TROMBONE-L Digest 1579 Topics covered in this issue include: 1) prototype trombone for sale by Charles 2) Re: Seeking advice on opening up valve ports by Jay Heltzer 3) Re: Seeking advice on opening up valve ports by JFBermann@aol.com 4) Digest 1577 by Bradley W Main 5) RE: New England freelance pool by David Molter 6) Open or closed wrap by FOpal@aol.com 7) Re: DUO GRAVIS by Earl Needham 8) Re: Seeking advice on opening up valve ports and other options! by BRASSRX@aol.com 9) RE: Open or closed wrap by "DOWDY, KENNETH S" 10) Combine Bach 36 and 42 by John Clutcher 11) Re: Open or closed wrap by BassBonist@aol.com 12) Trombone for sale by Chris Moncelli 13) Re: Open or closed wrap by BassBonist@aol.com 14) RE: Open or closed wrap by "DOWDY, KENNETH S" 15) Re: Seeking advice on opening up valve ports by Neobopr@aol.com 16) Re: Home Studio--Microphones and digital recording equipment by Mike Coyle 17) RE: Open or closed wrap by Mike Coyle 18) RE: New England freelance pool by Mike Coyle 19) Re: From the Top audition by Mike Coyle 20) The passing of Philip Jones (fwd) by Bruce David Hall 21) Re:Open or closed wrap choices by sabutin@mindspring.com 22) Problems by JennWhaa@aol.com 23) Lindberg interview in Brass Bulletin, N' Stuff by Mike Coyle 24) Re:Open or closed wrap choices by Mike Coyle 25) RE: College, Money, and Torture by "Burger, Eric SSG (USAREUR-BAND)" 26) Re: Problems by sabutin@mindspring.com 27) Rejected Posts (was Re:Open or closed wrap choices) by Listmonitor Trombone-L 28) Re:Open or closed wrap choices by sabutin@mindspring.com 29) Listless Blues by "Adrian Drover" 30) Re: Listless Blues by "Gary D. Maxwell" 31) Jazz meets Latin - NY Times review by james.c.shake@us.pwcglobal.com 32) Re: Problems by "Daniel Pliskin" 33) Re: Jazz meets Latin - NY Times review by sabutin@mindspring.com 34) Re: Rejected Posts (was Re:Open or closed wrap choices) by sabutin@mindspring.com 35) RE: College, Money, and Torture by Beth Lewis 36) Re: Problems by "Adrian Drover" 37) Re: A Great Article by "Adrian Drover" 38) Re: Lindberg in Brass Bulletin, N' Stuff by Anders Carlsson 39) Re: Problems by "Daniel Pliskin" 40) Re: Lindberg in Brass Bulletin, N' Stuff by Anders Carlsson 41) Re: Lindberg interview in Brass Bulletin, N' Stuff by Anders Carlsson 42) Re: Problems by NHSGrizzly16@aol.com 43) Re: Problems by Amtrombone@aol.com 44) RE: Lindberg interview in Brass Bulletin, N' Stuff by "Guion, David" <8guion@jmls.edu> 45) Re: Problems by sabutin@mindspring.com 46) Re: Lindberg in Brass Bulletin, N' Stuff by Mike Coyle 47) RE: Lindberg interview in Brass Bulletin, N' Stuff by Mike Coyle 48) Re: Listless Blues by "Steve Beck" 49) Re: Lindberg 'N stuff by Mike Coyle 50) trigger linkage grease (really mundane) by Mike Coyle 51) Re: Lindberg interview in Brass Bulletin, N' Stuff by "Kenneth Dowdy" 52) Re: Slide Hampton Concert by Trmbman@aol.com 53) Re: Problems by Tbcwes@aol.com 54) Re: Lindberg interview in Brass Bulletin, N' Stuff by David Oliver 55) Re: Lindberg interview in Brass Bulletin, N' Stuff by Angie Brunk From ???@??? Wed Jan 26 08:08:11 2000 Date: Tue, 25 Jan 2000 06:10:30 -0500 From: Charles To: trombone-l@lists.missouri.edu Subject: prototype trombone for sale Message-ID: <1.5.4.32.20000125111030.00660524@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Date: Tue, 25 Jan 2000 05:15:01 -0500 >To: list >From: Charles >Subject: prototype trombone for sale > >Trombone- Conn prototype (no engraving at all on the bell) 6 3/4" bell, fair gold lacquer, no major dents, dirty slide (not used in 25 years) circa 1969 $200 > From ???@??? Wed Jan 26 08:08:11 2000 Date: Tue, 25 Jan 2000 06:18:28 -0600 From: Jay Heltzer To: TRBNTERRY@webtv.net Cc: "Trombones and related issues forum." Subject: Re: Seeking advice on opening up valve ports Message-ID: <388D9494.9A2CE91F@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit TRBNTERRY wrote: > Is it really worth it for making the the lower register more open and > responsive? This is a Blessing B98 bass with dual valves which I've > owned for a couple of years. Before that, I played a Conn 72H single > valve, which of course, is limited in its capabilities to reach low B > and C. > > I always felt that the Blessing was very stuffy in the lower register > until I really started to bear down on it, and after a few weeks it > really started to open up and feel much more comfortable. This leads me > to the conclusion of wondering if it's the horn or just me. My guess is both. Continous hard work will obviously improve the skills, but the way an instrument is built and designed is completely out of your controll. > > > Can you tell me if there are any adverse side effects to having the > valve ports opened up ? You could be sacrificing your response on the horn in the other registers. I played on a Bach 42 that had its rotors opened up, not so wonderfully, and it was squirley as ever just trying to focus A note. My arpeggios sounded funny because it sounded like three different horns. However ports can be opened up effectively. Contact... > > > Also, who, in your opinion, does the best work at the most reasonable > price? ... The Brass Bow and speak with Wayne Tanabe. 847-253-7552 or brassrx@aol.com. Also check out the website: www.thebrassbow.com. He is one of the best out there. > > > Alas, I have contemplated stepping up to what is considered a > state-of-the-art horn, but I really hate to discard something before > considering all the options. Besides, the Blessing B98 isn't a bad > playing horn in most respects. I have been told that Blessing, for > whatever reason, has discontinued this model. If you do the work before selling the horn, you might be able to raise the asking price. I always found that any bass bone will be sold on this list, especially the ones that have had custom work done to them. So far, with this logic, I am 2 for 2. Good luck. Jay Heltzer > > > Thanks, Mike Terry From ???@??? Wed Jan 26 08:08:11 2000 Date: Tue, 25 Jan 2000 07:38:53 EST From: JFBermann@aol.com To: TRBNTERRY@webtv.net, trombone-l@lists.missouri.edu Subject: Re: Seeking advice on opening up valve ports Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Dear Mike, Do you want to have the horn made into a primo horn which means spending primo bucks, or do you want to start out with basic stuff without spending a fortune? I told you I thought the horn was stuffy when I played it. Opening the ports as I mentioned to you makes a big difference. What it does is make the bore uniform between the tubing and the valves thus creating a more even airflow. Open wrapping the valve section also opens the airways by taking tight bends out of the wrap. Leadpipes in the slide are also a factor. The B98 is a copy of the Bach 50B3, not a clone mind you a copy. I have an early production model of the Bach 50B3 that plays like a million bucks, and in it's stock format! So each instrument is different, and yes the operator does make a big difference. Call Mark Adams at All County music, bring him the horn and talk to him about the options, he's done a lot of work on bass trombones and is first-rate! Play for him, and he can evaluate what improvements he could make in the instrument that would aid you in your quest to sound as good as you possibly can. If you're still not happy after doing that, there are plenty of fine stock instruments out there. All My Best, Jim Bermann From ???@??? Wed Jan 26 08:08:11 2000 Date: Tue, 25 Jan 2000 08:09:27 -0500 From: Bradley W Main To: TROMBONE-L@LISTS.MISSOURI.EDU Subject: Digest 1577 Message-ID: <05256871.00483D4A.00@aammta1.d51.lilly.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-disposition: inline I briefly lost the list over the weekend. Could sombody send me digest 1577? BWM@lilly.com Thanks, Brad From ???@??? Wed Jan 26 08:08:11 2000 Date: Tue, 25 Jan 2000 08:38:42 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: New England freelance pool Message-ID: <381574727.948807522876.JavaMail.root@web25.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Doug Yeo wrote, in part "Now that the secret is out, everyone will be moving to New England - wow, what a free lance pool we'll have! Doug: Only one question -- is it a HEATED freelance pool? Dave Molter Pittsburgh, PA From ???@??? Wed Jan 26 08:08:11 2000 Date: Tue, 25 Jan 2000 09:04:52 EST From: FOpal@aol.com To: trombone-l@lists.missouri.edu Subject: Open or closed wrap Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Can anyone tell me what there opinions are for an open or closed wrap F- attachment? Im prolly getting a new Bach model and I wanted to know the arguments for either. Thank you Trombonist, Frank From ???@??? Wed Jan 26 08:08:11 2000 Date: Mon, 24 Jan 2000 21:31:17 -0700 From: Earl Needham To: Mike Coyle , "Trombones and related issues forum." Subject: Re: DUO GRAVIS Message-ID: <3.0.5.32.20000124213117.0085a480@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 09:43 PM 1/24/00 -0600, Mike Coyle wrote: >Earl, > >what is the trigger setup on a Duo Gravis? I used to play a Conn 62H and >it had side-by-side triggers with rollers in between to facilitate bringing >the second valve into play when the first is being used. I liked it a lot. > just curious how the DG is setup. > >Mike The DG has what I think is a UNIQUE paddle arrangement. The F valve is the bottom paddle, and the D valve is the top. (They're NOT side-by-side, they're over/under.) This necessitates a thumb shift when using either the F valve alone or when adding the D valve. Although I get a cramp in my thumb when doing valve exercises, I understand this doesn't happen if you're double-jointed, as Mr. Raph is reported to be. Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Wed Jan 26 08:08:11 2000 Date: Tue, 25 Jan 2000 09:27:11 EST From: BRASSRX@aol.com To: TRBNTERRY@webtv.net, trombone-l@lists.missouri.edu Subject: Re: Seeking advice on opening up valve ports and other options! Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In a message dated 1/24/2000 10:24:18 PM Pacific Standard Time, TRBNTERRY@webtv.net writes: << Is it really worth it for making the lower register more open and responsive? This is a Blessing B98 bass with dual valves which I've owned for a couple of years. Before that, I played a Conn 72H single valve, which of course, is limited in its capabilities to reach low B and C. I always felt that the Blessing was very stuffy in the lower register until I really started to bear down on it, and after a few weeks it really started to open up and feel much more comfortable. This leads me to the conclusion of wondering if it's the horn or just me. Can you tell me if there are any adverse side effects to having the valve ports opened up? Also, who, in your opinion, does the best work at the most reasonable price? Alas, I have contemplated stepping up to what is considered a state-of-the-art horn, but I really hate to discard something before considering all the options. Besides, the Blessing B98 isn't a bad playing horn in most respects. I have been told that Blessing, for whatever reason, has discontinued this model. Thanks, Mike Terry >> Rather than opening the rotor ports on your bass bone to improve the lower register to be more open and responsive you might consider something not so permanent to do. Consider having the leadpipe pulled and setup to be a removable leadpipe. This way you can experiment with other manufacturer's pipe and find one to give you the response your after. You can always go back to your old pipe if you do not like it but you will also have the ability to change leadpipes and give you different sound and response characteristics for the many playing situations you will run into in life. Opening the ports on any trombone is normally done to balance and lessen the stuffy response and sound you normally get using the rotors compared to the open horn. Some other improvement you might take a look at would also help here would be to have the small tuning slide tube (after the rotor section) on your main tuning and rotor section slide reversed. Having this done moves the gap the tuning slide creates when pulled farther away and lessens the distortion also. We will also do a process we call "blue printing" The main tuning slide which is basically disassembling the slide and correcting crimped tuning slide bow ends, check the inside diameters to be up to size and aligning and fitting the parts so everything fit perfectly including how it fits back into the bell section. You would think manufacturers do this while making your instrument but this is not the case in many instances. Hope this helps...good luck. Wayne Tanabe The Brass Bow Music Co. 101 North Hickory Ave. Arlington Hts. IL 60004 847-253-7552 847-253-0792 fax Brassrx@aol.com www.thebrassbow.com From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 08:32:27 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: Open or closed wrap Message-ID: MIME-Version: 1.0 Content-Type: text/plain Think of a closed wrap horn kind of like a jock strap. The open wrap is more free, but everything is kinda hanging out there. Closed wrap has a bit more resistance, but your tubing is a bit better protected. Ken Dowdy > -----Original Message----- > From: FOpal@aol.com [SMTP:FOpal@aol.com] > Sent: Tuesday, January 25, 2000 8:05 AM > To: Trombones and related issues forum. > Subject: Open or closed wrap > > Can anyone tell me what there opinions are for an open or closed wrap F- > attachment? Im prolly getting a new Bach model and I wanted to know the > arguments for either. Thank you > > Trombonist, > Frank From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 09:41:12 -0500 From: John Clutcher To: trombone-l@lists.missouri.edu Subject: Combine Bach 36 and 42 Message-ID: Mime-Version: 1.0 Content-Type: text/plain Content-Disposition: inline I own a King 3B and use a Bach 6 1/2AL mouthpiece. My 30 year old horn has seen better days, especially with the slide "dings". In considering new horns, I have played both the Bach 36 and 42. Both use an open wrap (models may be 36BO and 42). I also played the Christian Linberg model and really liked the f attachment valve. Very little movement to activate the valve. The 42 was great to play in the lower register, very open. The 36 was much better for the upper range. All of this was expected. I have a suggestion from a fellow musician to order a 36 slide and a 42 bell. This person has this combo. I hope to play it in the near future. I realize the fitting will need to change to accommodate the size difference to connect the bell with the slide. One possibility is to have it custom made at the factory. Does anyone have any comments? Intonation considerations? F attachment recommendations? Mouthpiece changes? Should I consider a light weight slide and why? Does Bach ever offer this combo.... if no, why? What case recommendations should I consider? Is this a good idea to consider? Do you have any other recommendations? I wish I could get a Bach 42 (fulls sound), which played as easy as a 36 (great upper register) and had the valve which is on Linberg model. I consider myself an excellent average trombonist! (ha) I play on the weekends, teach some private lessons and usually play the 2nd trombone part with Symphonic music (but sometimes 1st). Thanks in advance for your help. This is a big decision for me and your input is greatly appreciated. John Clutcher Information Technology/Caracas Penn State Geisinger Health System Hershey Medical Center - HS92 PO Box 850, Hershey, PA 17033-0850 (717) 531-8682, Fax: (717) 531-5441 EMail: JClutcher@psghs.edu From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 09:43:45 EST From: BassBonist@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Open or closed wrap Message-ID: <20.1334ea2.25bf10a1@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Frank writes: << Can anyone tell me what there opinions are for an open or closed wrap F- attachment? Im prolly getting a new Bach model and I wanted to know the arguments for either. Thank you >> Open wrap plays better, traditional wrap is more "stable" since the tubing is more compact and is more protected within the confines of the bell. Matt Varho From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 08:30:39 -0600 From: Chris Moncelli To: trombone-l@lists.missouri.edu Subject: Trombone for sale Message-ID: <388DB38F.8007175D@i1.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > > Olds Custom trombone for sale. Early 1970's. Excellent condition. .500 > bore, 8" bell. All nickle silver except for the bell which is light > weight brass. Fantastic sounding horn. Wonderful rare design and > excellent craftsmanship. Need $500. email: boneman@i1.net From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 09:47:37 EST From: BassBonist@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Open or closed wrap Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Ken Dowdy writes: << Think of a closed wrap horn kind of like a jock strap. The open wrap is more free, but everything is kinda hanging out there. Closed wrap has a bit more resistance, but your tubing is a bit better protected. >> Jock strap?? So what would a "CUP" mute protect??? Matt From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 08:54:36 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: Open or closed wrap Message-ID: MIME-Version: 1.0 Content-Type: text/plain In my case, a "cup mute" protects other people's ears! Ken Dowdy > -----Original Message----- > From: BassBonist@aol.com [SMTP:BassBonist@aol.com] > Sent: Tuesday, January 25, 2000 8:48 AM > To: Trombones and related issues forum. > Subject: Re: Open or closed wrap > > Ken Dowdy writes: > > << Think of a closed wrap horn kind of like a jock strap. The open wrap > is > more free, but everything is kinda hanging out there. Closed wrap has a > bit > more resistance, but your tubing is a bit better protected. >> > > Jock strap?? So what would a "CUP" mute protect??? > > > Matt From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 10:45:40 EST From: Neobopr@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Seeking advice on opening up valve ports Message-ID: <17.ecb9f7.25bf1f24@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In a message dated 1/25/00 2:24:06 AM, TRBNTERRY@webtv.net writes: <> Before you do this I would consider turning the horn into a Bb/F/D/B setup. This is done by adding enough tubing to what was the Gb valve, to make it into a D valve. This significantly frees up a horn's pedal register making the simultaneous use of both valves nearly unnecessary. Yamaha Artist/Clinician-Jeff Adams From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 10:29:14 -0600 From: Mike Coyle To: crtune@pacbell.net, Anders.Carlsson@gfs.gu.se Cc: trombone-l@lists.missouri.edu Subject: Re: Home Studio--Microphones and digital recording equipment Message-ID: <200001251629.KAA26389@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Chris, Anders, et al. I