TROMBONE-L Digest 1582 Topics covered in this issue include: 1) Re: Illogical high-notes by Neobopr@aol.com 2) RE: Illogical high-notes by "Brandon Moodie" 3) RE: What do you sugest? by "Berggren, Erik" 4) RE: Arctic Whale? by "DOWDY, KENNETH S" 5) high notes by Charles 6) RE: scales and alternate positions by David Molter 7) RE: Arctic Whale? by "Berggren, Erik" 8) RE: interpretive terms by David Molter 9) Re: Random question by Eric and Candice Swanson 10) RE: Playing "Wierdly" by "Guion, David" <8guion@jmls.edu> 11) Re: Range by Eric and Candice Swanson 12) Re: Arctic Whale? by NHSGrizzly16@aol.com 13) Re: Illogical high-notes by NHSGrizzly16@aol.com 14) Rules for ensemble playing by Eric and Candice Swanson 15) Re: KIng 6B by Eric and Candice Swanson 16) Re: Open or closed wrap by Eric and Candice Swanson 17) Re: Combine Bach 36 and 42 by Eric and Candice Swanson 18) RE: Open or closed wrap by BUNTING N W Dr 19) Re: KIng 6B by Earl Needham 20) Quote by Eric and Candice Swanson 21) Fuzzy range by "Berggren, Erik" 22) Re: Conn Formula 3 by Eric and Candice Swanson 23) Re: Question by Larry & Carol Bronisz 24) RE: Fuzzy range by "DOWDY, KENNETH S" 25) Re: KIng 6B by "Jeffrey Diehl" 26) Sad Story by "Rodney Ellard" 27) Re: KIng 6B by Jeff Albert 28) Sad Story by Charles 29) RE: tonal centers - one more point by richardt@LEE.ARMY.MIL 30) Re: Sad Story by "Rodney Ellard" 31) Re: Arctic Whale? by "DANIEL COOPER" 32) RE: Arctic Whale? by "DANIEL COOPER" 33) Re: Sad Story by daniel a noyes 34) Re: Sad Story by Larry & Carol Bronisz 35) Re: temperament (was Problems - scales) by "Adrian Drover" 36) Re: Lists by "Adrian Drover" 37) Re: Problems - scales by "Adrian Drover" 38) Re: Strange gigs by "Adrian Drover" 39) RE:What do you sugest? by "Antonio Henrique Seixas" 40) RE: What do you sugest? by "DOWDY, KENNETH S" 41) ISU Trombone Workshop by Stephen Parsons 42) TROMBONE-L PROTOCOL by Listmonitor Trombone-L 43) "Wolf-Howls" on Trombone by Bear Woodson 44) Re: Fink Legato Studies by "Chuck De Paolo" 45) Screaming by "Adolphus Sprott" 46) Re: Quick Joke..and another. by "Adrian Drover" 47) Re: tonal centers - one more point by "Adrian Drover" 48) Re: by "Antonio Henrique Seixas" 49) Re: Arctic Whale? by Trmbman@aol.com 50) Re: Quick Joke..and another. by David Proctor 51) Re: Screaming by NHSGrizzly16@aol.com 52) multiphonics by NHSGrizzly16@aol.com 53) Bach large bore TBone by FOpal@aol.com 54) screaming by "Adolphus Sprott" 55) Re: screaming by NHSGrizzly16@aol.com From ???@??? Mon Jan 31 07:27:16 2000 Date: Fri, 28 Jan 2000 07:04:01 EST From: Neobopr@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Illogical high-notes Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Frank, Yes, there is a natural shift in the extreme registers. For pedals and false tones below the staff your MP should slide down so that mostly lower-lip is in the MP. For the high register, the opposite is true, the shift is up so that mostly upper-lip is in the MP. You must not only practice to build the necessary embouchure strength but also to smoothly be able to transition between these (sliding the MP up and down to facilitate these extreme ranges.) <> More lip, it is all embouchure control. Here is a post about High note playing I recently sent to another list in response to the following statement. Maybe it will clear up any misconception. "The air must move in large volumes...as we play higher notes." Actually this is an "old wives (brass players?) tale." The further we go up in our range, the less air we are moving. If you carefully analyze how much air is passing through the embouchure on a low C (2nd space) compared to the one 2 octaves higher you'll see this is true. Here is the experiment of proof. Take a huge breath. Play the low one at forte with the metronome clicking away at 60. Count how many clicks pass by. Do the same on the high one at forte. You should be able to hold it significantly longer, proving that less air is moving. The difference between upper and lower registers when it comes to what the embouchure is doing is simple. The embouchure's musculature must be strong enough during the high note buzzing, to hold back what the diaphragm is pushing out, creating the high pressure stream of air which is necessary for upper range. Bottom line: Don't play with pressure! You are damaging the very muscles you need to be building up to improve you range and your endurance. Yamaha Artist/Clinician-Jeff Adams From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 06:42:19 -0600 From: "Brandon Moodie" To: "Trombones and related issues forum." Subject: RE: Illogical high-notes Message-ID: <000101bf698d$1d661dc0$88ce8ad1@c.moodie> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Neobopr@aol.com wrote: > Frank, > > Yes, there is a natural shift in the extreme registers. For > pedals and false > tones below the staff your MP should slide down so that mostly > lower-lip is > in the MP. For the high register, the opposite is true, the > shift is up so > that mostly upper-lip is in the MP. Actually, it depends on the individual. Some players shift and some don't. I personally don't shift and don't think that you SHOULD, but do what works best for you. Even then, the shift can vary person to person. For instance, I know some people who play extremely low with mostly upper-lip. > < should I be trying to slur with my lip or slur with a faster > stream of air? >> > > More lip, it is all embouchure control. Yes and no. I think it's a balance of moving the air properly (which yes, Frank, can mean faster) and having a well-controlled embouchure. I agree with Jeff that "more air=higher" is a myth. Still, I would say to think more about the air flow when slurring than trying to focus on the lip movement. Often, if the air is right, the lips will follow and do what they need. > Bottom line: Don't play with pressure! You are damaging the > very muscles > you need to be building up to improve you range and your endurance. Absolutely!! Good luck, --Brandon From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 07:40:34 -0600 From: "Berggren, Erik" To: "'Trombone-L'" Subject: RE: What do you sugest? Message-ID: <69B69101614FD3119D9F00104B9883E70E8DCB@bkxchusr01.bk.state.ks.us> MIME-Version: 1.0 Content-Type: text/plain After decades of using SuperSlick, I gave Slide-O-Mix a try just last week. While my escapades in trying different lubricants is very limited, I can't imagine something that could be much better than