Clarinet high c : Denis wick trumpet cup mute : Bass classical guitar

Clarinet High C

clarinet high c
  • a single-reed instrument with a straight tube
  • The clarinet is a musical instrument that is a part of the woodwind family. The name derives from adding the suffix -et (meaning little) to the Italian word clarino (meaning a type of trumpet), as the first clarinets had a strident tone similar to that of a trumpet.
  • A woodwind instrument with a single-reed mouthpiece, a cylindrical tube of dark wood with a flared end, and holes stopped by keys. The most common forms are tuned in B flat, A, and E flat
  • An organ stop with a tone resembling that of a clarinet
  • (clarinetist) a musician who plays the clarinet
    high c
  • High-C, conceived in 1988, is the nerdcore rap persona of Jason Z. Christie (born in 1970). As founder of the controversial nerdcore hip-hop compilation project and , High-C was often found at the center of the nerdcore scene, and was the biggest early promoter of the genre.
  • C or Do is the first note of the fixed-Do solfege. Its enharmonic is B.
clarinet high c - Introducing Patrice
Introducing Patrice Michaels
Introducing Patrice Michaels
The program includes "Monicas Waltz" from Menottis The Medium; a Vivaldi cantata; a Lully divertissement; and songs by Haydn, Colbran, Dalayrac, Mendelssohn, Mussorgsky, Delibes, FaurA©, Honegger, Argento, Vaughan Williams, and Lili Boulanger.
NEW - Special Budget-priced "Cedille Artist" Compilations The four titles in the series showcase the labels most prolific recording artists (Dmitry Paperno, Easley Blackwood, David Schrader, and Patrice Michaels). If you havent heard these outstanding artists yet, the new, budget-priced Cedille Artist series makes for an easy introduction to these acclaimed, Chicago-based musicians. These generous compilations - all over 70 minutes long - come with many complete works, not just short excerpts. Each is programmed to demonstrate the musicians full range of artistry over a wide variety of music styles.

