I recently picked up a copy of The Many Sides of Alfred Gallodoro, Vol. I from Half.com. (As of this writing, they don’t have any copies left, so you’ll either have to get yours from his own website or from CD Baby. There are sound clips at both sites.)
The Many Sides of Alfred Gallodoro, vol. I is a collection of recordings from 1948 to 1958. The release date of the compilation appears to be 1998.
Mr. Gallodoro is known for virtuoso playing on clarinet, bass clarinet, and alto saxophone, and you can hear him do all three on this disc.
Of special interest to me was the Concerto for Doubles (alto saxophone, bass clarinet, clarinet) by Ralph Hermann, since there are precious few good feature pieces for woodwind doublers. (Just to make things confusing, there is one other piece in existence, also titled Concerto for Doubles, using the same instrumentation, and commissioned by Paul Whiteman for Mr. Gallodoro, but composed by Thomas Filas.) The Hermann piece was recorded in a single midnight session in Carnegie Hall, with a fifty-piece orchestra. No pressure! The piece, like most of the Whiteman band’s music, sounds dated to 21st-century ears, but charmingly so.
The first movement showcases Mr. Gallodoro’s fluid, fluent alto playing, including a nice altissimo C at the end. The second movement, a pretty bass clarinet feature, shows off Mr. Gallodoro’s surprising but effective use of vibrato on that instrument (he doesn’t use it on the “soprano” clarinet). Too bad this movement is the only example of his bass clarinet playing that made it onto the disc. I like that Hermann’s bass clarinet writing, though it does use the bass clarinet’s higher register at times, really puts the meaty stuff where it belongs, in the instrument’s lowest octave. Contemporary composers take note. The third movement is my favorite, a light and slightly tongue-in-cheek waltz. The clarinet writing is virtuosic, and Mr. Gallodoro’s playing sounds beautifully effortless.
Next up is Mr. Gallodoro’s rendition of Jimmy Dorsey’s Oodles of Noodles. Don’t be put off by the silly title, and hang on through the virtuosic-but-hokey opening section: the real payoff here is the bluesier middle section. Throughout, Mr. Gallodoro’s technique is jaw-dropping, and his sound lovely. I recently attended the North American Saxophone Alliance’s Biennial Conference and heard many incredible players doing the latest cutting-edge music, full of special effects and bizarre sounds. I can’t help but wonder how well some of them would handle a piece like this. Mr. Gallodoro’s live recording of Paul Bonneau’s Caprice en forme de valse, which WAS played at the conference, sounds absolutely fresh and modern. Had Mr. G been at the conference, I think he would have sent some saxophonists back home to woodshed.
Mr. Gallodoro’s own version of of Chopin’s Fantasie Impromptu for clarinet and orchestra is solidly arranged and expertly executed, but the really substantial clarinet work here is the Brahms Quintet. Mr. Gallodoro’s playing, is, as always, above reproach in terms of technique and musicianship (okay, maybe just a little pitchy in spots?), but the disc still loses momentum at this point. The Brahms is just too long and too heavy among the shorter, lighter fare on this disc. Sue me, but I would have liked to hear a movement or two of this, and then maybe a little more bass clarinet.
The final three pieces are saxophone features with band. All three pieces are with the Gabe Bartold band of 1958, thought Stardust and Harlem Nocturne seem to be scored for jazz big band, while William Reddie’s Caprice for Alto Saxophone and Concert Band seems to be for a larger symphonic wind group. The two jazz tunes are great and show off Gallodoro’s jazz chops; the Reddie piece is also excellent and displays his abilities as a “classical” saxophonist. I hadn’t even heard of the Reddie piece, and a cursory Googling doesn’t turn up much besides this CD, but I think it’s a grat piece and it’s a shame it isn’t heard much. Perhaps it’s too short and too tonal for today’s soloists. Oh well.
All in all, The Many Sides of Alfred Gallodoro, Vol. I is a very pleasant listen, and certainly a must-have for woodwind doublers. As far as I can tell, there is no volume II. At least, not yet—give the man another century!
I’m requiring each of my applied students at Delta State to purchase a recording of their instrument this semester as a sort of textbook. A number of them have confessed to me that this will be the first such recording they will own. I plan to require a different recording for each instrument each semester, so that, over the course of several semesters of study, the students will begin to build their personal libraries of great players playing great literature.