Slide-O-Mix. The initial cleansing process is quite involved, but, in my opinion, is well worth the work involved. Go for it! -----Original Message----- From: cwales@cavemen.net [SMTP:cwales@cavemen.net] Sent: Thursday, January 27, 2000 10:11 PM To: Trombones and related issues forum. Subject: Fw: What do you sugest? Hi all! This is my first message. I am highschool trombone player. I have been looking for something new I could use on my slide. I have tried Fast slide oil, slide creams, and the like. I have heard about slide-o-mix and trombotine. I would just like any sugestions. Thanks alot! K.C. Wales (Do you buy over the internet and if you do what is the site?) From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 07:52:46 -0600 From: "DOWDY, KENNETH S" To: "'Trmbman@aol.com'" , "Trombones and related issues forum." Subject: RE: Arctic Whale? Message-ID: MIME-Version: 1.0 Content-Type: text/plain What is wrong with your band director? Doesn't he know that the appropriate music for playing at our nation's capital is "The Stripper"? Ken Dowdy > -----Original Message----- > From: Trmbman@aol.com [SMTP:Trmbman@aol.com] > Sent: Thursday, January 27, 2000 9:08 PM > To: Trombones and related issues forum. > Subject: Arctic Whale? > > My Band director is currently looking for a version of Arctic Whale by > Henry > Mancini. He is looking for Grade 4 or 5 searches of the internet have > really > turned up dead ends. I was wondering if there was an older recording( Doug > > Yeo or Tom Izzo want to respond on this one). The only reasons we are > looking > for this song is it sound powerful and we need some music for performance > in > Washington D.C. on May 5th at the Capitol. If anyone out there would like > to > come see us I will give the details to them. > > Trombone and Euphonium Player > Visit my Webpage at > Http://Wactrm.tripod.com > or contact me at Trmbman@aol.com From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 08:00:41 -0500 From: Charles To: trombone-l@lists.missouri.edu Subject: high notes Message-ID: <1.5.4.32.20000128130041.006cc46c@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Perhaps equally important to embouchure strength is the ability to HEAR the note(s) you want to play. Charlie From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:04:45 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: scales and alternate positions Message-ID: <384891770.949068285257.JavaMail.root@web31.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit On scales and alternate positions: One recommendation, one observation -- Buddy Baker's "tenor Trombone Method" has excellent scale studies ina ll keys plus a daily practice regimen and warmup/down routine. Buddy is a real advocate of alternate positions - in fact, someonewho took lessons from Buddy in colorado told me that if you came in for a lesson without alternates marked in your book, he would throw you out. a bit extreme, but probably effective. Also, I've found that for some reason, playing Bb treble clef in my brass band makes me much more aware of alternate positions. Maybe it's just me, but it really makes me shift gears. when I read bass clef, that old "home" position locks itself in my memory. From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 08:01:40 -0600 From: "Berggren, Erik" To: "'Trombone-L'" Subject: RE: Arctic Whale? Message-ID: <69B69101614FD3119D9F00104B9883E70E8DCD@bkxchusr01.bk.state.ks.us> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Touchˇ!!! -----Original Message----- From: DOWDY, KENNETH S [SMTP:kdowdy@oppd.com] Sent: Friday, January 28, 2000 7:53 AM To: Trombones and related issues forum. Subject: RE: Arctic Whale? What is wrong with your band director? Doesn't he know that the appropriate music for playing at our nation's capital is "The Stripper"? Ken Dowdy > -----Original Message----- > From: Trmbman@aol.com [SMTP:Trmbman@aol.com] > Sent: Thursday, January 27, 2000 9:08 PM > To: Trombones and related issues forum. > Subject: Arctic Whale? > > My Band director is currently looking for a version of Arctic Whale by > Henry > Mancini. He is looking for Grade 4 or 5 searches of the internet have > really > turned up dead ends. I was wondering if there was an older recording( Doug > > Yeo or Tom Izzo want to respond on this one). The only reasons we are > looking > for this song is it sound powerful and we need some music for performance > in > Washington D.C. on May 5th at the Capitol. If anyone out there would like > to > come see us I will give the details to them. > > Trombone and Euphonium Player > Visit my Webpage at > Http://Wactrm.tripod.com > or contact me at Trmbman@aol.com From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:19:59 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: interpretive terms Message-ID: <385431374.949069199713.JavaMail.root@web31.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit > "Play weirdly"? This ranks right up there with some of Percy Granger's > notations, like "louden lots" and "quickeningly". > My favorite direction, from Gordon Langford's "Fantasy on British Sea Songs.": molto inebriato This is to the trombones on "What Shall We do With the Drunken Sailor." Sure, we all know it means "very drunkenly," but trying playing drunkenly at speed with precision. Harder than it sounds. Somewhere along the line we also ran into bad hadwriting that everyone thought was "molto constipato" We tried playing contispatedly, but the director didn't notice. Dave Molter Pittsburgh, PA From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 08:33:49 +0000 From: Eric and Candice Swanson To: "Trombones and related issues forum." Subject: Re: Random question Message-ID: <3891546C.764DF17B@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Ben Gurton wrote: > > > He races his many cars and flies his plane! Not bad. > Check out his website at www.jamesmorrison.co.au > It's a great site with sound files,photos etc. on it. It should be www.jamesmorrison.com.au check it out! Eric Swanson From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 08:37:40 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Playing "Wierdly" Message-ID: MIME-Version: 1.0 Content-Type: text/plain > > > "play weirdly". Can you comrades give me an idea as to the style that > > > should be used to play this? > > > > "Play weirdly"? This ranks right up there with some of Percy Granger's > > notations, like "louden lots" and "quickeningly". > This reminds me of an instruction that I saw in a 2nd trumpet part > recently... > it had a cued part of the 1st trumpet solo and above it it stated "Two If > Not > One"??? Quite confusing.... But maybe it's just the way trumpet players > think ;) > I don't have my copy of the Grondahl concerto handy, but it has an instruction something like "legatissimo ma non troppo"--translatable, but indecipherable. So oddball instructions are nothing new. Can anyone find anything as wonderfully strange as these in even earlier music? ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ 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 ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 08:50:32 +0000 From: Eric and Candice Swanson To: ellard@sprint.ca Cc: "Trombones and related issues forum." Subject: Re: Range Message-ID: <38915855.1A465F29@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Ellard wrote: > Any suggestions as to how to extend one's range downwards on bass > trombone. I can get to pedal G without pivoting. Rod Rod, One thing that works pretty well for me is: Start on pedal Bb and gliss down to pedal A slowly twice then re-attack the A. Then go down to Ab, the same thing, gliss down twice then re-attack. Keep going down, G, Gb, F, E. By starting on a note you can easily play (Bb) and glissing down you stretch the muscles until they can play the Gb, F, E. Be sure to really keep the air moving on the gliss down, you may need to crescendo to keep it going. You have to build up the muscles in the right places, and learn how it "feels" to play those notes. Good luck, Eric Swanson From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:53:18 EST From: NHSGrizzly16@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Arctic Whale? Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit you need a powerful song?? gosh, it seems like everyone i know is playing a whale song...our band is playing "Of Sailors and Whales." great song...i love it! but anyway, i don't know anything about this arctic whale thing... From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:56:43 EST From: NHSGrizzly16@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Illogical high-notes Message-ID: <8a.a4e7b5.25c3082b@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit if you want to increase your range, just keep working on chromatic studies (in the upper and lower octaves) and play your scales (2 octaves). just hold each note for 4 counts. try to go higher every day. don't worry about that other person. you said yourself that he's not a very good musician. if all he can do is high notes, he's not gonna get very far. ~*~Kristina~*~ NHS Symphonic Band (Euphonium) Jazz Band (Trombone, Sax) Pianist From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:04:52 +0000 From: Eric and Candice Swanson To: trombone-l Subject: Rules for ensemble playing Message-ID: <38915BB3.C1F16FB9@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Golden Rules For Ensemble Playing by J.W. Swing 1. Everyone should play the same piece. 2. Stop at every repeat sign and discuss in detail whether to take the repeat or not. The audience will love this a lot! 3. If you play a wrong note, give a nasty look to one of your partners. 4. Keep your fingering chart handy. You can always catch up with the others. 5. Carefully tune your instrument before playing. That way you can play out of tune all night with a clear conscience. 6. Take your time turning pages. 7. The right note at the wrong time is a wrong note (and vice versa). 8. If everyone gets lost except you, follow those who get lost. 9. Strive to get the maximum NPS (note per second). That way you gain the admiration of the incompetent. 10. Markings for slurs, dynamics and ornaments should not be observed. They are only there to embellish the score. 11. If a passage is difficult, slow down. If it's easy, speed it up. Everything will work itself out in the end. 12. If you are completely lost, stop everyone and say, "I think we should tune". 13. Happy are those who have not perfect pitch, for the kingdom of music is theirs. 14. If the ensemble has to stop because of you, explain in detail why you got lost. Everyone will be very interested. 15. A true interpretation is realized when there remains not one note of the original. 16. When everyone else has finished playing, you should not play any notes you have left. 17. A wrong note played timidly is a wrong note. A wrong note played with authority is an interpretation. From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:11:38 +0000 From: Eric and Candice Swanson To: "Trombones and related issues forum." Subject: Re: KIng 6B Message-ID: <38915D48.2806868A@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Earl Needham wrote: > > > I believe the Duo Gravis was about the first Bass Trombone built in > today's style -- dual rotors, F & D (usually), etc. A bit brighter than > today's sound, but works really well for the bottom of a jazz section. I > believe the 6B is a completely different model. > > Earl, The Duo Gravis is the 6B. Eric From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:18:06 +0000 From: Eric and Candice Swanson To: FOpal@aol.com Cc: "Trombones and related issues forum." Subject: Re: Open or closed wrap Message-ID: <38915ECD.ADCAFFB8@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit FOpal@aol.com 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 Frank, Get the open wrap, it can't hurt. Eric From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:29:30 +0000 From: Eric and Candice Swanson To: "Trombones and related issues forum." Subject: Re: Combine Bach 36 and 42 Message-ID: <38916179.ADB30177@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit John Clutcher wrote: > 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? John, First, you should know one thing. The bell sections of the 42 (or 42B) and the 36 (or 36B) are exactly the same except for two details. The receivers are different, and the 42 has a half inch bigger bell diameter. The valves are the same, the F attachments are the same, the goosenecks are the same, the tuning slides are the same, the bells are the same (except for the final diameter as I said). So, the only real difference between the two horns is the bore of the slide. Please bear that in mind before you go doing something that could get more expensive than is necessary. It is pretty easy to convert a 36 slide to fit onto a 42 bell, but if all you want is a .525" horn, just buy the 36. Eric Swanson > > > > > > > > > > > > > > > > > > From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 15:30:51 -0000 From: BUNTING N W Dr To: Trombone-L Subject: RE: Open or closed wrap Message-ID: <17FD488B2E65D311B4EE009027AA4C3BB2A0@PCGSERV1> MIME-Version: 1.0 Content-Type: text/plain > -----Original Message----- > From: Eric and Candice Swanson > [mailto:swansonmacmail@worldnet.att.net] > Sent: 28 January 2000 09:18 > To: Trombones and related issues forum. > Subject: Re: Open or closed wrap > **snip** > > Frank, > > Get the open wrap, it can't hurt. > > Eric > > unless you get hit on the head by one. From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 08:44:35 -0700 From: Earl Needham To: swansonmacmail@worldnet.att.net, "Trombones and related issues forum." Subject: Re: KIng 6B Message-ID: <3.0.5.32.20000128084435.03f19390@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 09:11 AM 1/28/00 +0000, Eric and Candice Swanson wrote: >Earl Needham wrote: > >> >> >> I believe the Duo Gravis was about the first Bass Trombone built in >> today's style -- dual rotors, F & D (usually), etc. A bit brighter than >> today's sound, but works really well for the bottom of a jazz section. I >> believe the 6B is a completely different model. >> >> > >Earl, > >The Duo Gravis is the 6B. REALLY? My Duo Gravis doesn't say 6B anywhere... 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 ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 10:16:17 +0000 From: Eric and Candice Swanson To: trombone-l Subject: Quote Message-ID: <38916C6F.BBD1ECD7@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit "The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side." --Hunter S. Thompson From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 10:09:01 -0600 From: "Berggren, Erik" To: "'Trombone-L'" Subject: Fuzzy range Message-ID: <69B69101614FD3119D9F00104B9883E70E8DD8@bkxchusr01.bk.state.ks.us> MIME-Version: 1.0 Content-Type: text/plain I've been playing a Bach 36 (closed wrap F-attachment) almost since the beginning of my amateur playing career. It came with a 12C, and that's what I'm still using. I've never quite mastered getting a nice clear tone (or attack, for that matter) on the lower range (Eb to C) using the trigger. Pedal Bb's on down are just fine, however. Any suggestions/recommendations on how to cure this would be much appreciated! From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 10:25:28 +0000 From: Eric and Candice Swanson To: astro@pconline.com Cc: "Trombones and related issues forum." Subject: Re: Conn Formula 3 Message-ID: <38916E95.3D3017D6@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Mike Coyle wrote: > 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? Mike, No, it should not be gritty. Should be like Superslick, or Trombotine. Eric From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:33:20 -0700 From: Larry & Carol Bronisz To: frank_rosolino@yahoo.com, "Trombones and related issues forum." Subject: Re: Question Message-ID: <4.1.20000128092811.022e4cd0@mail.trail.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Jim - Get an SKB golf case at your local sports store or check out: http://www.beaconww.com/pages/sports.html Depending on the types of horn cases you have you might be able to fit both horns in the SKB. I would carry one on, but only if I knew the airline would be friendly about it. I have never had a problem carrying on my .500 tenor in a small brasswind gig bag (offers almost no protection). If it's small they don't seem to mind. Southwest has seemed friendly in this regard. - Larry At 03:29 AM 1/28/00 -0800, Jim Robins wrote: >Greetings list, > >I know this has been covered in the past, but I can't seem to find it >in the archives or FAQ. In 3 weeks, I will be flying to Rochester, NY >to audition for the graduate program at the Eastman School of Music. I >need to take 2 horns with me (a Bach 42 and a Bach 16) because i am >playing both a "classical" and a jazz audition. I think I'll be able >to get one horn in the overhead. However, I need advice as to what the >best route would be for me to take. Should I check one? Should i >build a plywood box to put the case in? HELP!!!! > >Thanks again, >Jim > >===== >James Robins >Candidate, BM Music Education - Trombone >University of New Hamsphire >Kappa Kappa Psi-Iota Phi #44 VPM-HB Fall '99 >http://pubpages.unh.edu/~jprobins >__________________________________________________ >Do You Yahoo!? >Talk to your friends online with Yahoo! Messenger. >http://im.yahoo.com From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 10:37:41 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: Fuzzy range Message-ID: MIME-Version: 1.0 Content-Type: text/plain Erik, I think that the 12C is a bit small for a Bach 36 with F attachment. You may want to try a 7C or a 6 1/2 and see if things improve. Ken Dowdy > -----Original Message----- > From: Berggren, Erik [SMTP:erik.berggren@state.ks.us] > Sent: Friday, January 28, 2000 10:09 AM > To: Trombones and related issues forum. > Subject: Fuzzy range > > I've been playing a Bach 36 (closed wrap F-attachment) almost since the > beginning of my amateur playing career. It came with a 12C, and that's > what > I'm still using. I've never quite mastered getting a nice clear tone (or > attack, for that matter) on the lower range (Eb to C) using the trigger. > Pedal Bb's on down are just fine, however. Any > suggestions/recommendations > on how to cure this would be much appreciated! From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 11:42:15 -0500 From: "Jeffrey Diehl" To: , Subject: Re: KIng 6B Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Disposition: inline Content-Transfer-Encoding: 8bit Hello! I have an old King catalog from 1972. The Duo Gravis is listed there as a "7B". A King catalog from the mid 80's lists the Duo Gravis as a "6B". (I'm not making this up.) I don't know what marking, if anything, was placed upon the bells. This should serve to confuse everyone! Jeff Diehl From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 08:57:37 -0800 From: "Rodney Ellard" To: "Trombone-L" Subject: Sad Story Message-ID: <004701bf69b0$c997e9c0$37ee94d1@rod> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0044_01BF696D.B9B100C0"
Sad story in the paper this morning.  Thieves broke into the student storage lockers at the UBC music school and made off with a bunch of horns, including a half dozen or so trombones.  Look for a number of .547 horns to show up on ebay.
