TROMBONE-L Digest 1587 Topics covered in this issue include: 1) Bollinger/Ewazen in Philly by Randy Campora 2) RE: Degrading CD's by Joseph Green 3) QUERY TROMBONE-L by "Marple, Richard L COL BAMC-Ft Sam Houston" 4) instruments for sale by Charles 5) A Men's Health Question by "John Clark" 6) RE: How to nail high F by David Molter 7) RE: How to nail high F by David Molter 8) Doctoral exam - modest trombone content for Tom Izzo by "Wessner, John" 9) RE: Degrading CD's by Mike Coyle 10) RE: Degrading CD's by BrianB@PR-CN.COM 11) Re: double valve - double pedal Bb? by John Capon 12) Forgotten music. by Pat and Joe Chapman 13) Re: VALUE of double pedal Bb by "Adrian Drover" 14) Never let the 9th chair trombonist write your intros by "Tom C. Shaddox" 15) listing of Spike's trombonists by "Christopher Smith" 16) Gregorian-Chant-influenced Bass Trombone piece by Bear Woodson 17) Re: listing of Spike's trombonists by "Michael W. Millar & Dava S. Millar" 18) Re: VALUE of double pedal Bb by Mike Coyle 19) High F n' stuff by Mike Coyle 20) RE: Degrading CD's?? by "Johnson, Scott (TBS)" 21) Re: High F n' stuff by "MARK LEWIS" 22) RE: Never let the 9th chair trombonist write your intros by "Johnson, Scott (TBS)" 23) Re: Never let the 9th chair trombonist write your intros by Mike Coyle 24) Re: Shires recommendation by "MARK LEWIS" 25) Re: Brahms 4 by Anders Carlsson 26) Re: Doctoral exam - modest trombone content for Tom Izzo by "Nicholas Peter Hayes" 27) Si Zentner by "Phil Burton" 28) jump blues and or swing charts?? by "Michael Towe" 29) Re: Si Zentner by hal-starkey@webtv.net (Hal Starkey) 30) Si Zentner by Bob Koester 31) Re: High F n' stuff by Earl Needham 32) Re: Shires Trombones by "David S Staines" 33) Re: listing of Spike's trombonists by John Capon 34) Colorado Symphony Base Salary by David Oliver 35) Telemann & Haydn by David Oliver 36) STOMVI MASTER TROMBONE by "Toru Ichizuka" 37) trigger(s) for middle and upper register? by Charles 38) Re: Si Zentner by "Dave Mackey" From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 02 Feb 2000 08:38:45 -0500 From: Randy Campora To: trombone-l@lists.missouri.edu Subject: Bollinger/Ewazen in Philly Message-ID: <4.2.0.58.20000202083714.00999950@mail.telephonet.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Got this from Blair yesterday and don't know if it has been on the List yet. RC ------------------------ >Blair Bollinger will play Eric Ewazen's Concerto for Bass Trombone at a >concert with the Temple University Wind Ensemble, Arthur Chodoroff, >conducting. > >Concert is Sunday, Feb. 27th 3:00 PM Tomlinson Theater, 13th & Norris >Sts. (Free parking in lot 6 directly across street). Contact is Irene >Petratos 215-204-8307. > >Eric Ewazen is on faculty at the Juilliard School in New York and has a >large and rich catalog of music for all brass instruments. This will be >the premiere performance of his Bass Trombone Concerto in the Wind >Ensemble version. > >Blair Bollinger is in his 14th season as Bass Trombonist of the >Philadelphia Orchestra. His recent solo CD, "Fancy Free" on d'Note >Records was lauded in American Record Guide - "This is the disc I've been >waiting for ... an amazing disply of Bollinger's virtuoso skills." He has >appeared as a soloist with the Philadelphia Orchestra, Atlanta Symphony, >Savannah (GA) Symphony, US Army Field Band and US Army Orchestra. He has >given recitals and masterclasses around the world from Tokyo to Warsaw to >Sao Paolo. He joined the Temple faculty in 1988. From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 02 Feb 2000 22:59:34 +0000 From: Joseph Green To: trombone-l@lists.missouri.edu Subject: RE: Degrading CD's Message-ID: <3898B6CD.83E1A2DD@m.u-tokyo.ac.jp> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-2022-jp; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit According to the NPR and the Hyperion websites, the Hyperion label is not the only one affected. Others are Pearl, ASV, Unicorn, DGG, IMP, Decca, Cala, Collins, Albany, Bongiovanni, Arkadia, Fonit Cetra, Memories, Nuova Era, Adda, As Disc, Tactus, and Fone. You can find the information you need near the bottom of this web page: http://www.npr.org/programs/pt/news/index.html JG > John, > I was the original poster. While in a car I heard part of a story about > CD's degrading because of a manufacturing defect. It was a long run of CD's > on many labels but pressed at the same plant in England, and would cause > them to slowly corrode, turn a bronze color, and become unplayable. There > was a standing offer of free replacement. The trouble was I didn't get any > more details than that and have been unable to find any mention searching > the Web. I now live in fear that some favorites in my collection may be on > borrowed time, I was hoping someone on the list would know more. Or, if it > turns out to be urban legend (it was on PBS!!!) then I can relax. > yours, > tim richardson > > ------------------------------------------------------------------------ From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 2 Feb 2000 08:14:33 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'Trombone-L'" Subject: QUERY TROMBONE-L Message-ID: MIME-Version: 1.0 Content-Type: text/plain From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 02 Feb 2000 08:27:33 -0500 From: Charles To: trombone-l@lists.missouri.edu Subject: instruments for sale Message-ID: <1.5.4.32.20000202132733.006dcf5c@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Conn prototype (no engraving) 6 3/4" bell, fair gold lacquer, no major dents, dirty slide (not used in 25 years) circa 1969 $200 > Mellophone - Clarion - Gold lacquer (worn) - Circa 1950 - excellent - $200 Alto Horn - Holton - Gold Lacquer (worn) - Circa 1950 - excellent $200 Baritone/Euph - King -no lacquer - Circa 1950's - good shape - $300 chardy@totcon.com From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 02 Feb 2000 14:51:07 GMT From: "John Clark" To: trombone-l@lists.missouri.edu Subject: A Men's Health Question Message-ID: <20000202145107.77855.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed A brief introduction: I have been allowed to subscribe under a pseudonym with the gracious help of the listmonitor. For those of you who read Tom Clancy novels, the name John Clark is probably familiar. The reason for writing under a pseudonym is to ask a rather delicate question (female members of the list need read no further). In the next week, I am scheduled for a vasectomy. According to the doctor who will perform the procedure, I should refrain from exercize for a few weeks afterward. I have also been cautioned against any heavy lifiting. Would anyone on the list who had undergone this procedure please share (privately, off the list) their experience? I cannot afford to take time from playing, but of course I do not wish to cause any further problems post-surgery. For the record, I play a Conn 88H. Thank you in advance for your assistance. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 2 Feb 2000 10:10:59 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: How to nail high F Message-ID: <383038064.949504259093.JavaMail.root@web27.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit In response to multiple posts on the best way to hit high notes: "How to Nail High F in 5 Easy Steps" 1. Get a part with high F written in the trombone part (This is easy) 2. Place musuc on stand. (Again, easy) 3. Have rest of trombone section anchor corners of score -- if necessary, call over a woodwind player. (Might not be so easy.) 4. Take out previously purchased Sears Craftsman Bob Vila Peashooter Hammer with Dual-Bore Claw and one (1) Lightweight Nickel-Silver 10-penny Altissimo Nail (galvanized). 5. Place tip of nail on head of high F and whack flat end of nail with hammer. P.S. Warm up first. I suggest Klein-Hammer. Yours in hardware ... Dave Molter Pittsburgh, PA From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 2 Feb 2000 10:12:36 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: How to nail high F Message-ID: <382136764.949504356432.JavaMail.root@web26.pub01> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit In response to multiple posts on the best way to hit high notes: "How to Nail High F in 5 Easy Steps" 1. Get a trombone part with high F. (This is easy.) 2. Place music on stand. (Again, easy.) 3. Have rest of trombone section anchor corners of music -- if necessary, call over a woodwind player. (Might not be so easy unless you have candy to offer.) 