TROMBONE-L Digest 1580 Topics covered in this issue include: 1) RE: Combine Bach 36 and 42 by David Molter 2) Resolution to Yamaha TBL-613 question I asked awhile back by "stevencarr" 3) mistaken microphone info! by Mike Coyle 4) mistaken microphone info! Take TWO!! by Mike Coyle 5) RE: Problems by richardt@LEE.ARMY.MIL 6) Conn Formula 3 by Mike Coyle 7) Euphs by TonyC789@aol.com 8) Strange gigs by chris@iris.washington.edu 9) Re: Lindberg interview in Brass Bulletin, N' Stuff by Anders Carlsson 10) Netscape Assistance by cliff crawford 11) RE: Lindberg interview in Brass Bulletin, N' Stuff by "DOWDY, KENNETH S" 12) Blue Bells by j.grisham@pmail.net (Josh Grisham) 13) Conn Formula 3 Cream by Mike Coyle 14) Re: Blue Bells by Chris Waage 15) RE: Blue Bells by "Guion, David" <8guion@jmls.edu> 16) returned posts by Mike Coyle 17) Re: Blue Bells by Mike Coyle 18) RE: returned posts by BrianB@PR-CN.COM 19) Re: Euphs by "Dick Sleeman" 20) RE: returned posts by Listmonitor Trombone-L 21) Re: Lindberg in Brass Bulletin, N' Stuff by Steve88h@aol.com 22) Re: Netscape Assistance by "James Yardley" 23) Television by "Rodney Ellard" 24) 2B Sale by Emil & Cynthia Orth 25) Bass Trumpet Wanted by "Larry Zalkind" 26) Yamaha Euph For Sale by TonyC789@aol.com 27) Lists by "Antonio Henrique Seixas" 28) Gilles Senon by Beth Lewis 29) RE: Lists by BUNTING N W Dr From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 09:57:54 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: Combine Bach 36 and 42 Message-ID: <382771349.948898674532.JavaMail.root@web31.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I am not an expert on the subject of mixing bells and lsides of different bores, but it seems to me that combining the Bach 36 slide with the Bach 42 bell should make it easier for you to hit the high range but also, bacuse of the deeper caharcetr of the 42 bell's tone, give you added depth under C on the second space of the bass clef staff. I have no proof of this, but I can tell you that there is a world of difference between a large bore and a medium bore in both sound and the amount of effort it takes to play. After struggling for six months to fill a large bore horn and gain a consistent high range (I've been playing for only a year after a very long layoff) I recently began playing a Bach 36BO, and it has a very easy high range and a solid low range, plus it allows me better flexibility when I go from high to low. But it is NOT a 42 or an 88H -- I found this out when I attempted to sub on bass trombone when our guy didn't show up for rehearsal. Oh, I hit the notes but man, were they thin! I have played bass on a large bore tenor, and it was not bad. Bigger bell/bore, bigger, deeper sound. After so much talk about people adding bass slides to their large bore tenors, the trend seems to be reversing. Conn now is offering the 88H with a dual bore (.525/547) slide, and I have to believe it's because some players find it easier to fill. They're also offering the new 52H, which also has the dual bore slide but is said to be a step-up instrument. Why, I don't know because the specs look the same, although they've added 1/8" to the bell for some unknown reason. Rather than buy something untried in a playing situation, I'd say you should borrow your friend's horn for a rehearsal and see what happens. Dave Molter Pittsburgh, PA From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 10:49:31 -0500 From: "stevencarr" To: "Trombones and related issues forum." Subject: Resolution to Yamaha TBL-613 question I asked awhile back Message-ID: <00f201bf6814$efa5ac30$173d0818@cc938625-a.narltn1.nj.home.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I asked a couple of weeks ago if anyone had knowledge of a Yamaha bass trombone model YBL-613 as only a YBL-613H is described on the web site. I have found on the Yamaha site a product history page. learned that the 613 is a discontinued model. According to the site (and they should know) it was made from 1982 to 1994 Just for the curious. Steve Carr From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 10:55:23 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: mistaken microphone info! Message-ID: <200001261656.KAA28909@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Folks who wrote to me about this: I'm really sorry about some info that I put into an earlier post on recording that was incorrect - due to my being in a hurry and not proof reading!!!!!!!! The mic mentioned below is really called: Octava MC 012. They are wonderful Russian mics available at great prices in the U.S. due to the devaluation of the Ruble. These are the mics I should have referenced: (generally about $600 - 800 but I have seen them as low as $159!!!!!!!! - try Guitar Center) Octava MC-012 Small Diaphragm Condenser - warm and sweet with a great directional quality. Oktava 219 Large Diaphragm Condenser - when you really want to record it just the way it sounds (including any problems with the room!) this is the mic for you. Thanks, Mike 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. From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 11:13:12 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: mistaken microphone info! Take TWO!! Message-ID: <200001261714.LAA30457@newton.pconline.com> Mime-Version: 1.0 Content-Type: multipart/alternative; types="text/plain,text/html"; boundary="=====================_3388600==_.ALT" I did it again!!!!!!  Octava should be spelled OKTAVA

