document_title: The Beverly Hillbillies

question_text: what was the name of the hound dog on the beverly hillbillies

text: The Beverly Hillbillies

text: Premise[edit]

text: The series starts as Jed Clampett, an impoverished and widowed mountaineer, is living alongside an oil-rich swamp with his daughter and mother-in-law. A surveyor for the OK Oil Company realizes the size of the oil field, and the company pays him a fortune for the right to drill on his land. Patriarch Jed's cousin Pearl Bodine prods him to move to California after being told his modest property could yield $25 million, and pressures him into taking her son Jethro along. The family moves into a mansion in wealthy Beverly Hills, California, next door to Jed's banker, Milburn Drysdale. The Clampetts bring a moral, unsophisticated, and minimalistic lifestyle to the swanky, sometimes self-obsessed and superficial community. Double entendres and cultural misconceptions are the core of the sitcom's humor. Plots often involve the outlandish efforts Drysdale makes to keep the Clampetts' money in his bank. The family's periodic attempts to return to the mountains are often prompted by Granny's perceiving a slight from one of the "city folk".

text: Cast[edit]

text:
Buddy Ebsen as J. D. "Jed" Clampett, the widowed patriarch and head of the household.
Irene Ryan as Daisy May ("Granny") Moses, Jed's mother-in-law and Elly May's Grandmother.
Donna Douglas as Elly May Clampett, Jed's beautiful tomboy daughter
Max Baer Jr. as Jethro Bodine, the brawny, half-witted son of Jed's cousin Pearl.
Raymond Bailey as Milburn Drysdale, Jed's greedy, unscrupulous banker
Nancy Kulp as Miss Jane Hathaway, Drysdale's scholarly, "plain Jane" secretary
Harriet E. MacGibbon as Margaret Drysdale, Mr. Drysdale's ostentatious wife
Bea Benaderet as Jed's cousin Pearl (season 1)

text: Episodes[edit]

text:
Season
Episodes
Originally aired
Nielsen ratings[3]

First aired
Last aired
Rank
Rating
Tied with

1
36
September 26, 1962 (1962-09-26)
May 29, 1963 (1963-05-29)
1
36.0
N/A

2
36
September 25, 1963 (1963-09-25)
June 10, 1964 (1964-06-10)
1
39.1
N/A

3
34
September 23, 1964 (1964-09-23)
June 16, 1965 (1965-06-16)
12
25.6
N/A

4
32
September 15, 1965 (1965-09-15)
May 18, 1966 (1966-05-18)
7
25.9
Bewitched

5
30
September 14, 1966 (1966-09-14)
April 19, 1967 (1967-04-19)
7
23.4
Daktari
Bewitched

6
30
September 6, 1967 (1967-09-06)
April 3, 1968 (1968-04-03)
12
23.3
N/A

7
26
September 25, 1968 (1968-09-25)
March 26, 1969 (1969-03-26)
10
23.5
N/A

8
26
September 24, 1969 (1969-09-24)
March 18, 1970 (1970-03-18)
18
21.7
N/A

9
24
September 15, 1970 (1970-09-15)
March 23, 1971 (1971-03-23)
N/A
N/A
N/A

text: Characters[edit]

text: Main cast[edit]

text: J.D. "Jed" Clampett[edit]

text: Although he has little formal education, Jed Clampett (Buddy Ebsen) has a good deal of common sense. He is the son of Luke Clampett and his wife, and has a sister called Myrtle. Jed is a good-natured man and the head of the family. The huge oil pool in the swamp he owned was the beginning of his rags-to-riches journey to Beverly Hills. He is usually the straight man to Granny and Jethro's antics. His catchphrase is, "Welllllll, doggies!"[4] Jed was one of the three characters to appear in all 274 episodes of the series.

text: Granny[edit]

text: Daisy May Moses (Irene Ryan), called "Granny" by all, is Jed's mother-in-law. Paul Henning, the show's creator/producer, quickly discarded the idea of making Granny Jed's mother, which would have changed the show's dynamics, making Granny the matriarch and Jed subordinate to her. Granny can be aggressive, but is often overruled by Jed. She is a Confederate to the core, defending President Jefferson Davis, the Stars and Bars, and the simple life. Short-fused and easily angered, Granny fancies herself a Baptist ("dunked, not sprinkled") Christian with forgiveness in her heart.[5] A self-styled "M.D." — "mountain doctor" — she claims to be better than expensive trained physicians. In lieu of conventional anesthesia, Granny uses her "white lightning" brew before commencing painful treatments such as leech bleeding and yanking teeth with pliers.

text: Granny's full name, Daisy Moses, is allegedly an homage to the popular and dearly loved folk artist Anna Mary Robertson, known to the world as Grandma Moses, who died in 1961, a year before The Beverly Hillbillies made its television debut.[6][7] Granny is frequently referred to as "Granny Clampett" in a number of episodes, but technically she is a Moses. Granny appears in all 274 episodes.

text: Elly May Clampett[edit]

text: Elly May (Donna Douglas in all 274 episodes), the only child of Jed and Rose Ellen Clampett, is a mountain beauty with the body of a pinup girl and the soul of a tomboy. She can throw a fastball as well as "rassle" most men to a fall, and she can be as tender with her friends, animals, and family as she is tough with anyone she rassles. She says once that animals can be better companions than people, but as she grows older, she allows that, "fellas kin be more fun than critters. "In addition to the family dog, Duke (an old Bloodhound), a number of pets live on the Clampett estate thanks to animal-lover Elly. In the 1981 TV movie, Elly May is the head of a zoo.

text: Elly is a terrible cook. Family members cringe whenever, for plot reasons, Elly takes over the kitchen.

text: Jethro Bodine[edit]

text: Jethro (Max Baer Jr. in 272 episodes) is the son of Jed's cousin, Pearl Bodine (though he addresses Jed as "Uncle Jed"). He drives the Clampett family to their new home in California and stays on with them to further his education. The others boast of Jethro's "sixth-grade education", but he is ignorant about nearly every aspect of modern California life. In one episode, he decides to go to college. He enrolls late in the semester at a local secretarial school and "earns" his diploma by the end of the day because he is so disruptive. This was an ironic in-joke – in real life, Max Baer Jr. has a bachelor's degree in business administration, minoring in philosophy, from Santa Clara University.[8][9]

text: Many story lines involve Jethro's endless career search, which include such diverse vocations as a millwright, a brain surgeon, street car conductor, "double-naught" spy, telephone lineman, soda jerk, chauffeur, short-order cook, sculptor, restaurant owner (with Granny's cooking), psychiatrist, and once as a bookkeeper for Milburn Drysdale's bank; a Hollywood agent for "cousin" Bessie and "Cousin Roy" (see below); Hollywood producer (a studio flunky remarks Jethro has the "right qualifications" for being a producer: a sixth-grade education and an uncle who owns the studio; this in-joke gag as a movie producer was replayed in the 1981 movie). More often than not, his overall goal in these endeavors is to meet pretty girls. He only manages to gain (but is oblivious to) the affections of the plain Miss Jane Hathaway. Of all the Clampett clan, he is the most eager to embrace city life. A running gag is that Jethro is known as the "six-foot stomach" for his huge appetite: in one episode, he eats a jetliner's entire supply of steaks; in another, Jethro tries to set himself up as a Hollywood agent for cousin "Bessie" the chimpanzee – with a fee of 10,000 bananas for Bessie and 1,000 for him. Jethro does not appear in the third- or second-to-last episodes, but Baer remains billed in the title credits.

text: With the January 2015 death of Donna Douglas, Baer is the only surviving main cast member.[10]

text: Milburn Drysdale[edit]

text: Milburn (Raymond Bailey in 247 episodes) is the Clampetts' banker, confidant and next-door neighbor. He is obsessed with money, and to keep the Clampetts' $96,000,000 (in 1969, equal to $640,638,838 today) in his Commerce Bank, Mr. Drysdale will do everything he can to cater to their every wish. He often forces others, especially his long-suffering secretary, to help fulfill their outlandish requests.

text: Jane Hathaway[edit]

text: Jane Hathaway (Nancy Kulp in 246 episodes), whom the Clampetts address as "Miss Jane", is Drysdale's loyal and efficient secretary. Though she reluctantly carries out his wishes, she is genuinely fond of the family and tries to shield them from her boss's greed. Miss Hathaway frequently has to "rescue" Drysdale from his schemes, receiving little or no thanks for her efforts. The Clampetts consider her family; even Granny, the one most dead-set against living in California, likes her very much. Jane harbors something of a crush on Jethro for most of the series' run. In 1999, TV Guide ranked Jane Hathaway number 38 on its "50 Greatest TV Characters of All Time" list.[11]

text: Recurring[edit]

text: Milburn Drysdale's wife Margaret (Harriet E. MacGibbon; 55 episodes in 1962–69) is a blue-blooded Bostonian who traces her family back to the Mayflower and has obvious disdain for the "peasant" and "dreadful" hillbillies, especially Granny, with whom she occasionally has "scraps". Her son, Milburn's stepson, Sonny (Louis Nye) is introduced as a 35-year-old collegian who does not believe in working up a sweat and is a mama's boy. He courts Elly May until she literally tosses him. Sonny only appears in four episodes, three in 1962 and a final appearance in 1966.