4. Take out previously purchased Sears Craftsman Bob Vila Peashooter Hammer with Dual-Bore Claw and one (1) Lightweight Nickel-Silver 10-penny Altissimo Nail. 5. Place tip of nail on head of high F and whack flat end of nail with hammer. P.S. Warm up first. I suggest Klein-Hammer. Yours in hardware ... Dave Molter Pittsburgh, PA From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 2 Feb 2000 10:48:30 -0500 From: "Wessner, John" To: "Trombones and related issues forum. (E-mail)" Subject: Doctoral exam - modest trombone content for Tom Izzo Message-ID: <38074DD5B6CCD2119C8F0000D11C17BD024C0781@exchange.towson.edu> MIME-Version: 1.0 Content-Type: text/plain This just came to me. Perhaps at the Peabody???? DOCTORAL MUSIC EXAMINATION 1. Explain the difference between sforza, sforzando, sforzata, and La Forza Del Destino. Be specific. 2. What is the diameter of the hole in the water key on your instrument? If your instrument does not have a water key, what is the diameter of the third moon of Jupiter? 3. List Johann Sebastian Bach's children (include middle names) and give: a. Date of birth b. Date of death (if deceased) c. Last known address d. Social Security number 4. Name the composers who wrote a First Symphony. 5. Give the opening theme of each symphony in #4 (above). 6. What is the relationship and musical significance of the 10th and 11th bars of the aria "Soldaten, Soldaten" to the aria's final bars (1048-1063) in the Alban Berg opera Wozzeck? 7. Who conducted Tannhauser at the 1847 Bayreuth Festival? Was he right or left-handed? 8. Trace the development of the "Family Unity" theme in Richard Strauss' Sinfonia Domestica. In which key(s) is it presented? 9. Describe in detail the formula for the varnish on violins made by Stradivari during the first third of his career. Explain how this varnish differs from varnish used on his violas. What modern substances could be effectively substituted in duplicating this formula today? 10. What is the optimum acidity/alkalinity (expressed in pH) for soil in which cane for bassoon reeds are to be grown? For bass clarinet reeds? 11. Name the bones and muscles involved in forming a brass player's embouchure. 12. What is the advantage of using xylophone mallet heads made of: a. Ebony b. Teak c. Philippine Mahogany d. Compressed moose chips 13. Argue both sides of the following statement: "The most important element in music is rhythm." Critique both arguments and decide which is correct, or more nearly correct. 14. Compose a three-movement symphonic metamorphosis (not to exceed 1 hour in length) on a theme by Ned Rorem to support your decision. 15. Defend Mozart's use of the glass harmonica and explain why this instrument has lapsed into disfavor, especially among punk rock groups. 16. Give the "slap-back" time in seconds (to three decimal places) of each hall used by all major American and European orchestras. Defend your selection of each orchestra as a major orchestra, and name each orchestra's past and present conductors. 17. In which of his symphonies did Franz Joseph Haydn use: a. clarinets b. horns c. tympani d. bassoons e. compressed moose chips 18. Write the first 25 bars of Stravinsky's Circus Polka (from memory), and analyze. 19. What is the Kochel number of Mozart's 4th Horn Concerto? 20. Develop a simple set of rules that explain the harmonic and melodic progressions, voice leadings, and rhythmic notation of the music of Bartok. 21. Give the ratio between the bore and overall length of a Couesnon Contra-Bass trombone, Model G-571a, when the slide is in flat 4th position. If the position is used in conjunction with both thumb valves (F and D) to play the 7th note of the overtone series, what note will be sounded? Will it be sharp, flat, or in tune? If sharp or flat, by how many hundredths of a semitone? 22. Who invented the Ocarina? In what year? Why? What was his/her punishment? 23. Explain the musical inconsistencies as to key, notation, accidentals, etc, found in the original score of Robert Schumann's Symphony #3. 24. Write a seven-voice motet in the style of Orlando di Lassus in invertible counterpoint. Extra credit if the motet can also be performed backwards. 25. Using materials commonly found in the kitchen, construct a 15-rank, 3-manual positiv organ (with pedals) and use it to perform two pieces each by Oliver Messiaen, Karlheinz Stockhausen and Daniel Pinkham. 26. Reconstruct the missing movements of Schubert's Unfinished Symphony. 27. Give the Russian, German, and Serbo-Croatian equivalents of the following Italian terms: Tuffato, Con Amore, Cadenza, Fugato, Garbonzo, Mafioso, and Ferrari. 28. Explain why Benny Goodman could use parallel octaves but you can't. John Wessner From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 02 Feb 2000 10:08:46 -0600 From: Mike Coyle To: jgreen@m.u-tokyo.ac.jp Cc: trombone-l@lists.missouri.edu Subject: RE: Degrading CD's Message-ID: <200002021609.KAA31071@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Joseph, The NPR page from which you copied the list of effected CDs does not include DGG, IMP, or Decca. Where did you read that these labels too were effected? Mike At 04:59 PM 2/2/00 , you wrote: >According to the NPR and the Hyperion websites, the Hyperion label is not the only one >affected. > >Others are Pearl, ASV, Unicorn, DGG, IMP, Decca, Cala, Collins, Albany, Bongiovanni, >Arkadia, Fonit Cetra, Memories, Nuova Era, Adda, As Disc, Tactus, and Fone. > >You can find the information you need near the bottom of this web page: > >http://www.npr.org/programs/pt/news/index.html > > >JG > >> John, >> I was the original poster. While in a car I heard part of a story about >> CD's degrading because of a manufacturing defect. It was a long run of CD's >> on many labels but pressed at the same plant in England, and would cause >> them to slowly corrode, turn a bronze color, and become unplayable. There >> was a standing offer of free replacement. The trouble was I didn't get any >> more details than that and have been unable to find any mention searching >> the Web. I now live in fear that some favorites in my collection may be on >> borrowed time, I was hoping someone on the list would know more. Or, if it >> turns out to be urban legend (it was on PBS!!!) then I can relax. >> yours, >> tim richardson >> >> ------------------------------------------------------------------------ > From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 2 Feb 2000 11:33:57 -0500 From: BrianB@PR-CN.COM To: trombone-l@lists.missouri.edu Subject: RE: Degrading CD's Message-ID: MIME-Version: 1.0 Content-Type: text/plain > The NPR page from which you copied the list of effected CDs does not > include DGG, IMP, or Decca. Where did you read that these > labels too were effected? I couldn't find it at all on the NPR page, but what he mentioned was from Hyperion's web page http://www.hyperion-records.co.uk/bronzed.html: "At the time that PDO were manufacturing the affected CDs for us, they were also pressing for other classical labels and we suggest that you check any discs you have from ASV, Unicorn-Kanchana, Pearl, DGG, IMP, Decca and Collins." Brian From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 2 Feb 00 09:22:55 -0700 From: John Capon To: "Trombones and related issues forum." Subject: Re: double valve - double pedal Bb? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" > Interestingly enough, the pitch we commonly call "pedal B >flat" is also available with both valves and the slide ALL the way out. No >longer a pedal tone, but it sure can sound nice! > > Earl Earl et al, The alternate for pedal Bb is very useful. Especially in soft passages where one is striving to blend with four or five other low brass and the Tuba part is lower. I find this alternate is in use a lot in recording. John John Capon Music Director, Malaspina Choir Artistic Director, Summer Jazz Academy Brass Instructor, Malaspina University/College Leader, John Capon Quartet Music Director, Gabriola Chamber Players R.R. 1, Site 3, C14 Gabriola, BC, Canada V0R 1X0 phone: 250 247 8531 http://www.islandnet.com/~bigbird/ My new CD - "Full Circle"is now available at Brad Howland's site http://www.musicforbrass.com/index.html Email: bigbird@islandnet.com fax: 250 247 9357 (please phone 250 247 8531 first to make sure fax is on) From ???@??? Thu Feb 03 07:57:12 2000 Date: Wed, 02 Feb 2000 10:16:57 -0800 From: Pat and Joe Chapman To: Trombone-l Subject: Forgotten music. Message-ID: <38987498.CE66890D@pioneer.