TROMBONE-L Digest 1590 Topics covered in this issue include: 1) Help! Valve string broke by AlRobnett@aol.com 2) Re: focused practice by Neobopr@aol.com 3) Re: Musicians, salaries + waste by Douglas Yeo 4) Re: Musicians, salaries + waste by "r wilson" 5) Re: Musicians, salaries + waste by MBennetts@aol.com 6) Nervousness by JennWhaa@aol.com 7) Re: Help! Valve string broke by LarryL595@aol.com 8) Re: Help! Valve string broke by "Kenneth Dowdy" 9) Re: Musicians, salaries + waste by Dave Burch 10) Re: Another Shires Story by Michael D Dugan 11) Re: Musicians, salaries + waste by "Ellard" 12) Re: Musicians, salaries + waste by d.huettenbach@ndh.com (Detlef Huettenbach) 13) Re: Nervousness by Peter Collins & Sara Wilbur 14) Re: Help! Valve string broke by Earl Needham 15) Re: Help! Valve string broke by "Tom Izzo" 16) RE: Daily Routines by James A Prindle 17) Re: Playing trombone lowers intelligence? by FrogXing2@aol.com 18) Bunching chin by Andy Kemp 19) Re: Playing trombone lowers intelligence? by "Adrian Drover" 20) SALARIES by "Adolphus Sprott" 21) Re: Musicians, salaries + waste by Larry White 22) Re: Help! Valve string broke by d.huettenbach@ndh.com (Detlef Huettenbach) 23) Re: Bunching chin by BassBonist@aol.com 24) Mahler 5...stuff, questions.... by Elisabeth Frederick 25) Re: Forgotten music. by David Leep 26) Re: Musicians, salaries + waste (was CSO salaries) by David Oliver 27) Happy Virus by "Kenneth Pearce" 28) Maggio? by "James Blazejack" 29) Re: Happy Virus by Earl Needham 30) Practice With the Experts by Charles 31) Brass Band Situations Vacant for Febuary 2000 by Nigel Horne 32) Brass Band Situations Wanted for Febuary 2000 by Nigel Horne 33) Practice With the Experts by Charles From ???@??? Mon Feb 07 08:10:46 2000 Date: Sat, 5 Feb 2000 08:26:27 EST From: AlRobnett@aol.com To: trombone-l@lists.missouri.edu Subject: Help! Valve string broke Message-ID: <92.112f185.25cd7f03@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Fortunately my valve string broke last night rather than at tonight's gig. I've got 2 questions: Is there likely to be a local source for an excellent replacement material, or should I drive the 20 miles to the nearest music store with a brass repair shop? What is the best way to avoid a string break during a gig? Do you make a preemptive replacement on a scheduled basis? Is it adequate to regularly inspect for signs that the string is fraying? Thanks, Allen ( 8 MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit >I end up practicing 2.5-3 hours a day in little fragments ranging from 10-30 >minutes each. Weston, You have stumbled upon the absolute best way to practice. You can't get any more out of a practice session than what you are getting now with your short sessions throughout the day. I tell my students to practice and do homework in this manner, flip-flopping between the two. This is one of the more important concepts about which we learned in my Master's degree program for music education. Keep it up! Yamaha Artist/Clinician-Jeff Adams From ???@??? Mon Feb 07 08:10:46 2000 Date: Sat, 5 Feb 2000 08:48:34 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: Musicians, salaries + waste Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 2:05 AM -0600 2/5/00, Daniel P. Sniderman wrote: >I was thinking that when I saw the first couple of notes; as to whether the >financials were available for that or other Symphony's - and it would >certainly be interesting to look at them. > >However - I would guess they are not public organizations - but probably >Private Not-For-Profit Corporations. I'm not well enough versed in these to >know whether they have to publish their financial statements. (Perhaps to >contributors over a certain amount?) Any attorney's or accountants on the >list who might know this stuff? > >Certainly Private For-Profit Corporations don't (and I doubt anyone would >want to look at mine!) Actually, private not-for-profit corporations DO have to have open books to the public. If you are incorporated as a non-profit and have non-profit tax-exempt status because you are a charitable, civic, religious or other non-profit group, you MUST have your books open to the public. Anything registered as a 501 (c) corporation must do this. Anyone can legally request to see a copy of their most recent tax return (even though non-profits don't pay taxes, they still have to file a return). If you're granted tax-exempt status, you are effectively subsidized by the government, and thus must have open books to the public who are essentially paying a good share of your freight because you don't pay taxes. I've seen tax returns of the Boston Sym, as well as my church, the brass band I conduct, etc. All are non-profit organizations. Now you can't see MY tax return because I'm not a non-profit. Only the IRS can legally request to see my return. The tax returns of symphony orchestras are matters of public record, you can legally request a copy through the orchestra's business office, or the state department of revenue. They also must publish an annual report which will give more detailed breakdowns than the tax return. Non-profits also have to specifically list the 5 highest paid employees and their salaries (for sym orchestras it's usually managing director, music directors(s), concertmaster, director of development). Not the bass trombone player. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** From ???@??? Mon Feb 07 08:10:46 2000 Date: Sat, 5 Feb 2000 08:20:56 -0600 From: "r wilson" To: , "Trombones and related issues forum." Subject: Re: Musicians, salaries + waste Message-ID: <001601bf6fe4$38d3e260$adb61ed1@ronbo3> MIME-Version: 1.0 Content-Type: text/plain; charset="x-user-defined" Content-Transfer-Encoding: 7bit List, One website that publishes tax return information from non-profit organizations is: www.guidestar.org This info is obtained from IRS Form 990 which all non-profit groups must file each year. ron wilson Principal Trombone, Ft.Worth Symphony ----- Original Message ----- From: Daniel P. Sniderman To: Trombones and related issues forum. Sent: Saturday, February 05, 2000 2:05 AM Subject: Re: Musicians, salaries + waste > I was thinking that when I saw the first couple of notes; as to whether the > financials were available for that or other Symphony's - and it would > certainly be interesting to look at them. > > However - I would guess they are not public organizations - but probably > Private Not-For-Profit Corporations. I'm not well enough versed in these to > know whether they have to publish their financial statements. (Perhaps to > contributors over a certain amount?) Any attorney's or accountants on the > list who might know this stuff? > > Certainly Private For-Profit Corporations don't (and I doubt anyone would > want to look at mine!) > > Dan Sniderman > > ----- Original Message ----- > From: "Larry White" > To: "Trombones and related issues forum." > Sent: Friday, February 04, 2000 11:00 PM > Subject: Re: Musicians, salaries + waste > > > Why are we all speculating? Does not the CSO or should I say is it (CSO) not > a > public organisation. If that is the case the audited Financial Statements > should > show where the money comes from and where it goes. > Don't forget some money has to be put away for 'retained earnings' to use at > a > later date. > > > From ???@??? Mon Feb 07 08:10:46 2000 Date: Sat, 5 Feb 2000 09:27:20 EST From: MBennetts@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Musicians, salaries + waste Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit In a message dated 2/5/00 2:05:56 AM Central Standard Time, fuzzbone@mail.dsl.telocity.com writes: > I would guess they are not public organizations - but probably > Private Not-For-Profit Corporations. I'm not well enough versed in these to > know whether they have to publish their financial statements. The short answer: Yes. A longer answer: In the U.S., an orginization exempt from income tax must file a return on Form 990 with the IRS (990-EZ for smaller organizations as defined, which are much smaller than the CSO). That return must be made available for public inspection, including all attachments and schedules, but excluding the organization's schedule of contributors. The returns are available for public inspection and copying upon application to the IRS on Form 4506-A (which can be downloaded from the IRS web site at http://www.irs.ustreas.gov/prod/forms_pubs/index.html by any computer-literate albeit intelligence-impaired trombonist). The organization itself must, during the 3 years following the return's due date, make its return available for public inspection upon request at its offices during normal business hours. Again, the contributor list is excluded from inspection. There is a charge for IRS photocopies, and an information requestor may request copies from the organization, for which the organization may charge a fee. A possibly quicker answer: If you write or e-mail them (and their web page is at http://www.indra.com/cso/) they've probably got a financial summary they'd be happy to send right out to you, along with an envelope you can use to send back your contribution. A few observations: 1. The names featured alongside the musicians on the web sites are of fancy Colorado folks who got rich 'way beyond $9 million in other endeavors, and are lending their names and money (and thereby gaining the local publicity and obligatory newspaper photos that come with the game) to the organization. Mrs. $Big doesn't need any stinkin' limo rides paid for by an organization where she's showing off her culture, public-spiritedness and generosity. Mr. $Big will take care of those (or have his company do it) from pocket change. In other words, she's there to publicly spend her money, not to skim off money that morally belongs to exploited musicians. 