The purpose of this, of course, is to help the students develop good aural concepts of tone, phrasing, expression, vibrato, ensemble, and so forth. To try to learn to play an instrument well without a solid aural concept is like trying to learn a foreign language from a textbook. You might pick up a few things, but you’ll be sunk unless you get to really hear—over and over—how the words and phrases sound.
Here are the recordings I’ve selected for this semester. They are recordings of some of the most admired and relatively current performers (all are actively performing except for the late, great Mr. Mack), performing core solo literature. There’s no flute recording because I’m only teaching reeds, but maybe something like this would have been a good choice.
Oboe: John Mack, Oboe
Repertoire: Schumann Three Romances, Saint-Saëns Sonata, Hindemith Sonata, Poulenc Sonata, short pieces by Murgier, Berghmans, Planel, and Barraud. Read More “Required recordings, fall 2009”
A few years back I posted my attempt at building a stand for my Akai EWI4000s. That stand has served me reasonably well since then, but I’m pleased recently to have found a much superior solution.
The EWI Stand from Griff Musical Products’s Etsy store is a 3D-printed product (of durable PETG plastic) at a reasonable price (less than a couple of boxes of reeds).
To be clear, it’s something more like a “peg” than a stand per se, since it has to be installed on a Hercules stand purchased separately.
Like my homemade stand, it works with my inexpensive and sturdy Hercules stands, doesn’t interfere with power/line/MIDI cables, and allows the EWI to be quickly retrieved without clips or straps to unhook.
Video:
Superior to my homemade stand, it holds the instrument straight upright (not leaning at an angle), doesn’t require any fuss or fasteners to hold it in place (it simply slips over an existing Hercules flute/clarinet peg), and is far more compact.
In other words, this solves all my EWI stand problems. Kudos to Griff Musical Products for an elegant solution. Get yours here: EWI Stand
(I paid full price for the stand, and offer this review as a satisfied customer.)
Disclosure: As an Amazon Associate I earn from qualifying purchases, at no cost to you.
Bottom line: the ClariMate is an interesting gadget with potential for various uses, but it’s a little rough around the edges. Consider buying one now as a tech toy if you’re an early-adopter type, or wait for a new-and-improved iteration if you need something that just works.
I recently got my hands on the “ClariMate,” a new electronic device from the venerable Buffet-Crampon, clarinet maker of choice for most Boehm-system players worldwide. “Play anywhere, anytime,” its marketing materials proclaim, “the gateway to silent practice and digital music.” It’s a surprising and intriguing offering from a company more associated with tradition and history than innovation.
Players of electric keyboards and guitars have long had the option of using headphones, and Yamaha’s “Silent Brass” digital practice mutes were introduced in the 1990s. But woodwinds are much more complicated to silence, since sound waves don’t just emanate from the instrument’s end—they come from the instruments’ many toneholes. Enterprising folks have marketed a number of questionable solutions, ranging from pieces of foam stuffed inside the instrument to molded containers that completely encase it.
Buffet is betting on a more sophisticated approach. The ClariMate plugs into your clarinet’s barrel on one end and accepts your mouthpiece on the other, and does some electronic trickery in between. Buffet’s sales pitch is that you can play on your own clarinet silently, without substantially changing the instrument’s feel and with a convincing clarinet sound in your earphones. Does it fulfill this promise?
Yes, kind of. But it’s a new technology with a lot of real-world variables to deal with, and it’s marketed to some of the most sensitive and finicky customers there are: musicians.
So, at a current price of $425 USD, as much as a handmade mouthpiece, is it worth it? Let’s take a closer look.
What’s in the ClariMate box
The ClariMate unit, a black plastic thing with buttons and lights. The tube part adds about 1½” (38mm) of length to your clarinet. The perpendicular part with the buttons is about 2″×2½” (51mm×64mm). The unit weighs about 1½ oz (45g).
A nice black nylon carrying case, about 6″×6″×3″ (15cm×15cm×7.5cm).
Two “active reeds,” like plastic clarinet reeds with some additional attached mechanism that fits inside your mouthpiece
Some spare O-rings for the ClariMate’s tenon, where it connects to your barrel
A few rubbery plugs that can be inserted into the end of the flexible tube, for customizing the blowing resistance to your liking
A fabric-jacketed USB cable, for charging the ClariMate and for connecting to a computer
A flexible tube that connects to the ClariMate and dangles inside the clarinet
What the ClariMate sounds like
There are a couple of questions to address here: what does the ClariMate sound like in your earphones, and what does it sound like to someone else in the room?
