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Project Muse in-school concerts and the Mentorship Program for student musicians serve low- and moderate-income students at schools in the Los Angeles, Alhambra and Pasadena Unified School Districts with in-depth programming that engages students through multiple visits by musicians and composers.
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The clarinet and tenor saxophone player Jimmy Giuffre used a clarinet-style embouchure with a tenor saxophone with a specially-modified neck. [3] It is still commonly, and controversially, taught to beginning students as a shortcut to a passable result in lieu of more sustained effort developing embouchure strength and technique.
The UCLA Herb Alpert School of Music, located on the campus of the University of California, Los Angeles, is “the first school of music to be established in the University of California system.” [2] Established in 2007 under the purview of the UCLA School of Arts and Architecture and the UCLA Division of Humanities, the UC Board of Regents formally voted in January 2016 to establish the ...
Murray in the studio recording Brave New World Trio's first album Seriana Promethea, November 2021 Murray, Guelph Jazz Festival 2009, Canada. David Keith Murray [1] (born February 19, 1955) [2] is an American jazz saxophonist and composer who performs mostly on tenor and bass clarinet.
Youth Orchestra Los Angeles (YOLA) is the Los Angeles Philharmonic's initiative to establish youth orchestra programs in underprivileged communities throughout Los Angeles. Modeled on Venezuela's El Sistema , [ 1 ] a program which brings classical music education to children from low-income communities, YOLA provides free instruments, music ...
A notable part of the band's sound was the "Seawind Horns" (Williams with trumpeter Jerry Hey, and sax and flute player Kim Hutchcroft). Seawind caught the attention of drummer-producer Harvey Mason. He encouraged the group to move to Los Angeles where they quickly established a regular gig at the club The Baked Potato. [2]
The double-lip embouchure supports more even lip muscle development, since both lips are involved in maintaining control of the mouthpiece/reed. Clarinettist Keith Stein suggests that double-lip playing on that instrument can be used as a remedial technique to address issues of "tone production, upper register tonguing, legato binding, high ...