The oboe is just under 24 inches long. Fact: The oboe was one of the first woodwind instruments to have a regular place in the classical orchestra. When the modern concert band began to develop, bands inherited the oboe as part of their instrumentation. Because its pitch does not vary much with temperature, the oboe sounds the concert-A note, to which all other instruments in the orchestra or band adjust their tuning. English Horn (aka Cor Anglais) - rare and we don't have access to one
The english horn is an incredibly strange and mysterious sounding instrument. It has a very haunting and mello tone, and sort of looks like a big oboe with a pear-shaped bulb on the end. The English horn is pitched in F, which is lower than the oboe. The english horn is usually played by an oboe player that happens to own and play both instruments. Bassoon
The bassoon plays an important part as one of the inner voices of the band. Falling in between the upper-woodwinds and the bass section, the bassoon usually has intricate harmony parts and the odd exposed section where the unique timbre of the bassoon sound can be easily heard. Most music has both a first and a second bassoon part. It always seems to be a constant struggle to find bassoonists to play in the band - there simply aren't many of them around. Bassoons are the largest commonly used double-reed instruments in the band. They have double reeds and consist of several sections or joints of wood. Playing the bassoon involves great effort to overcome its considerable weight, and agility to control its awkward keywork system. Thre are actually two complete different types of bassoons, which differ by their kework-systems: there is the German (or "heckel") key system, and what is known as the French (or "ring") key system. Heckel System (aka German keywork) bassoons are the the ones used in the band. In North America, the Heckel system bassoon is the most common kind. The pitch range of the bassoon is three-and-a-half octaves; it is usually made of maple or rosewood, with a metal bocal. The bassoon plays in concert-pitch. The size is 4 ft. 4 in. long; total length of unwound tube is 8 ft. 3 in. Fact: The Italians call the bassoon a "fagotto", meaning "bunch of firewood". The poet, Sacheverell Sitwell likened the bassoon's deep, dark tones to the sound of "a sea-god speaking." Contrabassoon - very rare and very seldom used
Sometimes called the Double-Bassoon, contrabassoons are huge. They are twice as big as a bassoon and sound an octave lower. They are very rare and hidieously expensive. In the hands of the best musicians, the contrabassoon organlike tone rings through the orchestra, adding richness and weight to chords. Contrabassoons are almost never found in bands, but can sometimes be heard in symphony orchestras. The bassoon's tubular body is divided into four sections, and doubles back on itself to make it more manageable to play. Some very old orchestral-transcriptions will have a part for one; and modern repertoire only very rarely calls for one and even then it is "optional". For the most part in modern band music , the role the contrabassoon played is now handled by the contrabass clarinet. If we encounter a piece of music with a contrabassoon part, we will often leave it unplayed or have our contrabass clarinet player play the part. Even in the symphony orchestra, which is where they originated from, contrabassoons are not called for very often. Contrabass Sarrusophone - very, very rare and almost unheard of
Now this is a strange instrument! The contrabass sarrusophone is a huge double-reed instrument constructed out of metal. It has a sound somewhat between that of a bass saxophone and a bassoon. It covers the same range as the contrabassoon. Contrabass sarrusphone parts do not exist in band music, but the instrument is sometimes used instead of a contrabassoon. Many say it actually sounds much nicer than a contrabassoon. However, there is only one concert band that I know of in North America that actually has one of these - it is played by a fellow named Grant Green in the San Jose Wind Symphony. Rumour has it that the Indianapolis Concert Band has one as well. Apparently, sarrusophones are still quite popular in military bands in Italy. In Italy, you will also sometimes see the other members of the sarrusphone family: the soprano, alto, tenor and various embodiments of the bass sarrusphone. The sarrusophone was developed by Gautrot in the mid 1800s to compete with the saxophone; it fell out of favour by about the late 1920s. It is named after the famous French bandmaster Pierre-Auguste Sarrus (1813-1876). Clarinets You can click on the images to see a bigger picture of each instrument. Eb Clarinet
The Eb clarinet is a funny little solo instrument sometimes used in band music. The melody played by this instrument is usally a higher version of the main melody or a completely different counter-melody. It's high range gives the clarinet section of the full sound. There is usually only ever one Eb clarinet, if there is one at all, for a piece. Some older music will sometimes call for two Eb clarinets, but we usually have someone transpose the 2nd Eb part onto regular clarinet. The Eb clarinet has the same range as a regular clarinet but is pitched in the higher key of Eb. Very few bands have an Eb clarinet, and for good reason! Eb clarinets are very hard to play in tune - a bad Eb clarinet player can make even the best band sound positively dreadful. But played properly and in tune it is a gem! Bb Clarinet (aka Regular Clarinet)
