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This one is in excellent condition with no repairs and is very lightly used and clean. This instrument has a one piece thin gold brass vintage Bach style bell flare, thayer valve, TB47NLW (.547 nickel lightweight) slide.
Don fabricated one of our refit Bach 42 chassis around this bell.(c) by Moeck Verlag, Celle/FRG, for all countries with the exception of: Copyright 1967 by Polskie Wydawnictwo Muzyczne, Krakow/Poland, for Poland, Albania, Czechoslovakia, Hungary, Rumania, Union of Soviet Socialist Relics, Chinese People's Republic, Cuba, North Korea, North Vietnam. Used by permission of European American Music Distributors Corporation, sole U. A the very end of his Threnody, Penderečki superimposed several layers of static pitch bands; here the individual bands are so tightly packed that there isonly a 1/4 tone separation between constituent notes, causing the band to have a thick, dense and more "noise-like" sound (Example 11). Due to the multiplicity of layers in multi‑layered fusion, the listener is overwhelmed by the activity and proliferation of sounds and is only imperfectly able to sort out the shapes and interrelationships of the various layers.Lutoslawski also superimposes slightly sctivated pitch bands of constant ambitus in hi Trois Poèmes d'Henri (c) 1963 by Universal Editions Milano (c) renewed. Used by permission of European American Music Distributors Corporation, sole U. A similar situation obtains in the "snow storm" music from the opening of Berg's Altenberglieder, where six separate rhythmic structures are superimposed. Used by permission of European American Music Distributors Corporation, sole U. and Canadian agent for Universal Edition (London) Ltd., London. Used by permission of European American Music Distributors Corporation, sole U. and Canadian agent for Universal Edition (London) Ltd., London.In both cases, the similar character of the lines, the frequent overlapping and uniform timbre all assist in creating perceptual fusion.Vertical "cross sections" from these two passages reveal a fairly dense concentration of pitches. Two basi types of banding are encoutered in post-1945 music: pitch bands with a static ambitus, and those that are contoured. The score of Penderečki's Threnody contains entire pages with pitch bands of changing contour, and passages from Ligeti's Volumina for organ (1960, see Example 12) and Xenakis' Nuit for chorus (1967‑68) also employ contoured banding.