2. The web site describes what appears to be a pretty fancy program, including free concerts in cooperation with a half-dozen community musical groups, concerts at outdoor and other sites beyond the orchestra's primary concert hall, guest musicians including the Ramsey Lewis Trio, etc. These things don't come free or even close to it. 3. Operating such an organization and satisfying all the financial needs is, like playing the trombone, only easy for somebody who doesn't actually do it. Mike Bennett --------------- "All priests in my diocese are hereby urged to play the tombone since this instrument can make God's voice heard". 16th Century Bishop of VŠsterŒs, Sweden From ???@??? Mon Feb 07 08:10:46 2000 Date: Sat, 5 Feb 2000 10:34:10 EST From: JennWhaa@aol.com To: trombone-l@lists.missouri.edu Subject: Nervousness Message-ID: <36.1b30f36.25cd9cf2@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Good morning! Sitting here at work listening to Mahler Symphony No. 1. Great recording (in my opinion)- Bernstein and Concertgebouw, 1987. I wanted to throw a question out there. I get super nervous in situations where I know I have to impress people. It can get to the point where I am embarrassed to play. I end up playing under my potential. I just wanted to know how others have dealt with feelings like this. Thanks, Jen From ???@??? Mon Feb 07 08:10:46 2000 Date: Sat, 5 Feb 2000 11:03:38 EST From: LarryL595@aol.com To: AlRobnett@aol.com, trombone-l@lists.missouri.edu Subject: Re: Help! Valve string broke Message-ID: <8.dcf07f.25cda3da@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Subj: Help! Valve string broke Date: 2/5/00 8:27:21 AM Eastern Standard Time From: AlRobnett@aol.com Sender: owner-trombone-l@lists.missouri.edu Reply-to: AlRobnett@aol.com To: trombone-l@lists.missouri.edu (Trombones and related issues forum.) Allen wrote: _____________________________________________________________________ "Fortunately my valve string broke last night rather than at tonight's gig. I've got 2 questions: Is there likely to be a local source for an excellent replacement material, or should I drive the 20 miles to the nearest music store with a brass repair shop? What is the best way to avoid a string break during a gig? Do you make a preemptive replacement on a scheduled basis? Is it adequate to regularly inspect for signs that the string is fraying?" _____________________________________________________________________ A couple of years ago I was at a dress rehearsal for our local Symphony orchestra, when the small screw holding the valve string on my 88H fell off (fortunately I found it) but I couldn't get the string back on. I spent most of my time at the concert that night trying to remember not to use the trigger (I'm second chair). I replaced the string the next day with upholsterers thread (used on chairs & sofas), I got at a local store. It's worked fine for the past two years and I keep some in my case at all times I also check the tightness of that #@@^&*@# screw often! Larry Lerner From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 10:13:44 -0600 From: "Kenneth Dowdy" To: "Trombones and related issues forum." Subject: Re: Help! Valve string broke Message-ID: <002701bf6ff3$fbb459e0$691d0f3f@default> Back when I used to play a trombone with a trigger, I used braided fishing line. It is important NOT to use monofiliment fishing line because it is hard to tie a not with the stuff and even the slightest nick degrades its strength greatly. The braided stuff is strong, ties rather well, and will not fail if only one or two strands are failed. This also makes it easy to inspect. No frayed chords, no real problem. If you are like most people in this country, a Walmart is probably closer to you than a music store, and a 300 ft roll of braided 20# test will string about every trombone in whatever state you're in. And if you happen to be looking for the stuff in your local Walmart and a salesman named BillyBob asks why you want braided line instead of Mono-file-eement, tell him you are after big catfish and gar, and that sissy stuff just won't hold up. DON'T confuse him by telling him what you REALLY want to do with it. K. S. Dowdy ps - Some of the above was an attempt at humor. If there are any thin skinned trombonists on the list who are named BillyBob and happen to work in the Sporting Goods section at Walmart as a day job, I'm sorry in advance. I didn't mean you. -----Original Message----- From: AlRobnett@aol.com To: Trombones and related issues forum. Date: Saturday, February 05, 2000 7:27 AM Subject: Help! Valve string broke >Fortunately my valve string broke last night rather than at tonight's gig. >I've got 2 questions: > >Is there likely to be a local source for an excellent replacement material, >or should I drive the 20 miles to the nearest music store with a brass repair >shop? > >What is the best way to avoid a string break during a gig? Do you make a >preemptive replacement on a scheduled basis? Is it adequate to regularly >inspect for signs that the string is fraying? > >Thanks, >Allen ( 8 To: ksdowdy@email.msn.com Cc: "Trombones and related issues forum." Subject: Re: Musicians, salaries + waste Message-ID: <389C653E.D12ACDF5@fuse.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Kenneth Dowdy wrote: > Do you want the government to help? Doctors are required to meet certain > standards by law. Keeps the supply down and the demand up. Same with > engineers and lawyers. Now if you can convince congress that a poor quality > musician can kill someone with a cracked note, or cause a building to > collapse if he can't play a C# scale, of wind up costing someone his freedom > if he gets confused counting rests, they may pass a law requiring musician > certification. Don't hold your breath. During a rehearsal of our local symphony last fall, our director Paul Stanbery gave the strings a break from working a challenging passage by pausing to remark: "You know, being a musician, and I mean a really GOOD musician who can play this kind of music perfectly, is just as hard as being a brain surgeon. The only reason you don't make brain surgeon money is that if you make a mistake, nobody dies." -- @%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@ ------ Dave Burch ------ ---- Hamilton, Ohio ----- -- daveburch@fuse.net -- Church and community trombonist, baritone hornist, recorderist, choral singer After Hours Big Band Cincinnati Brass Band at http://cincinnati.brassband.com Hamilton-Fairfield Symphony Chorale (and sometimes Orchestra) at http://www.hfso.org Senior programmer/analyst, Mercy Health Partners @%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@ From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 13:02:11 -0600 From: Michael D Dugan To: trombone-l@lists.missouri.edu Subject: Re: Another Shires Story Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" The Minn. Orch section does play Bach, but one of them has a Shires valve section and slide. Mike Dugan Responding to the message of <4d.13d7f24.25cca138@aol.com> from Servo149@aol.com: > > But I thought everyone in the Minnesota Orchestra (Wright, Sundstrom, et al.) > > played Bach trombones? Am I mistaken on this? > > Tate Addis > > . From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 11:23:36 -0800 From: "Ellard" To: , "Trombone List" Subject: Re: Musicians, salaries + waste Message-ID: <000601bf700e$857bcf40$dcee94d1@ellard> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Friends: The truth of the matter is that what musicians do isn't really very important in the overall scheme of things. No one is really affected if, for example, the symphony goes out on strike and the only thing that is at stake is the existence of the orchestra and the loss of civic pride at having its symphony disappear. But even that pales to insignificance to the ordinary citizen compared to, for example, the local NFL franchise moving to another city. Sam has demonstrated the relative value of a musician in the private sector - it is the same as a pot of petunias. As far as the public sector is concerned, I would venture to say that the schmoozers and social climbers that make up the boards of most symphony organizations have no idea of what it is that musicians do. All they see are a lot of people in tuxedos and evening dress sawing away on instruments and producing marvelous music. But they have no clue as to how that