You should be able to find out a lot about these on the web - just spell it right when you do your search  :)

Find out more about them and buy them from teh Sound Room :  http://www.oktava.com/
You can see a picture of them at http://www.digitalvideo.com/mic/images/want/oktava.jpg


Sorry again,

Mike


Folks who wrote to me about this:

I'm really sorry about some info that I put into an earlier post on recording that was incorrect - due to my being in a hurry and not proof reading!!!!!!!!  The mic mentioned below is really called:  Octava MC 012.   They are wonderful Russian mics available at great prices in the U.S. due to the devaluation of the Ruble.     

These are the mics I should have referenced:  (generally about $600 - 800 but I have seen them as low as $159!!!!!!!! - try Guitar Center)

Oktava MC-012 Small Diaphragm Condenser - warm and sweet with a great directional quality.

Oktava 219 Large Diaphragm Condenser - when you really want to record it just the way it sounds (including any problems with the room!) this is the mic for you.

Thanks,

Mike






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.

 From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 12:35:26 -0500 From: richardt@LEE.ARMY.MIL To: JennWhaa@aol.com, trombone-l@lists.missouri.edu Subject: RE: Problems Message-ID: <21E592FA8BA7D311B5B100062B001FE2082EE8@LEE2> First thing is to spend some money on a gadget. I bought a cheap digital metronome for about $15 US. Music stores have a wide selection with amazing colors, I had to leave my wife at home with Adrian's. The advantage over the big wood one is it goes up in smaller increments. I can set it ahead one beat at a time. For the month of January I am doing major scales each day, playing quarter, eighth, triplet, then sixteenth, then the next day I bump the metronome up just one beat per minute. Smaller jumps let you sneak up on it. This is some of that grunt work on basics I wish I'd done in high school or college, got to catch up now. I dunno who invented the A and B natural scales though, wish I could go up a tenth beat (0.1)a day for those suckers. Wish I could find that guy and cancel his union membership. Second thing is to practice the correct tonguing technique. I'm not an expert on that, but when I get myself confused I think about Remington's "how are you today?" The front of the tongue moves up and down, NOT back and forth like a snake's (it was almost harder to teach myself that wrong than to break the habit, but not quite. there's one piece of info that would have saved me years of frustration). Third thing is to cheat. If you can't single tongue as quickly as you need, then you have to switch to double tonguing at a slower speed than the next person. You also probably need doodle tonguing because your legato tonguing will also be slower. Probably the work on both doodle and double tonguing will improve your single tongue somewhat. I personally think it sounds better to double tongue cleanly than to single tongue and sound strained. hope this helps, yours, tim richardson > -----Original Message----- > From: JennWhaa@aol.com [SMTP:JennWhaa@aol.com] > Sent: Tuesday, January 25, 2000 12:13 PM > To: trombone-l@lists.missouri.edu > Subject: Problems > > > 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 ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 11:58:05 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Conn Formula 3 Message-ID: <200001261758.LAA02473@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey you guys, If anyone out there uses Conn Formula 3 slide cream, or at least has a jar sitting around, could you do me a favor. You may already know this without having to touch the stuff, but, can you tell me if it has a mildly gritty feeling to it when you rub it in between your fingers - like there are tiny particles suspended in the cream? I'm experimenting with it but don't know if mine is defective what. Thanks, Mike From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 12:59:24 EST From: TonyC789@aol.com To: trombone-l@lists.missouri.edu Subject: Euphs Message-ID: <1e.9f90ca.25c08ffc@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit >I just played a Yamaha YEP-642S euph. It is far superior to the 321S I've >been playing for years. I have also ordered a Willson 2900S for comparison. >Any comments on either, or both of these instruments. Also, what differences >should I expect from the Willson over the 642? Given these two horns, should >I consider a Besson 967? > >Tony Clements From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 11:11:33 -0800 (PST) From: chris@iris.washington.edu To: trombone-l@lists.missouri.edu Subject: Strange gigs Message-ID: <200001261911.LAA18529@seiche.iris.washington.edu> The article about the high school band playing 76 tb for hubbies 76th reminded me of one of the stranger gigs I've had. ----- Maybe it is the wine, but years ago W. Sudmeier rounded up 76 trombones to play as a surprise for the winery owner's 76th birthday. This guy always wanted to conduct 76 trombones playing 76 Trombones. Like I said, maybe it's the wine. I don't know how he did it, but he got all 76 tbones into the winery on a tuesday day I believe. The guys wife brought him in and surprise!! 76 trombones can make a big sound. It paid ok for 15 mins of playing, but it drove home the idea that perhaps some people have too much money. Not that there is anything wrong with that! Someone else on the list must have been there.. ----- This might make an interesting thread... strange gigs. Chris L From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 20:28:26 +0100 From: Anders Carlsson To: David Oliver 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 David Oliver skriver: >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". Excessive vibrato only in the ears of a brassplayer I would say. I totally understand his big vibrato in his early recordings. By using that he«s saying: I wan«t to be as intense to listen to as soloists on more frequently used solo instruments. Why shouldn«t we trombonists play in the same style as superb cellists, violinists or singers? That is a sad thing with our orchestral heritage. As long as it is in tune with a nice