The Bb clarinet is is one of the mainstays of the concert band. Performing the same role that the string section would in an orchestra, clarinets provide much of the body of sound in the band. There are usually at least three Bb clarinet parts and a solo part spread amongst 10-15 clarinetists. If there is no oboe, the pitch of a clarinet will be used to tune the band. The clarinet consists of a cylindrical tube whose mouthpiece has a single, vibrating reed. One of the best known is the Bb clarinet with French standard Boehm fingering system. (There are also a number of different key/fingering systems such as the Oehler, Albert, German and other variations but they are seldom, if ever, used in North America.) The clarinet is one of the most versatile of all modern instruments. It has a very wide range of notes (three-and-a-half octaves), and you can hear its pure, clear sound in orchestras, military bands, and jazz groups. Construction is usually of African blackwood or moulded plastic, and it is just over 26 inches long. The clarinet family also includes the little Eb clarinet, bass clarinet and the rare contrabass clarinet, along with many others. It has a breathy, almost hollow tone - popular with jazz saxophone players who often use it as a second instrument. Fact: Until the 19th century, the clarinet was played with the mouthpiece the opposite way up to the way it is played today. Alto Clarinet
The alto clarinet is an Eb clarinet pitched between the regular Bb clarinet and bass clarinet. It bridges the tonal gap between the 3rd clarinet and the bass clarinet. The alto clarinet has the same range as regular clarinet except that plays in the key of Eb, and will ofen have an extra low Eb key. The alto clarinet is relatively rare in most North American concert bands: there are always parts for the instrument but alto clarinet players are generally hard to find. Bass Clarinet
The bass clarinet has a dark sound that usually accompanies the bass section but often can be heard by itself with a counter melody. The bass clarinet has the same range as regular clarinet but plays in the key of Bb one octive lower. Bass clarinets usually have an extra low Eb key. Some bass clarinets will have their range extended down to a low C by way of extra keys and being much longer, however these instruments are extremely expensive and quite rare. The band will usually have one or two bass clarinets. Contra-Alto Clarinet (aka Eb Contrabass Clarinet)
A really big clarinet that is pitched below the bass clarinet, that plays very low bass parts. The contra-alto clarinet is pitched one octave below the alto clarinet, and thus plays in the key of EEb. Another name for the contra-alto clarinet is the Eb Contrabass Clarinet, and both terms are used interchangably. Contra-alto clarinets are usually contructed of either wood or resonite, and are sometimes made of metal. Most contra-alto clarinets are a straight tube that measures a little over 4 feet high, but looped ("paperclip") instruments are also occasionally constructed of metal. This EEb clarinet also has the unique property of being able to read and sight-transpose BBb tuba parts very easily: by reading the bass cleff as if it was treble clef and adding 3 sharps. Contrabass Clarinet - rare and we don't have access to one
A very, very big clarinet. It often doubles the tuba/string-bass parts or has its own unique variation on those parts. The one pictured on the left is a looped ("paperclip") model constructed out of nickel-silver. Contra basses, like the contra-alto are so big that the tubing has to "loop back on itself". These instruments can be constructed as big long straight body section or in looped form (as in the picture). Contra bass clarinets are pitched in BBb, two octaves below the regular Bb clarinet, and often have an extended low range down to Eb, D or C. Contrabass clarinets are also sometimes called Pedal Clarinets, term that is sometimes used in England and other European countries. The name Pedal Clarinet, comes from the fact they play so low they can be used to emmulate the deep "pedal notes" you would play on a pipe organ using your feet. To get an idea how big this instrument is, the straight model in the picture link can be played from the standing position. Saxophones You can click on the images to see a bigger picture of each instrument. Soprano Sax
The highest pitched of the conventional saxophones. It either has its own melody part or doubles the tenor sax part. The soprano sax is pitched in Bb and has a regular range of approxmately two and a half octaves. Not a lot of concert band music uses one. Alto Sax
The first and second alto sax parts carry the melody when the sax section is playing. They are used extensively when the band is playing jazz, movie music and swing. The alto sax is pitched in Eb and has a range of approximately two and a half octaves. There are usually two to four players on alto sax. Tenor Sax
The tenor sax adds body to the sound of the sax section by filling in the inner voices. It also plays many harmonies and melodies in more jazzy and showy tunes. The tenor is pitched lower than the alto, in the key of Bb and has the same two and half octave range. There is usually just one tenor part and it is is often doubled or tripled. Baritone Sax
The baritone sax is usually the largest sax that plays in the band. It plays the bass line for the sax section and often gets a solo or two in jazz tunes. The baritone sax is pitched in EEb, has a range two and a half octaves, and will sometimes have an extra key to allow it to play down to a low A instead of just a Bb. Bass Sax - rare and seldom used
The bass sax is an extremely rare saxophone. Some old band music has parts for it. It usually strengthens tuba lines. Modern band music almost never calls for a bass sax. However, a lot of the classic band repertoire from the first part of the 20th century will often have a part for bass saxophone. Composers that liked to score for bass sax include: Holst, Vaughn-Williams, Grainger, Gershwin, and many others. Very little music scored after the 1950 includes a bass sax part. Since most bands don't have a bass sax, they usually leave the part unplayed since it will often be doubled by another instrument as well. The bass sax is pitched in BBb, has a range two and a half octaves. The bass saxophone is an instrument that is huge, heavy, costly and to not to mention extremely rare. Bass saxes measure almost five feet high (and the tubing usally loops back on itself as well!). Brass You can click on the images to see a bigger picture of each instrument. Trumpet