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Greetings from Oregon, Today I pulled out of our CD collection a piece of music that I hadn't listened to in a very long time, Kalinnikov's Symphony #1 in G minor. I was introduced to this symphony about 10 years ago when playing in a small community orchestra and I'm still out of breath! The finale to the first movement can be a pretty powerful part for all three trombones. If you are unfamiliar with this symphony it deserves a listen. So long from a very soggy Oregon Coast, Pat From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 2 Feb 2000 15:19:13 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: VALUE of double pedal Bb Message-ID: <000001bf6daa$19d1a1e0$18a501d5@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: Tuesday, February 01, 2000 5:49 PM Subject: RE: VALUE of double pedal Bb > Try this, Tim: Put the end of the slide up against a wall, grab the horn > by the bell and by the slide, then lean in and push against the wall as > hard as you can while also pulling the horn with both hands with as much > strength as you can, tighten your lips till it hurts and then BLOW!!!!! > See, high f is nothing at all :) Yeah, I can tell that you are undoubtedly a top-line professional trombone teacher with many successes to your credit, but how do I do this on a gig? A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 12:29:51 -0600 From: "Tom C. Shaddox" To: trombone-l@lists.missouri.edu Subject: Never let the 9th chair trombonist write your intros Message-ID: <3898779F.63F329A8@fnc.fujitsu.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Approaching last summer's concert season, our community band's long time announcer and intro man passed away. For reasons that are still unclear I was voluteered to write the intros for the 60 pieces we were to play over the course of the summer. The rules were fairly simple - engage the audience and give the French horns long enough to clear the condensate out of their instruments. I learned a lot about the music we played and the composers who wrote it. I took an entertainment approach rather than a scholarly approach for these outdoor concerts. Because of its enduring popularity with the audience, about 20 per cent of what we play in the gazebo down at the park (these concerts are quintessential Normal Rockwell) is music composed by John Phillip Sousa. I had to write a lot of Sousa intros, and after I covered the basics during the early part of the concert season, the stories got more, uh, shall we say, interesting. The following are some of the intros that I thought the Trombone-L folks would enjoy: Good evening and welcome to our concert. Probably every American composer has arranged our National Anthem, and we are often asked about the one we play. The arrangement of the National Anthem used by the Community Band was done by Dr. Wayne Dyess. A native Texan, Dr. Dyess is a Vietnam era veteran and former soloist with the United States Navy Band in Washington, D.C. Returning to his home state after his service, he has spent the past 24 years in many capacities at Lamar University, including Director of the Marching Band, Director of Jazz Studies, and Professor of Trombone. Please stand and sing along as our director and the Community Band play Wayne Dyess' beautiful arrangement of "The Star Spangled Banner". John Phillip Sousa travelled with his band extensively for over three decades. He never missed a train or steam ship, and was never, not once, late for a concert. They say opposites attract. Throughout their long married life he often referred to his beloved wife as "the late Mrs. Sousa!" Here is Mrs. Sousa's favorite march by her husband, "The Thunderer". Composer Henry Fillmore was one of those uniquely American characters. His family was in the church music publishing business in Cincinnati. Being restricted to only this type of music wasn't particularly appealing to young Henry. He loved all types of music, but especially band music, and extra especially, marches. This caused no end of conflict between his father and he, so, Henry took the logical course of action. He ran away from home to play trombone in a circus band. - Fillmore went on to compose such enduring tunes as "Klaxon" and "Men of Ohio." He also gained fame as a composer of instrumental novelties and as a prolific arranger of concert band music. In his spare moments, he published band instruction books that became standard learning material for two generations of young American musicians. One of his most beloved compositions is the patriotic march titled "Americans We", which the band plays for you now. As a child John Phillip Sousa studied music in a conservatory and learned to play the violin, viola, piano, flute, coronet, alto horn and baritone. However, even though his father was a professional trombonist and gave young Phil, as his family called him, supplemental lessons, John Phillip Sousa considered the trombone the most difficult of all instruments, and he never mastered it. This is another of many Sousa traditions kept alive by certain players in the Community Band. Here is John Phillip Sousa's 1895 march, "King Cotton". A few days before John Phillip Sousa's band arrived in England to start their first European tour, the Sousa Band advance press agent was asked by a reporter from the London Times about the unusual "Sousa" name and the nationality of Sousa's family. On the spot, the publicity agent fabricated a story that Sousa was an English emigrant named Sam Ogden, and when he left for America he marked his luggage with his initials and his destination. Upon arrival in America, the marking on the luggage was mistaken for his name, S.O.-U.S.A! The story was a hit and was carried by all the British papers. The publicist retold the story in Germany, changing the name to Siegfried Ochs, in France were the name was Saul Oulette, and again in Greece where the luggage marking was John Phillipso, U.S.A.! If you're wondering, I suppose today we'd call Sousa a second generation Portuguese-American. But if you know anything about the man, what he believed, and how he lived his life, there's only one hyphenated description you could accurately apply to him. Here is American-American John Phillip Sousa's 1886 march, "The Gladiators". John Phillip Sousa was one of those men from the late 19th century who lived by a code of chivalry and high ideals. Many years after his death, old Sousa Band members told the following story: The Sousa Band was on tour, traveling by train. Another passenger on the train made some crass and disparaging remarks about the soprano soloist traveling with the band. In Sousa's way of thinking, the lady was traveling under his protection, so Sousa demanded an apology. The man refused to apologize. Sousa by all accounts was a gentle and even tempered man, but with a lady's honor at stake, there was only one acceptable course of action. He demanded satisfaction over the insult, and challenged the man to a bare knuckle boxing match to begin immediately in the train's club car. The man refused Sousa's challenge. By this point, Sousa felt he'd been more than fair in trying to resolve the issue and restore the lady's honor. - Despite the fact that the train was traveling at a fair clip down the track, Sousa threw the man from the train. This was the only instance in the history of the Sousa Band where a lady traveling with Sousa was insulted. Our final selection before the intermission is a march John Phillip Sousa wrote about another lady, titled "The Belle of Chicago". We'd like to showcase one of the oldest instruments in the wind band on our next piece. Mentioned extensively in the third chapter of the Biblical book of Daniel, Martin Luther translated the Hebrew into the German word "posaune". The Authorized translation, commonly called the King James, gives it the old English name "sackbut", but we know it today by its Italian name, the trombone. The first brass instrument that could play chromatically, the trombone is little changed today from its early form. Henry the 8th owned several, and Mozart and Beethoven both composed for it. The great instrumentor Hector Berlioz said the trombone is the most noble of all the instruments. Used for centuries to accompany church choirs, the trombone has traditionally been scored in music for announcing angels or portraying the voice of God. We'd like to feature our trombone section now in the sacred trombone hymn by Henry Fillmore, "Lassus Trombone". I gotta go practice, Tom Shaddox, 9th chair tenor From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 19:12:19 GMT From: "Christopher Smith" To: trombone-l@lists.missouri.edu Subject: listing of Spike's trombonists Message-ID: <20000202191219.47171.