TROMBONE-L Digest 1595

Topics covered in this issue include:

  1) Re: Bass Trumpets
	by Douglas Yeo <yeo@yeodoug.com>
  2) guy woolfenden - henry humbleton's holiday
	by Lee Gottheimer <s398994@gettysburg.edu>
  3) Bass Trb for sale
	by "Tom Izzo" <jeanvaljean@ntsource.com>
  4) Re: Combine Bach 36 and 42
	by "Tom Izzo" <jeanvaljean@ntsource.com>
  5) St. Olaf Tbn Choir CD and Site
	by Douglas Yeo <yeo@yeodoug.com>
  6) RE: Joseph Conrad trombonism
	by "Guion, David" <8guion@jmls.edu>
  7) Re: Deep in the recesses of your memory ...
	by Earl Needham <KD5XB@AMSAT.ORG>
  8) Re: Wanted to buy: Medium bore w/ trigger
	by cmcareers<cmcareers@webmail.nm.freei.net>
  9) TUBA QUESTIONS
	by Mike Coyle <astro@pconline.com>
 10) Fedchock, Charlie Vernon, and Doug Wright at U. of Missouri
	by Nathaniel Brickens <BrickensN@missouri.edu>
 11) Mouthpieces
	by "Rodney Ellard" <ellard@sprint.ca>
 12) RE: TUBA QUESTIONS
	by "Jim O'Briant" <jobriant@garlic.com>
 13) RE: TUBA QUESTIONS
	by Mike Coyle <astro@pconline.com>
 14) Trouble in the Shire
	by chris@iris.washington.edu
 15) RE: TUBA QUESTIONS
	by BrianB@PR-CN.COM
 16) Looking for used King 2B+
	by Don Wampler <don_wampler@americancentury.com>
 17) Bay Area Trombonists mark your calendar!!!
	by "Dean Hubbard" <bonedean@email.msn.com>
 18) Dallas Jazz Orch. in Tulsa
	by "Kevin D. Miller" <tubakev@email.msn.com>
 19) Dallas Jazz Orch. in Tulsa
	by "Kevin D. Miller" <tubakev@email.msn.com>
 20) Conn bass slide 4 sale
	by BassBonist@aol.com
 21) RE: TUBA QUESTIONS
	by "Ian McKenzie" <ian.mckenzie@sallynet.org>
 22) RE: Berg Violin Concerto Errata
	by richardt@LEE.ARMY.MIL
 23) instruments for sale
	by Charles <chardy@totcon.com>
 24) St. Olaf's Bones
	by niemisto@stolaf.edu
 25) Finnish Trombone Concertino
	by niemisto@stolaf.edu
 26) Jeb Bishop Interview (long)- improvised music
	by Andrew Elms <elmsandr@pilot.msu.edu>
 27) Joe Rocarro
	by Mike Coyle <astro@pconline.com>
 28) Gliss technique
	by Joseph Green <jgreen@m.u-tokyo.ac.jp>
 29) Euphoniums
	by SOB 3:16 <Sobo@worldlynx.net>
 30) Re: Euphoniums
	by JazzDiva16@aol.com
 31) Re: Euphoniums
	by Beth Lewis <ealewis@indiana.edu>
 32) Re: Euphoniums
	by Posaune9@aol.com
 33) Re: Bass Trumpets
	by Andrew Michael <andy@coastside.net>
 34) Wanted: King 2B+
	by LouCamp@aol.com
 35) Wanted: King counter weight (old style)
	by LouCamp@aol.com
 36) Re:  Trouble in the Shire
	by LouCamp@aol.com
 37) Re: Philosophy
	by Hanspeter Schmid <schmid@isi.ee.ethz.ch>
 38) Brass Quintet Publications for sale on eBay
	by "Jim O'Briant" <jobriant@garlic.com>




From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 08:02:22 -0500
From: Douglas Yeo <yeo@yeodoug.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Bass Trumpets
Message-ID: <v04210104b4c865c61140@[168.122.13.96]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

<x-flowed>At 1:27 AM -0500 2/10/00, Beth Lewis wrote:

>
>I've been getting more into valved low brass lately and have no idea
>which manufacturers still make bass trumpets. If anyone could pass this
>info or, possibly, anything pertaining to individuals who make them (or
>the price range) on to me, I'd really appreciate it.


