Very tasteful and beautiful! Thank you. 🌠 This isn't your fault, the tune is too calm for those lovers to be properly star-crossed, it should have been a movement from a suite, in which things got much worse after this movement.
An atmospheric arrangement, to be sure. Well played! 🎶🎧🤩 I'm a little surprised the video didn't show the outside of the Taj Mahal at all, seeing it is at Agra.
Interesting. I want to hear a distinctly different tone quality between the two and its extremely marginal if I do. By 'more open' does that mean projection, I sometimes ask? And yes, being capable to play those bottom three notes on the low C model, especially in a run or conclusion to a musical phrase surely is a strong reason to love being a bass horn musician? Suddenly jumping up an octave on a descending run grates musically, especially in a situation where you're the only bass horn in the ensemble. And I'd love to have the one-each choice! For all but the determined pro musicians its mostly the Eb for the disproportionate cost between the two models.
I envy you , sir...to have such a magnificent experience with so noble and complex of an instrument, even if you are not quite as accomplished yet. May that dream be realized !😊
I’ll probably do another video including that and a few others like some vintage Berg Larsen pieces in the future but I never played a Durga that impressed me enough to keep.
I very much agree about the preference for the Low B Flat. I have a P. Mauriat unlacquered Low A bari and its sister in Low B Flat. On the Low A, getting down around low C Sharp and lower, the is a tendency to overtone too easily. Plus, air becomes a bigger concern. On the Low B Flat horn, all the low-register notes are easy to play and resonate for me really well. A lot of great resonant feedback on the Low B Flat horn. I'm not sure if the difference is very noticeable to the listener, but playing these, I can definitely hear and feel the difference. Also, and quite importantly, the Low B Flat horn is lighter, which is always a good thing. Thank you for comparing these fantastic horns!
Could you tell me what mouthpiece do you use? I like your kind of sound. I'm looking for smth similar. I wanted to know what number of mouthpiece is this? Does it require much air? What number of reeds do you prefer for this?
I can now put a voice to the name. I wanted to hear what your voice sounded like I was trying to imagine what you sounded like during our messages the other day. Hope we can talk more soon. I'd love to see you one day
Hello Brian! Sounding beautiful as usual. It’s always interesting to hear a series of mouthpieces back to back from the same player. You reminded me about the wood Lebayle that I have owned for some time… the first mouthpiece that I ever loved :) Take care, and hope to see you in person soon.
Hey Shirantha! Thank you for writing, Yes I hope we can hang sometime soon, that'd be wonderful! I wish that Fred was still making the wood pieces. Its become extremely difficult for him to get wood that is aged and of high enough quality to do it so he hasn't made any for the past ten years. I'm still pushing him and several other friends like Carl Maraghi are as well :) Take care, B
@@bluelandrusInteresting! Well I’m happy to add my voice to the campaign if it helps. I used the wood piece exclusively for about 3 or 4 years, until something changed and it didn’t seem to play as well. Perhaps it warped… hard to say… but I still have it. Fred was kind enough to make me a hard rubber piece with a ring ligature about 15 years ago, and it still serves me well.
Interestingly I actually prefer your sound on the Low C, especially the lowest notes- they sound denser and more even to me, while the Low Eb sounds overall more spread which isn't my cup of tea, even though I'm aware that you prefer Low Eb. To each of their own, I guess. PS I also play a Selmer 67 Low C albeit modified by Blashaus(the addition of a throat Bb vent and an enlarged Low Eb tonehole, as with the Buffet Tosca). And I play various genres from classical to jazz to experimental and many others, which may have influenced my preference for the Low C horn's sound.
Depends what you'll be using it for. If you're a reed doubler, you'll see a bunch of low D, Db, and C's in musicals, studio work, and orchestral/band repertoire. Having that range comes in handy and most of the time expected. If you are just playing in a big band, you can get away with just a low Eb. I'd say 99.9% of bass clarinetist need a low C model.
Very true. I always ask if I need the low C or not before sessions and always take the low Eb if possible. I’m not sure what you mean by persnickety, but if you mean more attitude I agree 😊
The Eb sounds way fuller on the bottom, but that's probably bc these are near-bell notes. Otherwise both sound marvellous and you sound incredibly even between registers.
@@pukalo yes there is a vent key on the bell, but I have owned many vintage Selmer low Eb bass clarinets that did not, and they still had a broader overall sound than the low C.
The Eb sounds less restricted, more open, but I’m not sure I would hear that the same if I didn’t know which was being played. You sound fantastic on both!
the sba sounds like a big tenor i liked the sound. because it sounded like a regular sax just really deep and warm. sort of crackly umph that you get for a vintage bari. often Baris sound heavy this was a really unusaly beautiful sound