ringing vibrant sound and clean attacks, it«s GREAT. However the musical quality is seldom questioned. If I compare (classical) brasssoloists with string soloists, singers or pianists, only Lindberg, Marsalis and AndrŽ (in their best moments) can move me in the same way as Mutter, Barenboim or Rostropovich. I«ve also heard him say that he found it hard to play in tune in that orchestra. I think the phrase was: "You had to play your third were it sounded the least bad". As this is a small country, and we only have about 15 proffessional orchestras, that statement wasn«t really nice beacause it didn«t take many minutes to recall who worked there then. However when he started to work there, the average age of the Royal Opera Orchestra members was quite old with quite a lot of alcohol problems among the oldest guys. These days, luckily, the situation is a lot better. >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..... A large percentage of our population migrated to North America during the last decades of the 19th century and the first ones of the 20th due to many years of misgrowth and poor living conditions in general. It«s always great to hear that some of you still keep track of your family«s northern heritage. /Anders From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 11:53:35 -0800 From: cliff crawford To: "Trombones and related issues forum." Subject: Netscape Assistance Message-ID: <388F50BE.63B777D@cvc.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello Listers, Good grief...I've been gone for a month - 1600 messages in my in-box. I need to start from scratch. I use Netscape Communicator 4.6 (I think that's it - it's the one right under the new 4.7). Is there any way that I can delete the entire field or do I have to delete each message one at a time? Thanks in advance for your help. Cliff C. From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 13:56:23 -0600 From: "DOWDY, KENNETH S" 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 wrote: > > Excessive vibrato only in the ears of a brassplayer I would say. I > totally understand his big vibrato in his early recordings. By using > that he«s saying: I wan«t to be as intense to listen to as soloists > on more frequently used solo instruments. Why shouldn«t we > trombonists play in the same style as superb cellists, violinists or > singers? That is a sad thing with our orchestral heritage. As long as > it is in tune with a nice ringing vibrant sound and clean attacks, > it«s GREAT. However the musical quality is seldom questioned. If I > compare (classical) brasssoloists with string soloists, singers or > pianists, only Lindberg, Marsalis and AndrŽ (in their best moments) > can move me in the same way as Mutter, Barenboim or Rostropovich. > Excellently put! You are quite correct that musical quality is seldomly questioned. I like to listen to Guy Lombardo's recordings a lot, and I am always impressed with the way that the saxophones actually sound good, and the trumpets and trombones blend very well together. There's a lot of vibrato with those older fellows, too. You don't see that much today. Just blast it out there loud and everyone's happy. It seems like only the older guys really know how (and when) to use vibrato these days. Is it still taught in the "big name" schools, or did that die along with the straight small bore trombone? Ken Dowdy > > From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 14:05:10 -0600 From: j.grisham@pmail.net (Josh Grisham) To: TROMBONE-L@LISTS.MISSOURI.EDU Subject: Blue Bells Message-ID: <200001262005.OAA02418@po.missouri.edu> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Howdy thar listurs! OK, after all them Texan ebonics, it's time to get to the point of the message. For my competition solo this year, I have decided to play Blue Bells of Scotland. However, I have a quick question about it. How fast does the last Vivace section really need to be? I have a solo reference CD of a guy playing it at quarter = 115. However, last night I got to hear an original recording of Pryor playing the piece along with the Sousa band, and he was going MUCH faster than 115 (for those who have heard it, you know what I'm talking about!). Now, at 115, I can single tongue it cleanly, but I was wondering if you all thought that I should go faster and be able to double-tongue the beast. I think I will work at it, at least. My teacher tells me that it needs to be faster than 115, and I wanted to know if you all thought the same. Thanks for the input! --Josh Grisham <>< j.grisham@pmail.net From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 14:19:44 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Conn Formula 3 Cream Message-ID: <200001262020.OAA16159@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" OK - the consensus says there should be no grit in it. Either mine went bad, as someone suggested, or I should stop lubricating my slide on the beach! Thanks folks, Mike From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 14:13:21 -0600 From: Chris Waage To: Trombone-L Subject: Re: Blue Bells Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" First off, I would never second-guess your teacher. He knows your playing in a way that those of us who know you only through e-mail never will. Trust him. My recommendation for a student on the tempo for the last section of "Blue Bells" is always the same. As fast as you can play it cleanly and accurately. Period. It doesn't matter how fast somebody else plays it. The purpose is to play it musically. If you really want a challenge, slow down "Blue Bells" and phrase it like a Bordogni Vocalise. You'll look at it almost through new eyes! Chris >Howdy thar listurs! > >OK, after all them Texan ebonics, it's time to get to the point of the >message. > >For my competition solo this year, I have decided to play Blue Bells of >Scotland. However, I have a quick question about it. How fast does the >last Vivace section really need to be? I have a solo reference CD of a guy >playing it at quarter = 115. However, last night I got to hear an original >recording of Pryor playing the piece along with the Sousa band, and he was >going MUCH faster than 115 (for those who have heard it, you know