text: Pearl Bodine (Bea Benaderet; 22 episodes in season 1) is Jed's widowed cousin. Pearl is a generally well-meaning mother to Jethro. She was also a popular character, often used as a foil for Granny, and became a regular part-way through the first season (the end credits were even refilmed to include Pearl with the other family members). The character disappeared after the first year because Benaderet had become the star of another Paul Henning series, Petticoat Junction. She is the daughter of Amos Clampett, Jed's uncle. Like Elly May, Pearl's name came from that of a character (Pearl Lester) in the popular rural-life novel, play, and film Tobacco Road.[citation needed] In the episodes "The Clampetts Get Psychoanalyzed" and "The Psychiatrist Gets Clampetted", Herbert Rudley plays the psychiatrist Dr. Eugene Twombley, with whom Pearl is enamored; Benaderet's real-life husband was named Eugene Twombly. In season six, she makes a cameo appearance in the episode "Greetings From The President".

text:
Jethrine Bodine (played by Baer, but voiced by Linda Kaye Henning; 11 episodes in season 1): Jethrine is Pearl's king-sized daughter and Jethro's twin. Jethrine appears in the first season; she moves with her mother to the Clampett mansion later that season, but occasionally is not seen in episodes during her stay in California. Jethrine is upset to leave the hills as it means separation from her "sweetie", traveling salesman Jasper "Jazzbo" Depew. Late in the season, it was explained in an episode that Jethrine had returned home to marry Depew. Jethro and Jethrine rarely appeared in the same scene in any of the episodes, and then they were never on-camera at the same time, except for the rare back-of-the-head shot using a double. Jethrine also appears in the 1993 movie version.
Dash Riprock (Larry Pennell; 10 episodes in seasons 3–7) is a handsome Hollywood actor employed by Jed's movie studio. He and Elly May meet while she is working as an extra at the studio. The two have an on-and-off relationship. Riprock was a send-up of the blatantly fake screen names employed by a number of movie actors of the period. Riprock's real name (before being changed by Hollywood moguls) was "Homer Noodleman", and he was from Peoria, Illinois.
Lowell Redlings Farquhar (Charles Ruggles; three episodes in seasons 4 and 5) is the elderly father of Mrs. Drysdale. Granny considers him a potential beau.
Lester Flatt and Earl Scruggs (as themselves in seven episodes, 1963–68) are longtime friends of the Clampetts "back home" (Kimberling City, Missouri), who visit the Clampetts when they are on tour in California. The duo had a number-one Billboard country single with the show's "The Ballad of Jed Clampett" (although the song is actually performed in the credits by Jerry Scoggins to Flatt and Scruggs' instrumental). (Actress Joi Lansing played Flatt's wife, Gladys, in five episodes, 1963–68.)
John Brewster (Frank Wilcox; 14 episodes, 1962–1966), is the president and CEO of the OK Oil Company, headquartered in Tulsa, who purchases the oil rights to the gusher on the Clampett home. The Clampetts are quite fond of him, and his wife occasionally visits them in California.
Janet Trego (Sharon Tate; 15 episodes, 1963–65) is a beautiful secretary at the Commerce Bank. (Tate was later murdered by Charles Manson's "family" just before the start of season 8.)
Sam Drucker (Frank Cady; 10 episodes in 1968–70) owns the general store in Hooterville. Granny is constantly under the impression Sam wants to marry her, but Sam has no such intention. Cady also starred as Sam Drucker in Petticoat Junction and Green Acres. Cady reprised the role of Sam Drucker for the 1990 Green Acres reunion movie Return to Green Acres.
Helen Thompson (Danielle Mardi; 17 episodes in 1969–71) is a beautiful British secretary at the Commerce Bank. Helen takes over Miss Hathaway's job as Mr. Drysdale's secretary after Miss Hathaway resigns. She is one of the ringleaders of the protest group the secretaries of the Commerce Bank create: GRUN (Girls Resist Unfair Neglect). She, along with many other secretaries, as well as Elly and Granny, live with Miss Hathaway for a short time in her apartment.
Shorty Kellums (Shug Fisher; 17 episodes in seasons 8 and 9) is Jed's longtime buddy from back home, with whom Jed reunites in 1969 when the Clampetts go back home for an extended period. Shorty is a wiry little man who is crazy about voluptuous girls half his age. Shorty later moves into the Clampett mansion in Beverly Hills for a while.
Elverna Bradshaw (Elvia Allman; 13 episodes, 1963–70) is Granny's longtime rival back in the hills, a gossip second to none. Referenced as early as episode 3, she makes a brief appearance in a 1963 episode when the Clampetts go back home to bring Pearl to California, but is not seen again until 1969, when the Clampetts return for an extended visit. However, both Granny and Jed refer to the character in several episodes throughout the series' run. Elverna and Granny rekindle their feud in a match to see who will be the first to marry, Elverna's daughter or Elly May. For reasons not really explained, Elverna also moves into the Clampett Beverly Hills mansion during the same period Shorty does; both of them, however, are not present for the final 1970–71 season.
Matthew and Mark Templeton (brothers played by actor Roger Torrey, who had auditioned for the part of Jethro; three episodes in season 8 as Matthew; 9 in season 9 as Mark) Matthew is the preacher Granny tags as a prospective husband for Elly. Unfortunately, Granny learns Matthew is married. Just a year later back in California, Elly meets Matthew's brother, Mark Templeton, who is a marine biologist and a frogman, whom Granny believes is actually part frog. The Mark Templeton storyline played out for nine episodes and was abruptly dropped, although advance publicity for the show indicated Elly May and Mark would marry during the season; however, the show was canceled at the end of that season as part of the CBS Rural Purge.
Cousin Roy (Roy Clark; three episodes in seasons 6 and 7) is the Clampetts' cousin, who comes to Hollywood as an aspiring country singer. Jethro turns down the chance to be his agent, only to have Cousin Roy actually succeed. (In a similar story line, singer Pat Boone guest starred as himself; Jethro fails to be Boone's agent too.)

text: Theme music[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2016) (Learn how and when to remove this template message)

text: The show's theme song, "The Ballad of Jed Clampett", was written by producer and writer Paul Henning and originally performed by bluegrass artists Flatt and Scruggs. The song is sung by Jerry Scoggins (backed by Flatt and Scruggs) over the opening and end credits of each episode. Flatt and Scruggs subsequently cut their own version of the theme (with Flatt singing) for Columbia Records; released as a single, it reached number 44 on Billboard Hot 100 pop music chart and number one on the Billboard Hot Country chart (the lone country chart-topper for the duo).

text: The six main cast members participated on a 1963 Columbia soundtrack album, which featured original song numbers in character. Additionally, Ebsen, Ryan, and Douglas each made a few solo recordings following the show's success, including Ryan's 1966 novelty single, "Granny's Miniskirt".

text: The series generally features no country music beyond the bluegrass banjo theme song, although country star Roy Clark and the team of Flatt and Scruggs occasionally play on the program. Pop singer Pat Boone appears in one episode as himself, under the premise that he hails from the same area of the country as the Clampetts, although Boone is a native of Jacksonville, Florida.

text: The 1989 film UHF featured a "Weird Al" Yankovic parody music video, "Money for Nothing/Beverly Hillbillies*", combining "The Ballad of Jed Clampett" and English rock band Dire Straits' 1985 hit song "Money for Nothing".

text: Crossovers[edit]

text: Season seven (1968–69) was packed with strategically placed, multi-episode crossover stories in which the fictional worlds of all three Paul Henning series overlap. The Clampett family makes several trips to Hooterville, Sam Drucker visits Beverly Hills, and Granny (Irene Ryan) does two guest appearances on Petticoat Junction. In season eight (1969–70), the Clampett family visits Hooterville one last time for a two-part episode.

text:
"Granny Goes to Hooterville" (season 7: episode 6) - Granny leaves for Hooterville upon hearing distant cousin Betty Jo Bradley (Linda Henning) just had a baby. The only Petticoat Junction cast members in this episode are Sam Drucker (Frank Cady) and Uncle Joe (Edgar Buchanan) seen talking to Granny on the phone. (The story continues on the Petticoat Junction episode "Granny, the Baby Expert".) "The Italian Cook" (7:7) wraps up the three-episode Hooterville story arc featuring Betty Jo, her husband Steve Elliott (Mike Minor), and Sam Drucker.
"The Thanksgiving Story" (7:10) - The Clampetts visit Hooterville and mingle with the Petticoat Junction cast. This includes a silent, split-second insert of Eddie Albert and Eva Gabor of Green Acres. Jethro pretends to be a Hollywood producer and tries to romance Billie Jo (Meredith MacRae) and Bobbie Jo (Lori Saunders) Bradley. This arc continues in the next episode, "The Courtship of Homer Noodleman" (7:10), with the Clampetts leaving for home following Eb Dawson's (from Green Acres) falling for Elly May.
"The Week Before Christmas" (7:13) - The crossover aspect is limited to two scenes in Sam Drucker's general store with the Bradley sisters and Drucker talking to Granny over the phone. The same broadcast week, Petticoat Junction aired "A Cake from Granny" with shots of Granny and Jane Hathaway (Nancy Kulp) in Beverly Hills baking a cake. "Christmas in Hooterville" (7:14) reunites the Clampett family with the Petticoat Junction cast. The follow-up episode, "Drysdale and Friend" (7:15), has appearances by Sam Drucker and Green Acres regular Fred Ziffel (Hank Patterson).
"Sam Drucker's Visit" (7:23) - The final season seven crossover with Sam Drucker dropping in on the Clampetts in Beverly Hills. Drucker and Betty Jo share one scene set in his Hooterville General Store.
In season eight, "Buzz Bodine, Boy General" (8:15) and "The Clampett-Hewes Empire" (8:16) comprise the last two-part crossover of the series. The Clampetts return to Petticoat Junction in a story featuring Steve Elliott, Betty Jo, Sam Drucker, and a rare Hooterville visit by Miss Hathaway and Mr. Drysdale (Raymond Bailey).
During season nine, after the cancellation of Petticoat Junction, Lori Saunders appeared in three episodes playing a new recurring character, Elizabeth Gordon.