is really accomplished (my guess is that they think it all has to do with the conductor) or what the musicians' lives are really all about. But the truth is that the average CSO player mades about $35,000 over 42 weeks (I'm going from memory here) for what is essentially a part-time job. And no one would trade his horn for a broom, no matter what the pay is. But Sam's main point is well taken. In a $9 million budget, why is the musicians' share so low? Why are administrators so well paid? What do administrators actually DO? Its seems that their high pay (and this is not merely about the CSO) is simply a reward for having scaled the pyramid (over the backs of co-workers, usually) rather than a reflection of the value of their services. There is a bit of a scandal brewing in this country (Canada) about a government department in charge of job creation basically losing $1 billion. That's "losing" as in "I don't know what we did with it." So far they've identified a $250,000 grant to one of the country largest banks for re-training workers (the bank in question made over $1 billion in profits last year) and a grant to an executive of one of the country's largest media conglomerates to travel to London England to "study" some silly shit. If the heat builds, they'll find a sacrificial lamb and then it will be back to business as usual. But, if you're in a symphony and you cack that F in Beethoven 5 three times in a row ... Rod From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 21:40:11 +0100 From: d.huettenbach@ndh.com (Detlef Huettenbach) To: trombone-l@lists.missouri.edu ("Trombones and related issues forum") Subject: Re: Musicians, salaries + waste Message-ID: <1e5jprc.quja2q184p6c0M@port251.bonn.ndh.net> Sabutin wrote: > If you don't like the conditions, but you LOVE your job...or at least > the CONTENT of your job, the playing, the making of music... > > TRY TO CHANGE THE CONDITIONS. > > I'm not "crying" about these things...I'm asking questions, trying to > get answers. I'm with you, Sabutin. Seen through my Germanic glasses, it all runs down to a matter of what in German is called an 'image', the estimation of the public towards an object. At least in all post war Americanized Europe, the amount of wage is not determined by the amount of work and quality, but by the 'image' in the public. That runs straight through all kinds of business, but let me stick to music, in particular. Many German professional freelancers I know, do very hard to help Americans to earn their living in their region -- Why? They know that their playing isn't any worse than those Americans, but they feel that the public will esteem the music of an American higher than their own playing. So, they fear for their own living. Its the nasty side of music business, in Germany, in particular: Why are so many people willing to pay so many bucks for a Shirley Bassey, Rolling Stones, Neill Young, Elton John or even Spice Girls concert, whereas wonderful, great music attracts only 50 spectators: Name it: is it for its quality? The matter is: The lower the musical experience in the audience, the lesser they will be able to orientate by themselves, and the more important is the standing of an 'image', and that's where musicians can learn plenty of e.g. sports. Why not looking for commercial sponsors? Why not showing commercial stickers on the dress? Why not make that deal? In Bonn, where I live, especially, there had been a 'normal' municipal symphonic orchestra whose quality went steeply down over the years, they simply hired renowned directors, so that the audience was sure to hear fine quality. In effect, things ran down and down, and nobody cared - why? because nobody told the press how horrible their music was. Well, in the end that couldn't be conceiled any more to the media, and so there was an emergency session by the municipal administration. But, believe it or not: they really came up with a great idea: They managed to get the then governmental phone company Telecom (which itself had a dubious reputation and was on the brim of being privatized) interested in the stake. And one day, that orchestra became the "Telecom Orchestra". Sure, that raised lots of cry outs in the media: it was the first municipal orchestra going commercial in Germany, headlining under a company's name. However, it went up in quality steadfast and steadily, and to the day it's one of the finest in Germany. ..that it probably not made it into the American publicity is not my beer.. which brings me to the point: I still keep swearing on my Jever, trombonically fighting with the harmony concepts of the queer big band arrangers. I recently ordered the Nestico book 'The Complete Arranger', hoping for either new insights or a way to do it better -- one fine day! Prost, Detlef. From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 15:43:16 -0500 From: Peter Collins & Sara Wilbur To: JennWhaa@aol.com, "Trombones and related issues forum." Subject: Re: Nervousness Message-ID: <389C8B64.83336807@total.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi Jenn and list, I wanted to respond to your post from this morning regarding nervousness as it has affected me in various ways over the last several years. I am a professional bass trombone player in Toronto, Canada playing with the Hamilton Philharmonic and Orchestra London Canada as well as freelancing in southern Ontario on bass trombone and bass sackbut. I have done many auditions for small and large symphonies and been successful to various degrees. I have yet to win a job by audition as the two jobs I have now are non contract non tenure positions which I fell into by virtue of connections. I too have been in positions of wanting to impress people, whether that be playing with somebody in the section as a new "contact" or playing for somebody in a lesson situation or playing at an audition in order to "impress" somebody into giving me the job. The nerves you experience as a result of these situations are self-imposed. It is very likely (unless the person has stated it) that the person you are trying to impress has no need to be impressed and it is you putting the pressure on yourself. This is not a bad thing at all, it is just something that needs to be realized before moving on. I have tried many solutions to my problem of nerves, here are a few of them: First of all: Preparation and confidence in one's own abilities. Without either one of these you are likely to be more nervous than necessary. If you feel that you have prepared to the best of your ability and you are confident in what you can and cannot do to get the job or impress somebody and you are still nervous, than you move on to other solutions. Meditation/breathing exercises and the like: I did Tai Chi a while back which involved some meditation and breathing exercises during the class. We had one instructor who was very good at this and was able to teach us quite well how to meditate. I have carried this with me to many auditions with good success. Rescue Remedy: This is a herbal "medication" used to treat the symptoms of shock which in some ways mirror the symptoms of nervousness i.e., shortness of breath, shakiness, thirst etc. I have used it as directed "under the tongue" about 15-20 minutes before playing at an audition and used it in solution in a glass of water on stage. Both work well. It comes in a small bottle with a dropper and is an alcohol based solution. The alcohol can make your mouth feel a little drier but it does take the edge of the nerves. For example, if I feel about 8 out of 10 on a nervous scale, the rescue remedy takes me down to 7 or 6. Not a lot but does take some edge off. Hypnotherapy/self hypnosis: Something I have been trying lately but have not had the opportunity to try in a very high pressure situation like an audition or recital. I have been able to use the techniques in concerts where there are important passages coming up and have not played for a time before. The techniques definitely work and are akin to the meditation and breathing exercises mentioned before. There is also a large component of visualization involved which can be very effective when done properly. This method, especially the "therapy" part of the hypnotherapy is maybe a little "far out" for some people but it helped me to realize why I was getting nervous, what baggage I was carrying around that was hampering my progress and things I could do about outside of the sessions with the doctor. If you wish to know more about it email me and I will be glad to go into detail further. One thing I have not tried is beta blockers. I won't comment because I haven't tried them but it is just not my bag. If you want to know more about that I would be glad to email you privately as well. I hope this helps you with your question. Please email me privately if you wish to know more about any of the techniques I have used over the last several years. Thanks for you time. Peter Collins JennWhaa@aol.com wrote: > > Good morning! > > Sitting here at work listening to Mahler Symphony No. 1. Great recording (in my opinion)- Bernstein and Concertgebouw, 1987. > > I wanted to throw a question out there. I get super nervous in situations where I know I have to impress people. It can get to the point where I am embarrassed to play. I end up playing under my potential. I just wanted to know how others have dealt with feelings like this. > > Thanks, > Jen From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 13:45:12 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: Help! Valve string broke Message-ID: <3.0.5.32.20000205134512.00827100@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Sent this early this morning, but haven't seen it on the list. Hope I'm not starting to get the "no-post-em" bug... At 08:26 AM 2/5/00 EST, AlRobnett@aol.com wrote: >Fortunately my valve string broke last night rather than at tonight's gig. >I've got 2 questions: > >Is there likely to be a local source for an excellent replacement material, >or should I drive the 20 miles to the nearest music store with a brass repair >shop? > >What is the best way to avoid a string break during a gig? Do you make a >preemptive replacement on a scheduled basis? Is it adequate to regularly >inspect for signs that the string is fraying? > >Thanks, >Allen ( 8). 