what I'm >talking about!). Now, at 115, I can single tongue it cleanly, but I was >wondering if you all thought that I should go faster and be able to >double-tongue the beast. I think I will work at it, at least. My teacher >tells me that it needs to be faster than 115, and I wanted to know if you >all thought the same. Thanks for the input! > >--Josh Grisham <>< >j.grisham@pmail.net _____________________________________________ Chris Waage basstbn@waageworks.com Visit The Mouthpiece Exchange at http://www.waageworks.com _____________________________________________ From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 14:25:58 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Blue Bells Message-ID: MIME-Version: 1.0 Content-Type: text/plain Josh Grisham wrote: > For my competition solo this year, I have decided to play Blue Bells of > Scotland. However, I have a quick question about it. How fast does the > last Vivace section really need to be? I have a solo reference CD of a > guy > playing it at quarter = 115. However, last night I got to hear an > original > recording of Pryor playing the piece along with the Sousa band, and he was > going MUCH faster than 115 (for those who have heard it, you know what I'm > talking about!). Now, at 115, I can single tongue it cleanly, but I was > wondering if you all thought that I should go faster and be able to > double-tongue the beast. I think I will work at it, at least. My teacher > tells me that it needs to be faster than 115, and I wanted to know if you > all thought the same. Thanks for the input! > I vote with your teacher and Pryor. What's more, it is very important that the first two variations be the same tempo. Slowing down for the second variation is as good a way of destroying the effect of the piece as taking the last variation to slowly. Blue Bells is not a great tune, and Pryor's variations on it are not great music. If someone can't (or won't) do it in the proper style (which means at a very fast tempo), why bother to play it? And why record it, for Pete's sake? I have a couple of recordings of Pryor's music (by people who surely have the technical facility to bring it off) that are just plain boring. Orchestral musicians trying to be tasteful, I guess. Surely they have heard what traditional band soloists did with that music, yet came up with travesties. Here is the proper style for Pryor's show pieces: make the audience think "That ought to be impossible on a trombone, but he's making it seem effortless." ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ 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 ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 14:35:03 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: returned posts Message-ID: <200001262035.OAA17642@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Is anyone else out there getting this message returned to them when trying to post to trombone-l? I have gotten one each time I have posted, even though posts are going through. What's it about? Anybody know? Why would it come from the U of Indiana? Mike >Subject: Your mail to "Trombones and related issues forum." >To: undisclosed-recipients:; > > >Greetings, > The mailbox of the account you attempted to mail to is over its inbox quota. >No mail will be delivered to this mailbox until its owner reduces its size. > > postmaster@indiana.edu > >>From owner-trombone-l@lists.missouri.edu Tue Jan 25 17:37:39 2000 >Received: from fins.uits.indiana.edu (fins.uits.indiana.edu > [129.79.6.185]) by juliet.ucs.indiana.edu (8.9.1/8.9.1/1.6.1.1shakes) with > ESMTP id RAA13252 for ; Tue, 25 Jan 2000 > 17:37:39 -0500 (EST) >Received: from po.missouri.edu (po.missouri.edu [128.206.12.137]) by > fins.uits.indiana.edu (8.9.3/8.9.3/1.1IUPO) with ESMTP id RAA25410 for > ; Tue, 25 Jan 2000 17:37:38 -0500 (EST) >Received: from host (localhost [127.0.0.1]) by po.missouri.edu > (8.9.3/8.9.3) with SMTP id QAA09195; Tue, 25 Jan 2000 16:37:19 -0600 >Received: from newton.pconline.com (IDENT:root@newton.pconline.com > [206.145.48.1]) by po.missouri.edu (8.9.3/8.9.3) with ESMTP id QAA08846 > for ; Tue, 25 Jan 2000 16:36:40 -0600 >Received: from micron (m18-2-13.pconline.com [206.145.52.29]) by > newton.pconline.com (8.8.5/8.8.5) with SMTP id QAA32661 for > ; Tue, 25 Jan 2000 16:36:36 -0600 >Message-Id: <200001252236.QAA32661@newton.pconline.com> >Date: Tue, 25 Jan 2000 16:35:53 -0600 >Reply-To: astro@pconline.com >Sender: owner-trombone-l@lists.missouri.edu >Precedence: bulk >From: Mike Coyle >To: "Trombones and related issues forum." >Subject: RE: Lindberg interview in Brass Bulletin, N' Stuff >In-Reply-To: >Mime-Version: 1.0 >Content-Type: text/plain; charset="us-ascii" >X-Sender: astro@mail.pconline.com >X-Mailer: QUALCOMM Windows Eudora Pro Version 4.0.1 >X-Listprocessor-Version: 8.1 -- ListProcessor(tm) by CREN >Mike Coyle writes: >>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 ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 14:39:23 -0600 From: Mike Coyle To: j.grisham@pmail.net Cc: trombone-l@lists.missouri.edu Subject: Re: Blue Bells Message-ID: <200001262040.OAA18113@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Josh, Play it as fast as you can while still maintaining the clearest, most articulate and musical playing possible. It is a show piece - a real romp - and should be glitzy and exhilarating. This is not Mozart we're talkin' about here - really let loose, have fun, and let your audience have fun by not playing it so fast that it is beyond your capabilities and creates anxiety. There are few things worse than hearing someone play something in a way that goes beyond the player's ability or the reasonable bounds of the instrument. If you see people wiggling in the seats and gritting their teeth, you're playing too fast. Ron Barron made a fine recording of this piece for Nonesuch records on an old album called "Cousins" along with cornetist, Gerard Schwartz. It is out of print, and even though Elektra did re-release some of the cuts on a CD called "Cornet Favorites" they did not include Blue Bells or some other pieces for trombone that were terrific. See if you can find a copy in your library or at a used vinyl store, if you can't, write to me