text: Reception[edit]

text: The Beverly Hillbillies received poor reviews from some contemporary critics. The New York Times called the show "strained and unfunny"; Variety called it "painful to sit through".[12] Film professor Janet Staiger writes that "the problem for these reviewers was that the show confronted the cultural elite's notions of quality entertainment." [13] The show did receive a somewhat favorable review from noted critic Gilbert Seldes in the December 15, 1962 TV Guide: "The whole notion on which The Beverly Hillbillies is founded is an encouragement to ignorance... But it is funny. What can I do?" [14][15]

text: Regardless of the poor reviews, the show shot to the top of the Nielsen ratings shortly after its premiere and stayed there for several seasons. During its first two seasons, it was the number one program in the U.S. During its second season, it earned some of the highest ratings ever recorded for a half-hour sitcom. The season-two episode "The Giant Jackrabbit" also became the most watched telecast up to the time of its airing, and remains the most-watched half-hour episode of a sitcom, as well. The series enjoyed excellent ratings throughout its run, although it had fallen out of the top 20 most-watched shows during its final season.

text: In 1997, the season 3 episode "Hedda Hopper's Hollywood" was ranked Number 62 on "TV Guide's 100 Greatest Episodes of All Time".[16]

text: Nielsen ratings[edit]

text:
Season
Time
Rank
Rating
Notes

1 (1962–63)
Wednesday at 9:00-9:30 PM
1
36.0

2 (1963–64)
39.1

3 (1964–65)
Wednesday at 8:30-9:00 PM
12
25.6

4 (1965–66)
7
25.9
Tied with Bewitched

5 (1966–67)
23.4
Tied with Daktari and Bewitched

6 (1967–68)
12
23.3

7 (1968–69)
Wednesday at 9:00-9:30 PM
10
23.5

8 (1969–70)
Wednesday at 8:30-9:00 PM
18
21.7

9 (1970–71)
Tuesday at 7:30-8:00 PM
Not in the Top 30

text: Cancellation[edit]

text: Season nine, during the 1970–71 TV season placed 33rd out of 96 shows.[19] Despite the respectable ratings, the show was canceled in the spring of 1971 after 274 episodes. The CBS network, prompted by pressure from advertisers seeking a more sophisticated urban audience, decided to refocus its schedule on several "hip" new urban-themed shows and, to make room for them, the two remaining series of CBS's rural-themed comedies were simultaneously cancelled.[20] This action came to be known as "the Rural Purge". Pat Buttram, who played Mr. Haney on Green Acres, famously remarked, "It was the year CBS cancelled everything with a tree - including Lassie."[21]

text: Reunions[edit]

text: 1981 CBS movie[edit]

text: In 1981, Return of the Beverly Hillbillies television movie, written and produced by series creator Henning, was aired on the CBS network. Irene Ryan had died in 1973, and Raymond Bailey had died in 1980. The script acknowledged Granny's passing, but featured Imogene Coca as Granny's mother. Max Baer decided against reprising the role that both started and stymied his career, so the character of Jethro Bodine was given to another actor, Ray Young.

text: The film's plot had Jed back in his old homestead in Bug Tussle, having divided his massive fortune among Elly May and Jethro, both of whom stayed on the West Coast. Jane Hathaway had become a Department of Energy agent and was seeking Granny's "White Lightnin'" recipe to combat the energy crisis. Since Granny had gone on to "her re-ward", it was up to Granny's centenarian "Maw" (Imogene Coca) to divulge the secret brew's ingredients. Subplots included Jethro playing an egocentric, starlet-starved Hollywood producer, Jane and her boss (Werner Klemperer) having a romance, and Elly May owning a large petting zoo. The four main characters finally got together by the end of the story.

text: Having been filmed a mere decade after the final episode of the original series, viewer consensus was that the series' original spirit was lost to the film on many fronts, chief of which being the deaths of Ryan and Bailey and Baer's absence, which left only three of the six original cast members available to reprise their respective roles. Further subtracting from the familiarity was the fact that the legendary Clampett mansion was unavailable for a location shoot as the owners' lease was too expensive. Henning himself admitted sheer embarrassment when the finished product aired, blaming his inability to rewrite the script due to the 1981 Writers Guild strike.[22]

text: 1993 special[edit]

text: In 1993, Ebsen, Douglas, and Baer reunited onscreen for the only time in the CBS-TV retrospective television special, The Legend of the Beverly Hillbillies, which ranked as the fourth-most watched television program of the week—a major surprise given the mediocre rating for the 1981 TV movie. It was a rare tribute from the "Tiffany network", which owed much of its success in the 1960s to the series, but has often seemed embarrassed by it in hindsight, often downplaying the show in retrospective television specials on the network's history and rarely inviting cast members to participate in such all-star broadcasts.

text: The Legend of The Beverly Hillbillies special ignored several plot twists of the TV movie, notably Jethro was now not a film director, but a leading Los Angeles physician. Critter-loving Elly May was still in California with her animals, but Jed was back home in the Hills, having lost his fortune, stolen by the now-imprisoned banker Drysdale. Nancy Kulp had died in 1991 and was little referred to beyond the multitude of film clips that dotted the special. The special was released on VHS tape by CBS/Fox Video in 1995 and as a bonus feature on the Official Third Season DVD Set in 2009.

text: Syndication[edit]

text: The Beverly Hillbillies is still televised daily around the world in syndication. In the United States, the show is broadcast currently on MeTV, Retro TV, MyFamily TV, and was previously on Nick at Nite, The Hallmark Channel, and WGN America.[23] A limited number of episodes from the earlier portions of the series run have turned up in the public domain and as such are seen occasionally on many smaller networks.

text: MeTV Network airs The Beverly Hillbillies Monday-Saturday at 7 A.M.

text: The show is distributed by CBS Television Distribution, the syndication arm of CBS Television Studios and the CBS network. It was previously distributed by CBS Films, Viacom Enterprises, Paramount Domestic Television, and CBS Paramount Domestic Television (all through corporate changes involving TV distribution rights to the early CBS library). The repeats of the show that debuted on CBS Daytime on September 5–9, 1966, as "Mornin' Beverly Hillbillies" through September 10, 1971 and on September 13–17, 1971 as "The Beverly Hillbillies" lasted up to winter 1971–72. It aired at 11:00–11:30 am Eastern/10:00-10:30 am Central through September 3, 1971, then moved to 10:30–11:00 am Eastern/9:30–10:00 am Central for the last season on CBS Daytime.[citation needed]

text: Legal status[edit]

text: Fifty-five episodes of the series are in the public domain (all 36 season-one episodes and 19 season-two episodes), because Orion Television, successor to Filmways, neglected to renew their copyrights. As a result, these episodes have been released on home video and DVD on many low-budget labels and shown on low-power television stations and low-budget networks in 16-mm prints. In many video prints of the public domain episodes, the original theme music has been replaced by generic music due to copyright issues.

text: Before his death, Paul Henning, whose estate now holds the original film elements to the public domain episodes, authorized MPI Home Video to release the best of the first two seasons on DVD, the first "ultimate collection" of which was released in the fall of 2005. These collections include the original, uncut versions of the first season's episodes, complete with their original theme music and opening sponsor plugs. Volume 1 has, among its bonus features, the alternate, unaired version of the pilot film, The Hillbillies Of Beverly Hills (the version of the episode that sold the series to CBS), and the "cast commercials" (cast members pitching the products of the show's sponsors) originally shown at the end of each episode.

text: With the exception of the public domain episodes, the copyrights to the series were renewed by Orion Television. However, any new compilation of Hillbillies material will be copyrighted by either MPI Media Group or CBS, depending on the content of the material used.

text: For many years, 20th Century Fox, through a joint venture with CBS called CBS/Fox Video, released select episodes of Hillbillies on videocassette. After Viacom merged with CBS, Paramount Home Entertainment (the video division of Paramount Pictures, which was acquired by Viacom in 1994) took over the video rights.

text: In 2006, Paramount announced plans to release the copyrighted episodes in boxed sets through CBS DVD later that year. The show's second season (consisting of the public domain episodes from that season) was released on DVD in Region 1 on October 7, 2008 as "...The Official Second Season". The third season was released on February 17, 2009.[24] Both seasons are available to be purchased together from major online retailers. On October 1, 2013, season four was released on DVD as a Walmart exclusive.[25] It was released as a full retail release on April 15, 2014.[26] On April 26, 2016, CBS/Paramount released the complete first season on DVD.[27]

text:
DVD title
No. of
episodes
Region 1
release date

The Beverly Hillbillies (Ultimate Collection)
26
September 27, 2005

The Beverly Hillbillies (Ultimate Collection Volume 2)
27
February 28, 2006

The Beverly Hillbillies (The Official First Season)
36
April 26, 2016

The Beverly Hillbillies (The Official Second Season)
36
October 7, 2008

The Beverly Hillbillies (The Official Third Season)
34
February 17, 2009

Return of the Beverly Hillbillies (TV Movie)
—
March 12, 2013

The Beverly Hillbillies (The Official Fourth Season)
32
April 15, 2014

text: Spin-offs and associated merchandise[edit]

text: Theatrical adaptation[edit]

text: A three-act stage play based on the pilot was written by David Rogers in 1968.[28]

text: "The Deadly Hillbillies," an interactive murder mystery, was written by John R. Logue using the core "Beverly Hillbillies" cast of characters as inspiration. This Gypsy Productions Murder Mystery Parody features characters such as "Jed Clumpett," "Daisy May Mostes," and "Jane Hatchaway."