 
Rod
From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 11:11:05 -0600 From: Jeff Albert To: jdiehl@gwmail.usna, "forum., Trombones and related issues" Subject: Re: KIng 6B Message-ID: <3891CDA7.7BB85545@bellsouth.net> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------9F60F5E176BC56CB9F1B6050" I was always under the impression that duo gravis only meant that it had two valves, and it could be 6B, 7B or 8B, or whatever. Jeffrey Diehl wrote: > Hello! > > I have an old King catalog from 1972. The Duo Gravis is listed there as a "7B". A King catalog from the mid 80's lists the Duo Gravis as a "6B". (I'm not making this up.) I don't know what marking, if anything, was placed upon the bells. This should serve to confuse everyone! > > Jeff Diehl Content-Type: text/x-vcard; charset=us-ascii; name="jalbert.vcf" Content-Transfer-Encoding: 7bit Content-Description: Card for Jeff Albert Content-Disposition: attachment; filename="jalbert.vcf" Attachment converted: Macintosh HD:jalbert.vcf (TEXT/ttxt) (00022FFC) From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 11:29:07 -0500 From: Charles To: trombone-l@lists.missouri.edu Subject: Sad Story Message-ID: <1.5.4.32.20000128162907.006c4ab4@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Return-Path: >Date: Fri, 28 Jan 2000 08:57:37 -0800 >Reply-To: ellard@sprint.ca >Sender: owner-trombone-l@lists.missouri.edu >From: "Rodney Ellard" >To: "Trombones and related issues forum." >Subject: Sad Story >X-To: "Trombone-L" >X-MSMail-Priority: Normal >X-MimeOLE: Produced By Microsoft MimeOLE V4.72.3110.3 >X-Listprocessor-Version: 8.1 -- ListProcessor(tm) by CREN > >Sad story in the paper this morning. Thieves broke into the student storage lockers at the UBC music school and made off with a bunch of horns, including a half dozen or so trombones. Look for a number of .547 horns to show up on ebay. > >Rod > > > > > > > > >
Sad story in the paper this morning.  >Thieves broke into the student storage lockers at the UBC music school and made >off with a bunch of horns, including a half dozen or so trombones.  Look >for a number of .547 horns to show up on ebay.
>
 
>
Rod
How will the thieves know they are .547's? From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 12:39:35 -0500 From: richardt@LEE.ARMY.MIL To: astro@pconline.com, trombone-l@lists.missouri.edu Subject: RE: tonal centers - one more point Message-ID: <21E592FA8BA7D311B5B100062B001FE2082EF2@LEE2> Right, a good composer will use change of tessitura, change of instrumentation, etc., to get the desired effect. I just don't want to reinforce some mystical "C major is joyous, D major is majestic" type of argument. I have played German music with 9 flats in the key signature, I confess I really don't know why they do that though. One of my proudest moments: walking through the park back to the car after a summer concert, hearing my youngest daughter (4 or 5 at the time) singing the intro to the Nabucco overture! Bom, bom-bom-bomp Bom! Guess she was listening after all. yours, tim richardson > -----Original Message----- > From: Mike Coyle [SMTP:astro@pconline.com] > Sent: Thursday, January 27, 2000 1:31 PM > To: trombone-l@lists.missouri.edu > Subject: tonal centers - one more point > > One thing I neglected to mention. I was just at the piano and it occurred > to me that one of the most simplistic reasons for writing different keys > (tonal centers) has to do with the dynamic, relative movement of > modulation. Modulating is not just a quick change with the goal of moving > to another key (unless done by a hack who is trying to achieve something > but fails to do so). It really is a musical affect akin to a shift in > tectonic plates in the earth! When you make a modulation, yet use the > same > thematic material, you are either raising the pitch or lowering the pitch > - > either way you have achieved a great shift in weight and color. If you > modulate at the time you also initiate new thematic material you have made > a bold statement, a self-referential comment really, on the importance > and > significance of your movement and change. > > Now, even if all keys have the same feel (let's suspend disbelief), the > movement to different keys will at very least move you to a different > range. That is a huge change and one that can definitely be felt. Do > this > little exercise: Play the first two measures of Verdi's Nabucco Overture > ( > I selected something with trombones so I don't get kicked off the list :) > play it in C major. Now say you want a darker sound so you play it down > an > octave. It is indeed darker but very muddy and messy. So, you decide, > "hmmmmm, let me play it in Gb major and sees what happens" > EUREKA!!!!!!!! > Very dark (especially on brass) and still in a range that is high enough > to be heard clearly. That in itself is a reason for choosing different > tonal centers. > > Therefore, aside from the shifts in tonal center based on relativism, that > is the relational proximity of tonal centers via modulation, one can chose > a key for a particular reason right from the outset, and never leave it, > and it will still be a reasoned decision and not just an arbitrary > selection for the sake of exercise. Different instruments sound very > different in their various registers. How do you get them into certain > registers? Select the appropriate tonal center!!!! > > Mike From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 09:49:52 -0800 From: "Rodney Ellard" To: , "Trombones and related issues forum." Subject: Re: Sad Story Message-ID: <000801bf69b8$16d01da0$1bef94d1@rod> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit They won't. But we would. Rod From ???@??? Mon Jan 31 07:27:17 2000 Date: Fri, 28 Jan 2000 11:57:50 -0600 From: "DANIEL COOPER" To: , Subject: Re: Arctic Whale? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Disposition: inline >Are you trying to say that they are old? Jen, you wicked girl! Heehee... Anyway, I am in the same band and we would love to play this march but can't find it in print, so if anyone has any ideers, let us know! Daniel Cooper Luke 18:42 From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 11:59:55 -0600 From: "DANIEL COOPER" To: , Subject: RE: Arctic Whale? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Disposition: inline >>> "DOWDY, KENNETH S" 01/28 7:52 AM >>> What is wrong with your band director? Doesn't he know that the appropriate music for playing at our nation's capital is "The Stripper"? Good one Ken! I'll have to remember that one on the dinner cruise on the Potomac... From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 13:34:15 -0500 From: daniel a noyes To: TROMBONE-L@LISTS.MISSOURI.EDU Subject: Re: Sad Story Message-ID: <20000128.133507.3982.0.danoyes@juno.com> Sad story--that people assume ebay is a clearinghouse for stolen horns. ________________________________________________________________ YOU'RE PAYING TOO MUCH FOR THE INTERNET! Juno now offers FREE Internet Access! Try it today - there's no risk! For your FREE software, visit: http://dl.www.juno.com/get/tagj. From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 11:35:38 -0700 From: Larry & Carol Bronisz To: "Trombones and related issues forum." Subject: Re: Sad Story Message-ID: <4.1.20000128113456.00c2bb50@mail.trail.