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi all, I forwarded a post on the Spike thread to a friend of mine, guitarist Rod McDonald, who is a record and music history collector/buff of the highest order. Today Rod gave me a chronological list of Spike Jones' trombonists, as listed in the book "Spike Jones- Off the Record" (sorry, Rod forgot the author's name). Here goes: King Jackson (original S.J. tbn.) 1940-42 John Stanley 1942-44 Chick Daugherty 1944-46 (he was the trombonist on the "Jones Laughing Record", "Cocktails for Two" and "Lassus Trombone".) Robbie Robinson 1946-47 Joe Colvin 1947-54 Abe Nole 1953-54 Ray Heath 1954-57 Phil Gray 1957-59 The coinciding of dates for Colvin, Nole and Heath probably is just an indication of some "revolving door" activity during that period. Later, Chris http://www.geocities.com/~christo ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 12:26:13 -0700 From: Bear Woodson To: Trombone List Subject: Gregorian-Chant-influenced Bass Trombone piece Message-ID: <389884B2.26B7@AZStarNet.Com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello, Trombone List. I don't play Trombone, nor any instrument (nerve damage to the right hand, many years ago), but I am a composer, and am on a number of these Instrument Lists. I have a flashy piece for Tenor Trombone called the "Arioso for Unaccompanied Trom- bone", for which the range is from the pedal G (3 ledger lines below the Bass Clef) to the high Eb (in the 4th space of the Treble Clef). However, I also have a piece for tuba, the "Canticle for Unaccompanied Tuba", for which the range is from the E, five ledger lines below the Bass Clef, to the Eb above Middle C. There are no special effects, nor muting, nor even a single trill; ergo it should likely work well on Bass Trombone. The writing is a reverent blend of influences from Medieval Catholic Monastic and Hebraic Modal Singing Traditions. This is NOT authentic Gregorian Chant music, but it is a new work with some of those influences in the style. Mr. Doug Yeo has been kind enough to receive both works, but I seriously doubt that's he's had much time to look at them, with all the things that obligate his time. Plus, my piece must not be confused with the famous "He hasn't got a Gregorian Chance" Dirge, that was so popular at Spanish Inquisition Execution/Bonfire Parties, gleefully held so often, centuries ago. And to all our neglected Alto Trombone Friends, I say, Posaune in the Highest! Bear Bear Woodson doctoral student composer at the University of Arizona Tucson, Arizona, USA From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 11:41:45 -0800 From: "Michael W. Millar & Dava S. Millar" To: cdsmith68@hotmail.com Cc: "Trombones and related issues forum." Subject: Re: listing of Spike's trombonists Message-ID: <38988879.A8972B0D@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Thanks for the list, Chris! Tommy Pederson played on the album "Dinner Music.....For People Who Aren't Very Hungry." He was featured as the "trombonist with hay fever" on "Flight of the Bumble Bee." Vintage Tommy! Whether or not he did any other work with Spike, I don't know. This album was one that demonstrated the capabilities of "hi-fi" in the 50's. The cut with (supposedly) a Stradivarius going down a garbage disposal is a riot! Mike Millar Christopher Smith wrote: > > Hi all, > > I forwarded a post on the Spike thread to a friend of mine, guitarist Rod > McDonald, who is a record and music history collector/buff of the highest > order. Today Rod gave me a chronological list of Spike Jones' trombonists, > as listed in the book "Spike Jones- Off the Record" (sorry, Rod forgot the > author's name). > > Here goes: > > King Jackson (original S.J. tbn.) 1940-42 > > John Stanley 1942-44 > > Chick Daugherty 1944-46 (he was the trombonist on the "Jones Laughing > Record", "Cocktails for Two" and "Lassus Trombone".) > > Robbie Robinson 1946-47 > > Joe Colvin 1947-54 > > Abe Nole 1953-54 > > Ray Heath 1954-57 > > Phil Gray 1957-59 > > The coinciding of dates for Colvin, Nole and Heath probably is just an > indication of some "revolving door" activity during that period. > > Later, > > Chris > > http://www.geocities.com/~christo > > ______________________________________________________ > Get Your Private, Free Email at http://www.hotmail.com From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 13:46:55 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Re: VALUE of double pedal Bb Message-ID: <200002021948.NAA19658@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >> Try this, Tim: Put the end of the slide up against a wall, grab the horn >> by the bell and by the slide, then lean in and push against the wall as >> hard as you can while also pulling the horn with both hands with as much >> strength as you can, tighten your lips till it hurts and then BLOW!!!!! >> See, high f is nothing at all :) > >Yeah, I can tell that you are undoubtedly a top-line professional trombone >teacher with many successes to your credit, but how do I do this on a gig? Adrian, I'm shocked that you, the consummate professional, do not know the answer to this! Only except gigs were you'll be playing near a wall! Alternatively, you can have a second party push on the back of your head. Simple as that ;-) M. PS - most of my former students have had to undergo extensive dental reconstruction. >A. > >Adrian Drover (ADIOS Scotland) >Personal: adrian@adios.co.uk >Business: studio@adios.co.uk >http://www.adios.co.uk > From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 14:06:23 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Cc: slide.rule@adios.co.uk Subject: High F n' stuff Message-ID: <200002022007.OAA21913@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" In all seriousness, I think the single most important factor in gaining a solid high register is the very fine development of the central muscles of the embouchure. I think it is Farkas who makes the analogy that the embouchure is like a coffee can enclosed in a draw-string bag. The fine contraction of the draw-string is analogous to the function of the oral sphincter created by the conglomerate muscles in the central portion of the lips. If that area is strong enough and you can control the contraction with precise movement (somewhat like the lips function in whistling very high), you should be able to produce a good solid high register with little or no additional pressure than is required for the mid-register. And. as the embouchure must maintain varying degrees of balance between tension and relaxation, I believe it is critical to have a handle on that also, both conceptually and physically, before playing to high on the horn. The problem is that it can take years for this kind of precise and exacting development and most students want to be playing in the stratosphere long before that time arrives. A good teacher must stress the importance of time and proper development. Everyone should be allowed the time necessary to develop properly before being put in a position to have to play in the extreme high register. That is one reason why I question the viability of having high school students be required to audition on excerpts such as Berlioz's Symphony Fantasique, or even more absurd, Beethoven's 5th. Of course there will always be the occasional younger player who has already developed the right skills and musculature, but that is the exception, not the rule. I have seen many players do serious harm, sometimes forcing them to quit playing, by developing bad habits which lead to the need for excessive pressure or bizarre lip positions (i.e. pulling the lower lip way in unfer the top lip) to play in the high range. Just my 25 cents (inflation) Mike Coyle From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 2 Feb 2000 15:23:15 -0500 From: "Johnson, Scott (TBS)" To: "Trombones and related issues forum." Subject: RE: Degrading CD's?? Message-ID: <5D9A184FEEEDD211A4050000F81FD0E802522D5D@cnncmx04.turner.com> MIME-Version: 1.0 Content-Type: text/plain Worried (mandatory content requirement) Trombone Music CD owners, I think we are stirring up a tempest in a teapot. Here's why: 1. The problem is/was small. The only documentation presented refers to a manufacturing defect affecting owners of CDs commercially manufactured by Philips & Du Pont Optical UK Ltd (PDO) during a specific six year period. According to Hyperion Records (see: www.hyperion-records.co.uk/bronzed.html) "The pressing factory PDO has acknowledged responsibility for producing some CDs between 1988 and 1993 using a lacquer which was not suitable to withstand the corrosive effect of the sulphur content of paper used in the printing of CD booklets and other paper parts." 2. The "self-destruct coating" is being proposed for DVDs (Digital Video Disks) that would be used for RENTALS in a "no deposit, no return" environment. Not DVDs for sale and not CDs. Could it be used? Sure. Is it in the interest of manufacturers to do so? No way. Think "product lawsuits." 3. Commercial CDs do not have to be stored in a dark, low humidity environment. RECORDABLE CDs, the ones with the greenish-blue surface instead of silver or gold, MAY last longer stored in the dark because they may be affected by SOME light sources. The recordable layer in these CDs is, in most cases, an organic dye that gets modified or written (once) by exposure to a relatively high power laser. I would be surprised if these or any CDs would be affected by humidity as I believe they are sealed. Usually humidity concerns with archiving media is limited to tape. Hope this sheds more light than heat on what is heading for urban legend status. Best Regards, Scott Johnson Conyers, GA USA From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 12:30:28 -0800 From: "MARK LEWIS" To: Subject: Re: High F n' stuff Message-ID: <0002029495.AA949523172@ccgate.songs.sce.