text: Comics[edit]

text: Dell Comics adapted the series into a comic book series in 1962. The art work was provided by Henry Scarpelli.[29]

text: Feature film[edit]

text: In 1993, a movie version of The Beverly Hillbillies was released starring Jim Varney as Jed Clampett and featuring Buddy Ebsen in a cameo as Barnaby Jones, the lead character in his long-running post-Hillbillies television series.

text: Computer game[edit]

text: Based on The Beverly Hillbillies movie, a PC computer adventure game for operating system MS-DOS was developed by Synergistic Software, Inc. and published in 1993 by Capstone Software.


document_title: They Call Me Trinity

question_text: who played trinity in my name is trinity

root

text: They Call Me Trinity

text: Plot[edit]

text: Trinity, a lazy, ne'er-do-well gunfighter with an unnaturally fast drawing ability and marksmanship, is dragged on a travois by his horse to a way station and restaurant. There, he encounters a pair of bounty hunters with an injured Mexican prisoner. Trinity calmly takes the Mexican away from the two men, killing them before they can shoot him in the back. The pair reach a small town, where they witness the local sheriff, a large, burly man with a similarly fast drawing ability to Trinity, gunning down three men after they harass him for not allowing one of their criminal friends to be released.

tag: p

text: It becomes apparent that Trinity and the man, Bambino, are brothers. Bambino is merely posing as the new sheriff of the small town while he awaits the arrival of his gang from the penitentiary from which he escaped, following a run-in with the actual sheriff who incidentally took the same way as Bambino on his way to his new post. Bambino is not happy to see his trouble-making brother. However, the two form a temporary partnership to deal with Major Harriman, who is attempting to run a group of pacifist Mormon farmers off their land with the intention of using their property to graze his own horses. The fact that these horses are valuable and unbranded explains Bambino's grudging willingness to work with his little brother, even though he considers Trinity to be a shiftless bum without ambition.

text: However, Trinity has fallen in love with two Mormon sisters and is genuinely concerned with the Mormon settlers' welfare. He persuades Bambino and Bambino's henchmen to help train the pacifistic Mormons to fight, and in the final battle, the Mormon leader finds in the Book of Ecclesiastes in the Bible that "there is a time for fighting," and the Mormons are unleashed against Major Harriman's goons, using the dirty fighting tricks they have just learned.

text: Bambino is flabbergasted and infuriated to learn that Trinity has given the Major's horses to the Mormons. Trinity is about to be happily married to the two Mormon sisters when he learns that being a married Mormon means actually having to work, causing him to hurry after Bambino, who angrily sends him off in the opposite direction. After Bambino departs for California, the real sheriff appears, and Trinity points him in Bambino's direction. Trinity then reclines in his travois and brings up the rear with his horse, following them all.

text: Cast[edit]

text:
Terence Hill as Trinity, "The Right Hand of the Devil"
Bud Spencer as Bambino, "The Left Hand of the Devil"
Farley Granger as Major Harriman
Steffen Zacharias (de) as Jonathan
Dan Sturkie (de) as Tobias
Gisela Hahn as Sarah
Elena Pedemonte (de) as Judith
Ezio Marano as Weasel
Luciano Rossi as Timid
Michele Cimarosa (it) as Drunken Mexican
Ugo Sasso as Sheriff Zoppo
Remo Capitani as Mezcal
Riccardo Pizzuti (it) as Jeff
Paolo Magalotti (it) as Harriman Henchman
Antonio Monselesan (it) as Bounty Hunter
Gaetano Imbrò as Blond Bounty Hunter
Gigi Bonos as Ozgur, the Bartender

tag: ul

text: Production[edit]

text: The original actors attached to the film were Peter Martell as Trinity and George Eastman as Bambino. Terence Hill and Bud Spencer were eventually cast, and Hill's young son Jess portrays a Mormon baby who is seen sitting on Trinity's knee.[1] The film was shot in Lazio, Italy, and was financed by the Italian-based company West Film. The town set was filmed at Incir-De Paolis Studios near Rome, while the Mormon valley was filmed at Parco Dei Monti Simbruini (it) and the waterfall scene was shot at Treja Valley Park.[1]

text: The main title song "Trinity (Titoli)" was written by Franco Micalizzi and Lally Stott, and sung by David King, featuring whistling performed by Alessandro Alessandroni and backup vocals by Alessandroni's choir I Cantori Moderni. King is billed as "Annibale" on Italian soundtrack releases.[1] The song was included on the soundtrack to the 2012 Quentin Tarantino film Django Unchained.[2]

text: A sequel, Trinity Is Still My Name, was released in 1971 and proved to be an even bigger success. Terence Hill and Bud Spencer would pair up in over a dozen other films, using the formula of brawls and jokes established in the Trinity films. Several of Hill's and Spencer's Westerns made prior to Trinity were re-released in the United States to take advantage of their popularity, with Boot Hill (1969) being marketed as Trinity Rides Again.[3]

text: Release[edit]

text: Critical reception[edit]

text: Howard Thompson of The New York Times praised the film's sense of humour, as did critic Roger Ebert, the latter of whom gave the film two-and-a-half out of possible four stars.[4][5] In a review published by Time Out, the film is called "first and best in the 'Trinity' series of spaghetti Westerns, rare in that it is successful in combining laughter and some degree of interest in the action".[6] In his book Once Upon a Time in the Italian West: The Filmgoers' Guide to Spaghetti Westerns, author Howard Hughes writes "They Call Me Trinity is Hill and Spencer’s finest vehicle".[1]

text: Differences in various versions[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2017) (Learn how and when to remove this template message)

tag: table

text: In the English version, the scenes where a man on a horse rides past Bud Spencer have the exchange "good evening sheriff" with Spencer grumbling "shut up" whilst the Italian version is silent. The Italian version has the two Mormon women quote suggestive Biblical dialogue to seduce Hill that is not in the English version. The English version adds a loud clap of thunder when the head Mormon remarks about God helping them through sending them the two brothers to protect them whilst the thunder is not on the Italian soundtrack.

text: Copyright status[edit]

text: They Call Me Trinity was in the public domain until 1996 (due to the Uruguay Round Agreements Act), and hence most video releases were of a poor quality.[7][8] Hen's Tooth Video officially released this film and its sequel on DVD in the US on September 4, 2007. Both are new digital transfers from the original negatives, but there are complaints that some scenes are missing from the sequel.[9][10] The Hen's Tooth Video release also features interlacing due to using pulldown to take the PAL digibeta transfer and put in an NTSC format. The PAL digibeta should have only been given to DVD companies who use said format.[citation needed] The film was released on Blu-Ray in late 2013 in Germany.[citation needed]


document_title: Saxophone

question_text: when was the saxophone first used in jazz

text: Saxophone

text: History

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2017) (Learn how and when to remove this template message)

text: The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, and clarinetist. Born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. Prior to his work on the saxophone, he had made several improvements to the bass clarinet by improving its keywork and acoustics and extending its lower range. Sax was also a maker of the then-popular ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with these two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and the agility of a woodwind. He wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblows at the octave has identical fingering for both registers.

text: Sax created an instrument with a single-reed mouthpiece like a clarinet, conical brass body like an ophicleide, and some acoustic properties of both the horn and the clarinet.[clarification needed]

text: Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, a 15-year patent for the instrument on June 28, 1846.[4] The patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered "orchestral", there is no evidence that Sax intended this. As only three percent of Sax's surviving production were pitched in F and C, and as contemporary composers used the E♭ alto and B♭ bass saxophone freely in orchestral music, it is almost certain that Sax experimented to find the most suitable keys for these instruments, settling upon instruments alternating between E♭ and B♭ rather than those pitched in F or C, for reasons of tone and economy (the saxophones were the most expensive wind instruments of their day). The C soprano saxophone was the only instrument to sound at concert pitch. All the instruments were given an initial written range from the B below the treble staff to the F, one space above the three ledger lines above staff, giving each saxophone a range of two and a half octaves.

text: Sax's patent expired in 1866;[5] thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design and keywork. The first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification. This extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings allows a player to play faster and more easily. A player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, and big interval jumps.[6]

text: Sax's original keywork, which was based on the Triebert system 3 oboe for the left hand and the Boehm clarinet for the right, was simplistic and made playing some legato passages and wide intervals extremely difficult to finger, so numerous developers added extra keys and alternate fingerings to make chromatic playing less difficult. While early saxophones had two separate octave vents to assist in the playing of the upper registers just as modern instruments do, players of Sax's original design had to operate these via two separate octave keys operated by the left thumb. A substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. Further developments were made by Selmer in the 1930s and '40s, including offsetting tone holes and a revamping of the octave key mechanism, beginning with balanced action instruments and continuing through their celebrated Mark VI line.[citation needed] One of the most radical, however temporary, revisions of saxophone keywork was made in the 1950s by M. Houvenaghel of Paris, who completely redeveloped the mechanics of the system to allow a number of notes (C♯, B, A, G, F and E♭) to be flattened by a semitone simply by pressing the right middle finger. This enables a chromatic scale to be played over two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit.[7] However, this keywork never gained much popularity, and is no longer in use.