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 Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 16:07:40 -0600 From: "Tom Izzo" To: "Trombones and related issues forum." Subject: Re: Help! Valve string broke Message-ID: <00bd01bf7025$6c90e800$5e75dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit > At 08:26 AM 2/5/00 EST, AlRobnett@aol.com wrote: > >Fortunately my valve string broke last night rather than at tonight's gig. > >I've got 2 questions: > > > >Is there likely to be a local source for an excellent replacement material, > >or should I drive the 20 miles to the nearest music store with a brass > repair > >shop? > > > >What is the best way to avoid a string break during a gig? The BEST way, I've found, is to replace that string linkage with a ball & socket linkage in either metal or plastic once & for all. Both Osmun music & Klontz can do this for you, as I'm sure others I do not know about. This is contingent upon the assumption that you wish to continually play an instrument that is designed with string linkages. Personally I prefer Bach's & Mirafone's both of which do not use strings. Your mileage may vary. Tom From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 13:28:36 -0800 From: James A Prindle To: trombone-l@lists.missouri.edu Subject: RE: Daily Routines Message-ID: <20000205.132840.-393715.2.Jimandcat@juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Beth, I'm so glad you recognize that's different than "warm-ups". One of my pet peeves with students is that they blow off the basics like long tones, lip slurs, etc. after a few minutes (1 or 2!) saying, "Okay, I'm warmed up." and then proceed to play sloppily, with poor breathing and slide techniques, and generally no "polish" at all. Sure, these things work as warm-ups but they are more important to do to maintain and improve the strong points of your technique. After the long practice hours of college, I found myself in a playing situation with lots of rehearsal, performance, travel, business, and the daily chores of life and family eating up my practice time. I put together a Daily Routine which I can do in as little as 17 minutes or expand if I have longer time. I won't go into specifics, lots of great exercises have already been suggested and everyone will have their favorites. Instead, let me give you a general outline of it as a pattern to play with on your own. PRELIMENARY: breathing and mouthpiece exercises (optional) 1. LONG TONES (of course). Especially in your middle and low register. Focus: breath control, tone and intonation. 2. STACCATO ARTICULATION. Keep it slow and simple , cover your normal playing range. Focus: accurate starts to notes, quick response of air and lips. 3. LIP BENDERS OR FALSE (PRIVILEGED) TONES. Focus: playing on low center of pitch, fine-tuning center of embrochure (helps upper reg.) 4. FAST REPETETIVE ARTICULATION. Either single or multiple tongue. Focus: accurate placement and motion of tongue and corresponding tone response. 5. SIMPLE LIP SLURS. Three types of exercises in all positions. First,3note slurs on 2nd, 3rd,4th harmonic. Second, add 5th harmonic. Third, add 6th harmonic. Focus: Easy, beautiful, and rhythmic response of all notes. 6. COMPLEX LIP SLURS. Same as # 5 but faster, more complicated patterns. Involve the 8th harmonic. 7.SCALE AND/OR ARPEGGIO PATTERNS. Any major/minor/blues/jazz scales you want to work on, preferably over 2 octaves. Focus: intonation, slide technique, key dexterity. 8. MEMORIZED SONG, SOLO, EXCERPT, WHATEVER. Perhaps in more than one key or octave. Focus: playing musically from your head and your heart. I have a pattern I can do in 17-20 minutes or can expand any part into a longer session. If I have time I add etudes, solos, excerpts, etc. Besides the great books that have been mentioned, take a look at the James Stamp exercises. I recommend that if you do them you take some lessons from a former Stamp student. Jimmy had a great way of explaining the how and why of them. Jim Prindle ________________________________________________________________ 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 Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 16:50:19 EST From: FrogXing2@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Playing trombone lowers intelligence? Message-ID: <2d.e1ae57.25cdf51b@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/3/00 12:30:39 PM Pacific Standard Time, kdowdy@oppd.com writes: << From what I have seen of most low brass players, the only thing that destroys their brain cells is massive infusion of brewed and distilled grains. >> Question.. Why are low brass players alway considered drunkards? We get a lot of jokes about being boozers. Just curious, Rhiannon From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 22:09:36 +0000 From: Andy Kemp To: trombone-l@lists.missouri.edu Subject: Bunching chin Message-ID: <3.0.5.32.20000205220936.007abc40@mail.u-net.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi list, I'm just wondering if anyone out there can offer any guidance regarding my chin!! I've been working for some time now on really trying to hold it down when playing, as it bunches up and I can't always feel when it happens.This affects the sound and can make the note wobble. It seems like a purely muscular problem, but one which is becoming increasingly frustrating. Any thoughts? Andy Kemp From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 22:51:32 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Playing trombone lowers intelligence? Message-ID: <006501bf702b$b6ca9e60$7fac01d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Saturday, February 05, 2000 9:50 PM Subject: Re: Playing trombone lowers intelligence? > Question.. Why are low brass players alway considered drunkards? Ish jush ta loada shilly shtoriesh put about by high brash playersh. Don't take any notish. There'sh no sholid foundashion for shuch remarksh. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 17:42:51 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: SALARIES Message-ID: <001901bf7032$ba61a3a0$dce0490c@default> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Someone mentioned that the 5 or 6 major orchestras pay their players pretty well. Being in high school, I don't really know what that means. I think the Houston Symphony has an average salary of about $75000, but what about the world class orchestras like NY, Philly, Boston, and Chicago? Are they making that much more than everyone else? From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 15:49:38 -0800 From: Larry White To: ellard@sprint.ca Cc: "Trombones and related issues forum." Subject: Re: Musicians, salaries + waste Message-ID: <389CB712.DDA722A4@telus.net> MIME-Version: 1.0 Content-Type: text/plain; charset=x-user-defined Content-Transfer-Encoding: 7bit How true! Larry White Ellard wrote: > Friends: > > The truth of the matter is that what musicians do isn't really very > important in the overall scheme of things. No one is really affected if, > for example, the symphony goes out on strike and the only thing that is at > stake is the existence of the orchestra and the loss of civic pride at > having its symphony disappear. But even that pales to insignificance to the > ordinary citizen compared to, for example, the local NFL franchise moving to > another city. > > Sam has demonstrated the relative value of a musician in the private > sector - it is the same as a pot of petunias. As far as the public sector > is concerned, I would venture to say that the schmoozers and social climbers > that make up the boards of most symphony organizations have no idea of what > it is that musicians do. All they see are a lot of people in tuxedos and > evening dress sawing away on instruments and producing marvelous music. But > they have no clue as to how that is really accomplished (my guess is that > they think it all has to do with the conductor) or