My favorite Contra player is Arlen Fast of the New York Phil. He has his own design to aid in high register playing. I believe Fox makes his signature model
Welcome to the world of baritone sax/bass clarinet doubling. I don't allow my son to move my horns into the house simply because I know that he won't pay attention to the woodwork like I do. So far, after fifteen years of running them (and other long music stuff) in and out of the 'garage to utility nook to kitchen' gauntlet, I've not once mashed up the doors or trim.Chris Peryagh said:Has to be said it's a pretty easy instrument to get around, though not too easy to get around with - getting it through my front door and into my living room isn't easy with the length of the case catching on everything in front and behind it, and stairs that double back on themselves are interesting too.
Are there any detailed pictures of the Arlen Fast system contras to be found online? I'm finding some limitations with the 8ve vents on the Amati causing fuzzy tones (on the upper C with the doubled lower vents and D with the upper single one), so it's a case of finding the fingerings which work best and clearest for these notes, though I play middle C# as xxxC#|xxxF and D as xxxC#|xxx and Eb and upwards with the upper 8ve key. And the 'open F' can be played as low F with LH 1 off, so avoiding going below the break for an isolated F if that's the lowest note of a group, keeping the same tone quality.hakukani said:My favorite Contra player is Arlen Fast of the New York Phil. He has his own design to aid in high register playing. I believe Fox makes his signature model
Sorry.I hope and pray that you go for the sarrusophone tone (i.e., raspy and rough) when playing The Sorcerer's Apprentice solo line in the middle of the work.