text: Description

text: The saxophone consists of an approximately conical tube, usually of thin brass, flared at the tip to form a bell. At intervals along the tube are between 20 and 23 tone holes of varying size and two very small vent holes to assist the playing of the upper register. These holes are covered by keys (also known as pad cups) containing soft leather pads, which are closed to produce an airtight seal. At rest some of the holes stand open and others are closed. The keys are activated by keytouches pressed by the fingers, either directly on the pad cup or connected to it with levers, either directly or with joints called "linkages." The right thumb sits under a thumb rest to stabilize and balance the saxophone, while the weight of most saxophones is supported by a neckstrap attached to a strap ring on the rear of the body of the instrument. The fingering for the saxophone is a combination of that of the oboe with the Boehm system and is very similar to the flute or upper register of the clarinet. Instruments that play to low A have a left thumb key for that note.

text: The simplest design of saxophone is a straight conical tube, and the sopranino and soprano saxophones are usually of this design. However, as the lower-pitched instruments would be unacceptably long, they usually incorporate a U-bend ("bow") at or slightly above the third-lowest tone hole. As this would cause the bell to point almost directly upward, the end of the instrument is either beveled or tilted slightly forward. This U-shape has become a distinctive feature of the saxophone family, to the extent that soprano and even sopranino saxes are sometimes made in the curved style. By contrast, tenors and even baritones have occasionally been made in the straight style.[8][9] Most commonly, however, the alto and tenor saxophones incorporate a detachable, curved "neck" above the highest tone hole directing the mouthpiece to the player's mouth while the instrument is held in a playing stance. The baritone, bass, and contrabass saxophones accommodate the length of the bore with extra bows and right-angle bends between the main body and the mouthpiece.

text: Materials

text: Most saxophones, past and present, are made from brass. Despite this, they are categorized as woodwind instruments rather than brass, as the sound waves are produced by an oscillating wooden reed, not the lips against a mouthpiece as in a brass instrument, and because pitches are produced by breath wind passing opening and closing keys. The screw pins that connect the rods to the posts, as well as the needle and leaf springs that cause the keys to return to their rest position after being released, are generally made of blued or stainless steel. Since 1920, most saxophones have "key touches" (smooth replaceable pieces placed where the fingers touch the instrument) made from either plastic or mother of pearl. Recently, some saxophones are offered with abalone or stone keytouches.

text: Other materials have been tried with varying degrees of success, such as the 1950s Grafton plastic alto saxophone and its recent successor, the polycarbonate saxophone, Vibratosax. There is also the wooden Sawat saxophone created in Thailand on a small scale. Recent years have seen the use of higher copper alloys substituted for the "yellow brass" or "cartridge brass" that are most common, for visual and tonal effect. Yanagisawa's 902 and 992 series saxophones are made with phosphor bronze, which is claimed to offer slightly different, more "vintage" tonal qualities from the brass 901 and 991 models of identical design.[10] Other saxophones made of high copper alloys are sold under the brands Chateau, Kessler, Saxgourmet, and Bauhaus Walstein. Yanagisawa and other manufacturers, starting with the King Super 20 around 1950, have made saxophone necks, bells, or entire instruments from sterling silver.[11] Keilwerth and P. Mauriat have made saxes with a nickel silver body.[12][13] Opinions vary on the significance of body materials to sound. With the exception of the identical brass and phosphor bronze Yanagisawa models, opportunities to isolate body materials from other variables in design and construction are lacking.

text: Prior to final assembly, the manufacturers usually apply a thin coating of clear or colored acrylic lacquer or silver plate over the brass. The lacquer or plating serves to protect the brass from oxidation and maintains its shiny appearance. Several different types and colors of surface finish have been used over the years.[14] It is also possible to plate the instrument with nickel or gold, and a number of gold-plated saxophones have been produced.[14] Plating saxophones with gold is an expensive process because gold does not adhere directly to brass. As a result, the brass is first plated with silver, then gold. Some saxophonists, sellers, and repair technicians argue that the type of lacquer or plating or absence thereof[15] may enhance an instrument's tone quality. The possible effects of different finishes on tone are difficult to isolate from the other variables that affect an instrument's tone colors. In any case, what constitutes a pleasing tone is a matter of personal preference.

text: Mouthpiece and reed

text: The saxophone uses a single-reed mouthpiece similar to that of the clarinet. Most saxophonists use reeds made from Arundo donax cane, but since the 20th century some have also been made of fiberglass and other composite materials. Saxophone reeds are proportioned slightly differently from clarinet reeds, being wider for the same length, although some soprano saxophonists use clarinet reeds. Each size of saxophone (alto, tenor, etc.) uses a different size of reed. Reeds are commercially available in a vast array of brands, styles, and strengths. Saxophonists experiment with reeds of different strength (hardnesses) and material to find which strength and cut suits their mouthpiece, embouchure, physiology, and playing style.

text: The saxophone mouthpiece is larger than that of the clarinet, has a wider inner chamber, and lacks the cork-covered tenon because the saxophone neck inserts into the mouthpiece whereas the clarinet mouthpiece is inserted into the barrel. Saxophone and clarinet embouchures differ from each other in firmness, position of the lower lip, and range of entry angles. The "long tones" exercise is used to develop embouchure, along with airstream and breath control.[16] Mouthpieces come in a wide variety of materials, including vulcanized rubber (sometimes called hard rubber or ebonite), plastic, and metals such as bronze or surgical steel. Less common materials that have been used include wood, glass, crystal, porcelain, and even bone. According to Larry Teal, the mouthpiece material has little, if any, effect on the sound, and the physical dimensions give a mouthpiece its tone colour.[17] There are examples of "dark" sounding metal pieces and "bright" sounding hard rubber pieces – Marcel Mule, for example, used a metal mouthpiece to perform classical music.[18] Some[who?] contend that instability at the mouthpiece/neck connection moves harmonic frequencies off series with the fundamental frequency and each other, resulting in a "spread" sound, and that the weight of a metal mouthpiece counteracts that instability, increasing tonal "focus." Mouthpiece design has a profound impact on tone. Early mouthpieces were designed to produce a warm and round sound for classical playing. Among classical mouthpieces, those with a concave ("excavated") chamber are more true to Adolphe Sax's original design; these provide a softer or less piercing tone favored by some saxophonists, including students of Sigurd Raschèr, for classical playing. Saxophonists who follow the French school of classical saxophone playing, influenced by Marcel Mule, generally use mouthpieces with smaller chambers than Rascher style mouthpieces. The use of the saxophone in dance orchestras and jazz ensembles put a premium on dynamic range, projection, and tonal richness, leading to rapid innovation in chamber shape and tip design, and metal construction. At the opposite extreme from the classical mouthpieces are those with a small chamber and a low clearance above the reed between the tip and the chamber, called high baffle. These produce a bright sound with maximum projection, suitable for having a sound stand out among amplified instruments and typical of modern pop and smooth jazz. Most saxophonists who play different styles have a mouthpiece suited for each style.

text: Saxophone family

text: The primary (military band) saxophone family alternates instruments in B♭ and E♭. The other (orchestral) family patented by Sax, alternating instruments in C and F, has always been marginal, although some manufacturers tried to popularise the soprano in C (C soprano saxophone), the alto in F (mezzo-soprano saxophone), and the tenor in C (C melody saxophone) early in the twentieth century. The C melody enjoyed some success in the late 1920s and early 1930s as a parlor instrument. One company has recently revived production of the C soprano and C melody.[19] Instruments in F are rare. A mezzo-soprano in G has also been produced.

text:
#
Saxophone
Key
Sounds an octave lower than
Sounds an octave higher than

1
Sopranissimo
B♭
##
Soprano

2
Sopranino
E♭
##
Alto

3
Soprano
B♭
Sopranissimo
Tenor

4
Alto
E♭
Sopranino
Baritone

5
Tenor
B♭
Soprano
Bass

6
Baritone
E♭
Alto
Contrabass

7
Bass
B♭
Tenor
Subcontrabass

8
Contrabass
E♭
Baritone
##

9
Subcontrabass
B♭
Bass
##

text: Uses

text: In military bands and classical music

text: The saxophone first gained popularity in one of the uses it was designed for: military bands. Although the instrument was mostly ignored in Germany at first, French and Belgian military bands took full advantage of the instrument that Sax had designed. Most French and Belgian military bands incorporate at least a quartet of saxophones, comprising an E♭ baritone, B♭ tenor, E♭ alto and B♭ soprano. These four instruments have proved the most popular of all of Sax's creations, with the E♭ contrabass and B♭ bass usually considered impractically large and the E♭ sopranino insufficiently powerful. British military bands tend to include at minimum two saxophonists, on the alto and tenor. Today, the saxophone is used in military bands all around the world.[citation needed]

text: The saxophone was subsequently introduced into the concert bands, which generally call for an E♭ alto saxophone, a B♭ tenor saxophone, and an E♭ baritone saxophone. A typical high-level[clarification needed] concert band includes two altos, one tenor, and one baritone. A B♭ soprano saxophone is also occasionally used, in which case it is normally played by the first alto saxophonist. A bass saxophone in B♭ is called for in some concert band music (especially music by Percy Grainger).[20]

text: Saxophones are used in chamber music, such as saxophone quartets and other chamber combinations of instruments.