what the musicians' lives > are really all about. But the truth is that the average CSO player mades > about $35,000 over 42 weeks (I'm going from memory here) for what is > essentially a part-time job. And no one would trade his horn for a broom, > no matter what the pay is. > > But Sam's main point is well taken. In a $9 million budget, why is the > musicians' share so low? Why are administrators so well paid? What do > administrators actually DO? Its seems that their high pay (and this is not > merely about the CSO) is simply a reward for having scaled the pyramid (over > the backs of co-workers, usually) rather than a reflection of the value of > their services. > > There is a bit of a scandal brewing in this country (Canada) about a > government department in charge of job creation basically losing $1 billion. > That's "losing" as in "I don't know what we did with it." So far they've > identified a $250,000 grant to one of the country largest banks for > re-training workers (the bank in question made over $1 billion in profits > last year) and a grant to an executive of one of the country's largest media > conglomerates to travel to London England to "study" some silly shit. If > the heat builds, they'll find a sacrificial lamb and then it will be back to > business as usual. But, if you're in a symphony and you cack that F in > Beethoven 5 three times in a row ... > > Rod From ???@??? Mon Feb 07 08:10:47 2000 Date: Sun, 6 Feb 2000 02:12:43 +0100 From: d.huettenbach@ndh.com (Detlef Huettenbach) To: AlRobnett@aol.com, trombone-l@lists.missouri.edu ("Trombones and related issues forum") Subject: Re: Help! Valve string broke Message-ID: <1e5k3dx.6fvi3v1h3v6w6M@port236.bonn.ndh.net> > Fortunately my valve string broke last night rather than at tonight's gig. > I've got 2 questions: > > Is there likely to be a local source for an excellent replacement material, > or should I drive the 20 miles to the nearest music store with a brass repair > shop? Hi Al, my local repairsman in Bonn took the best material ever to replace the valve string on my King: a radio garn, i.e. that string that is slung around the frequency button in old radios. It perfectly matches the task for a valve string, it doesnt slip, its more than robust, and the knots are and stay tight. Look into old, broken radios: the last thing which ever breaks is that string. Too precious to throw away, Good Luck, Detlef. From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 20:55:45 EST From: BassBonist@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Bunching chin Message-ID: <69.c09133.25ce2ea1@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Andy Kemp writes: << I've been working for some time now on really trying to hold it down when playing, as it bunches up and I can't always feel when it happens.This affects the sound and can make the note wobble. >> Put a small mirror on your music stand and practice for at least ten minutes at a time while watching yourself. After a couple of weeks of daily "mirror feedback" you will be building a more consistent embouchure. Matt From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 18:17:10 -0800 From: Elisabeth Frederick To: "Trombones and related issues forum." Subject: Mahler 5...stuff, questions.... Message-ID: <389CD9A6.DE2EE8B3@nctimes.net> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Hello Everybody.... Well, here it is, I'm going to be playing Mahler 5 starting tomorrow with the symphony I play in, yippee!! I have a really cool part. I have a couple questions. 1. German was/is not my language of choice. I know from previous postings that Mahler is very specific about what he wants, are there any web sties that have this information that anyone knows off hand for the german directions? 2. I belive that my teacher told me that the direction mit dŠmpf. calls for a mute. A metal straight? The one with the rounded bottom was my assumption, am I right? 3. I bought a CD recording of the Mahler, I borrowed a Chicago Symphony recording from school with the MONSTER low brass section; Jay Friedman, Frank Crisafulli, Edward Kleinhammer, James Gilbertsen, and Arnold Jacobs....but I bought a New York Phil. recording with Leonard Bernstein recorded in Jan 1963.....anyone of note on the recording?? I would assume so, but there isn't a list of who is in the orchestra. Off to practice!! Elisabeth From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 18:52:04 -0800 From: David Leep To: "Trombones and related issues forum." Subject: Re: Forgotten music. Message-ID: <389CE1D4.2D6CBE0C@uswest.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Pat and Joe Chapman wrote: > > 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. That piece is special to me too. [Seldom seen in stores, but today I found a copy and bought it. The Chandos issue, with Jarvi and the Royal Scottish National Orchestra. Good and brassy at the end.] My college band played the Finale of that symphony about 30 years ago, at their first concert in their new Fine Arts Center. I hadn't made it into the band but got to play in the last three minutes, where the arrangement (by Bainum) called for antiphonal brass choirs. What a kick! Thanks for reminding me. Hint: if any of you in community bands have larger than usual lower-brass sections and are looking for music to take advantage of them, consider this piece. And if there's a performance anywhere near Seattle, pleas let me know. From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 19:46:35 -0800 From: David Oliver To: ellard@sprint.ca Cc: "Trombones and related issues forum." Subject: Re: Musicians, salaries + waste (was CSO salaries) Message-ID: <389CEE99.83BF6490@access1.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit My, how my original post has taken on a life of its own! BTW, I found a link to the Rocky Mountain News article on the web, and it is (for those interested): http://InsideDenver.com/news/0202cso4.shtml I think that the Colorado Symphony is taking it a bit on the chin here, as the article states that they are shooting for parity in salaries with slightly *higher* budget symphonies like the Milwaukee Symphony at a budget of $12.2 million. If you are upset with the "western" CSO (I was raised in the Chicago area, and saw Solti and crew a couple of times), then it only gets worse with some other symphonies. Going by the article, they are trying to be more generous than others based on their budget. Lastly, they used to be the Denver Symphony, but that organization had troubles, and they were re-born as the Colorado Symphony. Maybe someone else knows the year. I wasn't go to say this, but now I think I will. I remember being in the 11th grade (around 16 years old), and thinking about what I wanted to do with my life. At first, I thought it would be cool to be a paramedic thanks to that TV show called "Emergency" (a medical bent runs in family), but then I went through driver's education in school in the late 70's where they showed those gory insurance company accident films. Not fun. I then decided that maybe electronics wouldn't be too bad, and I always took apart electronics and liked science. Before going to electronics (I went to tech. school, then completed an electrical engineering degree after about 14 years of night classes), I did mull over music. I felt I had a decent amount of natural ability, as musicians also run in the family. I started playing at the beginning after that pitch test they used to give (10 years old). I was 1st chair my last two years in high school, but at an honors band concert at Valparaiso University I realized that I was actually in the lower half of the other 1st chairs after tryouts. I wasn't so hot after all. I'd never had a lesson, and in fact didn't start lessons until 14 months ago after coming back to playing 2 1/2 years ago. Anyway, I thought about what it might be like to be a band teacher, what it might be like to actually get into a symphony, including a "major" symphony like the Boston, Chicago, etc. I felt that the best choice for *me* was the electronics route (and eventually engineering), as I felt that I had a much better shot at excelling in that field, when compared to the slim chance of making it into a major symphony. I almost view getting into a major symphony the way I view getting into professional sports. Only a very, very small percentage of 12 year old boys shooting hoops (basketball, for those not in the U.S.) get into the pro's. There aren't many open spots in symphonies (whether major or "2nd tier") each year. I knew that I'd have much more competition if I decided to go to music performance as a career route. My parent's finances also affected the outcome greatly. There was no money for a school with a good music program, but I was able to work around 20 hours/week at a Sizzler steak house (busboy, then cook) to pay for my electronics schooling. I worked in a restaurant long enough to know that I'm not going back... I always viewed salaries as being somewhat related to the level of responsibility you have, along with supply and demand. If you are responsible for a