The ClariMate does effectively silence your clarinet (almost), since the “active reed” assembly does not vibrate. Instead, the ClariMate detects what pitch your clarinet would be producing, based on the fingering you’re using, and replaces that with an electronic clarinet sound in your earphones.
The electronic clarinet sound is a garden-variety synthesized clarinet, like the one from your electric keyboard or music notation software. You wouldn’t mistake it for a real instrument, but it’s recognizable as a clarinet. A contact at Buffet tells me an improved, acoustically-modeled sound is already in the works for a future software release (which will be installable on already-purchased ClariMates).
Here’s a short demonstration. I play two excerpts from the Rose 32 Etudes, first on “real” clarinet and then with the ClariMate (with the Windows app). The final part of the video shows the sound in the room (which is virtually silent).
The ClariMate unit does produce a very quiet but audible hum (Buffet calls it the “chirp”), which changes as you open and close toneholes. Here’s an up-close recording of what it sounds like. I’ve got the microphone right at the bell, and I’m playing some notes down to low E. The thumps are the pads closing, and should give you an idea of how much I boosted the recording volume.
In reality the chirp is quiet enough to be masked by typical room sounds like air conditioning.
Connections
The ClariMate can be used in “standalone” mode, in which you just plug in some wired earphones (not included) and play. It can also connect to computer apps via USB cable or smartphone/tablet apps via Bluetooth for additional features.
It can’t be used with Bluetooth earphones due to latency, a delay between when you play the note and when you would hear it in the earphones. The technological issue here is real and probably currently unavoidable at this price point, but it’s a shame to see this device hit the market just when many people are discarding their wired earphones and living in their Bluetooth ones.
The ClariMate website suggests the USB mode can be used for MIDI, but the user manual doesn’t provide any information about this, and Windows did not detect my ClariMate as a MIDI device. A Buffet representative confirms that although this functionality is mentioned on the website, MIDI features are “not publicly available yet.”
Operating the ClariMate unit
The ClariMate has four buttons and four LED lights. Two of the buttons operate as simple volume-up and volume-down buttons, but you have to use an app to get any visual feedback on how much of the available volume you’re using.
There’s also a power button for starting the unit in standalone mode, or you can turn the power on while holding any of the other three buttons to start in USB, Bluetooth, or reed calibration mode. I find this a little fussy and non-intuitive; you have to read the manual to figure out how to turn the device on correctly. (Although I will allow that a clarinetist ought to be able to handle pressing more than one button at a time.)
Playing the ClariMate
Playing a clarinet with the ClariMate feels pretty natural to my embouchure. The non-vibration of the reed, which feels shiny-smooth but otherwise pretty reed-like, is different but not difficult to deal with.
The latency of the note tracking is slight and mostly manageable, but noticeable to an experienced clarinetist.
A contact at Buffet explained that the ClariMate requires a fair amount of finger precision, maybe even more than actually playing the clarinet, in order to correctly recognize the pitches you want. This was a purposeful choice, as the ClariMate team wanted to make sure the device was useful as a practice aid, and not something that would allow you to develop bad playing habits. I found the ClariMate mostly identified my intended pitches without difficulty.
Failure to detect the intended notes can be due to imprecise finger placement, or due to differences between your clarinet and barrel and those used in developing the ClariMate (apparently a Buffet E11). This can be fixed by “training” the ClariMate to recognize your individual instrument’s quirks. My Buffet Festival B-flat mostly worked pretty well without any training for playing simple things, but I did do a full training regimen, which took about 5 minutes, to get the device to respond well to faster passages and short staccato notes. The training consists of the app showing you a sequence of notes, which you play on your instrument.
You can adjust the ClariMate’s breath sensor “threshold” to match your accustomed reed response (in other words, will the ClariMate start playing with the slightest breath, or will there be a bit of cushion to blow against?).
The “active reed” has a simple non-electronic device that sits inside the mouthpiece to detect pressure on the reed. As I understand it, this pressure is supposed to affect pitch, but I was unable to get the reed properly calibrated, so I wasn’t able to test this. I got an error message from the apps over and over during the calibration process. A Buffet representative kindly walked me through several potential solutions, including trying ligatures other than the one I usually use, but we were unable to solve the problem.
