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François Miquel has been soloist of the National Police Band since 1995. First there is a CRR in Paris, at a level in between the Superior Conservatory and the conservatoires d'arrondissement managed by the city of Paris). Aubervilliers-La Courneuve: Thibaut Betrancourt, Valérie Gueroult Boulogne-Billancourt: Manuel Metzger, Orane Pellon, Jérôme Voisin Cergy-Pontoise: Jean-Sébastien Court, Pierre Dutrieu Rueil-Malmaison: Cindy Descamps, Florent Pujuila, Claire Vergnory Mion, Claire Voisin Saint-Maur: Arnaud Leroy Versailles: Alexandre Chabod, Carlos Ferreira, François Tissot CRR IN THE REGIONS (\"PROVINCE\"): Aix En Provence: Valentin Favre, Frédéric Mouron Amiens: Yoann Grillet, Romy Bischoff Angers: Emilie Jacquin, Christian Abiad Annecy (at four sites): Cassio Braga Da Costa, Nathalie Crouzet, Agathe Fourneau, Joélle Laurent-Bachelet, Claude Roux Bayonne: Tanguy Gallavardin, Xavier Sallaberry Besancon: Brigitte Bassenne, Fortunato Nebbia Bordeaux: Audrey Fernandez, Matthieu Gaillard, Stéphane Kwiatek (bass clarinet) Caen: Milene Delahaye, Ferjeux Beauny Chalon Sur Saône: Elena Arveiler, Nicolas Nageotte, Pascal Petiot, Anne-Laure Quaglietti Chambéry: Bernard Bonhomme, Gilles Vuillerme Clermont-Ferrand: Béatrice BerneСЫ ос Dijon: Cédric Магсд, Gilles Rougemon Douai: Caroline Delmotte, Fanny Vasseur Grenoble: Pierre Dubier, Fanny Martinet, Colette Roulet Lille: Eric Perrier, Nathalie Lockner Limoges: Loic Loisel, Emeline Povillon Lyon (N.B. There is also a Superior Conservatory; see above): Aude Buet Aude, Cécilia Lemaitre Sgard, Didier Reymond, Bruno Sansalone, Hugues Soualhat, Mélina Vezine Marseille: Alain Geng, André Carboulet Metz: Joan Dentresangle, Eric Goubert Montpellier: Julie Dufossez, Serge Rocamora Nancy: Daisy Dugardin, Justin Frieh, Philippe Moinet Nantes: Laurent Berthomier, Manon Branowski, Emmanuelle Brunat, Sylvie Nore-Semlali Nice: Michel Lethiec, Catherine Muzeau, Gilles Swierc, Valérie Vedel Perpignan: Claire Arnold, Michel Paris, Séverine Paris, Emile Taverne Poitiers: Marion Dreyer, Claire Fremaux, Benjamin Paris (site of MignéAuxances) Reims: Fabrice Bretez Fabrice, Thomas Zimmermann Rennes: Hervé Delporte, Véroique Pacenza Rouen: Aude Camus, Guillaume Toutain Saint-Etienne: Hervé Cligniez, Damen Schulteiss Strasbourg: Sylvie Brucker, Jean-Marc Foltz, Anne Kelhetter, Sébastien Koebel Toulon (at 11 sites): Alain-Jérôme Bonifacio, Florence Calcagno, Pierre Maggiolino, Franck Raciti Toulouse: Elsa Centurelli, assistant Bastien Boué Tours: Florian Bernad, Gabin VuillemetMessire, Nathalie Letonnelier (Jaffrain) OVERSEAS - REUNION ISLANDS Saint-Denis-de-la-Réunion: Olivier Drouadaine, chair currently under recruitment CONSERVATOIRES D'ARRONDISSEMENT OF PARIS (CITY): There are 20 arrondissements of Paris, but the first conservatory in the center of Paris gathers the first through fourth arrondissements.

The acoustic properties of a custom-built bamboo bass guitar (BBG) were examined in this study as a sustainable substitute for traditional wooden instruments. To evaluate tonal and harmonic behavior, the BBG which was made completely of bamboo components was contrasted with the Fender Jazz Bass ’70s (FJB70s). While spectrograms from Adobe Audition offered visual insight into overtone distribution, frequency spectrum data were recorded using a PicoScope oscilloscope and subjected to Fast Fourier transform (FFT) analysis. Although the BBG’s pitch and harmonic series matched those of the FJB70s, its timbre was noticeably different, with less radiation and more damping. Throughout the spectrum, its overtone amplitudes gradually decreased, while the FJB70s’ harmonic presence remained increasingly distinct and steady. In the BBG signal, random partials that show up in between harmonic peaks indicate variations in structural resonance. These results lend credence to bamboo’s potential as an acoustic material for bass instruments, providing unique sound textures and encouraging environmental sustainability.

Amaury Viduvier succeeds Sylvie Hue as a soloist of the Garde Républicaine orchestras (band and string orchestra). If you want to have a complete list of actual clarinetists (19 in the band and four in the symphony orchestra), see: https://orchestrechoeur. garderepublicaine.fr/en/the-musicians. BOOKS OF LA COUTURE BOUSSEY MUSEUM The main French museum of wind instruments is in a village that hosted Leblanc, Marigaux, and many other clarinet makers.

When one of my colleagues (the bass clarinetist in the orchestra) fell ill, I had to function as a substitute. Since that first close contact with the instrument it occurred to me after some time that the limited role of the instrument is really not necessary. By purposeful technique of breathing and a modified mouthpiece, I have tried from the beginning to increase the sound intensity over the whole range of the instrument. By saying this I will certainly not express the opinion that the instrument could not be improved by a versatile constructor with understanding for the bass clarinet, modifying a few mechanical details. The bass clarinet as a solo instrument offers, of course, many more possibilities than those I have briefly mentioned.

I am often asked about which etude books are good for bass clarinet. Generally, I am a firm believer that anything you use for soprano clarinet you can use for bass clarinet as well. However, clarinet etudes don't make use of the extended range of a low C bass clarinet, and this range can become neglected and not as fluid as the rest of the instrument. Additionally, student-level instruments with only a single register vent suffer from difficulty playing in the upper range, making these etudes a frustrating experience for less-advanced players. The bass clarinet also has some of its own idiosyncrasies separate from clarinet that don't receive enough attention. The first set of exercises focuses on varying scale patterns crossing the break from the throat tones, which necessitated using both of the manual register keys. This isn't relevant for modern instruments, but I have still found the exercises very useful with my students for achieving clean transitions when changing registers and for all the varying combinations using the little fingers.

As an undergraduate student at Northwestern University, I frequently scanned the stacks at Deering Library in search of new bass clarinet pieces to practice and perform. Many of the pieces I found this way - Duo by Theo Loevendie, Mountains by Cornelius Cardew, Time & Motion Study I by Brian Ferneyhough - all bore dedications to Harry Sparnaay. Today, the repertoire for unaccompanied bass clarinet is so rapidly expanding that it is easy to forget that the solo bass clarinet as a genre has only really existed since the 1970s.1 This growth in repertoire can be largely attributed to Harry Sparnaay (1944-2017); many standard unaccompanied works for the instrument were either commissioned by, written for, or premiered by him. Several of Sparnaay's commissions were written by composers with whom he had ongoing collaborations. The composer and jazz pianist Theo Loevendie wrote seven works for Sparnaay (including the Duo for bass clarinet solo) and released an album with Sparnaay and the Theo Loevendie Consort. Sparnaay also established contact with many composers by writing to them.