companies' bottom line as an officer, or if you are a project engineer on a large project you will be compensated for that extra stress and strain. It gets back to the brain surgeon comment someone else made. It also explains why software engineering is so hot right now, as the right software application can result in a big payoff for a company and investers - just look to Microsoft. One last tidbit. The housing market in the Denver area is outrageous. The prices have grown at twice the rate as the rest of the country. A pre-owned 1400 square foot house with a two car attached garage in my area will run around $165,000. If *I* am worried about buying something costing that amount of money (as a radio frequency engineer), it will be a lot tougher for someone making $36,000. Many really old houses in Denver are going for $250,000 in certain areas now. As a musician (even an amateur) I'd love it if symphonic players made more, but that probably isn't going to happen soon - supply and demand... For a typical engineering or engineering technician position, you may talk to 3 to 5 people, and only one person *might* stand out (I've been an interviewer). In this area, an experienced engineering technician will make more than even the new base salary of a CSO player. I understand that you'll have many more applicants for an open symphonic slot, go through levels of reducing the field, and in many cases it gets down to a judgement call between 2 or 3 outstanding players. For the high school student who asked about the Boston Symphony, I believe someone posted that the base salary is $80,000/year. Keep in mind though how many times they'll have a trombone postition open in your lifetime. Doug Yeo (Boston) and Blair Bollinger (Philadelphia) are going to be bass trombonists at their respective symphonies for a long time to come. I'm very happy with the choices I've made, so I hope that this e-mail helps others make that choice, or at least think on it a bit. I'm doing what *I* want to do for a career (engineering) and another very important part of me (music). OK, I've got my heat reflective clothes on... ;) David Oliver Westminster, Colorado USA Tenor/Bass Trombone (utililty), Denver Concert Band Bass Trombone, Rocky Mountain Christian Church P.S. I'm not picking on my t-list friend Rod by replying to his post. I just thought it was a good time to jump in. I agree with him about taking pleasure in buying old, classic trombones and fixing them up. I do the same thing. Good old ebay... Ellard wrote: > Friends: > > The truth of the matter is that what musicians do isn't really very > important in the overall scheme of things... From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 18:51:15 -0800 From: "Kenneth Pearce" To: "Trombone-L" Subject: Happy Virus Message-ID: <200002060257.VAA13896@hme0.mailrouter01.sprint.ca> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Sorry to bother the list about this, but a friend of mine has the Happy 99 virus on her computer, and someone from the list once told me how to get it off of my computer. I was wondering if I could get that help again. Sorry for the problem. Kenneth Pearce Vancouver, BC kbpearce@sprint.ca From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 5 Feb 2000 21:06:34 -0800 From: "James Blazejack" To: Subject: Maggio? Message-ID: <004d01bf705f$f1f48080$4ef9fc9e@ws45> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_004A_01BF701C.E236CA60"
I am new to this group, so please forgive me if this has already been discussed.  Is anyone out there familiar with the Maggio system for brass?  What do you think of it?
 
James Blazejack
American River Symphonic (Community) Band
St. Michael's Schola Cantorum
 
 From ???@??? Mon Feb 07 08:10:47 2000 Date: Sat, 05 Feb 2000 22:15:22 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: Happy Virus Message-ID: <3.0.5.32.20000205221522.008a5c90@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 06:51 PM 2/5/00 -0800, Kenneth Pearce wrote: >Sorry to bother the list about this, but a friend of mine has the Happy 99 >virus on her computer, and someone from the list once told me how to get it >off of my computer. I was wondering if I could get that help again. Sorry >for the problem. >Kenneth Pearce >Vancouver, BC >kbpearce@sprint.ca > Done, in private email. 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 Feb 07 08:10:47 2000 Date: Sun, 06 Feb 2000 03:51:11 -0500 From: Charles To: trombone-l@lists.missouri.edu Subject: Practice With the Experts Message-ID: <1.5.4.32.20000206085111.006ec9cc@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone know where I can purchases the book: Practice With the Experts? Or does anyone want to sell or trade for their copy? I had it about 40 years ago and obviously didn't uses it then! Charlie From ???@??? Mon Feb 07 08:10:47 2000 Date: Sun, 06 Feb 2000 10:24:59 +0000 From: Nigel Horne To: brass-band@smsltd.demon.co.uk, trombone-l@lists.missouri.edu, brass@quartz.gly.fsu.edu, tuba-l@listserv.vt.edu, tubaeuph@onelist.com Subject: Brass Band Situations Vacant for Febuary 2000 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This list is periodically posted to the following mailing lists: Brass Band Tuba-Euphonium Trombone Brass Tuba and to the following newsgroups: rec.music.classical.performing alt.music.band-director rec.music.makers.bands alt.music.makers.available-wanted alt.music.tuba alt.music.trombone For the most up to date list, visit http://www.smsltd.demon.co.uk. To advertise a vacancy here fill out the form on-line at http://www.smsltd.demon.co.uk/vform.htm Vacancies will be deleted after 3 months and are listed in order of Country, County/State/Province and Town. Yagoona District (updated 2/1/00) Sydney, NEW SOUTH WALES, AUSTRALIA Section 3 All players welcome Ian Stenning yagoonaband@hotmail.com http://www.kbdnet.net.au/madonnet City of Greater Dandenong (posted 29/1/00) Melbourne, VICTORIA, AUSTRALIA Section 1 2nd cornet, 2nd trombone; all players welcome Roy Taylor rtaylor@oz.quest.com Woods Mfg. Co. Brass Band (updated 17/12/99) Ottawa, ONTARIO, CANADA Non contesting All players welcome Harold Floysvik hal@nortelnetworks.com Menai Bridge Band (posted 15/1/00) Menai Bridge, ANGLESEY, UK Section 3 Baritone, trombine, basses, percussion; all players welcome Kathleen heath band@bronceris.demon.co.uk, muu41e@bangor.ac.uk http://bronceris.demon.co.uk Ballymena Silver Band (posted 6/2/00) Ballymena, ANTRIM, UK Non contesting Cornets, euphonium Eric Russell merussell@talk21.com Portishead Town Band (updated 20/12/99) Portishead, AVON, UK Section 4 All players welcome Paul Field paul@portisheadtownband.freeserve.co.uk http://www.portisheadtownband.freeserve.co.uk The Luton Band (updated 20/11/99) Luton, BEDFORDSHIRE, UK Section 1 Cornets, 2nd horn, Bb bass Steve Packer packers@bluecarrots.com Marsh Gibbon Silver (posted 15/1/00) Bicester, BUCKINGHAMSHIRE, UK Non contesting All players welcome George Walker george_mo@barclays.net Denham Hendon brass (updated 2/1/00) Denham, BUCKINGHAMSHIRE, UK Championship Section Principal Cornet, baritone, basses Gerry Whitlow gerrywhitlow@compuserve.com http://www.denham-hendon-brass.org Bradwell Silver (posted 20/11/99) Milton Keynes, BUCKINGHAMSHIRE, UK Section 3 Bb Bass, percussion Keith Jones keith.jones@atex.co.uk Hilgay Silver (posted 9/11/99) Hilgay, CAMBRIDGESHIRE, UK Section 3 Tutti cornet, trombone, percussion Alan Broadbent sentosa99@yahoo.com City of Chester (updated 13/1/00) Chester, CHESHIRE, UK Section 4 Tutti cornets, Bb bass Christopher Barnes christopher.barnes@which.net City of Chester (updated 14/1/00) Chester, CHESHIRE, UK Youth section Cornets, horn, trombones, Eb bass Christopher Barnes christopher.barnes@which.net Ashton under Lyne (posted 24/1/00) Dukinfield, CHESHIRE, UK Championship Section Bb Bass Phil Ramsden philram@hotmail.com Silk Brass (posted 20/11/99) Macclesfield, CHESHIRE, UK Section 2 Principal Cornet Andrew Bradley abrad36173@aol.com http://members.aol.com/silkbrass United Norwest Crewe (updated 22/1/00) Crewe, CHESHIRE, UK Section 2 Cornet, trombone Andr Helleur alexhelleur@hotmail.com Oldham Brass (posted 1/2/00) Hyde, CHESHIRE, UK Section 2 Euphonium Andy White awhitemd@aol.com Stalybridge Band (posted 15/1/00) Stalybridge, CHESHIRE, UK Championship Section Principal cornet, euphoinium Susan Lever kevin.lever@ic24.net Reddish and Gorton Band (updated 14/1/00) Stockport, CHESHIRE, UK Non contesting Cornets Richard Barrett rbarrett@stockport37.freeserve.co.uk St Austell Kernow (posted 15/1/00) St Austell, CORNWALL, UK Section 2 Cornets, 1st baritone, percussion Peter Minear minicorn@tinyworld.co.uk St Austell Town Band (posted 17/1/00) St Austell, CORNWALL, UK Championship Section Principal and tutti cornets, euphonium, bass, percussion Chris North chrisnorth@talk21.com Saltash Town Band (posted 20/11/99) Saltash, CORNWALL, UK Section 4 Tutti cornet, baritone, 2nd trombone, Bb bass, percussion Nicola Hall njhall@plymouth.ac.uk St. Keverne Senion and Youth (posted 5/12/99) St. Keverne, CORNWALL, UK Section 1 Tutti cornet; all players welcome Alan Retallack brosky@cwcom.net Llangollen