text: The classical saxophone quartet consists of a soprano saxophone, alto saxophone, tenor saxophone, and baritone saxophone. There is a repertoire of classical compositions and arrangements for the SATB instrumentation dating back to the nineteenth century, particularly by French composers who knew Sax. Classical saxophone quartets include Quatuor Habanera, the h2 quartet, the Raschèr Saxophone Quartet, the Aurelia Saxophone Quartet, the New Century Saxophone Quartet. The quartets led by Marcel Mule and Daniel Deffayet, saxophone professors at the Conservatoire de Paris, were started in 1928 and 1953, respectively, and were highly regarded. The Mule quartet is often considered the prototype for future quartets, due the level of virtuosity demonstrated by its members and its central role in the development of the quartet repertoire. However, organised quartets did exist before Mule's ensemble, the prime example being the quartet headed by Eduard Lefebre (1834–1911), former soloist with the Sousa band, in the United States c. 1904–1911. Other ensembles most likely existed at this time as part of the saxophone sections of the many touring professional bands that existed in the late 19th and early 20th centuries.[citation needed]

text: In the 20th and 21st centuries, the saxophone found increased popularity in symphony orchestras. In one or another size, the instrument has also been found as a useful accompaniment to genres such as opera and choral music. Many musical theatre scores include parts for a saxophone, sometimes doubling another woodwind or brass instrument. In this way, the saxophone serves as a middle point between other woodwinds and the brass section, helping to blend them.

text: Selected works of the repertoire

text:
Fantasie sur un thème original (1860)—Jules Demersseman
Rapsodie pour orchestre et saxophone [Rhapsody for orchestra and saxophone] (1901)—Claude Debussy
Choral varié, Op.55 (1903)—Vincent d'Indy
Légende, Op.66 (1918)—Florent Schmitt
Saxophone Concerto (1934)—Lars-Erik Larsson
Concerto in E♭ major for alto saxophone and orchestra (1934)—Alexander Glazunov
Concertino da camera (1935)—Jacques Ibert
Aria pour saxophone alto (1936)—Eugène Bozza
Sonata for alto saxophone and piano(1937)—Bernhard Heiden
Scaramouche for alto saxophone and piano (1937)—Darius Milhaud
Ballade for Alto Saxophone (1938)—Henri Tomasi
Sonata for alto saxophone and piano, Op. 19 (1939)—Paul Creston
Sonata for alto saxophone and piano (1943)—Paul Hindemith
Concerto for alto saxophone and orchestra, Op. 26 (1944)—Paul Creston
Concerto for alto saxophone and orchestra (1948)—Ingolf Dahl
Fantasia for soprano saxophone, three horns, and strings (1948)—Heitor Villa-Lobos
Concerto for alto saxophone and orchestra (1949)—Henri Tomasi
Tableaux de Provence (1955)—Paule Maurice
Prélude, cadence et finale (1956)—Alfred Desenclos
Saxophone Concerto (1958)—Erland von Koch
Concerto for alto saxophone and orchestra (1959)—Pierre Max Dubois
Élégie et rondeau pour saxophone alto et orchestre (1961)—Karel Husa
Sonata for alto saxophone (1970)—Edison Denisov
Sonata for alto saxophone and piano, Op. 29 (1970)—Robert Muczynski
Concerto for Saxophone Quartet (1995)—Philip Glass[21][22]
Concerto for Alto Saxophone and Orchestra (2013)—John Adams

text: Selected saxophone quartets

text:
Premier Quatuor [Quartet No. 1], Op. 53 (1857)—Jean-Baptiste Singelée
Quartette [Quartet] (1879)—Caryl Florio
Saxophone Quartet in B♭, Op.109 (1932)—Alexander Glazunov
Introduction et variations sur une ronde populaire (1934)—Gabriel Pierné
Andante et Scherzo for saxophone quartet (1938)—Eugène Bozza
Quatuor pour Saxophones [Quartet for Saxophones], Op. 102 (1939)—Florent Schmitt
Quatuor pour Saxophones (1956)—Pierre Max Dubois
Quatuor [Quartet] (1962)—Alfred Desenclos
Suite for Saxophone Quartet (1979)—Paul Creston
XAS (1987)—Iannis Xenakis

text: Selected orchestral pieces that include saxophones

text:
Boléro (1928) – Maurice Ravel
Pictures at an Exhibition (1922 Ravel version) – Modest Mussorgsky/Maurice Ravel
L'Arlésienne (1872) – Georges Bizet
Romeo and Juliet (1938) – Sergei Prokofiev
Lieutenant Kijé (1934) – Sergei Prokofiev
Alexander Nevsky (1938) – Sergei Prokofiev
Symphonic Dances (1940) – Sergei Rachmaninoff
La création du monde (1923) – Darius Milhaud
Symphony No. 6 (1947) – Ralph Vaughan Williams
Symphony No. 9 (1957) – Ralph Vaughan Williams
Job: A Masque for Dancing (1931) – Ralph Vaughan Williams
Suite for Variety Orchestra (post-1956) – Dmitri Shostakovich
Suite No. 1 (1931) – Dmitri Shostakovich
Suite No. 2 (1938) – Dmitri Shostakovich
The Golden Age (1930) – Dmitri Shostakovich
Symphonia Domestica (1904) – Richard Strauss
Neues vom Tage (1929) – Paul Hindemith
Háry János (1926) – Zoltán Kodály
Rhapsody in Blue – George Gershwin
An American in Paris – George Gershwin
Sinfonia da Requiem – Benjamin Britten
Billy Budd – Benjamin Britten
The Prince of the Pagodas – Benjamin Britten
Violin Concerto – Alban Berg
Lulu – Alban Berg
Der Wein – Alban Berg
Symphony No. 4 – Charles Ives
Belshazzar's Feast – William Walton
The Wooden Prince – Béla Bartók
City Noir – John Adams
West Side Story – Leonard Bernstein
On the Waterfront – Leonard Bernstein
Sylvia – Léo Delibes
Werther – Jules Massenet
Hérodiade – Jules Massenet
Symphony No. 1 – Aaron Copland
Piano Concerto – Aaron Copland
Turandot – Giacomo Puccini

text: In jazz and popular music

text: Saxophones are also commonly used in jazz music, where it is one of the signature sounds, as well as an iconic image used to denote the style. Beginning in the early 20th century, saxophones became popular in dance orchestras, which were not jazz ensembles but influenced the format of the big swing era bands that were soon to follow. The arrival of the saxophone as a jazz instrument is attributed to tenor saxophonist Coleman Hawkins' stint with the Fletcher Henderson Orchestra starting in 1923. The saxophone was soon embraced by Chicago-style musicians who added it, along with chordal instruments such as pianos, banjos, and guitars, to the trumpet-clarinet-trombone-bass-drums ensemble format inherited from New Orleans jazz.

text: The Duke Ellington Orchestra of the late 1920s featured saxophone-based ensemble sounds and solos by saxophonists Otto Hardwick, Johnny Hodges, and Harry Carney. The swing bands of the 1930s utilized arrangements of saxophone and brass sections playing off each other in call-response patterns. The influence of tenor saxophonist Lester Young with the Count Basie Orchestra in the late 1930s and the tremendous popularity of Coleman Hawkins' 1939 recording of "Body and Soul" marked the saxophone as an influence on jazz equal to that of the trumpet, which had been the defining instrument of jazz since its beginnings in New Orleans. But the greatest influence of the saxophone on jazz was to occur a few years later, as alto saxophonist Charlie Parker became an icon of the bebop revolution that influenced generations of jazz musicians. The small-group format of bebop and post-bebop jazz ensembles, typically with one to three lead instruments, usually including a saxophone, a chordal instrument, bass, and drums, gained ascendancy in the 1940s as musicians emphasized extended exploration utilizing the new harmonic and melodic freedoms that Charlie Parker and a few others, such as Dizzy Gillespie, Thelonious Monk, and Bud Powell pioneered.

text: In addition to the brilliance and virtuosity of Parker, the alto sax was also popularized in the 1950s by top saxophonists such as Sonny Stitt, Cannonball Adderley, Sonny Criss and Paul Desmond (of the Dave Brubeck Quartet). The tenor sax, a popular form of saxophone as a solo instrument in jazz, was popularized by jazz greats such as Lester Young, Coleman Hawkins, Dexter Gordon, John Coltrane, Sonny Rollins, Stan Getz and Zoot Sims. The baritone sax, featured more in big bands (notably by Harry Carney in the Duke Ellington Orchestra) and larger ensembles than as a solo instrument, was popularized in jazz as a solo instrument within small groups by musicians such as Serge Chaloff, Gerry Mulligan, Pepper Adams and Leo Parker. The soprano saxophone was popularized by Sidney Bechet in early jazz, but then largely fell out of favor on the jazz scene until John Coltrane began to feature the instrument.[citation needed] Popular smooth jazz and contemporary pop musician Kenny G also uses the soprano sax as his principal instrument.

text: Saxophonists such as John Coltrane, Ornette Coleman, Sam Rivers and Pharoah Sanders again defined the forefront of creative exploration with the avant-garde movement of the 1960s. Modal, harmolodic, and free jazz further removed boundaries and the new space was explored with every device that saxophonists could conceive of. Sheets of sound, tonal exploration, upper harmonics, and multiphonics were hallmarks of the creative possibilities that saxophones offered in the new realm. One lasting influence of the avant-garde movement is the exploration of non-Western ethnic sounds on the saxophone, for example, the African-influenced sounds used by Pharoah Sanders. The devices of the avant-garde movement have continued to be influential in music that challenges the boundaries between avant-garde and other categories of jazz, such as that of alto-saxophonists Steve Coleman and Greg Osby.

text: A jazz saxophone quartet is usually made up of one B♭ soprano, one E♭ alto, one B♭ tenor and one E♭ baritone (SATB). On occasion, the soprano is replaced with a second alto sax (AATB); a few professional saxophone quartets have featured non-standard instrumentation, such as James Fei's Alto Quartet[23] (four altos) and Hamiet Bluiett's Bluiett Baritone Nation (four baritones). Recently, the World Saxophone Quartet has become known as the preeminent jazz saxophone quartet.