79% (8)
The tragic story of the16th St Baptist Church, Birmingham Alabama
The tragic story of the16th St Baptist Church, Birmingham Alabama
The 16th Street Baptist Church bombing was a racially motivated terrorist attack on September 15, 1963, by members of a Ku Klux Klan group in Birmingham, Alabama in the United States. The bombing of the African-American church resulted in the deaths of four girls. Although city leaders had reached a settlement in May with demonstrators and started to integrate public places, not everyone agreed with ending segregation. Other acts of violence followed the settlement. The bombing increased support for people working for civil rights. It marked a turning point in the U.S. civil-rights movement of the mid-twentieth century and contributed to support for passage of civil rights legislation in 1964. The three-story Sixteenth Street Baptist Church was a rallying point for civil-rights activities through the spring of 1963. The demonstrations led to an agreement in May between the city's black leaders and the Southern Christian Leadership Conference (SCLC) to integrate public facilities in the country. In the early morning of Sunday, September 15, 1963, Bobby Frank Cherry, Thomas Blanton, Herman Rash, and Robert “Dynamite Bob” Chambliss, members of United Klans of America, a Ku Klux Klan group, planted 122 sticks of dynamite with a delayed-time release outside the basement of the church. At about 10:22 a.m., when twenty-six children were walking into the basement assembly room for closing prayers of a sermon entitled “The Love That Forgives,” the bomb exploded [1] According to an interview on NPR on September 15, 2008, Denise McNair's father stated that the sermon never took place because of the bombing.[2] Four girls: Addie Mae Collins (aged 14), Denise McNair (aged 11), Carole Robertson (aged 14), and Cynthia Wesley (aged 14) were killed in the blast, and 22 additional people were injured, one of whom was Addie Mae Collins' younger sister, Sarah. The explosion blew a hole in the church's rear wall, destroyed the back steps, and left intact only the frames of all but one stained-glass window. The lone window that survived the concussion was one in which Jesus Christ was depicted knocking on a door, and Christ's face was blown away. In addition, five cars behind the church were damaged, two of which were destroyed, while windows in the laundromat across the street were blown out. Victims Carol Denise McNair was born September 17, 1951, 11 at the time of her death. She was the first child of photo shop owner Chris and school teacher Maxine McNair. Her playmates called her Niecie. A pupil at Center Street Elementary School, she had many friends. She held tea parties, was a member of the Brownies guide organization, and played baseball. She helped raise money to support muscular dystrophy by creating plays, dance routines, and poetry readings. These events became an annual event. People gathered in the yard to watch the show in Denise's carport, the main stage. Children donated their pennies, dimes, and nickels. Denise was a schoolmate and friend of Condoleezza Rice. She is buried in Elmwood Cemetery. About five years after the bombing, Denise's parents had two more daughters. Cynthia Diane Wesley was born April 30, 1949, 14 at the time of her death, she was the first adopted daughter of Claude and Gertrude Wesley, both of whom were teachers. Her mother made her clothes because of her petite size. Cynthia went to school at Ullman High School, which no longer exists. She excelled in math, reading, and band. Cynthia held parties in her backyard for all her friends. Upon Cynthia's death she was found because of the ring she wore, which was recognized by her father. She is buried in Greenwood Cemetery. Carole Rosamond Robertson was born April 24, 1949, 14 at the time of her death. She was the third child of Alpha and Alvin Robertson. Her sister was Dianne and her brother was Alvin. Her father was a band master at the local elementary school. Her mother was a librarian, avid reader, dancer, and clarinet player. Carole, like her mother, enjoyed reading. She excelled at school and was a straight-A student, a member of Parker High School marching band and science club. She was also a Girl Scout and belonged to Jack and Jill of America. When she was at Wilkerson Elementary School she sang in the choir. Her legacy helped create the Carole Robertson Center for Learning in Chicago, a social service agency that serves children and their families. She is buried in Greenwood Cemetery. Addie Mae Collins was born April 18, 1949, 14 at the time of her death, she was the daughter of Julius Collins. Her father was a janitor and her mother a homemaker. She was one of seven children. She was also an avid softball player. A youth center dedicated to Addie and her ideals was created in Birmingham. Her younger sister Sarah was with her at the time and lost her right eye in the blast.[3] Addie Mae is buried in Greenwood Cemetery. Congress of Racial Equality march in Washington, D.C. on September 22, 1963 in memory of the victims of
Darnell Howard 1925
Darnell Howard 1925
Clarinetist One of four former side men with Charles Elgar's Creole Orchestra in Chicago in the early 1920s. The others were Bert Hall, Richard Curry and Joe Sudler. Born Jul 25, 1900 in Chicago Traveled to London in April 1923 as part of the company of "Plantation Days", a traveling musical revue featuring African-American performers. A skilled soloist who sometimes displayed a hyper style on clarinet in later years that was also influenced by the smoother Jimmie Noone, Darnell Howard had a long career. Both of his parents were musicians. Howard started on violin when he was seven, adding clarinet and reeds later on. He started playing professionally in 1912 while still in high school. Howard played with John H. Wickcliffe's Ginger Orchestra during 1913-16 and then in 1917 went to New York, working and recording with W.C. Handy (on violin). Howard then led a band in Chicago, gigged with Charlie Elgar (1921), was part of James P. Johnson's Plantation Days Band that visited London in 1923 and made a return trip to Europe the following year with the Singing Syncopators. In Chicago, Howard played with Carroll Dickerson, Dave Peyton and most notably King Oliver's Dixie Syncopators. After a visit to Shanghai with the New York Singing Syncopators, Howard rejoined Oliver and soon was playing with both Erskine Tate and Carroll Dickerson. 1928 was spent with Jimmy Wade's Dixielanders and leading his own quartet. Howard worked with Dave Peyton during 1929-30, had a brief stint with Jerome Carrington and then was a steady fixture with the Earl Hines big band during 1931-37. He freelanced for a few years and spent short periods with Fletcher Henderson's Orchestra and Coleman Hawkins (1941). Howard led his own band in Chicago during 1943-45, was with Kid Ory in California during part of 1945 and then freelanced in Chicago for a few years including with Doc Evans. In 1948 he moved to California to join Muggsy Spanier's group, staying five years. After stints with Bob Scobey and Jimmy Archey, Howard was part of Earl Hines' dixieland band in San Francisco during 1955-62; during 1956-57 he recorded a couple of excellent albums with Don Ewell. Illness caused him to leave Hines although he recovered for a time, working with Elmer Snowden and Burt Bales plus his own groups. After touring Europe with the New Orleans All-Stars in early 1966, Howard became ill in the United States and died a few months later. He only led one recording date, resulting in four selections for Good Time Jazz in 1950 in which he fronted Bob Scobey's band. ~ Scott Yanow, All Music Guide at

clarinet high c
clarinet high c
Benjamin Britten: Serenade Opus 31 / Les Illuminations Opus 18 / Nocturne Opus 60
The Serenade and the Nocturne were both composed for Britten's lover, Peter Pears, although "Les Illuminations" was originally written for female voice. Since its premiere, however, it too has become a tenor standard, particularly since it rounds out CDs like this one, which feature the other song cycles as well. Pears was the archetypal English tenor. He had a thin, very agile voice, capable of a surprising volume of tone when necessary. He knew that he wasn't cut out for Italian opera, and when you're sleeping with one of the century's greatest composers, who cares? All of the music written for him was tailored to his special abilities, and he always made the most of the many opportunities that Britten offered to sound like the greatest singer in the world. --David Hurwitz

Although Peter Pears and Benjamin Britten made an earlier recording of the Serenade with its original horn player, Dennis Brain, this one is sonically superior and, most important, musically more mature. In a word, it's absolutely radiant. The Serenade is among the greatest masterpieces in all of music. It stands as a monument to Britten's genius--there is no other piece anything like it--as well as to the creative inspiration provided by his relationship with Pears, and to Britten's unrelenting quest for personal expression through music. The disc's other works, also written for tenor and strings (the Nocturne adds seven obbligato instruments), feature Pears in his prime, musically insightful and vocally assured. We are fortunate to have such a shining example of one of the most fascinating and productive artistic collaborations of this or any other century. --David Vernier