use dedicated digital recording equipment and then do whatever final editing I may need to on a PC. I agree that microphones are the most critical part of the recording process. They are also the weak link. Think about it. The mic is the inverse of an audio speaker but functions in a similar way by capturing sound waves as vibration then converts them into electronic impulses. That's the first link in the chain. The final link in the chain is the speaker which converts those electronic impulses back into vibration. The process starts with and ends with conversion making the mics and speakers potentially the weakest links in the recording process. I agree that a large membrane condenser is the way to go for recording low brass. I have had good results, however, with certain smaller and mid size mics. The biggest surprise being a pair of Octave MAC 012 micas. I was shocked by the purity of sound from such small and (thanks to the plummeting ruble) relatively inexpensive mics. I'd like to know what larger membrane mics you guys have had the best luck with. Also, and everyone interested in recording has to eventually get into this, the living hell of recording: acoustic piano. What do you guys use for that? I have been experimenting for a long time with mixed results. A PZM and condenser mix seems to work, but I always like to hear from others on this matter. Thanks, Mic Coil :) PS BTW, for those with an engineering bent, you can represent my name using schematic symbols From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 10:41:42 -0600 From: Mike Coyle To: kdowdy@oppd.com Cc: trombone-l@lists.missouri.edu Subject: RE: Open or closed wrap Message-ID: <200001251642.KAA27672@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Brilliant simile, Ken!!!!!!!!!! :) I come from the days when there was no choice between open and closed wrap. I have played and 88H and a 42B extensively and when ever I have tried the open wrap versions I have not found enough difference to really think about switching. Compensation for whatever resistance there is in a closed wrap horn is pretty automatic. I don't know how an open wrap player would feel about switching to a closed wrap. I assume it would be a more noticeable difference going in that direction. I also like the compactness and look of the closed wrap more. I just bought a Bach 42 because I really prefer NO wrap. I recently played a Conn 88HGSUMD-42HDGEY-X or whatever it was. It was open and had the Lindberg valve (or was it the Lindbergh baby? - all I know is that horn had a little of everything on it). Frankly, for the money I'm happy with my 42B. The ads for the Lindberg valve talk about the "pop and flop" of the traditional rotary valve. Honestly, if you use it right and are comfortable with it, it is just fine. As one venerable member of the trombone community has often said: "In the old days, we practised" Mike At 08:32 AM 1/25/00 , you wrote: >Think of a closed wrap horn kind of like a jock strap. The open wrap is >more free, but everything is kinda hanging out there. Closed wrap has a bit >more resistance, but your tubing is a bit better protected. > >Ken Dowdy > >> -----Original Message----- >> From: FOpal@aol.com [SMTP:FOpal@aol.com] >> Sent: Tuesday, January 25, 2000 8:05 AM >> To: Trombones and related issues forum. >> Subject: Open or closed wrap >> >> Can anyone tell me what there opinions are for an open or closed wrap F- >> attachment? Im prolly getting a new Bach model and I wanted to know the >> arguments for either. Thank you >> >> Trombonist, >> Frank > From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 10:44:40 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: RE: New England freelance pool Message-ID: <200001251645.KAA28017@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 07:38 AM 1/25/00 , David Molter wrote: >Doug Yeo wrote, in part > >"Now that the secret is out, everyone will be moving to New England - wow, >what a free lance pool we'll have! > >Doug: Only one question -- is it a HEATED freelance pool? > >Dave Molter >Pittsburgh, PA Now, if we could only alter the New England gene pool? ;-) From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 10:48:30 -0600 From: Mike Coyle To: brring@bellsouth.net Cc: trombone-l@lists.missouri.edu Subject: Re: From the Top audition Message-ID: <200001251649.KAA30906@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Ryan, It's a radio (NPR) program which features kids under the age of 18 who display a high level of proficiency in classical music. Some really fabulous kids show up. I heard a pianist last week that blew me away - he was 14! The MC of the show is a really funny guy and a god pianist/accompanist himself. Its a good show, check it out. Call your local public radio station and see when it airs in your area. Mike At 05:18 AM 1/25/00 , you wrote: >Good Morning Listers, > > Please excuse my ignorance but what is the "From the Top"? I have never >heard of any such thing.... > >Later, >Ryan Ringnalda > >---------- >>From: "James Yardley" >>To: "Trombones and related issues forum." >>Subject: From the Top audition >>Date: Mon, Jan 24, 2000, 5:34 PM >> > >> Dear List, >> >> My name is James Yardley. I play the Bass Trombone and I'm 17. I >> recently discovered the program From the Top and I'm interested in >> auditioning for it. Below are the audition requirements. >> >> >> Audition for us by sending an audio tape or CD (video tapes are also >> acceptable) containing two performance-ready pieces in contrasting styles. >> The length of each selection should be approximately 4 minutes for soloists >> and 6 minutes for ensembles. Cuts and the omission of repeats are acceptable >> as long as they are appropriate for public performance. Don't forget to >> label your tape or CD case with your name(s), instrument(s), composition >> lengths (including minutes and seconds) and your city and state. >> >> Optional: Include a list of up to three additional repertoire selections >> with timings. >> >> >> Right now, I'm working on Concerto in One Movement by Lebedev for my college >> audition. It's about 8 minutes long. I was hoping for some suggestions on >> a couple solos I could play for the From the Top audition that meet the four >> minute requirement. I know placing a limit on bass trombone solos is >> difficult because there aren't many out there as it is. If anyone has any >> suggestions, I'd greatly appreciate them. >> >> So far, I plan on playing Concertino Basso by Richard Lieb (I think I'd cut >> out the cadenza due to the time limit). Thanks. I love you guys! >> >> James Yardley >> Bass Trombone >> >> > From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 10:52:01 -0600 (CST) From: Bruce David Hall To: Trombone List Subject: The passing of Philip Jones (fwd) Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII [Sorry if this is a duplicate post] > British Musician Philip Jones Dies LONDON (AP) _ Philip Jones, >who held the top trumpet position in six London orchestras and formed a >brass ensemble that played for audiences worldwide, has died, British >newspapers reported Wednesday. He was 71. He died Monday, the newspapers >said. No cause or location of death was given. Jones, who came from >a family of trumpeters, was determined to prove that brass instruments >could hold center stage and captivate an audience. He created the Philip >Jones Brass Ensemble and led the group on tours of more than 30 countries. >The ensemble made 50 recordings and performed 87 world premieres, The >Guardian reported. Born on March 12, 1928, in Bath, England, Jones >developed his musical skills early. In 1944, he won a scholarship to the >Royal College of Music. He played for the Royal Philharmonic from >1956-60, the Philharmonia from 1960-64, the London Philharmonic from >1964-65, the New Philharmonia from 1965-67 and the British Broadcasting >Corp. Symphony Orchestra from 1960-71. Jones formed his brass >ensemble in 1951 as a quartet. The group added a fifth member in 1961, and >as the number of engagements grew so did the size. By 1970, the band >consisted of 10 players. They performed throughout Europe, the United >States, Asia and Australia. Despite his success, Jones remained meticulous >about the smallest details, The Guardian said. While the other musicians >enjoyed a pre-concert meal, he would be alone on stage, carefully >positioning everyone's music and lining up the stands, the newspaper said. > Jones retired in 1986, coming to his decision after he drove >over his own trumpet case and crushed it, The Times said. In retirement, >he devoted his time to teaching and charity. Jones accepted a position at >Trinity College of Music that he held until 1994. He also worked on a >musicians' charity fund, acting as chairman in 1995. In 1977, >Jones was awarded an OBE, or Order of the British Empire. In 1986, he was >given the higher honor of a CBE, or Commander of the Order of British >Empire. Jones is survived by his wife, Ursula Strebi. Funeral >arrangements were not immediately available. From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 11:54:44 -0500 From: sabutin@mindspring.com To: FOpal@aol.com Cc: trombone-l@lists.missouri.edu Subject: Re:Open or closed wrap choices Message-ID: <200001251656.LAA23433@smtp7.atl.