Bass trumpet is a niche market, for sure.  Few manufacturers make and 
then stock them, most make them on special order.

I've been playing bass trumpet in the Boston Sym since about 1988 and 
I own two instruments:

Bach 3 valve piston, in B flat (New York vintage)

Yamaha 4 valve rotary, in C (prototype)

Bach still makes bass trumpets, I have no idea of the cost, methinks 
around $2500 or so?  B flat bass trumpet will serve you well for 
Janacek and Stravinsky - any "band" pieces for bass trumpet.

Yamaha made 2 prototypes in C, it is by FAR the best bass trumpet 
I've ever played, and conductors who hear it always come back and ask 
me what it is.  It is one of two made by them, the other is in Europe 
somewhere.  They don't plan to put them in production as the market 
is so small, but I'm VERY happy I have one of them. The C bass 
trumpet works splendidly for Wagner, this I've confirmed with many 
European players including my friend Bill McElheney who plays bass 
trumpet with the Vienna State Opera/Philharmonic.

Alexander made (makes?) a bass trumpet in C or in B flat, I had one I 
borrowed from a former student, recently I returned it to him (it was 
in C) and he sold it to a player in Chicago last year.

I tried a Mirafone bass trumpet when I first started looking for a 
bass trumpet, it was a 4 valve rotary in B flat, but I didn't care 
for the sound.

Getzen makes something called a bass trumpet in their catalog, but 
it's really a small bore marching trombone all wrapped up.  I did use 
one for many years and finally sold it, 3 valve piston, in B flat. 
When I bought mine in 1988 it was $500, it's probably more of a 
marching band instrument but it will work in an orchestra.

Thein makes a bass trumpet, as do most custom manufacturers in 
Europe.  They are  expensive and you will need to wait to have one 
built.

The finest bass trumpet playing I've ever heard is by Michael Mulcahy 
on the excerpt CD he made with Jeff Reynolds.  Michael is a first 
class artist and a true inspiration.

-Doug Yeo

                   **********************************************
                   *                Douglas Yeo                 *
                   * Bass Trombonist, Boston Symphony Orchestra *
                   * Music Director, The New England Brass Band *
                   *              yeo@yeodoug.com               *
                   *           http://www.yeodoug.com           *
                   *                    <><                     *
                   **********************************************
                                        

</x-flowed>
From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 08:04:43 -0500
From: Lee Gottheimer <s398994@gettysburg.edu>
To: <trombone-l@lists.missouri.edu>
Subject: guy woolfenden - henry humbleton's holiday
Message-ID: <B4C8219B.F41%s398994@gettysburg.edu>
Mime-version: 1.0
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

I'm working on my senior recital and I'm trying to gather information for
program notes. I'm planning on playing Guy Woolfenden's Henry Humbleton's
Holiday, but I can't find much on the composer. Does anyone who has played
the piece before have any information on the composer? Thanks,

Lee
______________________________________________
Lee Gottheimer <lee.gottheimer@gettysburg.edu>
http://www.billbradley.com It CAN Happen!


From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 08:21:28 -0600
From: "Tom Izzo" <jeanvaljean@ntsource.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Bass Trb for sale
Message-ID: <003d01bf73d2$1f9ef220$2675dfd0@oemcomputer>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit


Hello all,

Rick has a Bass Trombone For sale 
Current asking price is $1600.

The information is as follows: 
Selmer / Bach 50BO30 Bb / F / Gb
9 1/2 bell, open wrap
independent in-line F and Gb rotors (not Thayer)
near mint condition, it's been played about 25 times in its lifetime
# on slide 116444
#'s on valves' exterior 56661, 57494
(normal??) brass color - laquer finish
hard case - lockable
extras:
Schilke 60 mouthpiece
Vincent Bach 1G mouthpiece
Blessing 1 1/2G mouthpiece
Quick-Tune Pocket tuner 

 If interested contact Rick directly at:
Angle2pi@aol.com


Tom



From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 08:26:01 -0600
From: "Tom Izzo" <jeanvaljean@ntsource.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Combine Bach 36 and 42
Message-ID: <004501bf73d2$c232d1a0$2675dfd0@oemcomputer>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit


----- Original Message -----
From: John Clutcher <jclutcher@PSGHS.EDU>

> In considering new horns, I have played both the Bach 36 and 42.  Both use
> an open wrap (models may be 36BO and 42).  I also played the Christian
> Linberg model and really liked the f attachment valve.  Very little
movement
> to activate the valve.
>
> The 42 was great to play in the lower register, very open.  The 36 was
much
> better for the upper range.  All of this was expected.
>
> I have a suggestion from a fellow musician to order a 36 slide and a 42
> bell.  This person has this combo.