and I can send you a copy. Mike Coyle At 02:05 PM 1/26/00 , you wrote: >Howdy thar listurs! > >OK, after all them Texan ebonics, it's time to get to the point of the >message. > >For my competition solo this year, I have decided to play Blue Bells of >Scotland. However, I have a quick question about it. How fast does the >last Vivace section really need to be? I have a solo reference CD of a guy >playing it at quarter = 115. However, last night I got to hear an original >recording of Pryor playing the piece along with the Sousa band, and he was >going MUCH faster than 115 (for those who have heard it, you know what I'm >talking about!). Now, at 115, I can single tongue it cleanly, but I was >wondering if you all thought that I should go faster and be able to >double-tongue the beast. I think I will work at it, at least. My teacher >tells me that it needs to be faster than 115, and I wanted to know if you >all thought the same. Thanks for the input! > >--Josh Grisham <>< >j.grisham@pmail.net > From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 15:45:57 -0500 From: BrianB@PR-CN.COM To: trombone-l@lists.missouri.edu Subject: RE: returned posts Message-ID: MIME-Version: 1.0 Content-Type: text/plain The error is coming from here: > >No mail will be delivered to this mailbox until its owner reduces its size. ... > > ESMTP id RAA13252 for ; This person's mailbox is over the limit and is thus rejecting messages. So the reject message (from Indiana.edu) caused by the posting (from Mike) to the trombone-l gets sent to the reply address (Mike), who is listed as the "reply-to" address. I'll probably get the same reject message from this posting as well. I'm sure the listmon can take care of it. Everyone be patient until then. Brian From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 21:55:05 +0100 From: "Dick Sleeman" To: "Trombones and related issues forum" Subject: Re: Euphs Message-ID: <002b01bf683f$dd7abca0$327dadc1@dick> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi Tony, I wish I had your problems .... :-) Groeten, Dick. d.sleeman@hccnet.nl > >I just played a Yamaha YEP-642S euph. It is far superior to the 321S I've > >been playing for years. I have also ordered a Willson 2900S for comparison. > >Any comments on either, or both of these instruments. Also, what differences > >should I expect from the Willson over the 642? Given these two horns, should > >I consider a Besson 967? > > > >Tony Clements > From ???@??? Thu Jan 27 08:19:50 2000 Date: Wed, 26 Jan 2000 15:11:42 -0600 From: Listmonitor Trombone-L To: Trombone-L Subject: RE: returned posts Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Fixed. LM >The error is coming from here: > >> >No mail will be delivered to this mailbox until its owner reduces its >size. >... >> > ESMTP id RAA13252 for ; > >This person's mailbox is over the limit and is thus rejecting messages. So >the reject message (from Indiana.edu) caused by the posting (from Mike) to >the trombone-l gets sent to the reply address (Mike), who is listed as the >"reply-to" address. > >I'll probably get the same reject message from this posting as well. I'm >sure the listmon can take care of it. Everyone be patient until then. > >Brian --------------------------------------- trombone-l digest archives and useful trombone-l information are available at http://www.cjnetworks.com/~tsks From ???@??? Thu Jan 27 08:19:51 2000 Date: Wed, 26 Jan 2000 16:30:32 EST From: Steve88h@aol.com To: Anders.Carlsson@gfs.gu.se, trombone-l@lists.missouri.edu Subject: Re: Lindberg in Brass Bulletin, N' Stuff Message-ID: <40.c4611d.25c0c178@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit In a message dated 1/25/00 3:08:34 PM, Anders.Carlsson@gfs.gu.se writes: < 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. >> I second this. Last night I read this message after returning from a performance of "Der Rosenkavalier" by Richard Strauss. The trombones do have a few grand moments but in a 4 hour performance of the piece most of the time is spent counting rests. What a fabulous piece of music. No trombone solo music leaves me with elation that I experience performing this opera and counting all those rests. Steve Lund From ???@??? Thu Jan 27 08:19:51 2000 Date: Wed, 26 Jan 2000 15:43:59 -0600 From: "James Yardley" To: , "Trombones and related issues forum." Subject: Re: Netscape Assistance Message-ID: <001701bf6846$771aaea0$d78efea9@james> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit You can delete all 1600 at once. This works with Outlook Express as well. First, click on one of the messages you wish to delete. Then scroll to the last message you want to delete. Hold the Shift key, and select that last message. You should have all the messages between the first message and the last message selected. Now, hit your delete key. It should work. By the way, this works when you want to delete more than one file in a folder as well. James Yardley Bass Trombone/Ex-Computer expert ----- Original Message ----- From: cliff crawford To: Trombones and related issues forum. Sent: Wednesday, January 26, 2000 1:53 PM Subject: Netscape Assistance > Hello Listers, > > Good grief...I've been gone for a month - 1600 messages in my in-box. I > need to start from scratch. I use Netscape Communicator 4.6 (I think > that's it - it's the one right under the new 4.7). Is there any way > that I can delete the entire field or do I have to delete each message > one at a time? Thanks in advance for your help. Cliff C. > From ???@??? Thu Jan 27 08:19:51 2000 Date: Wed, 26 Jan 2000 14:00:47 -0800 From: "Rodney Ellard" To: "Trombone-L" Subject: Television Message-ID: <001b01bf6848$cf267000$60f094d1@rod> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0018_01BF6805.BF1DF540"
I caught a program on the local knowledge network/open learning channel the other night.  It was called "In Rehearsal" and this episode featured Essa - Pekka Salonen (sp?) and the LA Phil rehearsing "La Mer". Maybe a little too focused on the conductor but that may be my bone-centric perspective.  The orchestral equivalent of walking through the office with a newspaper under your arm:  crossing your legs and resting your trombone in your lap.  Wonderful music, though. 
 