Silver Band (posted 8/1/00) Llangollen, DENBIGHSHIRE, UK Non contesting Cornets, horns, basses Rhys Lloyd rhyslloyd@hotmail.com Thorntons Brass (posted 24/12/99) Belper, DERBYSHIRE, UK Championship Section Principal cornet Darryl Jackson mbxdj@unix.ccc.nottingham.ac.uk http://www.thorntonsbrass.fsnet.co.uk Chapel-en-le-Frith Town Band (updated 6/1/00) Chapel-en-le-Frith, DERBYSHIRE, UK Section 2 Front row cornet, horn, baritone, Eb bass Andrew Dodd andrew@dodd47.freeserve.co.uk http://www.geocities.com/vienna/studio/5645 Rhodian Brass (updated 1/2/00) Chesterfield, DERBYSHIRE, UK Championship Section Tutti cornet, 2nd horn Shaun Guttridge sguttridge@aol.com Glossop Old Band (posted 6/12/99) Glossop, DERBYSHIRE, UK Championship Section Conductor, tutti cornet, euphonium Don Cooper don.cooper@micromass.co.uk http://www.GlossopBand.demon.co.uk Blandford Stour Valley Band (posted 17/12/99) Blandford Forum, DORSET, UK Non contesting Soprano, cornet, baritone, euphonium; all players welcome Ann Harvey ann.harvey@nationwideisp.net Bournemouth Concert Brass (updated 6/1/00) Bournemouth, DORSET, UK Championship Section 2nd trombone, percussion Colin Williams bdl.systems-colin@virgin.net Sherborne Town Band (posted 22/1/00) Sherborne, DORSET, UK Section 1 Tutti cornet, percussion Mike Whitburn mwhitburn@lineone.net http://website.lineone.net/~mwhitburn/stb2.htm Ever Ready (updated 20/11/99) Stanley, COUNTY DURHAM, UK Championship Section 1st baritone, bass trombone Les Palmer er.band@btinternet.com http://www.btinternet.com/~er.band Uckfield Concert Brass (updated 24/12/99) Uckfield, EAST SUSSEX, UK Section 1 Tutti cornet, flugel, bass trombone, percussion Geoff Collins gsx_geoff@hotmail.com http://www.awooler.demon.co.uk/uckfield.htm Driffield Band (posted 5/12/99) Driffield, EAST YORKSHIRE, UK Non contesting All players welcome Andy Grace malwel@aol.com Aveley and Newham (posted 5/12/99) Aveley, ESSEX, UK Championship Section Soprano, Bb bass Cliff Pask cliffpask@aol.com Hadstock Silver (posted 22/12/99) Hadstock, ESSEX, UK Section 4 Conductor, cornets John Green jrg@nortelnetworks.com Harlow Brass Band (posted 24/1/00) Harlow, ESSEX, UK Section 4 Cornets, horns, percussion Mandy Kerr skerr@essex89.freeserve.co.uk Netteswell Brass (posted 21/11/99) Harlow, ESSEX, UK Non contesting Cornets, 2nd trombone, percussion; all players welcome Michael Pitt michaelpitt@compuserve.com Rayleigh Brass (posted 7/11/99) Rayleigh, ESSEX, UK Non contesting Basses Brian Nichols repiano@ukpeople.net http://www.rayleighbrass.ukpeople.net Tilbury (posted 29/1/00) Tilbury, ESSEX, UK Section 2 Cornets, percussion Colin Morrison colin.m@onet.co.uk Bristol East Band (updated 15/1/00) Bristol, GLOUCESTERSHIRE, UK Section 2 Tutti cornets Colin Amos colin.amos@which.net http://www.epost/charities/bristoleast Cinderford (posted 19/1/00) Lydney, GLOUCESTERSHIRE, UK Championship Section Cornet, Euphonium David Jones davidzjones@hotmail.com Tewkesbury Town (posted 20/11/99) Tewkesbury, GLOUCESTERSHIRE, UK Section 4 Tutti cornet Martin Musto martin@musto.freeserve.co.uk Group 4 Winchcombe (updated 20/11/99) Winchcombe, GLOUCESTERSHIRE, UK Section 4 Basses; all players welcome Cyndy Button cyndybut@aol.com The Tredegar Band (posted 7/11/99) Tredegar, GWENT, UK Championship Section Tutti cornet Christopher Thomas cerdd@globalnet.co.uk http://www.tredegarband.org Rogerstone Town (posted 20/11/99) Rogerstone, GWENT, UK Section 2 Front row cornets, 1st trombone, bass trombone Alan MacDonald alan@fishmac.freeserve.co.uk Alder Valley Brass (updated 2/1/00) Aldershot, HAMPSHIRE, UK Championship Section Cornets Mike Ball mball@murata.co.uk New Forest Brass (updated 29/1/00) Marchwood, HAMPSHIRE, UK Section 3 Euphonium, percussion Ted Howard thoward34@aol.com Portsmouth City Band (updated 20/12/99) Portsmouth, HAMPSHIRE, UK Non contesting Cornets, Bb bass; all players welcome Gary Millard gary.millard@cwcom.net http://www.portsmouthcityband.cwc.net Ocean Brass (updated 20/1/00) Southampton, HAMPSHIRE, UK Section 2 Principal cornet, 1st trombone Kevin Mackie mackiek@shs.port.ac.uk City of Winchester (posted 15/1/00) Southampton, HAMPSHIRE, UK Section 3 Tutti cornets; all players welcome Liz Williams eaw@tesco.net Atlas Copco Band (updated 20/12/99) Hemel Hempstead, HERTFORDSHIRE, UK Section 4 Principal cornet Stuart Ward conquest@cix.co.uk Potters Bar Town Band (updated 12/1/00) Potters Bar, HERTFORDSHIRE, UK Section 4 Cornets, horns; All players welcome Terry Alderson terrya@tesco.net Band of The Island of Jersey (posted 17/12/99) St Helier, JERSEY, UK Non contesting Horns, baritones, trombones, basses, percussion Jason Mildren jmildren@psilink.co.uk http://www.bioj.demon.co.uk North Kent Brass (posted 26/1/00) Crayford, KENT, UK Non contesting All players welcome Faye Goodwin faye.goodwin@ukgateway.net Betteshanger Welfare (updated 22/1/00) Deal, KENT, ENGLAND Section 1 Conductor; all players welcome Dennis Atkinson dennis@compuserve.com.uk http://Betteshanger.org Whitstable Brass (posted 17/12/99) Whitstable, KENT, UK Section 4 All players welcome Sheila Holness s.m.holness@ukc.ac.uk Walkden (posted 1/2/00) Bolton, LANCASHIRE, UK Section 2 Solo cornet, 1st trombone, percussion Iain Roscoe iain@roscoe29.freeserve.co.uk Brindle Band (updated 27/11/99) Brindle, LANCASHIRE, UK Section 4 Tutti cornet, horn, baritone, Bb bass Steve Dawson steve@dawson111.freeserve.co.uk Poulton le Fylde Band (updated 20/12/99) Poulton, LANCASHIRE, UK Section 2 Solo horn, bass trombone, Eb bass Andy Moore andy@ascot.u-net.com http://www.ascot.u-net.com/home/Band.htm Lancastrian Brigade Band (posted 1/2/00) Preston, LANCASHIRE, UK Non contesting All players welcome David Redman davidredman@onet.co.uk Lostock Hall Memorial Band (updated 20/12/99) Preston, LANCASHIRE, UK Section 3 Bass trombone Graham Martin marting@edgehill.ac.uk Wingates (posted 27/11/99) Westhoughton, LANCASHIRE, UK Championship Section 2nd trombone Neil Samuel tsamuel@tsamuel.fsnet.co.uk Unity Brass (updated 14/1/00) Leicester, LEICESTERSHIRE, UK Championship Section Cornets, Eb bass Jan Fox janfox@castorsupply.co.uk GUS (posted 20/12/99) Market Harborough, LEICESTERSHIRE, UK Championship Section Back row cornets, flugel, basses, percussion Colin Randle colin.randle@cwcom.net http://www.BrassBand.cwc.net Harborough Band (posted 22/1/00) Market Barborough, LEICESTERSHIRE, UK Section 2 Tutti Cornet Peter Vine harboroughband@yahoo.co.uk Wigston Band (posted 7/11/99) Wigston, LEICESTERSHIRE, UK Section 2 Soprano, percussion; all players welcome Colin Raggett ragtag@tesco.net Barrow Concert Band (posted 20/12/99) Barrow-On-Humber, LINCOLNSHIRE, UK Section 2 Soprano, Bb bass Helen Kerridge helen@kerridge.karoo.co.uk Swineshead Silver Band (posted 27/11/99) Kirton, LINCOLNSHIRE, UK Section 4 All players welcome Nick Bunting nickbunting@doctors.org.uk Band Of the Lincolnshire Fire Brigade (updated 20/11/99) Lincoln, LINCOLNSHIRE, UK Non contesting Horn, 1st baritone; all players welcome Dave Smillie dsmillie@enterprise.net http://homepages.enterprise.net/dsmillie Foss Dyke Band (updated 1/2/00) Waddington, LINCOLNSHIRE, UK Section 1 Back row cornets Simon Oates fossdyke@geocities.com http://www.geocities.com/fossdyke/ Redbridge Brass (posted 9/11/99) Barkingside, LONDON, UK Championship Section Baritone, Eb bass Alan Roberts alan@redbridgebrass.freeserve.co.uk Fulham Band (posted 6/11/99) Fulham, LONDON, UK Section 4 Cornets, basses; all players welcome Clayton MacLean claytonmac@cwcom.net Thames Brass (updated 20/11/99) Richmond, LONDON, UK Section 2 Cornets, solo horn Philip Bergquist philip@bergquist.freeserve.co.uk Staines Brass (updated 11/1/00) Staines, LONDON, UK Section 1 2nd trombone, percussion Ewan Campbell ewan_campbell@biocompatibles.co.uk Waltham Forest Co-op Band (posted 20/11/99) Waltham Forest, LONDON, UK Section 3 Soprano, tutti cornet, bass trombone Martin Dawe martin.dawe@rebusgroup.com Besses o' th' Barn Band (updated 27/11/99) MANCHESTER, UK Championship Section Tutti cornet, 2nd cornet, percussion Janet Lewis janet.lewis@man.ac.uk Heywood and Middleton Brass Band (posted 19/1/00) MANCHESTER, UK Non contesting All players welcome Jonathan Coxell j.p.coxell@bradford.ac.uk http://www.middletonband.co.uk Middleton Brass Band (posted 19/1/00) MANCHESTER, UK Section 4 Baritones, trombones, basses; all players welcome Jonathan Coxell j.p.coxell@bradford.ac.uk http://www.middletonband.co.uk Blackley Band (posted 20/11/99) Blackley, MANCHESTER, UK Section 4 Trombone, Bb bass Neil Ashcroft ash@njashcroft.fsnet.co.uk Denton Brass (posted 28/11/99) Denton, MANCHESTER, UK Non contesting All players welcome Paul Keogh dentonbrass@hotmail.com Greenfield Brass Band (updated 22/1/00) Saddleworth, MANCHESTER, UK Section 3 Bass trombone, Bb bass, percussion Robert Dunning theacrobat8@aol.com Walkden Band (posted 27/11/99) Walkden, MANCHESTER, UK Section 2 Tutti cornet, basses, percussion Iain Roscoe iain@roscoe29.freeserve.co.uk Grimsdyke Brass Harrow (updated 20/12/99) Harrow, MIDDLESEX, UK Section 2 Tutti cornet, solo horn, 2nd baritone, percussion Jawad Mughal grimsdyke_brass@cheerful.com Abergavenny