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: "cc:Mail Note Part" Oral sphincter? Mike must have heard/smelled my playing.... Mark Lewis Oceanside --------------------------------------------------------------------------- In all seriousness, I think the single most important factor in gaining a solid high register is the very fine development of the central muscles of the embouchure. I think it is Farkas who makes the analogy that the embouchure is like a coffee can enclosed in a draw-string bag. The fine contraction of the draw-string is analogous to the function of the oral sphincter created by the conglomerate muscles in the central portion of the lips. If that area is strong enough and you can control the contraction with precise movement (somewhat like the lips function in whistling very high), you should be able to produce a good solid high register with little or no additional pressure than is required for the mid-register. And. as the embouchure must maintain varying degrees of balance between tension and relaxation, I believe it is critical to have a handle on that also, both conceptually and physically, before playing to high on the horn. The problem is that it can take years for this kind of precise and exacting development and most students want to be playing in the stratosphere long before that time arrives. A good teacher must stress the importance of time and proper development. Everyone should be allowed the time necessary to develop properly before being put in a position to have to play in the extreme high register. That is one reason why I question the viability of having high school students be required to audition on excerpts such as Berlioz's Symphony Fantasique, or even more absurd, Beethoven's 5th. Of course there will always be the occasional younger player who has already developed the right skills and musculature, but that is the exception, not the rule. I have seen many players do serious harm, sometimes forcing them to quit playing, by developing bad habits which lead to the need for excessive pressure or bizarre lip positions (i.e. pulling the lower lip way in unfer the top lip) to play in the high range. Just my 25 cents (inflation) Mike Coyle From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 2 Feb 2000 15:48:31 -0500 From: "Johnson, Scott (TBS)" To: "Trombones and related issues forum." Subject: RE: Never let the 9th chair trombonist write your intros Message-ID: <5D9A184FEEEDD211A4050000F81FD0E802522D5E@cnncmx04.turner.com> MIME-Version: 1.0 Content-Type: text/plain Tom, Good stuff! (I wonder how your remark about some of your band mates upholding Sousa's tradition of non-mastery of our most noble instrument was appreciated? ;-) Regards, Scott Johnson Conyers, GA USA -----Original Message----- From: Tom C. Shaddox [mailto:Tom.Shaddox@fnc.fujitsu.com] Sent: Wednesday, February 02, 2000 1:30 PM To: Trombones and related issues forum. Subject: Never let the 9th chair trombonist write your intros -- snip -- ... John Phillip Sousa considered the trombone the most difficult of all instruments, and he never mastered it. This is another of many Sousa traditions kept alive by certain players in the Community Band. Here is John Phillip Sousa's 1895 march, "King Cotton". -- snip -- From ???@??? Thu Feb 03 07:57:13 2000 Date: Wed, 02 Feb 2000 14:59:40 -0600 From: Mike Coyle To: Tom.Shaddox@fnc.fujitsu.com, "Trombones and related issues forum." Subject: Re: Never let the 9th chair trombonist write your intros Message-ID: <200002022100.PAA27770@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Thanks for posting these, Tom. You've done a great job of capturing the spirit of those great days of band concerts in the park. I really enjoyed reading them! However, I became slightly melancholy and forlorn when I remembered how much I want to run away and play the trombone in a circus band! :-\ Mike Coyle At 12:29 PM 2/2/00 , Tom C. Shaddox wrote: >Approaching last summer's concert season, our community band's long time >announcer and intro man passed away. For reasons that are still unclear >I was voluteered to write the intros for the 60 pieces we were to play >over the course of the summer. The rules were fairly simple - engage the >audience and give the French horns long enough to clear the condensate >out of their instruments. I learned a lot about the music we played and >the composers who wrote it. I took an entertainment approach rather than >a scholarly approach for these outdoor concerts. Because of its enduring >popularity with the audience, about 20 per cent of what we play in the >gazebo down at the park (these concerts are quintessential Normal >Rockwell) is music composed by John Phillip Sousa. I had to write a lot >of Sousa intros, and after I covered the basics during the early part of >the concert season, the stories got more, uh, shall we say, interesting. >The following are some of the intros that I thought the Trombone-L folks >would enjoy: > >Good evening and welcome to our concert. Probably every American >composer has arranged our National Anthem, and we are often asked about >the one we play. The arrangement of the National Anthem used by the >Community Band was done by Dr. Wayne Dyess. A native Texan, Dr. Dyess is >a Vietnam era veteran and former soloist with the United States Navy >Band in Washington, D.C. Returning to his home state after his >service, he has spent the past 24 years in many capacities at Lamar >University, including Director of the Marching Band, Director of Jazz >Studies, and Professor of Trombone. Please stand and sing along as our >director and the Community Band play Wayne Dyess' beautiful arrangement >of "The Star Spangled Banner". > >John Phillip Sousa travelled with his band extensively for over three >decades. He never missed a train or steam ship, and was never, not once, >late for a concert. They say opposites attract. Throughout their long >married life he often referred to his beloved wife as "the late Mrs. >Sousa!" Here is Mrs. Sousa's favorite march by her husband, "The >Thunderer". > >Composer Henry Fillmore was one of those uniquely American characters. >His family was in the church music publishing business in Cincinnati. >Being restricted to only this type of music wasn't particularly >appealing to young Henry. He loved all types of music, but especially >band music, and extra especially, marches. This caused no end of >conflict between his father and he, so, Henry took the logical course of >action. He ran away from home to play trombone in a circus band. - >Fillmore went on to compose such enduring tunes as "Klaxon" and "Men of >Ohio." He also gained fame as a composer of instrumental novelties and >as a prolific arranger of concert band music. In his spare moments, he >published band instruction books that became standard learning material >for two generations of young American musicians. One of his most beloved >compositions is the patriotic march titled "Americans We", which the >band plays for you now. > >As a child John Phillip Sousa studied music in a conservatory and >learned to play the violin, viola, piano, flute, coronet, alto horn and >baritone. However, even though his father was a professional trombonist >and gave young Phil, as his family called him, supplemental lessons, >John Phillip Sousa considered the trombone the most difficult of all >instruments, and he never mastered it. This is another of many Sousa >traditions kept alive by certain players in the Community Band. Here is >John Phillip Sousa's 1895 march, "King Cotton". > >A few days before John Phillip Sousa's band arrived in England to start >their first European tour, the Sousa Band advance press agent was asked >by a reporter from the London Times about the unusual "Sousa" name and >the nationality of Sousa's family. On the spot, the publicity agent >fabricated a story that Sousa was an English emigrant named Sam Ogden, >and when he left for America he marked his luggage with his initials and >his destination. Upon arrival in America, the marking on the luggage was >mistaken for his name, S.O.