I’m not convinced that mapping volume to breath pressure and pitch to reed pressure accurately reflects real clarinet playing. Intentional adjustments to pitch on the clarinet are best accomplished with voicing rather than changing the pressure on the reed. Pressure on the reed is, however, tied to volume in “real” clarinet playing, and breath support should generally remain constant. In this way, the tone-production aspects of the ClariMate may not be a direct match to real-world clarinet playing, though they will be familiar to players of electronic wind controllers.
The extra length and weight added to the instrument by installing the ClariMate is not bothersome. It’s not much more than the difference between playing a B-flat clarinet and an A clarinet.
Use cases
Buffet’s primary push for the ClariMate seems to be as a device for practicing silently. After fully “training” the device to recognize notes on my instrument, the note tracking is probably good enough for most practice applications, but still has a just-noticeable lag that would be problematic for artist-level playing.
And, of course, the tone production aspects of practicing (tone, intonation, response) are lost or substantially changed when using the ClariMate. This may limit its usefulness to developing players.
Buffet’s marketing materials also suggest the device can be used for digital music-making. It does at least theoretically provide a way for a clarinetist to control MIDI devices or other electronics using their own instrument, pending future software releases.
A Buffet representative described their conception of the ClariMate-plus-clarinet as wind controller as a “Reversible Hybrid Instrument (RHI).” I do think the addition of electronics to a woodwind instrument suggests some future possibilities for digitally-augmented performance, perhaps blending electronic sounds with live instrument sounds. But this isn’t possible with the ClariMate, which prevents the clarinet from producing its natural sound.
And if you want to play a wind-controlled synthesizer, then I still think the best way is to make the effort and learn to play a purpose-built one, my favorite being the Akai EWI series. Some other instrument makers (Roland, Yamaha) have introduced digital saxophone-style instruments, which are easy for saxophonists to play out of the box but which fully embrace the problematic aspects of saxophones, like palm keys and pinky rollers.
Digital saxophones at least have the ability to expand their tessitura with relatively intuitive solutions like additional octave keys, but this would be more complicated on the clarinet (whose registers aren’t an octave apart). The ClariMate brings to the table the possibility for clarinetists to play an electronic instrument without learning new fingerings or significantly new tone production techniques, but, like the digital saxophones, brings the limitations of an “acoustic” instrument into the digital world.
The apps are able to provide some real-time visualization of aspects of your playing, such as breath pressure and reed pressure, and there is potential for these, used judiciously, to become useful diagnostic or pedagogical tools.
Reliability
My ClariMate worked upon first opening the box, but I quickly ran into some issues that made the device inoperable. With assistance from Buffet’s support staff, I was able to resolve these. An ongoing problem is that I am unable to complete the reed calibration process, getting a persistent error message in the apps. That means I can’t alter pitch by applying pressure to the reed.
I experimented with the Windows and Android apps. There are also apps for Apple devices. (As a Linux user, I’m experiencing the familiar disappointment that my preferred platform isn’t supported.) The apps feel buggy and unreliable—I find myself often restarting them and the device to try to solve various technical issues. My conversations with Buffet suggest that they are hopeful about frequent and significant software improvements, including updated firmware that you install on the device itself to improve its future functionality. (Long-term software development will no doubt depend on the financial success of the ClariMate project.)
It’s worth bearing in mind that this is in some ways a whole new class of device, so some birthing pains are to be expected. If you enjoy tinkering with the newest gadgets and have the patience or tech savvy to work around some bugs while waiting hopefully for software updates, then I think the ClariMate is usable. If you are a more reluctant tech user, it may be wise to wait for the ClariMate’s software and/or hardware to mature more fully.
How the ClariMate works
I’m not a scientist or engineer, but here’s what I can gather:
The ClariMate uses an air pressure sensor to detect how hard you’re blowing, and translates that into volume (or silence if it detects you aren’t blowing).
The reed bite sensor works by way of a small mirror, a light, and a light sensor. The light shines on the mirror (part of the “active reed” assembly) and reflects back to the sensor. Biting on the reed moves the mirror and affects how much light is reflected.
The ClariMate unit produces a quiet hum (the “chirp”) inside the bore of the instrument. Opening and closing toneholes affects the pitch of the chirp. A microphone detects the pitch of the chirp, compares it to a stored database of pitches, and plays back the corresponding note from the electronic clarinet sound.