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The first time I posted this, the listmonitor apparently rejected it. Here it is again: =============== At 09:04 AM 1/25/00 -0500, you wrote: >Can anyone tell me what there opinions are for an open or closed wrap F- attachment? Im prolly getting a new Bach model and I wanted to know the arguments for either. Thank you > >Trombonist, >Frank ========================================== Open wrap more closely matches the resistance of the open horn. It provides less resistance in the trigger range, and more naturally matches the timbre of the open horn. Combined with many of the newer valve systems, which themselves are more free flowing, it enables the trigger notes to be almost indistinguishable from the open notes w/very little effort. This can be achieved w/the older style wraps and valves as well, but it is much harder to do. Some players actually like the older styles better, either because they're more used to them or because they like the difference in resistance and timbre. It's possible to play great on older style equipment, and equally possible to play open wrap/Thayer combinations very badly...choose the system that feels best to YOU, and then learn how to play it. S. From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 12:12:51 EST From: JennWhaa@aol.com To: trombone-l@lists.missouri.edu Subject: Problems Message-ID: <92.956cc3.25bf3393@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Ever since last semester, I have been consistently working on my single tonguing with Kopprasch etudes and I have not been able to break through a plateau - quarter = 88, occasionally 92. I was talking about it to another trombonist when they suggested that it may have something to do with the position of my tongue. I seem to tongue with the syllable "th" on the edge of my front teeth. My tongue never seems to get behind my teeth. What effect might that have on my tonguing? From ???@??? Wed Jan 26 08:08:12 2000 Date: Tue, 25 Jan 2000 11:31:52 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Lindberg interview in Brass Bulletin, N' Stuff Message-ID: <200001251732.LAA03140@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit I recently received a copy of the Brass Bulletin (Vol. 107 III - 1999) which contains an interview with Christian Lindberg. Among other things he talks about what I believe is a very important issue in music. I'll quote this portion of the article as it is currently inaccessible from the Brass Bulletin web page. B.B. You speak of new generations - how do they measure up in your estimation? C.L. First I must say that I deeply believe in the chances of brass and percussion in the music of the future. I am especially disappointed at how little courage the new generations show. It's strange in our century. Young musicians think as though they were in the last century. I can't help mentioning one case in particular: a few years ago I met the young Japanese trombonist Koichiro Yamamoto during a master class that I gave in LŸbeck, Germany. He was an outstanding talent that I immediately tried to encourage to go for the big artistic and musical adventure. But he didn't have the time. He did orchestra auditions, then won the trombone job (among 250 candidates!) for the Metropolitan Opera in New York. He was happy and content. I asked him why. In fact, no other future other than an orchestra job had ever occurred to him. For me, it's simply incomprehensible with a talent like this. I know at least 5-6 young guys who are perfectly capable of having a fine career as soloists. But the appeal of "security" gets them stuck in orchestras... Pretty heavy stuff - the interviewer QUICKLY steered him away from the subject! It's true and relevant to what we have been discussing lately about "following your dream" or other issues in the post started by James Yardley about his academic decisions. Unquestionably, if more people were willing to forego certain "securities" or comforts, at least for a while, and focus on careers that highlight the trombone as a soloist, the instrument would not suffer from the lack of exposure it does now (search the archives on that subject, I recall Sabutin commenting on the musico-sociological phenomenon of the lack of popularity of the trombone - particularly in comparison to the sax and trumpet, in jazz at least). Also, how many good paying gigs in orchestras are there in the U.S.? 100, maybe 120? I don't know, but I do know it is a staggeringly low fraction of the trombone population. I won't say a lot more about my own choices, I've revealed quite enough about that for one life time on trombone-l, but, I will say that I love it when I meet other people who are forging paths for themselves, and ultimately for others, which are not particularly well-beaten, I meet most of these people in the avant-garde sectors or in other places similarly obscure and shadowy. We have enough of the "same old thing", why do you think it's called the "same old thing"? :) We really need people to encourage younger players to do new and exciting things with the instrument - as soloists and in ensembles. The orchestra is still a 19th century phenomenon and also dominated by sting playing. PEOPLE, we're in the 21st century now. Just because a bunch of blue-haired old men and ladies with money and provincial, conservative tastes are funding our orchestras, does that mean that we have to pander to that by programming 80% of the year with music from the 18th and 19th centuries? The amount of really new music being done in that venue is appalling. When it IS done it is generally heralded as something new and unique in a "New Music Program" as if it were a freak show. Do you think people in the 19th century were listening to 18th century music? Not on your life. Read Charles Rosen on this subject, and remember that it was Mendelsohn who had to resurrect J.S. Bach in the mid 19th century, because his (Bach's) music was considered antiquated and passe. I may not have achieved a very pervasive name yet, but I will keep plowing the fertile fields till I die and keep encouraging others as well. I don't want a name, I want to hear a difference! Don't just focus on technique, make creativity a central focus of your musical journey. "Faith in technique is the religion of dangerous trades" - Thomas Harris Mike Coyle From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 11:33:59 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Re:Open or closed wrap choices Message-ID: <200001251734.LAA03323@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I don't think the list monitor rejects things :) In fact, I know he doesn't. The system burps now and then and things don't go through, that's all. At 10:54 AM 1/25/00 , you wrote: > The first time I posted this, the listmonitor apparently rejected it. >Here it is again: >=============== > >At 09:04 AM 1/25/00 -0500, you wrote: >>Can anyone tell me what there opinions are for an open or closed wrap F- >attachment? Im prolly getting a new Bach model and I wanted to know the >arguments for either. Thank you >> >>Trombonist, >>Frank > >========================================== > > Open wrap more closely matches the resistance of the open horn. It >provides less resistance in the trigger range, and more naturally matches >the timbre of the open horn. Combined with many of the newer valve systems, >which themselves are more free flowing, it enables the trigger notes to be >almost indistinguishable from the open notes w/very little effort. > > This can be achieved w/the older style wraps and valves as well, but it >is much harder to do. > > Some players actually like the older styles better, either because >they're more used to them or because they like the difference in resistance >and timbre. > > It's possible to play great on older style equipment, and equally >possible to play open wrap/Thayer combinations very badly...choose the >system that feels best to YOU, and then learn how to play it. > > S. > From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 18:42:16 +0100 From: "Burger, Eric SSG (USAREUR-BAND)" To: Robert Holland , "Trb. List" Subject: RE: College, Money, and Torture Message-ID: <7FCBEE52B9AAD2118D0C00A0C9E98B0B011FBFB7@1perscmdexch01.heidelberg.army.mil> MIME-Version: 1.0 Content-Type: text/plain Hey all, the tone of my original post was to do what it did - spark conversation. I do believe people must make their own life decisions. However, I think it would be ethical for the instructor to tell the mediocere student just what his true prospects are without a whole lot more work. I too was a mediocere but choose to learn to play anyway - and thankfully had listened enough to continue to learn for years after my last lesson. I now play full time, but it was a long road... Eric Burger From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 12:46:43 -0500 From: sabutin@mindspring.com To: JennWhaa@aol.com Cc: trombone-l@lists.missouri.edu Subject: Re: Problems Message-ID: <200001251748.MAA17947@smtp7.atl.