-U.S.A! The story was a hit and was carried >by all the British papers. The publicist retold the story in Germany, >changing the name to Siegfried Ochs, in France were the name was Saul >Oulette, and again in Greece where the luggage marking was John >Phillipso, U.S.A.! >If you're wondering, I suppose today we'd call Sousa a second generation >Portuguese-American. But if you know anything about the man, what he >believed, and how he lived his life, there's only one hyphenated >description you could accurately apply to him. Here is American-American >John Phillip Sousa's 1886 march, "The Gladiators". > >John Phillip Sousa was one of those men from the late 19th century who >lived by a code of chivalry and high ideals. Many years after his death, >old Sousa Band members told the following story: The Sousa Band was on >tour, traveling by train. Another passenger on the train made some crass >and disparaging remarks about the soprano soloist traveling with the >band. In Sousa's way of thinking, the lady was traveling under his >protection, so Sousa demanded an apology. The man refused to apologize. >Sousa by all accounts was a gentle and even tempered man, but with a >lady's honor at stake, there was only one acceptable course of action. >He demanded satisfaction over the insult, and challenged the man to a >bare knuckle boxing match to begin immediately in the train's club car. >The man refused Sousa's challenge. By this point, Sousa felt he'd been >more than fair in trying to resolve the issue and restore the lady's >honor. - Despite the fact that the train was traveling at a fair clip >down the track, Sousa threw the man from the train. >This was the only instance in the history of the Sousa Band where a lady >traveling with Sousa was insulted. >Our final selection before the intermission is a march John Phillip >Sousa wrote about another lady, titled "The Belle of Chicago". > >We'd like to showcase one of the oldest instruments in the wind band on >our next piece. Mentioned extensively in the third chapter of the >Biblical book of Daniel, Martin Luther translated the Hebrew into the >German word "posaune". The Authorized translation, commonly called the >King James, gives it the old English name "sackbut", but we know it >today by its Italian name, the trombone. The first brass instrument that >could play chromatically, the trombone is little changed today from its >early form. Henry the 8th owned several, and Mozart and Beethoven both >composed for it. The great instrumentor Hector Berlioz said the trombone >is the most noble of all the instruments. Used for centuries to >accompany church choirs, the trombone has traditionally been scored in >music for announcing angels or portraying the voice of God. We'd like to >feature our trombone section now in the sacred trombone hymn by Henry >Fillmore, "Lassus Trombone". > >I gotta go practice, >Tom Shaddox, 9th chair tenor > From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 02 Feb 2000 13:03:37 -0800 From: "MARK LEWIS" To: Subject: Re: Shires recommendation Message-ID: <0002029495.AA949525156@ccgate.songs.sce.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: "cc:Mail Note Part" I've been talking to Steve for some time about an instrument he is making for me. I might add just a few points as follows: - Perspective is important, as Peter points out below. When Steve says it will be three weeks, be amused. If it arrives, be amazed. Don't stress. - Don't email him or send certified letters. He almost always comes to the phone weekday mornings, and is very pleasant to talk to. - He sent me a shiny new .525 tenor to play until my custom horn is ready. I've about worn it out. Don't complain...ask for accomodation. From my perspective, ordering a handmade, custom brass instrument from a preeminent craftsperson is quite an indulgence. Not for everyone. Jump in and be decadent only if unconcerned about price and schedule, and please remain patient and gracious. Mark Lewis Oceanside ---------------------------------------------------------------------- I am one of the list members who has written praises about the trombones made by Steve Shires. While I am sympathetic to the recent frustrations that have been expressed, I still have nothing but raves about the instruments. When one is in the middle of trying to get a terrific horn, things can become exasperating. Maybe Steve should just quote a 3 year wait. It doesn't seem to hurt Heckel bassoon sales. My advice---order it and FORGET about it. It will get there when it gets there and will be a pleasant surprise. Again, I will acknowledge that perspective is everything and waiting for something to get done can be a very frustrating experience. To clarify my previous praises---I have only written how wonderful the horns are. I never promised they would be delivered on time, only that they will be worth the wait. If anyone has reservations about ordering a Shires, I would recommend you ask yourself these questions: "Is owning a wonderfully crafted trombone worth a lengthy wait?"; "Do I have the patience to withstand some inconvenience and unmet delivery dates to own such an instrument?" If you answer no, then buy another brand. If the answer is yes, then buy a Shires. My impression is that Steve ultimately wants each of his customers to be satisfied. I have yet to hear of anyone who has not been completely thrilled with their horn, once everything has been taken care of. They may be out there but all I hear are raves. Be patient, take a deep breath and know you are getting a trombone that will become an extension of yourself. Peter Ellefson sea2bone@earthlink.net From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 2 Feb 2000 22:57:53 +0100 From: Anders Carlsson To: "Walter K. Nadolny" Cc: trombone-l@lists.missouri.edu Subject: Re: Brahms 4 Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-ID: Content-Transfer-Encoding: 8bit "Walter K. Nadolny" wrote: >From: "Walter K. Nadolny" >Subject: Brahms 4 >Date: Tue, 1 Feb 2000 18:59:23 -0600 >I have just been given the 1st trombone part to Brahms 4th. Symphony. I >have >never played it before, any hints. Looking over the part should I play >it on >a Bach 42 or 36...any advice is appreciated. Thanks, Walt Nadolny IĞm not an employee of a proffessional symphony orchestra but I get called to do this kind of music regularly. (I may get called to put together the trombone section or the whole wind section or some of the sections of the brass. Some other guy, often known to me is called to assemble the strings. Sound familiar?) The guys I mostly play with often decide on playing smaller equipment than the one normally used nowadays. As this music was written for what we now call sackbuts our modern bach 42:s and 50:s is often much too big. We often play this kind of music on: (in bach sizes) 1:st part Bach 16 2:nd part Bach 36 3:rd part Bach 42. If youĞre playing a requiem with a really big choir IĞd prefer 36,42,42. Mozarts requiem we almost invariably play on sackbuts and baroque trumpets. This kind of setup gives a lighter and brighter sound wich more resembles the original intentions of the composers and it blends better with the voices weĞre so often doubling. Thankful for opinions and questions. ____________________________________________ Anders Carlsson, Gothenburg , Sweden. Brassplayer, arranger, conductor and brassteacher. Anders.Carlsson@gfs.gu.se or trombone@musiker.nu From ???@??? Thu Feb 03 07:57:14 2000 Date: Thu, 3 Feb 2000 09:03:55 +0930 From: "Nicholas Peter Hayes" To: "Trombone List" , Subject: Re: Doctoral exam - modest trombone content for Tom Izzo Message-ID: <002d01bf6dd6$06901cc0$d7058ec6@moebius> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ROTFL! PS. Will you be posting the answers? Nicholas Hayes ----- Original Message ----- From: Wessner, John To: Trombones and related issues forum. Sent: Thursday, February 03, 2000 1:18 AM Subject: Doctoral exam - modest trombone content for Tom Izzo > This just came to me. Perhaps at the Peabody???? > > DOCTORAL MUSIC EXAMINATION > 1. Explain the difference between sforza, sforzando, sforzata, and La Forza [snip] From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 2 Feb 2000 17:57:11 -0700 From: "Phil Burton" To: Subject: Si Zentner Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Here is the link to the Las Vegas newspaper regarding Si Zentner's obituary http://www.lasvegassun.com/sunbin/stories/obits/2000/feb/02/509794432.html From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 2 Feb 2000 17:02:55 -0800 From: "Michael Towe" To: "Trombones and related issues forum." Subject: jump blues and or swing charts?? Message-ID: <000701bf6de2$683fa060$03000004@oemcomputer> Hi All, Looking for some charts for either Louis Jordan and or Jimmy Luncford tunes. Preferably arranged for a smaller group of instruments on the Luncford stuff. Currently in a group with standard rhythm section..drums, bass, guitar and horn section consists of 2 trumpets, tenor trombone and 1 heavily mic'ed tenor sax. Thanks in advance, Mike From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 2 Feb 2000 20:22:40 -0600 (CST) From: hal-starkey@webtv.net (Hal Starkey) To: trombone-l@lists.missouri.edu Subject: Re: Si Zentner Message-ID: <9356-3898E670-627@storefull-175.iap.bryant.webtv.net> Content-Disposition: Inline