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Sounding the Seventh Trumpet is the debut studio album by American heavy metal band Avenged Sevenfold, released on July 24, 2001, through Good Life Recordings. [8] [9] The album was reissued on March 19, 2002, through Hopeless Records, [10] featuring a slightly different cover art.
"Battōtai" (抜刀隊, Drawn-Sword Regiment) is a Japanese gunka composed by Charles Leroux with lyrics by Toyama Masakazu in 1877. Upon the request of the Japanese government, Leroux adapted it along with another gunka, "Fusōka" (Song of Fusang), into the military march Rikugun bunretsu kōshinkyoku [] in 1912.
Wah-wah (or wa-wa) is an imitative word (or onomatopoeia) for the sound of altering the resonance of musical notes to extend expressiveness, sounding much like a human voice saying the syllable wah.
The most commonly used brass mute in classical music, straight mutes for trumpet (and sometimes trombone) are also used in jazz. [ 6 ] [ 24 ] It is the only type of tuba mute regularly used and is available for all brass instruments.
Short sheet-metal trumpet from the Bactria, dated from 2100 B.C.- 1900 B.C. [1] This particular example is missing its mouthpiece. Labeled Oxus type bulb trumpets, these trumpets were designed to produce a soft, very high pitch with "modest" tension in the player's lips. [2]
The piece was used on The Colbert Report as the theme for the recurring segments Colbert Platinum (on trumpet) and Colbert Aluminum (on kazoo). The march is used as the background music during the hourly performance of the Royal Clock in the Queen Victoria Building, Sydney, Australia. [citation needed]
VIIe/1) (Trumpet Concerto in E-flat major) in 1796 for the trumpet virtuoso Anton Weidinger. Joseph Haydn was 64 years of age. A favourite of the trumpet repertoire, it has been cited as "possibly Haydn's most popular concerto". [1] Although written in 1796, Weidinger first performed the concerto four years later on March 28, 1800. [2]
I borrowed the name, the trumpet, and some of the themes from the original play. The addition of English horn and string orchestra (I was limited to clarinet, saxophone, piano, plus the trumpet of course, in the stage version), and the form of the piece as a whole, was the result of work in a barn-studio two miles down the road from Tanglewood.
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