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:12 PM 1/25/00 -0500, you wrote: > >Ever since last semester, I have been consistently working on my single tonguing with Kopprasch etudes and I have not been able to break through a plateau - quarter = 88, occasionally 92. I was talking about it to another trombonist when they suggested that it may have something to do with the position of my tongue. I seem to tongue with the syllable "th" on the edge of my front teeth. My tongue never seems to get behind my teeth. What effect might that have on my tonguing? > ======================= What effect might that have on your tonguing? You'll lithp. Really. Like Daffy Duck (or was it Sylvester the Cat...one of those Warner Brothers cartoon characters...). And it'll thlow you way down. Tweetie Bird had it right..."I tawt I taw a puddy tat." When you say "I tawt I taw a puddy tat" your tongue is naturally in the right place. for all the "t"s. "Th" won't cut it. Plus, if your tongue is going between your teeth, you're probably touching your embouchure...another no-no, generally. All the tongue should be doing during rapid tonguing is interrupting the airstream, and it should be moving as little as possible to do so. "Th" requires the whole tongue to move forward and back each articulation, instead of just up and down at the tip. You're trying to play baseball with a basketball. How to CHANGE that habit...that's the hard part. If you have good teachers, let them help you. If not, remember this...when you practice (ANYTHING) it's OK to think about what you're doing, but DON'T LET IT GET IN THE WAY OF YOUR PLAYING. Play lots of music (during practice sessions particularly), and forget about your tongue when you're really playing. Only think about it when practicing tonguing. What you practice will slowly and naturally become part of how you play. Later... S. From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 11:48:58 -0600 From: Listmonitor Trombone-L To: Trombone-L Subject: Rejected Posts (was Re:Open or closed wrap choices) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >I don't think the list monitor rejects things :) In fact, I know he >doesn't. The system burps now and then and things don't go through, that's >all. What Mr. Coyle has said is true. The listproc computer software has built-in safeguards to prevent multiple posts of the same message. What happens is that the listproc reviews the text information (please note that it does not review content) to see if it has previously seen this message. If the same number of characters with the same subject has been previously posted, it kicks out an error message. Once these are received, I try to forward the information to the original sender so that the post can be re-sent with some sort of minor change so as to "fool" the software. For the record, there have been two posts recently from the list monitor which were rejected by the listproc software as duplicates. I do not see any of the messages until they have been sent to the entire list. If it were otherwise, this would be a moderated list. Both Mr. Nicklas and myself believe that the beauty of the trombone-l is in its freedom as an unmoderated list. LM --------------------------------------- trombone-l digest archives and useful trombone-l information are available at http://www.cjnetworks.com/~tsks From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 12:49:50 -0500 From: sabutin@mindspring.com To: astro@pconline.com Cc: trombone-l@lists.missouri.edu Subject: Re:Open or closed wrap choices Message-ID: <200001251751.MAA11437@smtp7.atl.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:33 AM 1/25/00 -0600, you wrote: >I don't think the list monitor rejects things :) In fact, I know he >doesn't. The system burps now and then and things don't go through, that's >all. > ===================== I should have written "list processor". Chris sent me a note, saying repost it w/a few changes, for some reason the list processor had rejected it. Sorry for the techno-misspeak. S. From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 18:03:57 -0000 From: "Adrian Drover" To: "Trombone List" Subject: Listless Blues Message-ID: <003a01bf6761$1da98200$318601d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I wish somebody would warn me when the List is about to go down. I had to speak to my wife all last weekend. I couldn't think of anything to say that wasn't trombone related. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 10:28:33 -0800 From: "Gary D. Maxwell" To: slide.rule@adios.co.uk Cc: "Trombones and related issues forum." Subject: Re: Listless Blues Message-ID: <388DEB51.82E69F@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Adrian Drover wrote: > > I wish somebody would warn me when the List is about to go down. > > I had to speak to my wife all last weekend. I couldn't think of anything to > say that wasn't trombone related. Well if you got into the discussion of "Jockey" straps (closed wrap) and the lack of "Jockey" straps (open wrap). That must have been quite some discussion! (:>)) Gary Maxwell From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 13:35:26 -0500 From: james.c.shake@us.pwcglobal.com To: trombone-l@lists.missouri.edu Cc: sabutin@mindspring.com Subject: Jazz meets Latin - NY Times review Message-ID: <85256871.00663006.00@intlnamsmtp20.us.pw.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-disposition: inline Hi all, Found that Ben Riley's concert review in the 1/25/2000 NY Times had a trombone-related compliment (!!) - excerpt as follows: "The fusion of two musical languages can sometimes leave one diminished. For all the precision in the playing, these arrangements (augmented by Ralph Irizarry on timbales, Milton Cardona on congas, and Chucky Lopez on bongos) unfortunately kept two of the Lincoln Center Jazz Orchestra's central virtues fairly hidden: its trombone section (emphasis added) and the drummer Herlin Riley. " What were your thoughts Sabutin? ---------------------------------------------------------------- The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 11:14:03 PST From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: Problems Message-ID: <20000125191403.73684.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'd say practicing tonguing but do it using ear plugs. Ear plugs make what's going on in your head, all the clearer. You'll clearly hear your tonguing. DanP ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 14:34:10 -0500 From: sabutin@mindspring.com To: james.c.shake@us.pwcglobal.com Cc: trombone-l@lists.missouri.edu Subject: Re: Jazz meets Latin - NY Times review Message-ID: <200001251935.OAA27719@smtp6.mindspring.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 01:35 PM 1/25/00 -0500, you wrote: > > >Hi all, > >Found that Ben Riley's concert review in the 1/25/2000 NY Times had a >trombone-related compliment (!!) - excerpt as follows: > >"The fusion of two musical languages can sometimes leave one diminished. For all >the precision in the playing, these arrangements (augmented by Ralph Irizarry on >timbales, Milton Cardona on congas, and Chucky Lopez on bongos) unfortunately >kept two of the Lincoln Center Jazz Orchestra's central virtues fairly hidden: >its trombone section (emphasis added) and the drummer Herlin Riley. " > >What were your thoughts Sabutin? > ============================ I think it should have been done with a band of players that had extensive experience playing in the Afro-Cuban/Puerto Rican/Jazz idiom, led by someone who had lived inside it. I mean, if you asked Chico O'Farrill's band to play Duke Ellington, and Chico to lead it...it might happen, but it CERTAINLY wouldn't be GREAT...that's not what the band does. Maybe 5 or 6 players in Chico's band really understand how to play Duke, and I'll bet the number of players in Wynton's band...Wynton included...who have ever done more than a couple of real latin gigs would be smaller than that. Bands playing real music have to specialize, at least a LITTLE, or it devolves into a kind of studio-jazz...music that's got the outward form but not the inner knowledge. I didn't hear the concert, but I talked w/some people involved in it and I'm familiar w/the whole Lincoln Center scene, and that's the impression I got, anyway. It's hard being a repertory band...Lincoln Center manages it somewhat, as do the Carnegie Hall Band and the Smithsonian, but eventually ANY band runs out of its idiomatic range. You can't graft this kind of music onto a band that doesn't really play it, no matter HOW good it is...and I agree w/Ben Riley. The two best parts of the Lincoln Center Orchestra ARE the trombone section and Herlin Riley. By far. Later... S. From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 14:38:40 -0500 From: sabutin@mindspring.com To: tsks@cjnetworks.com Cc: trombone-l@lists.missouri.edu Subject: Re: Rejected Posts (was Re:Open or closed wrap choices) Message-ID: <200001251940.OAA10585@smtp6.mindspring.