Content-Type: Text/Plain MIME-Version: 1.0 (WebTV) Content-Transfer-Encoding: 8bit It is with the greatest sadness that I learn of the passing of Si Zentner. As a teenager in the 1960's I was indeed thrilled whenever a new Zentner album came out. He was definitely a huge influence on me. Beautiful tone, timing, execution and exquisite taste. Si had all the attributes of a great swing, big band trombonist. I'm glad I've still got all those old LPs. I wish someone would release them on CDs. For those of you too young to have heard any Zentner recordings I recommend "Alive in Las Vegas." This CD came out about 5 years ago and is still available. It's got some of the swinginest charts from the 60's. And great trombone playing from 70+ year old Zentner. It was a cherished moment for me to meet Si Zentner at the ITA workshop a few years ago. We talked for several minutes and he asked where I was from. When I told him Wichita his eyes brightened up and he said "Oh, the Cotillion Ballroom!" "Yeah, that's right," I said. He went on to tell me his band was the first to play there. Wow! I couldn't imagine him remembering that! That place has been there a long time. Thanks for the news, Phil. Hal ____________________ PhilÊBurton wrote Wed, Feb 2, 2000, 5:57pm (CST-1) Here is the link to the Las Vegas newspaper regarding Si Zentner's obituary http://www.lasvegassun.com/sunbin/stories/obits/2000/feb/02/509794432.html From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 02 Feb 2000 20:43:52 -0600 From: Bob Koester To: TROMBONE-L@LISTS.MISSOURI.EDU Subject: Si Zentner Message-ID: <3.0.1.32.20000202204352.006c246c@mail.spidertel.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Our world lost a truly unique man and player with Si's passing. For those of us who had the good fortune to work with, for, or in concert with Si...we share numerous feelings. Condolences to all. For those who didn't know Si, but identified him only with "Up a Lazy River", there was much more than that. Si Zentner was a GREAT trombonist. And, in his own way, Si was a great teacher. Si could sing through the horn as the tune suggested. He could play 12, 16, 24 bar phrases in ways that we don't seem to think about much anymore. >From extreme soft to extreme loud, there was never anything raucous or ugly. Sure, Si had a very individualized style for some things, but he did "break your heart" ballads and the Rhenish equally well. He knew music, he knew how it was supposed to sound, and he knew how to communicate that knowledge. Si, Rest in Peace Bob _______________________ bob koester mediation services, inc. bkoester@fixbusinessdebt.com From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 02 Feb 2000 19:38:27 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: High F n' stuff Message-ID: <3.0.5.32.20000202193827.0086da00@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 02:06 PM 2/2/00 -0600, Mike Coyle wrote: >The problem is that it can take years for this kind of precise and exacting >development 35+ years and counting! Now that I can produce the note, I'm trying to make it sound like a trombone and develop some flexibility up there... Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34ĵ25.446' W103ĵ12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 2 Feb 2000 22:41:30 -0500 From: "David S Staines" To: , "Trombones and related issues forum." Subject: Re: Shires Trombones Message-ID: <002d01bf6df8$97d37d40$7a9b9cd1@staines1> Galen and other Shires owners... My wait was also about one year, but I am completely satisfied with the trombone that Steve made for me. At the time, the false promises of a 6-8 week delivery were more frustrating than the actual delays. A realistic expectation to receive your horn should be 1-2 years. But be thankful for the opportunity to but a hand-made instrument. Not too many make them this way anymore. David Staines 2nd Trombone Buffalo Silver Band -----Original Message----- From: Galen Zinn To: Trombones and related issues forum. Date: Tuesday, February 01, 2000 3:29 AM Subject: Re: Shires Trombones >on 1/31/00 9:23 PM, Tbcwes@aol.com at Tbcwes@aol.com wrote: > >> >> I can report that I have been to the factory in the last few months and just >> like always, I received nothing but the best treatment from Steve. > >Wouldn't it be great if we could all afford to visit the factory! Some of us >are relegated to long distance sight unseen untried unhand picked shipped >equipment. When I am able to reach Steve by phone, he is always very >respectful and has a believable ready explanation for postponed delivery >dates. He has been willing to correct flaws in workmanship. > >> His horns >> are some of the best I have played in my short career playing trombone. > >I agree that Shires horns are some of the best. Without qualification, I >would rather play my Shires bass than any of my other horns. > >> They >> are in the highest demand of any horn on the market at the moment - he is >> absolutely swamped with orders as I understand it. > >That is precisely the problem. He doesn't seem to be capable of saying no to >orders that he cannot fill while maintaining a high degree of craftsmanship. >Being swamped with orders is no excuse for making promises that cannot be >kept nor for sending out merchandise that is not up to the highest standard. > >> >> If you feel you have been abused by the company, I am sure Steve will do what >> he can to make it right. > >When? He seems incapable of estimating an achievable realistic period of >time for the delivery of quality merchandise, and does not communicate with >this customer. > >> He is very busy, but you, the customer, are very >> important to him. > >His non-response exhibits the importance of a customer? > >> However, I do not think "raking him over the coals" in >> public will solve your problem. > >No, you are probably right, but maybe someone on this list will carefully >consider the pros and cons before placing an order for a Shires instrument. >I do not enjoy "raking him or anyone over the coals". That's not my nature. >I detest being argumentative. Common modes of communication, however, have >failed! Others tell me that they have had their attorneys send letters to >him to get a response. I don't want to do that; it is an expense that I >should not have to bear. It would destroy any future possibility of being >able to order parts for current equipment and/or new equipment. If there is >nothing wrong, why did Steve feel it was necessary to apologize (October 8, >1999) to all of his current and potential customers on this list? > >> Furthermore, I resent the implication that >> the trombone-L put you in this situation. > >During the last two years, I have trusted members of the TROMBONE-L to make >suggestions which have enabled me to make decisions that have changed the >basic direction of my life! That's how much respect I have for the members >of the TROMBONE-L! > >> Don't point the finger as the list >> because you are not dealing with your issues. > >The TROMBONE-L has failed me in the case of Steve Shires. Back in April/May >of 1998, I trusted those of you who sang the praises of Shires equipment. At >that point, I didn't know Steve Shires from Adam. He has not lived up to his >"Quality Without Compromise" advertising slogan. He has made grossly >inaccurate estimates for the delivery of flawed merchandise. I did deal with >my issue; I paid my money up front. That's the only issue a trusting >customer should have to deal with. I'm still waiting for the delivery of >quality merchandise. > >> >> My Shires trombone has allowed me many hours of joyous music making. > >So has mine, but I have had to battle to extract this "almost legendary" >quality from Mr. Shires. When my acquaintances become aware of what I have >already gone through, and, apparently, what I am destined to continue for an >unknown period of time, they just silently shake their heads with a look of >disgust on their faces, as if to say, "why do you put up with this?" Why? >The obvious answer has to be because I'm still waiting for and expecting the >utmost in quality. I really do want the accolades of 1998 to finally become >a reality. > >> I >> suggest them to all! > >I still believe that Shires instruments can be great. I've played one and I >like it a lot! I also believe, however, that anyone considering the purchase >of a Shires instrument should be aware of what they may be in for in order >to realize "quality without compromise". This information was not available >to me before I made my purchase. > >> >> -Wes Hopper > >Galen Zinn >E-mail: zinger@musician.org > > From ???