Borough Band (updated 20/1/00) Abergavenny, MONMOUTHSHIRE, UK Section 1 Cornets Donna Compton dcompton@mindless.com http://www.abband.ndo.co.uk Kings Lynn Town Band (posted 5/12/99) Kings Lynn, NORFOLK, UK Section 3 Cornets and Bb bass; all players welcom Jeanette Scales jscales@klshosp.anglox.nhs.uk Sherburn & District Brass Band (posted 6/11/99) Sherburn, NORTH YORKSHIRE, UK Section 4 Cornets; all players welcome Tom Wright tom@liddlewright.freeserve.co.uk Carlton Brass (updated 5/12/99) Carlton, NOTTINGHAMSHIRE, UK Section 4 Tutti cornet, baritone, percussion Tony Wilson Tony.Wilson@dsltd.co.uk Blewbury Brass Band (updated 27/11/99) Blewbury, OXFORDSHIRE, UK Non contesting Cornets, horns, Bb bass; all players welcome Bob Knight bob.knight@physics.org http://dales.rmplc.co.uk/jeremy/bbb.htm Chalgrove Band (posted 22/1/00) Chalgrove, OXFORDSHIRE, UK Section 4 Cornets, basses; all players welcome Nigel Hall nigel@hall-home67.freeserve.co.uk Stonesfield Silver Band (updated 20/11/99) Kidlington, OXFORDSHIRE, UK Section 3 Bass trombone Ray Marshall ssband@btinternet.com http://www.btinternet.com/~charlbury/ssb/ssb.htm City of Oxford Silver Band (posted 5/12/99) Oxford, OXFORDSHIRE, UK Championship Section Tutti cornet, bass Alan MacRae alan@dragonmusic.freeserve.co.uk City of Oxford Training Band (posted 5/12/99) Oxford, OXFORDSHIRE, UK Section 4 Soprano, trombones, bass, percussion Alan MacRae alan@dragonmusic.freeserve.co.uk Wantage Silver (updated 5/12/99) Wantage, OXFORDSHIRE, UK Section 2 Cornet, trombone Martin Taylor m.taylor@elsevier.co.uk http://www.wantage-silver-band.freeserve.co.uk Wantage Silver 'B' (updated 5/12/99) Wantage, OXFORDSHIRE, UK Non contesting Conductor, tutti cornet, baritone Martin Taylor m.taylor@elsevier.co.uk http://www.wantage-silver-band.freeserve.co.uk Llwydcoed Band (posted 6/1/00) Aberdare, RHONNDA CYNON TAFF, UK Section 4 Front row cornets, horns; all players welcome Geraint Davies gdaviesgld99@cs.com Tylorstown Valley Lines Band (posted 20/1/00) Tylorstown, RHONNDA CYNON TAFF, UK Section 1 Cornet, euphonium, percussion Christian Jenkins jenkinsc4@cardiff.ac.uk http://www.geocities.com/Vienna/2517 Adams Grammar School Brass Band (posted 3/1/00) Newport, SHROPSHIRE, UK Non contesting All players welcome Tim Parker theparkers@mapperleyorchard.freeserve.co.uk Wem Jubilee Band (posted 14/12/99) Wem, SHROPSHIRE, UK Section 4 Soprano, Eb bass Bob Barker brassneck@rjbarker.freeserve.co.uk Portishead Town Band (posted 24/1/00) Portishead, SOMERSET, UK Section 4 Basses Paul Field paul@portisheadtownband.freeserve.co.uk http://www.portisheadtownband.freeserve.co.uk Wellington Silver Band (posted 20/1/00) Wellington, SOMERSET, UK Section 4 Baritone, euphonium, basses Penny Morgan wsb@wsband.fsnet.co.uk http://www.wsband.fsnet.co.uk Weston Brass (posted 15/1/00) Weston Super Mare, SOMERSET, UK Section 1 Flugel, baritone; all players welcome Mark Smith weston-band@u.genie.co.uk Haverhill Silver Band (posted 20/11/99) Haverhill, SUFFOLK, UK Section 1 Tutti cornet, percussion Rod Gibson rodg@globalnet.co.uk Stowmarket Concert Band (updated 20/12/99) Stowmarket, SUFFOLK, UK Non contesting Bb bass, percussion; all players welcome Chris Ainger chris_ainger@agilent.com Woking Brass Band (posted 25/1/00) Chertsey, SURREY, UK Section 2 2nd horn, baritones, euphonium, Bb bass, percussion; all players welcome Sue Randell randsue@supanet.com http://members.xoom.com/wokingbrass Epsom & Ewell Band (updated 5/12/99) Epsom, SURREY, UK Section 2 Cornets, Eb bass David Richards david.richards@djrmusic.co.uk http://www.epsomewellband.free-online.co.uk Haslemere Town Band (updated 15/12/99) Haslemere, SURREY, UK Section 4 Tutti cornet, percussion; all players welcome Graham Wade Graham_Wade@CORALSys.co.uk http://www.coralsys.co.uk/HTB Pontypool Brass (updated 1/2/00) Pontypool, TORFAEN, UK Section 3 Cornets, Bb bass, percussion Gareth Vaughan pontypoolbrass@lineone.net http://www.pontypoolbrass.findhere.com Backworth Colliery Band (updated 17/12/99) Backworth, TYNE & WEAR, UK Section 4 Cornet, trombone, percussion Teresa Harris Teresa@backworth.org.uk http://www.backworth.org.uk Ponteland Brass (posted 6/2/00) Ponteland, TYNE & WEAR, UK Section 1 Principal cornet, 2nd trombone, Eb bass Lee R Tomlins lee_tomlins@my-deja.com Rolls-Royce (Coventry) (posted 27/11/99) Coventry, WARWICKSHIRE, UK Championship Section Bb Bass Darren Lea dlea@newman-online.co.uk Loughor Town Band (updated 6/1/00) Swansea, WEST GLAMORGAN, UK Section 4 Cornet, solo horn, trombone; all players welcome Colin Thomas colinthomasbrassbandconductor@tinyworld.co.uk Woolley Pritchard Sovereign Brass (posted 19/11/99) Smethwick, WEST MIDLANDS, UK Championship Section Bb Bass, percussion Tim Morgan tim@fylde.demon.co.uk Willenhall Brass Band (updated 27/12/99) Walsall, WEST MIDLANDS, UK Non contesting All players welcome Anthony James anthony.james1@virgin.net Drighlington Juniors (posted 23/1/00) Cleckheaton, WEST YORKSHIRE, UK Youth section Conductor Billy Rushworth w.rushworth@lightningoil.freeeserve.co.uk Elland Silver Band (updated 6/1/00) Elland, WEST YORKSHIRE, UK Section 2 Tutti cornets, repiano, flugel, trombones Kathleen Harrison hkprocess@compuserve.com Huddersfield Brass (updated 17/12/99) Huddersfield, WEST YORKSHIRE, UK Section 2 Cornets, 1st baritone, Bb bass, percussion; all players welcome Alan Jazwinski alan.jaz@net.ntl.com http://www.smsltd.demon.co.uk/huddersfield.htm Huddersfield Brass Youth and Junior Bands (posted 17/12/99) Huddersfield, WEST YORKSHIRE, UK Non contesting All players welcome Alan Jazwinski alan.jaz@net.ntl.com Skelmanthorpe (posted 6/1/00) Huddersfield, WEST YORKSHIRE, UK Championship Section Bb bass Graham Blue graham.blue@lineone.net Carlton Main Frickley Colliery Band (updated 20/11/99) South Elmsall, WEST YORKSHIRE Championship Section 1st Baritone Robin Grayson robin.grayson@cmfcb.f9.co.uk http://www.cmfcb.f9.co.uk Frickley South Elmsall (posted 17/12/99) South Elmsall, WEST YORKSHIRE Section 2 Cornets, trombones, euphoniums, percussion Bob Fowler r.w.f@tesco.net Lofthouse Youth (posted 29/1/00) Wakefield, WEST YORKSHIRE, UK Non contesting Front row cornets, horns, Bb basses Andrew Whitaker andrew.multiprint@free-online.net Woodfalls Concert Brass (updated 2/1/00) Salisbury, WILTSHIRE, UK Section 2 Soprano, tutti cornets, solo horn, Bb bass, percussion; all players welcome Lucy Duffell katyduffell@talk21.com From ???@??? Mon Feb 07 08:10:48 2000 Date: Sun, 06 Feb 2000 10:26:52 +0000 From: Nigel Horne To: brass-band@smsltd.demon.co.uk, trombone-l@lists.missouri.edu, brass@quartz.gly.fsu.edu, tuba-l@listserv.vt.edu, tubaeuph@onelist.com Subject: Brass Band Situations Wanted for Febuary 2000 Message-ID: <32jq9skhibm49p34a653vjaji2gbhpfhm6@4ax.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit People listed here are looking for a brass band to play in. To advertise here send details to njh@smsltd.demon.co.uk in the form: Name, Position sought, Location, E-Mail address, WWW address. All of the people listed here are amateur musicians and give their time freely. They will neither charge a fee or claim expenses. Professional and semi-professional entries can be found on the Professional Cards page, http://www.smsltd.demon.co.uk/professional.htm. Other points as per the vacancy list. Jason Welch (posted 6/1/00) Cornet Brussels, BELGIUM jason_welch@computacenter.com Katherine Pegler (posted 24/1/00) Horn Bristol, AVON, UK kp9175@bristol.ac.uk Robert Richardson (posted 22/1/00) Percussion CHESHIRE, UK robertrichardson@hotmail.com Johann Mintoff (posted 5/12/99) Euphonium Southampton, HAMPSHIRE, UK j.mintoff@thespecialists.co.uk Victoria Seville (posted 25/11/99) Horn MANCHESTER, UK seville@zen.co.uk Paul Cheetham (posted 22/1/00) Back row cornet Prenton, MERSEYSIDE, UK AEdson@norgrenit.com Iain McNeil (posted 22/11/99) Bass trombone NOTTINGHAMSHIRE, UK fish_damage@hotmail.com Claire Warden (posted 21/11/99) Horn Kenilworth, WARWICKSHIRE, UK lucky700@theglobe.com Matthew Smith (posted 5/12/99) Soprano Coventry, WEST MIDLANDS, UK matthew.smith12@virgin.net Matthew Fearn (posted 22/12/99) Cornet Leeds, WEST YORKSHIRE, UK MJFearn@mfearn.freeserve.co.uk Sergei Motorniy (posted 6/2/00) Trombone Odessa, UKRAINE great_max@mail.od.ua Erik van der Eijk (posted 6/1/00) Trombone UK, Ireland, US, Canada, Australia, New Zealand e_van_der_eijk@hotmail.com -- Nigel Horne. Arranger, Composer, Conductor, Typesetter. Owner of the brass band group of the Internet. ICQ#20252325 njh@smsltd.demon.co.uk http://www.smsltd.demon.co.uk/music.htm postmaster@127.0.0.1 abuse@127.0.0.1 postmaster@loopback.com abuse@loopback.com njh%smsltd.demon.co.uk@nospam.demon.co.uk From ???@??? Mon Feb 07 08:10:48 2000 Date: Sun, 06 Feb 2000 05:28:29 -0500 From: Charles To: "Trombones and related issues forum." Subject: Practice With the Experts Message-ID: <1.5.4.32.20000206102829.006e956c@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone know where I can purchases the book: Practice With the Experts? Or does anyone want to sell or trade for their copy? I had it about 40 years ago and obviously didn't use it then! Charlie