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Obtain the stolen horn serial numbers and post them to: - THE list - trombone.org - the ITA site At 08:57 AM 1/28/00 -0800, Rodney Ellard wrote: > > Sad story in the paper this morning. Thieves broke into the student storage > lockers at the UBC music school and made off with a bunch of horns, including > a half dozen or so trombones. Look for a number of .547 horns to show up on > ebay. > > Rod From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 14:21:57 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: temperament (was Problems - scales) Message-ID: <000001bf69bf$e9168360$e98d01d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Mike Coyle To: Trombones and related issues forum. Sent: Thursday, January 27, 2000 5:18 PM Subject: temperament (was Problems - scales) > I could go on and on, but most of you have already stopped reading this, > so I'll stop :) No, I'm with you, so far. > In conclusion: Hey, I thought you said you'd stopped. > Play a Gb major scale starting on low Gb, then play a major > scale a tri-tone higher (C) and tell me they sound the same? Why, one is > forest green and the other is white as snow. Nah, Gb is mostly black. Well, it is on my piano. Have you got Green notes on yours? > Now move up to E - bright orange or maybe lemon yellow! Sorry, I can't play that high. I'll just take your word for it, though it must be somewhere between Black and White. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 14:22:00 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Lists Message-ID: <000101bf69bf$ea3b7b60$e98d01d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: BUNTING N W Dr To: Trombones and related issues forum. Sent: Thursday, January 27, 2000 12:09 PM Subject: RE: Lists > ...but I dont understand why anyone would want to subscribe to anything > other than Trombone-! :-) They probably have the same problem on the clarinet list trying to understand how anyone could possibly be interested in trombones. After all, trombones don't squawk when they venture above the staff. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 14:22:09 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Problems - scales Message-ID: <000301bf69bf$efff01c0$e98d01d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Thursday, January 27, 2000 4:02 PM Subject: RE: Problems - scales > Someone commented I might find the Cb scale easier to play than B nat. This > is true but not the best example. The Gb scale is simple and the F# > stinking impossible!!! On the other hand, the Bbb is much harder than > the A nat. And yes, I have played parts marked that way, dunno why though. I would probably find F# a little more difficult to play than Gb, because I'm basically a Bb player. I have to transpose everything up a major 9th from bass clef, so if I am in the concert key of F#, I have to play in 8 sharps, or 9 sharps in C#. Although this is now an automatic process, I do have a handicap when the singer's charts are in the wrong key. Then I have to do a double transposition. Wouldn't life be easy if all trombone parts were in Bb. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 14:22:02 -0000 From: "Adrian Drover" To: "Chris Waage" , "Trombones and related issues forum." Subject: Re: Strange gigs Message-ID: <000201bf69bf$eb820520$e98d01d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Chris Waage To: Trombones and related issues forum. Sent: Thursday, January 27, 2000 2:29 PM Subject: Re: Strange gigs > Offer free booze, and musicians will beat down your door. The most > dangerous place in the world is between Adrian Drover and his Guinness..... Free Guinness? Where? I'll do the gig for nothing! A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 16:46:31 -0200 From: "Antonio Henrique Seixas" To: Subject: RE:What do you sugest? Message-ID: <00e101bf69bf$ff02b220$532cbcc8@webhouse.psi.br> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_00DE_01BF69AF.3AE2D240"
>Hi all!
>    This is my first message. I am highschool trombone player. I have been looking for something new I >could use on my slide. I have tried Fast slide oil, slide creams, and the like. I have heard about slide-o->mix and trombotine. I would just like any sugestions. Thanks alot!
>    K.C. Wales
 
>(Do you buy over the internet and if you do what is the site?)
 
DEAR CARLA:
 
SLIDE-O-MIX IS THE BEST SLIDE LUBRIFICANT THAT I HAVE EVER TRIED., AND SINCE I HAVE TASTED IT THE FIRST TIME ABOUT FOUR YEARS AGO I DIDN'T CHANGE ANYMORE.
I CAN BUY IT AT www.rayburn.com or www.hickeys.com . THESE BOTH STORES HAVE GOOD PRICE AND ALSO A LOT OF TROMBONE STUFF.
ALL THE BEST,
 
Antonio Henrique Seixas
Bass Trombone - Brazilian Symphony Orchestra                          
seixas@whouse.com.br
 

 
 From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 13:10:02 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: What do you sugest? Message-ID: MIME-Version: 1.0 Content-Type: text/plain I have been holding off trying SOM for a long time. However, no one ever told me that you could EAT the stuff! I'm getting on the phone to WW&BW this afternoon to order some. Ken Dowdy > > DEAR CARLA: > > SLIDE-O-MIX IS THE BEST SLIDE LUBRIFICANT THAT I HAVE EVER TRIED., AND > SINCE I HAVE TASTED IT THE FIRST TIME ABOUT FOUR YEARS AGO I DIDN'T CHANGE > ANYMORE. > From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 13:19:44 -0600 From: Stephen Parsons To: trombone-l@lists.missouri.edu Subject: ISU Trombone Workshop Message-ID: Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1263035294==_ma============" Hello everyone! The 5th Annual Illinois State University Trombone Workshop is quickly approaching. It's a one-day event that will be held on 2/5/00. The location is the Illinois State University campus in Normal, Illinois (approx. 2.5 hour drive from Chicago, St. Louis and Indianapolis). This year's guest artists and recital programs are: Timothy Myers, Principal Trombone, St. Louis Symphony Cavatine, op. 144 Camille Saint-Saens Sonata, At the end of the century (1997) Juraj Filas Basta for solo trombone Folke Rabe BEAMS! for trombone and tape James C. Mobberley Suite, op. 8 Atso Almila Romance, op.21 Axel Jorgensen Deux Danses Jean-Michel Defaye Katherine McGown, Principal Trombone, Chicago Sinfonietta Sonata in Eb Major George Philipp Telemann Aria et Polonaise op. 128 Jos. Jongen A Meditation on Automation Ronald Combs Sonata Paul Hindemith Both will also be giving master classes, plus the ISU Trombone Choir will be performing. You can obtain detailed information about the event by going to: http://www.arts.ilstu.edu/music/trbworkshop/ Cost for the day is: $20.00 (preregistered), $25.00 (at the door) If you are interested in attending only the Myers recital, tickets may be purchased at the door for that event. E V E N T S C H E D U L E 9:00 - 9:30am Registration 9:30 - 10:30am Master Class by Catherine McGown 11:00 -11:30am Visit Exhibits 11:30 - 12:30pm Recital by Katherine McGown 12:30 - 2:00pm Lunch break (1:30 - 2:00pm) Exhibits open 2:00 - 3:30pm Clinic