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:48 AM 1/25/00 -0600, you wrote: >>I don't think the list monitor rejects things :) In fact, I know he >>doesn't. The system burps now and then and things don't go through, that's >>all. > >What Mr. Coyle has said is true. The listproc computer software has >built-in safeguards to prevent multiple posts of the same message. What >happens is that the listproc reviews the text information (please note that >it does not review content) to see if it has previously seen this message. >If the same number of characters with the same subject has been previously >posted, it kicks out an error message. ============ I should have written "list processor". Chris sent me a note, saying repost it w/a few changes, for some reason the list processor had rejected it. Sorry for the techno-misspeak. S. =================== > >Once these are received, I try to forward the information to the original >sender so that the post can be re-sent with some sort of minor change so as >to "fool" the software. > >For the record, there have been two posts recently from the list monitor >which were rejected by the listproc software as duplicates. > >I do not see any of the messages until they have been sent to the entire >list. If it were otherwise, this would be a moderated list. Both Mr. >Nicklas and myself believe that the beauty of the trombone-l is in its >freedom as an unmoderated list. > >LM >--------------------------------------- > trombone-l digest archives and useful > trombone-l information are available > at http://www.cjnetworks.com/~tsks > From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 15:23:21 -0500 (EST) From: Beth Lewis To: "Burger, Eric SSG (USAREUR-BAND)" Cc: "Trombones and related issues forum." Subject: RE: College, Money, and Torture Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Tue, 25 Jan 2000, Burger, Eric SSG (USAREUR-BAND) wrote: > Hey all, > the tone of my original post was to do what it did - spark > conversation. I do believe people must make their own life decisions. > However, I think it would be ethical for the instructor to tell the > mediocere student just what his true prospects are without a whole lot more > work. I really don't understand how "ethics" come into play here. Do you think that hearing someone who's not very good practicing will leave passersby with irreparable emotional damage? ;) Seriously though, I think I get what you're trying to say. I just don't agree with ruling out a performing career for someone just because s/he doesn't sound anything like a pro yet (do you think teachers are psychic or what? :). NOBODY starts out sounding great (remember 6th grade??), and, from that point, each needs varying amounts of time and effort to really get better. For some, all the time in the world may not be enough, but who are we to be the judge of that, provided the student is sincere and knows what s/he's getting into? There have been too many "mediocre" and downright bad young trombonists who have gone on to become truly great players to say that those who sound less than great at the age of 18 will never sound any different. There are an awful lot of working musicians who never got into to Curtis or Juilliard.... >I too was a mediocre but choose to learn to play anyway - and > thankfully had listened enough to continue to learn for years after my last > lesson. I now play full time, but it was a long road... ...and so it is for everyone, no matter how good/bad they sounded in high school/college.... just throwing in some thoughts to ponder, Beth Lewis > Eric Burger > > From ???@??? Wed Jan 26 08:08:13 2000 Date: Tue, 25 Jan 2000 19:23:42 -0000 From: "Adrian Drover" To: "Sam Burtis" , "Trombones and related issues forum." Subject: Re: Problems Message-ID: <011f01bf6773$785687e0$318601d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Tuesday, January 25, 2000 5:46 PM Subject: Re: Problems > When you say "I tawt I taw a puddy tat" your tongue is naturally in the > right place. for all the "t"s. > > "Th" won't cut it. Oh thyit! thath what I've been doing wrong all theeth yearth. Thankth Tham. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 19:18:31 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: A Great Article Message-ID: <011e01bf6773$6ad97780$318601d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Bodie Pfost To: Trombones and related issues forum. Sent: Tuesday, January 25, 2000 10:00 AM Subject: A Great Article > The Hamiltons donated $1,000 to the band, which is raising money to > go to Disneyland. I always thought the idea of taking a band to Disneyland was to get paid for being there. Times are changing. Better make a collection for Walt. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 21:46:20 +0100 From: Anders Carlsson To: Mike Coyle Cc: "Trombones and related issues forum." Subject: Re: Lindberg in Brass Bulletin, N' Stuff Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-ID: Content-Transfer-Encoding: 8bit I can think of a number of reasons why these guys want to go for an orchestral position instead of a solo career. 1. I find orchestral music often to be more interesting to listen to and more rewarding to play than solo music. 2. If you put all the gigs available in a big pile and then extract the ones that have something to do with playing solo and compare that pile with the other one that has to do with playing as an ensemble togehter with other people, you might have one reason. I don«t practice a lot of solo playing as it is very seldom called for. My own opinions would be quite obvious now so I«ll just throw in another one. How is it that good soloists are automatically presumed to be good section players? It has happened to me a lot of times (and probably you too) that I«m in a rehearsal with some temporary band and the trumpet player/players in the horn section are steady as rocks and then there«s this sax player. Plays solos like a God, but never really plays exactly at the same time as the rest of us. Familiar? I hate that! Why call a soloist to a job when you don«t know if he can play section or not? I always rank a good section player higher than a good soloist. /Anders - a bit steamed up right now but probably just because my apartment looks like WW1. "Shut up and take your dissonance like a man." Ives ____________________________________________ Anders Carlsson, Gothenburg , Sweden. Brassplayer, arranger, conductor and brassteacher. Anders.Carlsson@gfs.gu.se or trombone@musiker.nu From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 12:52:21 PST From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: Problems Message-ID: <20000125205221.35322.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed I'd say practice tonguing but do it using ear plugs. Ear plugs make what's going on in your head, all the clearer. You'll clearly hear your tonguing. DanP ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 22:07:42 +0100 From: Anders Carlsson To: trombone-l@lists.missouri.edu Subject: Re: Lindberg in Brass Bulletin, N' Stuff Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-ID: Content-Transfer-Encoding: 8bit From: Anders Carlsson Subject: Re: Lindberg in Brass Bulletin, N' Stuff Date: Tue, 25 Jan 2000 21:46:20 +0100 I can think of a number of reasons why these guys want to go for an orchestral position instead of a solo career. 1. I find orchestral music often to be more interesting to listen to and more rewarding to play than solo music. 2. If you put all the gigs available in a big pile and then extract the ones that have something to do with playing solo and compare that pile with the other one that has to do with playing as an ensemble togehter with other people, you might have one reason. I don«t practice a lot of solo playing as it is very seldom called for. My own opinions would be quite obvious now so I«ll just throw in another one. How is it that good soloists are automatically presumed to be good section players? It has happened to me a lot of times (and probably you too) that I«m in a rehearsal with some temporary band and the trumpet player/players in the horn section are steady as rocks and then there«s this sax player. Plays solos like a God, but never really plays exactly at the same time as the rest of us. Familiar? I hate that! Why call a soloist to a job when you don«t know if he can play section or not? I always rank a good section player higher than a good soloist. /Anders - a bit steamed up right now but probably just because my apartment looks like WW1. "Shut up and take your dissonance like a man." Ives ____________________________________________ Anders Carlsson, Gothenburg , Sweden. Brassplayer, arranger, conductor and brassteacher. Anders.Carlsson@gfs.gu.se or trombone@musiker.nu From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 22:06:50 +0100 From: Anders Carlsson To: Mike Coyle Cc: trombone-l@lists.missouri.edu Subject: Re: Lindberg interview in Brass Bulletin, N' Stuff Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-ID: Content-Transfer-Encoding: 8bit Whenever Christian Lindberg is making a statemant you have to have in mind that the statement is made by him. This is a guy who started playing the trombone at the age of 17. Got into college for a trombone master at 18. Got a position in the Stockholm Royal Opera orchestra at 19 and got tired of it and quit at 20. Told his teacher that he wanted to become a soloist. At first he was discouraged to do so but put five years of hard studying in Stockholm, London and Los Angeles to become a soloist. He was so determined that he built his own portable practice booth which he could put in a hotel room wherever he went. He was also raised in a special family. His brother Jacob Lindberg is a proffesor of the Lute in London and his sister is a famous dental surgeon. At a master class not long ago he showed us who were there his practicing schedule which was planned in detail for the coming six months. He has premiered over 60 solo pieces for trombone and recieves by average two compositions per day in his mailbox, written for him. For all of you who have met him or heard him speak in public you know what I«m talking about. He«s got so much energy you almost gets exhausted as a listener. These are only a few things to keep in mind when reading a statement made by mr Lindberg. He is not your ordinary trombone player.(If there are any). He«s not even your ordinary proffesional trombone player.