Rod
 From ???@??? Thu Jan 27 08:19:51 2000 Date: Wed, 26 Jan 2000 17:26:21 -0600 From: Emil & Cynthia Orth To: "Trombones and related issues forum." Subject: 2B Sale Message-ID: <388F829C.BA70491@midsouth.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Listers, In case somebody tries to contact me about the horn for sale.....please be advised that my computer will be down for RX and I'll be back up and running Friday Eve. Thanks to All! Later, Emil Orth, Memphis, Tn. From ???@??? Thu Jan 27 08:19:51 2000 Date: Wed, 26 Jan 2000 15:49:13 -0700 From: "Larry Zalkind" To: , , Subject: Bass Trumpet Wanted Message-ID: <003b01bf6868$08f19200$9f19adcf@amd450> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Hi, I am interested in purchasing a bass trumpet. I prefer a Bach or a Getzen, but would consider any brand. If anyone has one for sale my email is: larry.zalkind@m.cc.utah.edu Thanks Larry Zalkind From ???@??? Thu Jan 27 08:19:51 2000 Date: Wed, 26 Jan 2000 23:23:59 EST From: TonyC789@aol.com To: dja1@axe.humboldt.edu, Rvctbone@aol.com, philip.chevallard@peterson.af.mil, Chevalla@aol.com, translex@earthlink.net, tasha5@earthlink.net, Subject: Yamaha Euph For Sale Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Silver 4-valve YEP-321S, 2 years old - $1600; w/5th valve $1800. Leather Reunion Blues Gig Bag available. Tony Clements From ???@??? Thu Jan 27 08:19:51 2000 Date: Thu, 27 Jan 2000 02:32:27 -0200 From: "Antonio Henrique Seixas" To: Subject: Lists Message-ID: <004e01bf687f$84d2b540$4f2cbcc8@webhouse.psi.br> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_004B_01BF686E.C089A280"
Dear Listers:
 