by Timothy Myers 3:30 - 4:00pm Visit Exhibits 4:00 - 5:00pm Concert by the ISU Trombone Choir 5:00 - 7:00pm Dinner break 7:00pm Recital by Timothy Myers I hope some of you can make it. If you have questions, please email me off the list. Steve Parsons Stephen Parsons Assistant Professor of Trombone College of Fine Arts Box 5660 Illinois State University Normal IL 61790-5660 (309)438-5260 Email: sbpars@oratmail.cfa.ilstu.edu http://www.orat.ilstu.edu/music/faculty/parsons/index.html From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 13:32:11 -0600 From: Listmonitor Trombone-L To: Trombone-L Subject: TROMBONE-L PROTOCOL Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" In this issue: 1. Unsubscription Information 2. E-Mail Address Format 3. E-Mail Message Format 4. Attachments ********************* Unsubscription Information Last week, the listproc computer experienced a system crash, resulting in no trombone-l message distribution for several days. During and after the crash, over 50 messages were received from list members asking if they had been unsubscribed. To clarify list policy, here are the reasons why someone might be unsubscribed: 1. Abuse of the trombone-l. This includes sending abusive or openly hostile messages, messages with inappropriate content, or personally attacking an individual. This will be done with appropriate notice, and we have adopted a "two strikes and you're out" policy. First instance of abuse, warning. Second, unsubscribed. While freedom of speech, belief and opinion are one of the most valued things, the objective is to maintain a list where individuals can voice their opinions without fear of abuse. 2. Mailbox errors. Should your e-mail mailbox return mail to the listproc computer, there is a strong possibility you will be unsubscribed. The two most common are Unknown User or Mailbox Full. To avoid the avalance of error mail sent by the listproc computer when it receives returned mail, the e-mail address from which the mail was return is automatically unsubscribed. Should you believe you have been unsubscribed, send a message to LISTPROC@LISTS.MISSOURI.EDU with QUERY TROMBONE-L in the body of the message. You will then receive a listing of your subscription settings or a notice that you are not subscribed. Should you experience further problems, please e-mail me directly. ********************* E-Mail Address Format There have been several instances of individuals not being able to post to the list, but they receive all messages. 99% of these problems have been due to capitalization differences between the address being used to post and the subscription address. The listproc computer is on a UNIX platform. UNIX software is case-sensitive. For example, HELLO and hello are two different words, based upon capitalization. If you have subscribed with your e-mail address as "YourName@YourHost.Com", your e-mail program must use the same capitalization when you post messages to the list. If you change it to "yourname@yourhost.com", the listproc computer will not recognize it as being the same e-mail address as "YourName@YourHost.Com." UNIX is a user-friendly operating system, but it is a bit picky about its friends. ********************* E-Mail Message Format After repeated requests, we still have several list members who are posting using HTML-encoded e-mails. These members will be contacted privately, and it is hoped that the message will not be taken as a reprimand but as a polite request. Again, the standard of all e-mail discussion groups is plain-text e-mails. Should you require assistance in this area, please e-mail directly to tsks@cjnetworks.com ********************* Attachments Please do not send attachments of any kind to the list. This includes the "virtual card file" option offered by Netscape. While it is mostly an inconvenience, these files do take up bandwidth. While it may only be a 33K message when it is sent to the listproc computer, the listproc then sends out 1000+ copies to list members. Should you desire to share a photo, graphic, or any other sort of file with the list, please post it to a web site and send the URL to the list. ********************* Please contact me by e-mail should you experience any difficulties on the list. These problems can usually be resolved within 20 to thirty minutes. LM --------------------------------------- trombone-l digest archives and useful trombone-l information are available at http://www.cjnetworks.com/~tsks From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 12:47:03 -0700 From: Bear Woodson To: Trombone List Subject: "Wolf-Howls" on Trombone Message-ID: <3891F221.7E33@AZStarNet.Com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello, Trombone List. I don't know anything about this "Arctic Whale" stuff, that I've been reading on the list lately, but we had an interesting visit from Dr. Michael Colgrass a few years ago. (PLEASE do NOT send any "beached whale in the desert" jokes, as I'm a fat bearded guy, as it is!) I haven't played piano in many years, but I'm a composer, and wish to write a series of sonatas and concertos for each orchestral instrument, as Hindemith did. (In fact I just finished the Piano C Score of my Horn Concerto, and am orchestrating it.) I'm working on my doctorate at the University of Arizona in Tucson. (For those who don't know, that's 500 miles [800 Km] East from Los Angeles, in the desert, and only 60 miles [100 Km] North from Mexico.) The other year ago, we had a number of lecture-visits, from the Pulitzer-Prize-winning composer Michael Colgrass. Dr. Colgrass has a work, that depicts Arctic Scenes, and uses a Trombone, with a special Mute, so that it can imitate a Howling Wolf. He played a recording of it, and I would have sworn that it was merely a recording of a real wolf, timed to fit the music! Has anyone ever played this work? Does anyone know what kind of Mute was used? I was very impressed, and may wish to use the same technique. Bear Woodson doctoral student composer at the University of Arizona Tucson, Arizona, USA "If Chocolate Powder is made from Powdered Chocolate, and Onion Powder is made from Powdered Onions, what do they make Baby Powder from?" - Bear Woodson From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 15:39:28 -0500 From: "Chuck De Paolo" To: "Trombone-L" Subject: Re: Fink Legato Studies Message-ID: <00a601bf69cf$c5d2da60$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit There are no piano parts published that match the Fink Legato Studies. However, all these studies were originally vocalises or other short pieces, and most likely all had simple piano accompaniments. Since Dr. Fink, who passed away recently, did a good job of identifying the composer and opus number of each piece, it shouldn't be too hard to locate the originals in various vocal editions from Schirmer, Kalmus and the like. With these editions in hand, one could create a piano accompaniment book by spending some serious time with Finale or Sibelius. The original music would all be Public Domain by now, so there shouldn't be any copyright issues so long as the trombone line is not copied into the piano part from Reg's good work. Hope this helps In