(I«m shure there aren«t any). /Anders Carlsson - sorry if my english is a bit rusty. Time is a great teacher, but unfortunately it kills all its pupils. Hector Berlioz ____________________________________________ Anders Carlsson, Gothenburg , Sweden. Brassplayer, arranger, conductor and brassteacher. Anders.Carlsson@gfs.gu.se or trombone@musiker.nu From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 16:14:23 EST From: NHSGrizzly16@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Problems Message-ID: <36.14d4599.25bf6c2f@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit i'm pretty good at single tongueing.....i can get at least quarter = 120. when i do it, my tongue hits the top of my mouth, not the edge of my teeth. and if speed is what you want, don't use "th" i usually do well with "ta" for stacatto and "la" for legato. From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 16:21:18 EST From: Amtrombone@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Problems Message-ID: <92.9a7e7d.25bf6dce@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I think that one thing we are forgetting that is a key is AIR. Although the placement of the tongue is key, it is just as important that there is enough air behind the tongue. Alexis From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 15:45:01 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Lindberg interview in Brass Bulletin, N' Stuff Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Anders Carlsson wrote: > Whenever Christian Lindberg is making a statemant you have to have in > mind that the statement is made by him. > snip > For all of you who have met him or > heard him speak in public you know what I«m talking about. He«s got > so much energy you almost gets exhausted as a listener. > Lindberg is the first and only person to make his living as a solo trombonist (classical music variety). He will always be the first, but evidently does not always want to be alone. I think that's commendable. He is not, of course, the first or only person to make his living as a solo classical musician. There are pianists, violinists, singers, etc. But not very many. For every one, there is probably at least one person who is just as good who can't stand the thought of all the hotels and jet lag. Lindberg wants company, he needs to recruit someone not just with equal talent, but equal energy and equal willingness to live out of a suitcase. I hope he does. Reminds me of a lawyer joke: two law students decided to set up practice in small towns. One was the only lawyer in the county and made a decent living. The other got tired of making only a decent living and recruited another lawer to come and set up a rival practice. They both became filthy rich in short order. Perhaps we would all benefit if Lindberg had some "competition". ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloger John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 "Outside of a dog, books are a man's best friend; inside of a dog, it's too dark to read"--Groucho Marx ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ > ---------- > From: Anders Carlsson[SMTP:Anders.Carlsson@gfs.gu.se] > Reply To: Anders.Carlsson@gfs.gu.se > Sent: Tuesday, January 25, 2000 3:06 PM > To: Trombones and related issues forum. > Subject: Re: Lindberg interview in Brass Bulletin, N' Stuff > > > > This is a guy who started playing the trombone at the age of 17. Got > into college for a trombone master at 18. Got a position in the > Stockholm Royal Opera orchestra at 19 and got tired of it and quit at > 20. Told his teacher that he wanted to become a soloist. At first he > was discouraged to do so but put five years of hard studying in > Stockholm, London and Los Angeles to become a soloist. He was so > determined that he built his own portable practice booth which he could > put in a hotel room wherever he went. He was also raised in a special > family. His brother Jacob Lindberg is a proffesor of the Lute in London > and his sister is a famous dental surgeon. At a master class not long > ago he showed us who were there his practicing schedule which was > planned in detail for the coming six months. He has premiered over 60 > solo pieces for trombone and recieves by average two compositions per > day in his mailbox, written for him. > > These are only a few things to keep in mind when reading a statement > made by mr Lindberg. He is not your ordinary trombone player.(If there > are any). He«s not even your ordinary proffesional trombone > player.(I«m shure there aren«t any). > > /Anders Carlsson - sorry if my english is a bit rusty. > > Time is a great teacher, but unfortunately it kills all its pupils. > Hector Berlioz > > ____________________________________________ > Anders Carlsson, Gothenburg , Sweden. > Brassplayer, arranger, conductor and brassteacher. > > Anders.Carlsson@gfs.gu.se > or > trombone@musiker.nu > From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 16:52:28 -0500 From: sabutin@mindspring.com To: slide.rule@adios.co.uk Cc: trombone-l@lists.missouri.edu Subject: Re: Problems Message-ID: <200001252154.QAA07858@smtp6.mindspring.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 07:23 PM 1/25/00 +0000, you wrote: >----- Original Message ----- >From: >To: Trombones and related issues forum. >Sent: Tuesday, January 25, 2000 5:46 PM >Subject: Re: Problems > > >> When you say "I tawt I taw a puddy tat" your tongue is naturally in the >> right place. for all the "t"s. >> >> "Th" won't cut it. > >Oh thyit! thath what I've been doing wrong all theeth yearth. > >Thankth Tham. > >A. > >Adrian Drover (ADIOS Scotland) ================================ T-T-T-T-T-T-T-T-That's all, folks. S. From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 16:33:50 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Re: Lindberg in Brass Bulletin, N' Stuff Message-ID: <200001252234.QAA32442@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 02:46 PM 1/25/00 , Anders wrote: >I can think of a number of reasons why these guys want to go for an >orchestral position instead of a solo career. > >1. I find orchestral music often to be more interesting to listen to >and more rewarding to play than solo music. ----------------- Yeah, but how many times can one play Mahler's 2nd or 3rd or Bolero before wanting a new challenge? The point was that more people should "explore" the fertile fields of music. I agree that most solo trombone music sucks and is boring to listen to. That does not mean it wouldn't change if new people with new ideas and abilities came on the scene. Also, new ways of writing for trombone ensemble need to be explored. There is too much of the same thing out there. ----------------- > >My own opinions would be quite obvious now so I«ll just throw in >another one. > >How is it that good soloists are automatically presumed to be good >section players? ----------------- No one would assume or presume that. Most soloists make terrible section players. ----------------- > >/Anders - a bit steamed up right now but probably just because my >apartment looks like WW1. ----------------- Don't feel bad, it could be worse and look like WWII :) Mike ----------------- > >"Shut up and take your dissonance like a man." Ives > >____________________________________________ >Anders Carlsson, Gothenburg , Sweden. >Brassplayer, arranger, conductor and brassteacher. > >Anders.Carlsson@gfs.gu.se >or >trombone@musiker.nu > > From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 16:35:53 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: RE: Lindberg interview in Brass Bulletin, N' Stuff Message-ID: <200001252236.QAA32661@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 03:45 PM 1/25/00 , you wrote: >Anders Carlsson wrote: > >> Whenever Christian Lindberg is making a statemant you have to have in >> mind that the statement is made by him. Would this not be true for everyone? From ???@??? Wed Jan 26 08:08:14 2000 Date: Tue, 25 Jan 2000 17:52:48 -0500 From: "Steve Beck" To: "Trombones and related issues forum." Subject: Re: Listless Blues Message-ID: <004801bf6786$e88e9440$80320923@becks.cl.msu.edu> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit From: Adrian Drover >I wish somebody would warn me when the List is about to go down.>I had to speak to my wife all last weekend. I couldn't think of anything to>say that wasn't trombone related. I suppose it got boring after seven positions? From ???