A friend of mine asked if is there any "clarinet-list"?
Could you give me its direction?
I thank you in advance.
Antonio Henrique Seixas
Bass Trombone - Brazilian Symphony Orchestra                          
seixas@whouse.com.br
 

 
 From ???@??? Thu Jan 27 08:19:51 2000 Date: Thu, 27 Jan 2000 00:36:48 -0500 (EST) From: Beth Lewis To: trombone-l@lists.missouri.edu Subject: Gilles Senon Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi, I recently discovered an interesting trombone etude book by Gilles Senon, and was wondering if anyone might have any background info on him. FYI, the book is titled "Le Trombone: 23 Esquisses pour technique et la pratique du souffle au trombone a coulisse," copyright 1977, ed. Gerard Billaudot, and "directed" (?) by Jean Douay. It's a rather interesting collection of etudes utilizing cross-grain and lip slurs almost exclusively. Thanks! Beth From ???@??? Thu Jan 27 08:19:51 2000 Date: Thu, 27 Jan 2000 09:22:24 -0000 From: BUNTING N W Dr To: Trombone-L Subject: RE: Lists Message-ID: <17FD488B2E65D311B4EE009027AA4C3BB29B@PCGSERV1> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit there is a clarinet list, -----Original Message----- From: Antonio Henrique Seixas [mailto:seixas@whouse.com.br] Sent: 27 January 2000 04:32 To: Trombones and related issues forum. Subject: Lists Dear Listers: Ê A friend of mine asked if is there any "clarinet-list"? Could you give me its direction? I thank you in advance. Antonio Henrique Seixas Bass Trombone - Brazilian Symphony OrchestraÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ seixas@whouse.com.br Ê