Music, ---Chuck General Manager & Webmaster Hickey's Music Center 104 Adams Street Ithaca, NY 14850 607.272.8262 (Phone) 607.272.2203 (Fax) chuck@hickeys.com (E-Mail) http://www.hickeys.com (Website) http://208.134.241.150/weather/us/cities/NY_Ithaca.html (Weather) ----- Original Message ----- From: Jim Tempest To: Trombones and related issues forum. Sent: Friday, January 28, 2000 1:48 AM Subject: Fink Legato Studies > I am looking for piano parts to accompany the studies in Reg Fink's > introductory legato study book (sorry, the exact name escapes me at the > moment). Does anyone know if they have ever been gathered together, > transposed and published as accompaniment for the boo? If not, does anyone > know how I can contact Reg to see about getting them? From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 16:13:22 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: Screaming Message-ID: <006301bf69dc$e6fc9de0$e4f6490c@default> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit The mention of howling on the instrument brought up a question that I have had for a long time. Have any of you all heard Joe Alessi's recording of Rebellion by Stephen Rush on the NY Legends CD? If so, I would greatly appreciate it if someone could fill me in as to how he makes those screaming noises on his horn. If you've heard the piece, you should know exactly what I'm talking about. It's a really cool effect and I was wondering how it works. Weston Sprott From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 20:28:20 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Quick Joke..and another. Message-ID: <000001bf69df$335b2ce0$8cb701d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Dynamic Music Publications To: Trombones and related issues forum. Sent: Friday, January 28, 2000 7:58 AM Subject: Re: Quick Joke..and another. > Just as he thought, there, in Hell, was this huge big band with all the > greats playing in it. > > "Hey, you've got a trombone" says one of players "come on, join in". > > So he gets the 'bone out and sits on the 3rd desk and joins in on a Basie > number. What, there were only 2 guys in the 'bone section of the resident Hell big band before he got there? A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 20:28:59 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: tonal centers - one more point Message-ID: <000101bf69df$3467bae0$8cb701d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Friday, January 28, 2000 5:39 PM Subject: RE: tonal centers - one more point > I have played German music with 9 flats in the key signature, I > confess I really don't know why they do that though. Maybe they don't like sharps. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 20:30:51 -0200 From: "Antonio Henrique Seixas" To: Subject: Re: Message-ID: <003801bf69df$55fc8820$5b2cbcc8@webhouse.psi.br> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0035_01BF69CE.91CBDF60"
Dear Mr. Dowdy:
 
I am really sorry about my poor english, but you must be sure that I am trying to do my best at the list in a language that is not my first one.
I think this is an international trombone list, and not an "English Course" list.
Sorry the other list friends that don't have anything with this mail but I really think I have been desrespected.
 
Antonio Henrique Seixas
Bass Trombone - Brazilian Symphony Orchestra                          
seixas@whouse.com.br
 

 
 From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 17:46:44 EST From: Trmbman@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Arctic Whale? Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I have played that song for the UW-Milwaukee honors band great piece. Only one problem, it costs $195.00 and I doubt our director is gonna spend that much Trombone and Euphonium Player Visit my Webpage at Http://Wactrm.tripod.com or contact me at Trmbman@aol.com From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 18:11:08 -0500 (EST) From: David Proctor To: Adrian Drover Cc: "Trombones and related issues forum." Subject: Re: Quick Joke..and another. Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Fri, 28 Jan 2000, Adrian Drover wrote: >----- Original Message ----- >> Just as he thought, there, in Hell, was this huge big band with all the >> greats playing in it. >> >> "Hey, you've got a trombone" says one of players "come on, join in". >> >> So he gets the 'bone out and sits on the 3rd desk and joins in on a Basie >> number. > >What, there were only 2 guys in the 'bone section of the resident Hell big >band before he got there? > >A. > >Adrian Drover (ADIOS Scotland) No, but the other guys got transferred to the symphony, where they're waiting to make the big entrance on Beethoven's Fifth. Except the second movement never ends.... David Proctor From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 21:47:23 EST From: NHSGrizzly16@aol.com To: weslanke@worldnet.att.net, trombone-l@lists.missouri.edu Subject: Re: Screaming Message-ID: <1a.558e70.25c3aebb@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit first of all, do you know how to do multiphonics?? i haven't heard the song you're talking about, but i'll look for it.... From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 23:07:04 EST From: NHSGrizzly16@aol.com To: trombone-l@lists.missouri.edu Subject: multiphonics Message-ID: <5b.1485358.25c3c168@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit multiphonics is great. Ron Wilkins played a song using it. it's cool. it basically just creates different chords. you play a note (say F), then as you're playing, sing or hum another note (say D), and the rest of the chord just plugs in. it's really neat to hear. i haven't mastered it yet, but i'm getting there. From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 23:38:51 EST From: FOpal@aol.com To: trombone-l@lists.missouri.edu Subject: Bach large bore TBone Message-ID: <25.1371005.25c3c8db@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit For those who are fluent with equipment... Which model of the Bach 42 do you think the different is between a traditional F rotor and a balanced valve rotor? Frank Opal From ???@??? Mon Jan 31 07:27:18 2000 Date: Fri, 28 Jan 2000 22:54:52 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: screaming Message-ID: <001d01bf6a14$fd389fe0$25e2490c@default> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit The effect that I am mentioning is not a product of multiphonics. I know what multiphonics are, but I can't even come close to doing any types of multiphonics. I have had the pleasure of hearing Ron Wilkins play in SA. He is an excellent player. When I talked to him around this time last year, he said he was making a CD recording. Do you know if this ever happened, and if so, where can I find it? From ???@??? Mon Jan 31 07:27:18 2000 Date: Sat, 29 Jan 2000 00:04:53 EST From: NHSGrizzly16@aol.com To: trombone-l@lists.missouri.edu Subject: Re: screaming Message-ID: <9b.c98e61.25c3cef5@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit i saw him play in december.....he said he's coming out with a CD in february (i think). i'll ask my director if he remembers...but i'm pretty sure it's coming out in feb.