@??? Wed Jan 26 08:08:15 2000 Date: Tue, 25 Jan 2000 17:42:37 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Re: Lindberg 'N stuff Message-ID: <200001252343.RAA05423@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" One last thing I'd like to say about Lindberg's interview and comments. I don't think he was suggesting that people that "take the risk" of doing something different from the orchestral route would all have to be soloists in the same way that he is. If we use our imaginations we could think of lots of ways that the trombone has not been used in the past and try to create ensembles that reflect that. I love electronic music and am working on some pieces that feature the trombone as both solo instrument and in ensemble that I think is very different from what we currently have available to us. Unfortunately, right at this moment I cannot put my money where my mouth is because the new stuff I am working on is far from being ready for me to release. Also, I have been having so much fun getting my chops back together that I have really slouched in the composition department! And, yes, for money I have to write music for TV ads and other non-glorious stuff to keep eating. But, I promise you that I am going to continue to work very hard to create what it is that I am speaking about. I love the trombone and want to find many ways of incorporating it into my style. I also know that I will get even more great ideas by sharing the this list which is just a fraction of the trombone playing community that have out of touch with for a long time. I love you knuckleheads! **group hug, with requisite slapping on the back to ease the awkwardness of physical display of affection among men** :-) Also, concerning Lindberg's ideas - by the way, I am no Lindberg groupie, I don't even like his sound all that much even though his technique is astounding, so I am not speaking out of blind faith or hero worship - I believe the spirit of his words in not reflected in the notion of going out and doing exactly what he has already done - he is far too sincere and engaging for that sort of suggestion. I believe he would like to see trombone players stretch themselves artistically, regardless of whether that makes them money or fame (at least in the beginning). Do what you love, money will come if you believe in what you do and do it well - strive for the Buddhist ideal of right livelihood. In the meantime, look toward Charles Ives for inspiration, he had a day job :) Sometimes I just LOVE this list! I get really pumped when I get to share ideas with y'all. GRRRRRRRRRRRR! OK - I have another hour of practicing to do - see ya. Mike From ???@??? Wed Jan 26 08:08:15 2000 Date: Tue, 25 Jan 2000 18:57:01 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: trigger linkage grease (really mundane) Message-ID: <200001260057.SAA10590@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" My repairman uses silicone grease to lube the joints of my f-attachment trigger linkage. I have ben using red lithium grease (ummm, I like the smell), but I think it wears off too quickly. What do you guys use? I wanna find something really thick that won't wear down too quickly, but also is not so viscous that it binds up the linkage. MC From ???@??? Wed Jan 26 08:08:15 2000 Date: Tue, 25 Jan 2000 20:55:18 -0600 From: "Kenneth Dowdy" To: "Trombones and related issues forum." Subject: Re: Lindberg interview in Brass Bulletin, N' Stuff Message-ID: <008e01bf67a8$ca5814c0$9f1d0f3f@default> -----Original Message----- From: Anders Carlsson To: Trombones and related issues forum. Date: Tuesday, January 25, 2000 3:08 PM Subject: Re: Lindberg interview in Brass Bulletin, N' Stuff > >Whenever Christian Lindberg is making a statemant you have to have in >mind that the statement is made by him. That's normally what gets a lot of people's attention. > >This is a guy who started playing the trombone at the age of 17. Got >into college for a trombone master at 18. Got a position in the >Stockholm Royal Opera orchestra at 19 and got tired of it and quit at >20. Told his teacher that he wanted to become a soloist. At first he >was discouraged to do so but put five years of hard studying in >Stockholm, London and Los Angeles to become a soloist. He was so >determined that he built his own portable practice booth which he could >put in a hotel room wherever he went. He was also raised in a special >family. His brother Jacob Lindberg is a proffesor of the Lute in London >and his sister is a famous dental surgeon. At a master class not long >ago he showed us who were there his practicing schedule which was >planned in detail for the coming six months. He has premiered over 60 >solo pieces for trombone and recieves by average two compositions per >day in his mailbox, written for him. For all of you who have met him or >heard him speak in public you know what I´m talking about. He´s got >so much energy you almost gets exhausted as a listener. Sounds interesting. > >These are only a few things to keep in mind when reading a statement >made by mr Lindberg. He is not your ordinary trombone player.(If there >are any). He´s not even your ordinary proffesional trombone >player.(I´m shure there aren´t any). No one who is real good at anything is just your "ordinary" person. And nobody ever becomes "great" at anything by taking the "secure" route. I think that Mr. Lindberg was only lamenting on the lack of people that had both talent and the courage to use it. I am not a Lindberg groupie. In fact, I don't really care for his stuff that much at all. However, I am sure glad that he is out there promoting one of my favorite instruments and encouraging the next generation to try to take it to new hights. > >/Anders Carlsson - sorry if my english is a bit rusty. Your English is a heck of a lot better than my Swedish :-) From ???@??? Wed Jan 26 08:08:15 2000 Date: Tue, 25 Jan 2000 22:18:57 EST From: Trmbman@aol.com To: ddsbstrb@cfanet.com, trombone-l@lists.missouri.edu Subject: Re: Slide Hampton Concert Message-ID: <98.e55104.25bfc1a1@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I know what you are saying. I got a chance to play with him at the UW-Whitewater Jazz camp. It was setup thanks to Steve Wiest (a former 'bone player with Maynard). His was also the first Trombone Cd I bought. Trombone and Euphonium Player Visit my Webpage at Http://Wactrm.tripod.com or contact me at Trmbman@aol.com From ???@??? Wed Jan 26 08:08:15 2000 Date: Tue, 25 Jan 2000 23:56:36 EST From: Tbcwes@aol.com To: JennWhaa@aol.com, trombone-l@lists.missouri.edu Subject: Re: Problems Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Jen, Dave Finlayson simplified it for me in a lesson once... gums, gums and teeth, teeth (registers high to low respectively) I'll clarify at TBC 9:00 PM if you wish - it is amazingly simple as works pretty well for me. Later, Wes From ???@??? Wed Jan 26 08:08:15 2000 Date: Tue, 25 Jan 2000 23:25:06 -0800 From: David Oliver To: Anders.Carlsson@gfs.gu.se Cc: "Trombones and related issues forum." Subject: Re: Lindberg interview in Brass Bulletin, N' Stuff Message-ID: <388EA151.44C52709@access1.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks for that great post, Anders! I was at the Lindberg masterclass and recital in Boulder, Colorado about 1 year ago (I am the infamous poster of his notes to the list - but I'm not going to go there! ;)). It is often popular to slam Lindberg, but the feeling I got from seeing and hearing him (and talking to him), is that he loves the trombone with a passion. You could tell that he's not a teacher by trade, but as he does more masterclasses he'll refine his approach. He's also knocked for the excessive vibrato of his early recording years, but he's gotten away from that. One can't deny his amazing learning curve on trombone. I remember him relating his "poor intonation awaking" while playing in the Stockholm Royal Opera Orchestra. We all have that happen at some point. I will say that he's quite the performer. I will also say that phrasing is one of his strong points. Phrasing makes the music come alive, and I will say that none of the recordings of his I have sound "dead". BTW, I haven't mentioned this before, but my mother's father (Nils Olson, now deceased) emigrated from Sweden when he was a young man during the great Depression, which makes me 1/4 Swede, even though my name is very United Kingdom - even the city I live in! My sister lives in Windsor, Colorado. Hmmm..... David Oliver Westminster, Colorado USA Bass/Tenor Trombone (utility), Denver Concert Band Anders Carlsson wrote: > > Whenever Christian Lindberg is making a statemant you have to have in > mind that the statement is made by him... From ???@??? Wed Jan 26 08:08:15 2000 Date: Wed, 26 Jan 2000 02:15:49 -0600 From: Angie Brunk To: astro@pconline.com Cc: "Trombones and related issues forum." Subject: Re: Lindberg interview in Brass Bulletin, N' Stuff Message-ID: Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit I think this can also be atributed to Mr. Yamamoto knowing his own strengths and weaknesses more than a lack of a sense of adventure. As has been discussed on this list before, a free lancer or solo artist has to be an entreprenuer as well as a musician. (Sabutin talked rather eloquently about this during a master class at IU.) At 11:31 AM -0600 1/25/00, Mike Coyle wrote: >C.L. First I must say that I deeply believe in the chances of brass and >percussion in the music of the future. I am especially disappointed at how >little courage the new generations show. It's strange in our century. >Young musicians think as though they were in the last century. I can't >help mentioning one case in particular: a few years ago I met the young >Japanese trombonist Koichiro Yamamoto during a master class that I gave in >LŸbeck, Germany. He was an outstanding talent that I immediately tried to >encourage to go for the big artistic and musical adventure. But he didn't >have the time. He did orchestra auditions, then won the trombone job >(among 250 candidates!) for the Metropolitan Opera in New York. He was >happy and content. I asked him why. In fact, no other future other than >an orchestra job had ever occurred to him. For me, it's simply >incomprehensible with a talent like this. I know at least 5-6 young guys >who are perfectly capable of having a fine career as soloists. But the >appeal of "security" gets them stuck in orchestras... Angie Brunk MLS Indiana University School of Library and Information Science 1999 "As long as the world shall last there will be wrongs, and if no man objected and no man rebelled, those wrongs would last forever."--Clarence Darrow