The trumpet is one of the lead instruments in the band. Melody is is carried chiefly by the 1st trumpet, with the 2nd and 3rd trumpet parts establising the section's thick brassy sound. The trumpet has a very cylindrical bore that gives it a very bright sound. A band usally will have 6 or more trumpets. A trumpet consists of a narrow tube with a cup-shaped mouthpiece at one end and a flared bell at the other. The trumpet is used to play all kinds of music ranging from South American ballads to flashy fanfares to classical orchestral pieces. Blazing fanfares and moody mellowness are all characteristic trumpet sounds. The pitch range of the trumpet is two-and-three-quarter octaves, and it is usually made of brass and covered with lacquer. Trumpets pitched in Bb are used in the band. It is about 18 inches long;   total length of unwound tube is 4 ft. 6 in. Fact: Trumpets are at least 3,500 years old:  silver and bronze trumpets were among the objects found in the tomb of the Pharaoh Tutankhamen in Egypt. Cornet
The cornet is very similar to the trumpet, except that is has a more conical bore that gives it a softer sound. Most pieces have a combination of trumpet and cornet parts. All of our the trumpet and cornet players can play both trumpet or cornet. Cornets are also pitched in Bb and have a usual range of two-and-three-quarter octaves. Flugel Horn - seldom used
A flugel horn is sort of like a very large bore version of the trumpet. Due to its shape, the flugel horn has its own very mello sound that is very well suited for jazz solos. It is not used very often in the band and, when it is used, it is only for a solo in a show or jazz tune. The flugel horn is also pitched in Bb and has the same range as a trumpet. Trombone
The trombones are a large instrument that features a slide instead of valves. The cylindrical shape of the tubing gives them a very bright tone. They are used for low brassy sections of music and help with the inner voices and bass section of the band. There are usually 3 or 4 trombone parts that are often doubled. The trombone used in the band is actually the "tenor trombone"; there are actually other different sized trombones in the trombone family but these others (except for the bass trombone) are never used in concert bands and are quite rare. Trombones are brass instruments with long, cylindrical tubes, flared bells, and cup-shaped mouthpieces. Most trombones have a slide that the player uses to alter the length of the tube and change the pitch, but some have valves. Some trombones will also have some rotary valves in addition to the slide, to make the instrument more flexible. In the orchestras, it often represents the voice of doom and danger with its loud, deep, bass sound that can slide menacingly from one note to the next. The trombone can also play softly: its warm tone often features in jazz bands and brass groups. The pitch range is two-and-a-half octaves, plays in concert-pitch and the tube length is usually 9 feet. Fact: In the 17th and 18th century, trombones were used in operas for supernatural scenes. In Mozart's opera "Don Giovanni", the trombone is used to accompany the statue of the dead Commendatore. Also, Glen Miller, of big band fame, was a trombone player. Bass Trombone
What a bass trombone exactly is, is up for debate, as there is no consensus on what exactly a bass trombone is. However one thing that people seem to be able to agree upon is that a bass trombone is very large trombone with one or more triggers (valves). The large bore and big bell gives the bass trombone a deeper sound than regular trombone and is usually used on the 3rd and/or 4th trombone part. It also plays in concert-pitch. A band will usually have one or two bass trombones. Horns You can click on the images to see a bigger picture of each instrument. French Horn
The french horn has a rich full sound that is used for melodic passages as well for providing accompaniment to other sections of the band. There are usually 3 or 4 differnt horn parts that are usally played with one-on-a-part. A horn is an instrument consisting of a mouthpiece and a long tube that widens out to the bell. Along with the French horn pictured here the horn family includes such oddities as the Wagner Tuba and the Shofar (which you would never see in a concert band). The French horn is a brass instrument built in a circle, with a large bell that is held down by the player's side. It is also the only brass instrument in which the valves are operated with the left hand -- all other brass instruments are operated with the right hand. Its rich, velvety sound is heard mostly in orchestras and bands.  The French horn first came into the orchestra in pairs to portray the sound of hunting horns but is now used in music of all sorts.  The pitch range is three-and-a-half octaves, and its length is variable. The total length of unwound tube is between 9 and 12 feet. French horns are tranposing instruments and usually play in the key of F. Fact: Did you know that because it is difficult for a player to be able to master both the extreme high and the extreme low notes, professional players often specialize in one or other range? Bass Brass You can click on the images to see a bigger picture of each instrument. Euphonium (aka Baritone)
The Euphonium is like a small tuba, but is considered the solo instrument of the bass section. You can easily hear the euphonium quite clearly in most marches and military music. The euphonium can either play as a Bb instrument or as a bass clef concert-pitch instrument. Baritone
The instrument pictured on the left is actually a baritone. There is a difference between a baritone and a euphonium. Both are pitched the same and have the range, but a baritone has a very narrow bell with cylindrical tubing, while a euphonium has a large bell with conical tubing. The result is that while a baritone has a very bright sound, a euphonium will have a more mello dark timbre. Technicaly, for a concert band we should only use euphoniums and not baritones. Good bands try, if at all possible, to only use euphoniums, but sometimes the only instrument a player owns in a baritone.


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