As a side note, the pitch of the chirp isn’t necessarily the same as the pitch of the note that is produced in the earphones. You can hear it change, and the device can match that pitch to the intended note, but you can’t necessarily hear the tune you’re playing just from the chirp.
Also, the ClariMate doesn’t directly detect your fingerings—for example, it can’t tell if you are playing low E with the left or right hand pinky. But it can recognize some alternate fingerings that produce detectably different chirp pitches.
The flexible tube allows for drainage of condensation, and also directs your breath out the instrument’s bell rather than letting it linger inside the instrument’s bore, where it would affect bore temperature and interfere with the ClariMate’s pitch detection.
Additional observations
The name “ClariMate” is cute but fails to describe the product in a useful way. I imagine “ClariMute” must also have been discussed, but another product with that name already exists. Here’s how the packaging justifies the name:
I have heard rumors that the ClariMate has been in development for 10 years. If that’s true, it’s odd that the release of the product feels like it was kind of rushed. There are some rough edges on the technology, and also on the product release. The demonstration video on the product website failed to actually demonstrate the product being used. It didn’t include any audio of the instrument’s sound in the earphones or in the room, the two things that I wanted and expected to hear in a media clip. (I’ve hopefully helped rectify that with this review.)
I was provided by Buffet-Crampon with a ClariMate unit at no charge, with the possibility but not the promise of a review. I have done my best to keep my review unbiased. I use some other Buffet products but have no official relationship with the brand.
Recently, I’ve noticed a lot of jazz musician bloggers opining about the evils of memorizing patterns and “licks,” and calling for original and creative improvisation. While I don’t think anybody will argue about the importance of individuality and creativity, I do think it’s a big mistake to ignore the value of memorizing, practicing, and internalizing established jazz vocabulary.
When a person learns a foreign language, they learn first to repeat some standard useful phrases. Then they learn to rearrange the vocabulary and syntax of those phrases to create new ones. Over a lifetime of study and practice, they may learn the language well enough to speak or write with their own distinctive creative voice. But if a student tries on the first day of French class to be creative and original, they aren’t likely to make much sense. To speak the language, you need to hear it, imitate it, and then repeat over and over. Genuine individual originality comes much, much later.
If you listen to a lot of Kenny Garrett, and if you take it upon yourself to transcribe a bunch of Kenny Garrett solos, and if you steep yourself in those Kenny Garrett solos, then chances are you will come out sounding an awful lot like Kenny Garrett.
Now, if that’s all you aspire to, then that’s where you’ll end up: as a Kenny Garrett clone. But if you desire to forge your own voice, then Kenny will simply become a part of your vocabulary, a vocabulary that includes other influences besides Kenny and increasingly reflects your personal explorations with melody, harmony, timbre, and nuance. You are an individual, after all, and the sheer force of your individuality will direct you toward your own sound and approach.
A good writer doesn’t become one by attempting to create a different dictionary. He or she develops expertise by becoming conversant with the existing language, and that happens largely through reading the works of great writers who have gone before. Through careful scrutiny and application of how others have handled the English language, the individual’s personal writing style emerges.
Shakespeare is noted for adding a huge number of words and phrases to the English language—undoubtedly one of the most creative minds working in that medium. But how many of the words and phrases in his works were really brand new inventions? Surely less than 1%. And how much did Charlie Parker or John Coltrane add to the jazz language, that wasn’t already there? Their contributions are staggeringly significant, but what they actually created out of thin air was a drop in the bucket among all the notes they played in their careers. For most of us mortals, our truly original contributions to the language (be it English or jazz) are few and far between; most of our creativity happens when we shuffle and remix the materials that are already before us.
Bob backs up his ideas about the importance of jazz vocabulary with his Giant Steps Scratch Pad project. The Scratch Pad provides a wealth of tasty and useful vocabulary for playing over the chord changes to John Coltrane’s tune “Giant Steps,” a tune that has challenged the best of jazz players for decades because of its unusual and elegantly symmetrical chord progression. Bob was kind enough to send me a review copy of the Giant Steps Scratch Pad Complete, a new PDF-only (at least for now) edition that contains the same material as the Scratch Pad, transposed into all twelve keys. The transposed material makes this especially good for those who aspire to play Giant Steps in all twelve keys, or who double on instruments of different transpositions.