@??? Thu Feb 03 07:57:14 2000 Date: Wed, 2 Feb 00 21:48:18 -0700 From: John Capon To: "Trombones and related issues forum." Subject: Re: listing of Spike's trombonists Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" >Subject: listing of Spike's trombonists >Sent: 3/2/20 11:47 pm >Received: 2/2/00 8:10 pm >From: Christopher Smith, cdsmith68@hotmail.com >To: Trombones and related issues forum., >trombone-l@lists.missouri.edu > >Hi all, > >I forwarded a post on the Spike thread to a friend of mine, guitarist Rod >McDonald, who is a record and music history collector/buff of the highest >order. Today Rod gave me a chronological list of Spike Jones' trombonists, >as listed in the book "Spike Jones- Off the Record" (sorry, Rod forgot the >author's name). > >Here goes: > >King Jackson (original S.J. tbn.) 1940-42 > >John Stanley 1942-44 > >Chick Daugherty 1944-46 (he was the trombonist on the "Jones Laughing >Record", "Cocktails for Two" and "Lassus Trombone".) > >Robbie Robinson 1946-47 > >Joe Colvin 1947-54 > >Abe Nole 1953-54 > >Ray Heath 1954-57 > >Phil Gray 1957-59 > >The coinciding of dates for Colvin, Nole and Heath probably is just an >indication of some "revolving door" activity during that period. > >Later, > >Chris > Hi Chris, When I saw S.J. in the mid sixties at the Cave in Vancouver (we were playing opposite him) he had Carl Fontana with him. Carl's trombone blew up during the show and the result was he played the remainder of the show with a soot covered face. He actually had a bunch of lite black plastic trombones that blew up when one or two loud notes were played on them. He did a switch just before the explosion occured. He played on a black lacquered King for the bulk of the show. I remember the drummer and the trumpet player were fantastic. Of course Spike was fairly old by then. The one thing I remember is that Spike did the whole show with an absolutely straight face in spite the huge peels of laughter coming from the audience. John > John Capon Music Director, Malaspina Choir Artistic Director, Summer Jazz Academy Brass Instructor, Malaspina University/College Leader, John Capon Quartet Music Director, Gabriola Chamber Players R.R. 1, Site 3, C14 Gabriola, BC, Canada V0R 1X0 phone: 250 247 8531 http://www.islandnet.com/~bigbird/ My new CD - "Full Circle"is now available at Brad Howland's site http://www.musicforbrass.com/index.html Email: bigbird@islandnet.com fax: 250 247 9357 (please phone 250 247 8531 first to make sure fax is on) From ???@??? Thu Feb 03 07:57:15 2000 Date: Wed, 02 Feb 2000 23:46:17 -0800 From: David Oliver To: Trombone List Subject: Colorado Symphony Base Salary Message-ID: <38993249.77B18754@access1.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I noticed an interesting article in today's Rocky Mountain News about the newly negotiated 5 year collective bargaining agreement between the Colorado Symphony Association and the musicians. The season is being expanded to 44 weeks, and the agreement (retroactive to Sep. 1, 1999) specifies a base salary of $818/week. This comes out to $35,992/year. Remember of course that there are other sources of income for musicians, and this is the minimum rate. The article states that the contract was designed to match contracts at orchestras with slightly higher annual budgets (such as the Milwaukee Symphony). The CSO currently has a budget of $9 million/year. The orchestra will also expand from 79 to 82 players, which is fine by me. I just thought I'd mention this so folks (and especially students) interested would have an idea of what symphonic players make at the symphony the size of the Colorado. This is sort of a follow-on to the info about the Boston Symphony from others. I understand that many people auditioned for the open bass trombone position a couple of years ago, with it finally going to Greg Harper (you still out there Greg?). I get the impression that the competition can be intense. I'm sure that at least a couple of listers tried out. I'm content to do my engineering day job and play for fun in community concert bands, churches, and small groups. The Denver Concert Band is a community band like many others, although I think they are in the upper half of similar groups due to the quality of the sections, organization, and funding. The flutes and clarinets seem quite competitive chair wise, but the trombones are very seniority based, which is just fine. It's all about listening to the section manager (& principal), helping, and having fun. I encourage more listers to state the groups they play in after their names, and their locations (which sometimes is obvious). If you are in high school, what school do you attend? (or college?) I only do so because I think that some might be interested, and I become a little less anonymous. I understand that many out there are simply taking lessons (I'm doing that too), or working on things alone. I'll state again that I'm really glad my Uncle and others worked on me to return to the trombone again 2 1/2 years ago after 17 years. I played it from 10 to 18 years old, and when you do that it becomes a part of you for the rest of your life - as I ended up realizing. I can also take some pleasure in getting my 2nd cousin back in the game too (I even got him another Elkhart 88H on ebay, since he sold his original late 50's model!). David Oliver Westminster, Colorado USA Bass/Tenor Trombone (utility), Denver Concert Band From ???@??? Thu Feb 03 07:57:15 2000 Date: Wed, 02 Feb 2000 23:58:45 -0800 From: David Oliver To: Trombone List Subject: Telemann & Haydn Message-ID: <38993535.712B6D0A@access1.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This isn't necessarily related to trombones, except for music and copyright issues, but I wanted to pass on something I heard on the local NPR station last week. As I was driving home from work (from Boulder), I heard a program where the announcer related how Haydn essentially stole melodies and did variations of melodies originally composed by Telemann. The main source was "something something de Muzik" (sorry, I don't remember the whole thing). The conservative estimate is that Haydn lifted at least 12 melodies. As this occurred before copyright protection, anything was fair game. It was fascinating to hear the original version, and then hear what Haydn had converted it to. I remember ex-Beatle George Harrison writing "This Song" after the case over his "My Sweet Lord" and how it sounded like "He's so Fine". (Hope I have those songs right). "This Song" is actually not bad. Assuming it was against the law then, I wonder what Haydn might have written in response to a lawsuit... BTW, I think George Harrison lost, but it was something like "unintentional, blah, blah, blah". Hadyn seems a bit more blatant with it happening 12 times. David Oliver Westminster, Colorado USA From ???@??? Thu Feb 03 07:57:15 2000 Date: Thu, 3 Feb 2000 16:06:15 +0900 From: "Toru Ichizuka" To: "Trombones and related issues forum." Subject: STOMVI MASTER TROMBONE Message-ID: <004301bf6e15$29bbb800$c233c688@Ss> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I bought STOMVI MASTER TROMBONE a few days ago. STOMVI known as famous trumpet manufacturer has started to assemble trombone since last year's fall. MASTER TROMBONE specification ; .547 bore , yellow brass Open-wrapped, normal roter (same as BACH) detouchable screw bell amado water key finish gold-plated:bell, tuning slide, outer slide, roter cap, roter lever silver-plated:other parts browing impression ; easy to tounghing acurrate pitch brilliant tone (not brassy at fortessimo) LIST PRICE : 395k japanese yen (about $3,725) **** **** **** **** **** **** **** **** Trombonist of Machida Community Orchestra Tokyo , Japan TORU ICHIZUKA ichizuka@hj.jvc-victor.co.jp **** **** **** **** **** **** **** **** From ???@??? Thu Feb 03 07:57:15 2000 Date: Thu, 03 Feb 2000 03:46:29 -0500 From: Charles To: trombone-l@lists.missouri.edu Subject: trigger(s) for middle and upper register? Message-ID: <1.5.4.32.20000203084629.006df864@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" What are your feelings and opinions for using the trigger(s) (in moving passages) for notes in middle and upper registers? From ???@??? Thu Feb 03 07:57:15 2000 Date: Thu, 3 Feb 2000 05:52:04 -0500 From: "Dave Mackey" To: Subject: Re: Si Zentner Message-ID: <001601bf6e34$b5a35c00$d843c7d0@cvntlale> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit > Our world lost a truly unique man and player with Si's passing. For those > of us who had the good fortune to work with, for, or in concert with > Si...we share numerous feelings. Condolences to all. > > For those who didn't know Si, but identified him only with "Up a Lazy > River", there was much more than that. > > Si Zentner was a GREAT trombonist. And, in his own way, Si was a great > teacher. Agree with all of the above, but there's one aspect of Si's career that many aren't aware of... in the late 70's/early 80's, he was musical director for the Resorts International casino hotel in Atlantic City, New Jersey. Dave Mackey