text: The saxophone, as a solo instrument or as part of a horn section, can also be heard in blues, soul music, rhythm and blues, reggae, ska, funk, rock and roll, and other forms of popular music. Some players of these genres include King Curtis, Maceo Parker, Bobby Keys, Clarence Clemons, the Memphis Horns, and the Phenix Horns.

text: Unusual variants

text: A number of saxes and saxophone-related instruments have appeared since Sax's original work, most with no significant success. These include the saxello, essentially a straight B♭ soprano, but with a slightly curved neck and tipped bell; the straight alto; and the straight B♭ tenor.[24] Since a straight-bore tenor is approximately five feet long, the cumbersome size of such a design makes it almost impossible to either play or transport. "King" Saxellos, made by the H. N. White Company in the 1920s, now command prices up to US $4,000. A number of companies, including Keilwerth, Rampone & Cazzani (altello model), L.A. Sax and Sax Dakota USA, are marketing straight-bore, tipped-bell soprano saxophones as saxellos (or "saxello sopranos").

text: The contralto saxophone, similar in size to the orchestral soprano, was developed in the late 20th century by Californian instrument maker Jim Schmidt.[25] This instrument has a larger bore and a new fingering system, and does not resemble the C melody instrument except for its key and register. Another new arrival to the sax scene is the soprillo sax, a piccolo-sized straight instrument with the upper speaker hole built into the mouthpiece. The instrument, which extends Sax's original family, as it is pitched a full octave higher than the B♭ soprano sax, is manufactured by Benedikt Eppelsheim, of Munich, Germany. There is a rare prototype slide tenor saxophone. One company that produced a slide soprano saxophone was Reiffel & Husted, Chicago, c. 1922 (catalog NMM 5385).[26][27][28]

text: Two of these variants were championed by jazz musician Rahsaan Roland Kirk, who called his straight Buescher alto a "stritch" and his modified saxello a "manzello"; the latter featured a larger-than-usual bell and modified key work. Among some saxophonists,[weasel words] Kirk's terms have taken on a life of their own in that it is believed that these were "special" or "new" saxophones that might still be available. Though rare, the Buescher straight alto was a production item instrument while the manzello was indeed a saxello with a custom-made bell.

text: Another unusual variant of the saxophone is the Conn-O-Sax, a straight-conical bore instrument in F (one step above the E♭ alto) with a slightly curved neck and spherical bell. This instrument, which combines a saxophone bore and keys with a bell shaped similar to that of a heckelphone, was intended to imitate the timbre of the English horn and was produced only in 1929 and 1930. The instrument has a key range from low A to high G. Fewer than 100 Conn-O-Saxes are in existence, and they are highly sought by collectors. More recently a mezzo-soprano in the key of G has been produced by Danish woodwind technician Peter Jessen, most notably played by Joe Lovano. This instrument is more in the timbral quality of Bb soprano saxophone.

text: The tubax, developed in 1999 by the German instrument maker Benedikt Eppelsheim,[29] plays the same range, and with the same fingering, as the E♭ contrabass saxophone; its bore, however, is narrower than that of a contrabass saxophone, making for a more compact instrument with a "reedier" tone (akin to the double-reed contrabass sarrusophone). It can be played with the smaller (and more commonly available) baritone saxophone mouthpiece and reeds. Eppelsheim has also produced subcontrabass tubaxes in C and B♭, the latter being the lowest saxophone ever made. Among the most recent developments is the aulochrome, a double soprano saxophone invented by Belgian instrument maker François Louis in 2001.

text: The fingering scheme of the saxophone, which has had only minor changes since the instrument's original invention, has presented inherent acoustic problems related to closed keys below the first open tonehole that affect response of, and slightly muffle, some notes. There is also a lack of tactile consistency moving between key centers. Extra effort is required from the player to adjust modes of muscle memory when moving between key centers. Two efforts to remedy the acoustic problems and awkward aspects of the original fingering system are noteworthy.

text: The Leblanc Rationale and System[30] saxophones have key mechanics designed to remedy the acoustic problems associated with closed keys below the first open tonehole. They also enable players to make half-step shifts of scales by depressing one key while keeping the rest of the fingering consistent with that of the fingering a half step away (which can also trip up players used to certain alternate fingerings on a regular saxophone). Some Leblanc System features were built into the Vito Model 35 saxophones of the 1950s and 1960s. The acceptance of what was arguably a superior system was impaired by the adjustment required of players switching between System and non-System horns, and the added costs associated with the compounded complexity of certain key mechanisms.

text: The chromatic or linear fingering, saxophone is a project of instrument designer and builder Jim Schmidt, developing a horn maximizing tactile and logical consistency between every interval regardless of the key, and avoiding the acoustic problems associated closed keys below the first open tone hole.[31] Several working prototypes have been built and presented at trade shows.[32] Production of this original and expensive saxophone is on an individual order basis.

text: Related instruments

text: Although not true saxophones, inexpensive keyless folk versions of the saxophone made of bamboo (recalling a chalumeau) were developed in the 20th century by instrument makers in Hawaii, Jamaica, Thailand, Indonesia, Ethiopia, and Argentina. The Hawaiian instrument, called a xaphoon, was invented during the 1970s and is also marketed as a "bamboo sax," although its cylindrical bore more closely resembles that of a clarinet, and its lack of any keywork makes it more akin to a recorder. Jamaica's best known exponent of a similar type of homemade bamboo "saxophone" was the mento musician and instrument maker 'Sugar Belly' (William Walker).[33] In the Minahasa region of the Indonesian island of Sulawesi, there exist entire bands made up of bamboo "saxophones"[34] and "brass" instruments of various sizes. These instruments are imitations of European instruments, made using local materials. Very similar instruments are produced in Thailand.[35][36] In Argentina, Ángel Sampedro del Río and Mariana García have produced bamboo saxophones of various sizes since 1985, the larger of which have bamboo keys to allow for the playing of lower notes.[37]

text: Composition

text: Music for most saxophones is usually notated using treble clef. The standard written range extends from a B♭ below the staff to an F or F♯ three ledger lines above the staff. Most, if not all, intermediate and professional saxophones made today are built with F♯ keys, with F♯ included on even student instruments.

text: There are many models of soprano saxophone that have a key for high G, and most modern models of baritone saxophone have an extended bore and key to produce low A; it is also possible to play a low A on any saxophone by blocking the end of the bell, usually with the foot or inside of the left thigh. Low A keys however were not limited to just the baritone saxophone. For a short time Selmer Paris produced mark VI alto saxophones with the low A key. Notes above F are considered part of the altissimo register of any sax, and can be produced using advanced embouchure techniques and fingering combinations. Sax himself had mastered these techniques; he demonstrated the instrument as having a range of just beyond three octaves up to a (written) high B4. Modern saxophone players have extended this range to over 4 octaves on tenor and alto.

text: Because all saxophones use the same key arrangement and fingering to produce a given notated pitch, it is not difficult for a competent player to switch among the various sizes when the music has been suitably transposed, and many do so. Since the baritone and alto are pitched in E♭, players can read concert pitch music notated in the bass clef by reading it as if it were treble clef and adding three sharps to the key signature. This process, referred to as clef substitution, makes it possible for the Eb instruments to play from parts written for baritone horn, bassoon, euphonium, string bass, trombone, or tuba. This can be useful if a band or orchestra lacks one of those instruments.

text: Image gallery

text:
From left to right, an E♭ alto saxophone, a curved B♭ soprano saxophone, and a B♭ tenor saxophone

A straight-necked Conn C melody saxophone (Conn New Wonder Series 1)[38] with a serial number that dates manufacture to 1922

Vintage silver-plated 'Pennsylvania Special' alto saxophone, manufactured by Kohlert & Sons for Selmer[39] in Czechoslovakia, circa 1930

Conn 6M "Lady Face"[40] brass alto saxophone (dated 1935) in its original case

1950s Grafton alto made of plastic

Yamaha YAS-25 alto saxophone. Circa 1990s

Yanagisawa A9932J alto saxophone: has a solid silver bell and neck with solid phosphor bronze body. The bell, neck and key-cups are extensively engraved. Manufactured in 2008

Bauhaus Walstein tenor saxophone manufactured in 2008 from phosphor bronze

The lower portion of a P. Mauriat alto saxophone, showing the mother of pearl key touches and engraved brass pad cups

A Yamaha baritone saxophone

Two mouthpieces for tenor saxophone: the one on the left is ebonite; the one on the right is metal.