At that point the ClariMate seemed to be positioned mostly as a tool for practicing the clarinet silently. I found that to be a bit of a stretch, maybe having limited usefulness for practicing fingerings but far less helpful with matters of tone production.
At that time, some of the promotional materials also suggested that the ClariMate could be used as a MIDI controller. That turned out to be incorrect, and a Buffet-Crampon confirmed that the feature was “not publicly available yet.”
There is now some MIDI functionality available. A dual purpose of silent practice plus MIDI capability is reflected in the current advertising copy (found at the ClariMate US website as of mid-September 2024): “Silent Practice, Digital Play,” “ClariMate is a Reversible Hybrid Instrument and Digital Practice Mute for Bb clarinets,” “Opening the door to silent practice and the world of digital music.” This is bolstered with some videos of prominent clarinetists using the ClariMate as a MIDI controller.
Reliability
As I mentioned in my full review, I had some issues with my unit, including sporadic inoperability and a persistent failure to complete the “reed calibration” process in the apps. (Calibrating the reed ostensibly makes it possible to bend pitch by applying more or less pressure to the reed. This is a common feature of many wind controllers, though I don’t think it’s an accurate reflection of how pitch is manipulated on the clarinet.)
To their credit, members of Buffet-Crampon’s ClariMate team have stayed in touch over the last couple of years, and ultimately offered to exchange my ClariMate for a new unit. I have spent a little time with the new unit and I do find it to be more stable, though it’s not clear to me whether that’s due to a defect in the previous one or to improvements to the firmware and apps.
I did manage to complete the reed calibration process in the Windows app, but only after many attempts with the new unit. And I still find that I do not have any real control of pitch bends. Most of the time the pitch is completely unaffected no matter how much or how little pressure I put on the reed. I do hear very occasional small bends while playing, but they are not intentional and I can’t figure out how to make them happen on purpose.
MIDI features
I also experimented a little with the new MIDI functionality. The ClariMate website now offers free “MIDIMate” software, a rudimentary soft synth for Windows and MacOS with a handful of sounds. I was also able to use the ClariMate with another Windows soft synth, and with a music notation program for note entry, though both were considerably more glitchy than MIDIMate or the ClariMate apps.
In researching the new MIDI capabilities, I did a web search for “ClariMate manual” and clicked the first result, a PDF hosted on the ClariMate EU website. It contains this text: “MIDI will work in USB or bluetooth mode via Windows or MacOS, and in bluetooth mode via Android and iOS. We recommend using MIDI in USB mode to reduce latency as much as possible.” I was unable to get ClariMate MIDI working with my Android device, and a representative has now confirmed that MIDI is “not yet available on Android, but should be soon.” He also pointed me to a more up-to-date version of the manual, which does not include the misleading text. (If you are looking for a current manual, you should visit the ClariMate website to make sure you aren’t looking at something outdated.)
The fact that MIDI capability was falsely advertised at the ClariMate’s launch, and that Android MIDI was falsely mentioned in a recent user’s manual, seem consistent with an apparent pattern of over-promising and under-delivering. That’s concerning when selling a not-inexpensive gadget to tech-savvy clarinetists, a finicky bunch if ever there was one. The older manuals should probably be removed from the ClariMate websites so they will disappear from Google results, and it would be responsible of Buffet-Crampon to be precise and truthful about which features are and aren’t available.
Use cases?
My ClariMate has mostly stayed in its case. I am fortunate to have a space where I can practice out loud, and if that were to change I don’t think the ClariMate’s silent practice functionality would suit my purposes. And the MIDI compatibility pales in comparison to the capabilities and reliability of my Akai wind controller. If you are a professional or semi-professional musician and finding good uses for the ClariMate, I would be curious to hear about them.
I’m grateful to the ClariMate team for their ongoing communication and support, and I hope this device will be a first step toward continuing innovation.
Here, once again, are my required recordings for the new semester. These are recordings I select each semester for my university students, a different one for each instrument (I teach oboe, clarinet, bassoon, and saxophone), so that over the course of their degree program they build up a collection of great players playing great repertoire.
I recently picked up a copy of The Many Sides of Alfred Gallodoro, Vol. I from Half.com. (As of this writing, they don’t have any copies left, so you’ll either have to get yours from his own website or from CD Baby. There are sound clips at both sites.)
Hello. Does anyone know where I can get the music for Reddie’s Caprice for Alto Saxophone and Concert Band?