Ochres Music "No.5" hand-made professional alto saxophone with 24 carat gold seal on bell.

text: Notes

text:
Jump up ^ "June 28, 1846: Parisian Inventor Patents Saxophone". Wired.com. Retrieved 14 February 2011.
^ Jump up to: a b c "Saxophone". The Free Dictionary By Farlex. Retrieved 2012-05-25.
Jump up ^ Raumberger, Ventzke, Claus, Karl. "Saxophone". Oxford Music Online. Retrieved 20 October 2013.
Jump up ^ "Adolphe Sax". BassSax.com. Retrieved 2007-05-07.
Jump up ^ "The history, of the saxophone". The-Saxophone.com. Retrieved 2008-01-06.
Jump up ^ Thomas, Pete. "Taming the Saxophone".
Jump up ^ MacGillivray, James (May 1959). "Recent Advances in Woodwind Fingering Systems". The Galpin Society Journal. The Galpin Society Journal. 12: 68. doi:10.2307/841949. JSTOR 841949.
Jump up ^ "Jay C. Easton: Saxophone Family Gallery". Retrieved 2007-05-07.
Jump up ^ "Contrabass-L, Vol. 1, No. 76". Retrieved 2007-05-07.
Jump up ^ "Yanagisawa Saxophones". Web.archive.org. Archived from the original on June 16, 2009. Retrieved 2014-05-19.
Jump up ^ "T9937". Yanagisawa website. Archived from the original on 2007-12-30. Retrieved 2008-01-06.
Jump up ^ "tenor_sxr90r_shadow". keilwerth website. Retrieved 2008-08-21. [permanent dead link]
Jump up ^ "PMST-60NS". Paul Mauriat website. Archived from the original on December 8, 2008. Retrieved 2008-08-22.
^ Jump up to: a b "The Horn". JazzBariSax.com.
Jump up ^ "Saxophone questions from our friends & clients . . . CyberSax Tech Topics . . . Vintage & Pro Saxophones . ." cybersax.com. Archived from the original on 18 January 2012.
Jump up ^ "Saxophone Embouchure and Saxophone Muscles – Learning Saxophone". Retrieved 2010-01-31.
Jump up ^ Teal, Larry (1963). The Art of Saxophone Playing. Miami: Summy-Birchard. p. 17. ISBN 0-87487-057-7. A preference as to material used is up to the individual, and the advantages of each are a matter of controversy. Mouthpieces of various materials with the same dimensions, including the chamber and outside measurements as well as the facing, play very nearly the same.
Jump up ^ Rousseau, Eugene. "Discussions". EugeneRousseau.com. The Art of Choosing a Saxophone Mouthpiece. Retrieved 27 April 2016.
Jump up ^ AquilaSax operates from New Zealand and manufactures in China.
Jump up ^ Ventry, J. (26 March 1930). "A Talk On Modern Band Music". Trove.nla.gov.au. The Mercury. Retrieved 3 February 2017.
Jump up ^ "Recommended Saxophone Repertoire Alto Saxophone Level III" (PDF). Music.indiana.edu.
Jump up ^ Steven Mauk. "Selected Repertoire". Ithaca.edu. Retrieved 2014-05-19.
Jump up ^ "James Fei: DVD". Archived from the original on 2006-12-17. Retrieved 2007-05-07.
Jump up ^ "L.A. Sax Straight Models". Retrieved 2007-05-07.
Jump up ^ "Jim Schmidt's Contralto". Archived from the original on April 8, 2007. Retrieved 2007-05-07.
Jump up ^ "The Royal Holland Bell Ringers Collection and Archive". Retrieved 2006-10-23.
Jump up ^ "Slide sax picture". Retrieved 2006-10-23.
Jump up ^ "Slide sax picture". Archived from the original on 2007-06-28. Retrieved 2006-10-23.
Jump up ^ "Tubax E♭ saxophone". Benedikt Eppelsheim Wind Instruments. Retrieved 2007-05-07.
Jump up ^ "The Fabulous Leblanc Saxophones". saxgourmet.com.
Jump up ^ "Saxophones with Linear Fingering System – Flutes and Saxes – JSengineering". jsengineering.net.
Jump up ^ "Jim Schmidt demonstrates his unique saxophone". YouTube. 20 January 2009.
Jump up ^ "Mento Music: Sugar Belly". Retrieved 2007-05-07.
Jump up ^ "Culture & Arts in North Sulawesi, Indonesia". Archived from the original on 2007-04-02. Retrieved 2007-05-07.
Jump up ^ "A bio-aesthetic offspring of single reed woodwinds-Dieter Clermont and his Thai partner Khanung Thuanthee build bamboo saxophones in North Thailand since the late 1980s". Archived from the original on 2008-09-21. Retrieved 2008-07-31.
Jump up ^ "Thai Bamboo Saxophone". Retrieved 2007-05-07. [dead link]
Jump up ^ "Un Mundo de Bambú". Retrieved 2007-05-07.
Jump up ^ "Photo Gallery :: SaxPics.com". saxpics.com.
Jump up ^ "Photo Gallery". SaxPics.com. Retrieved 2014-05-19.
Jump up ^ "Photo Gallery :: SaxPics.com". saxpics.com.

tag: ol


document_title: Islands of Africa

question_text: island nation off the southeast coast of africa

text: Islands of Africa

text: Introduction[edit]

text: The islands of Africa can be subdivided into Indian Ocean Islands and Atlantic Ocean Islands.[5] The largest number of islands of Africa are found in the Indian Ocean, with the sovereign island nations of Comoros, Seychelles, Mauritius and Madagascar located off the southeastern seaboard of Africa being the most notable. The French overseas territories of Mayotte and Réunion are also located nearby. The medium-sized islands of Zanzibar and Lamu of Tanzania and Kenya, respectively, are also located in the Indian Ocean, in addition to smaller islands off the coasts of other continental countries. In the Atlantic seaboard, the largest islands are Cape Verde off the coast of West Africa and Sao Tome and Principe off the southwestern seaboard. In the Atlantic Ocean, the island of Malabo and other smaller islands of Equatorial Guinea are also notable. The Canary Islands and other territories of Spain are present in the Mediterranean Sea in the north Atlantic Ocean, and the British possessions of Saint Helena, Ascension Island, and Tristan da Cunha are located off the southwestern seaboard of the continent.

text: Geology[edit]

text: All of the islands of Africa, except for Madagascar, are classified as small islands under the UNESCO classification system for all islands under 2,000 square kilometres (770 sq mi).[6] Madagascar, in contrast, at 587,041 square kilometres (226,658 sq mi) is the fourth-largest island in the world. In line with most characteristics of small islands, the islands of Africa with the exception of Madagascar are almost all volcanic in origin, high in structure, with low coral elevation, with some surface water resources and undergo variable weather conditions, with occasional destructive tropical cyclones.[7]

text: Geography and History[edit]

text: Sovereign Island Nations[edit]

text: Indian Ocean Islands[edit]

text: There are four sovereign island nations located in the Indian Ocean: Comoros, Madagascar, Mauritius and Seychelles. These countries have interrelated histories and populations over hundreds of years of interaction. These islands, in addition to the French territories of Réunion and Mayotte make up the membership of the Indian Ocean Commission.

text: Each of the sovereign Indian Ocean nations have complex population histories with Southeast Asian exploration and settlement, Arab trade and the Bantu migrations each playing a crucial role before later European colonization.

text: The French settled the largest island of the Indian Ocean (and the fourth-largest globally), Madagascar, along with a group of smaller islands nearby, namely Réunion and the Comoros. Madagascar became part of the French colonial empire following two military campaigns against the Kingdom of Madagascar, which it initiated after persuading Britain to relinquish its interests in the island in exchange for control of Zanzibar off the coast of Tanganyika, an important island hub of the spices trade. The British also held a number of island colonies in the region, including the extended archipelago of Seychelles and the rich farming island of Mauritius, previously under the French sovereignty.

text: Atlantic Ocean Islands[edit]

text: There are two sovereign island nations in the Atlantic Ocean: Sao Tome and Principe and Cape Verde. Both islands share some historical and demographic features, especially in relation to their uses as transit points during the Atlantic slave trade.

text: Neither Sao Tome and Principe nor Cape Verde were inhabited before European colonization in the wake of the Atlantic slave trade. [8][9]

text: European Dependencies and Territories[edit]

text: Both Spain and France retain possession of a number of territories in Africa in the form of islands in the Mediterranean Sea of the Atlantic Ocean in the case of Spain, and in the Indian Ocean in the case of France. Italy, the United Kingdom and Portugal also retain possession of small islands in the Atlantic Ocean.

text: The Canary Islands, as well as Ceuta and Melilla and the Plazas de soberania islands in the Mediterranean Sea off the northern coast of Morocco, have long been in Spanish possession since the Reconquista, although Morocco continues to challenge Spain's authority over some of the islands.

text: Following the independence of Comoros from France, the island of Mayotte voted in 1975 to remain a French territory, and in 2011 attained the status of a French department, along with Réunion which has held that status since the 1950s. Comoros continues to challenge France's possession of Mayotte, and Comoros, Madagascar, Mauritius and Seychelles also variously dispute France's possession of its Îles Éparses, or other scattered islands of the Indian Ocean.

text: The United Kingdom also retains territories in the form of Saint Helena, Ascension, and Tristan da Cunha off Africa's western seaboard in the Atlantic Ocean, as does Portugal with the islands of Madeira north of the Canary Islands and Italy with the islands of Lampedusa and Lampione off the northern coast of Tunisia.

text: Other[edit]

text: Many continental African countries also include many islands within their territories. Some of these islands have witnessed rising secessionist movements, most notably the islands of Zanzibar in Tanzania and Lamu in Kenya.

text: Demographics[edit]

text: The total population of inhabitants of the islands of Africa is estimated at a little over 30 million, with the bulk of the population of the islands of Africa residing in Madagascar.

text: Culture[edit]

text: The islands of Africa share many cultural traits due to similar settlement and population histories. Most of the creole languages of Africa developed on the islands of Africa, and the development of the Swahili language and Malagasy language, both of which incorporate various Arabic, Persian, Bantu and Southeast Asian (in the case of Malagasy) elements, took place mostly on the Indian Ocean islands. The musical innovations of many islands of Africa from contact between Asian, European and African instruments and styles are also popular on continental Africa, most notably those of the Music of Cape Verde and Music of Zanzibar.