Actually the 42B & 36B series ARE a combination.
I have the standard wrapped versions of both.
The attachment & main tuning slides are identical & switchable.

The difference between the 2 are the bell (36 is 8", 42 in 8.5") & the
handslide. The 42 is .547 & the 36 is .525.
But the rest of the instruments are the same. Both of the F sides are .562
both valves are the same.

Tom


>
>
>
>
>


From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 08:47:29 -0500
From: Douglas Yeo <yeo@yeodoug.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: St. Olaf Tbn Choir CD and Site
Message-ID: <v04210109b4c86fef75cb@[168.122.13.96]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

<x-flowed>Yesterday I referenced an arrangement of "Amazing Grace" for trombone 
choir which was recorded by the St. Olaf College Trombone Choir on 
their CD "Wondrous Essence: An Amazing Spirit."  The web site URL for 
the St. Olaf Trombone Choir is:

http://www.stolaf.edu/depts/music/trombone/

The CD can be ordered from the site.

Want to feel good about doing something today?

Order this CD.

Think about it.  Here you have a trombone choir at a small college in 
the upper mid-west of the USA.  They rehearse all year, have students 
do some arrangements, and finally have a recording session.  The 
finished product may not be as polished as the latest "Four of a 
Kind" CD but the students who played on it feel like they've just 
given birth to their first child.  For them, the CD is a MAJOR 
accomplishment.

If only people knew about it...

Buying CDs from college trombone choirs is like buying Kool-aid from 
the 7 year old who sets up a stand on the street corner.  It's a no 
brainer - buy the cup of Kool-aid (even if after one sip you dump it 
when you turn the corner) - buy the CD (even if it isn't the most 
polished one in your collection). My CD collection is LOADED with 
discs like this, many of which I have played over and over. By 
encouraging these kinds of efforts, we all benefit.  The CDs sell, 
the choir gets to pay off their investment and maybe put a few bucks 
in the kitty for the next project, the student arrangers get heard, a 
few people buy THEIR arrangements, they get encouraged, some student 
hears the CD and says, "Hey, they've got something going there" and 
decides to go to the school, 10 years later he wins a job in the 
Chicago Symphony.

All because you encouraged a student group by spending $15.00 on a CD.

-Doug Yeo
                   **********************************************
                   *                Douglas Yeo                 *
                   * Bass Trombonist, Boston Symphony Orchestra *
                   * Music Director, The New England Brass Band *
                   *              yeo@yeodoug.com               *
                   *           http://www.yeodoug.com           *
                   *                    <><                     *
                   **********************************************
                                        

</x-flowed>
From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 08:30:50 -0600
From: "Guion, David" <8guion@jmls.edu>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: RE: Joseph Conrad trombonism
Message-ID: <E6199363662DD31182E600A024488B2649222F@marshall.jmls.edu>
MIME-Version: 1.0
Content-Type: text/plain

> Any ideas on what a "water-logged trombone" sounds like?! 
> 
Forget to empty the spit valve. That should do it. It would sure keep ME
awake at night!

^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^
David Guion, Cataloger
John Marshall Law School
315 S. Plymouth Ct.
Chicago, IL   60604
Voice: (312) 427-2737 x 552  Fax; (312) 427-8307

"Outside of a dog, books are a man's best friend; inside of a dog,
it's too dark to read"--Groucho Marx

^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^


From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 07:45:48 -0700
From: Earl Needham <KD5XB@AMSAT.ORG>
To: jobriant@garlic.com,
        "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Deep in the recesses of your memory ...
Message-ID: <3.0.5.32.20000210074548.008a9a00@127.0.0.1>
Mime-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 8bit

At 09:52 PM 2/9/00 -0800, Jim O'Briant wrote:
>... might anyone remember some details about our late, not-lamented List
>Troublemaker?  And did he use the name "Dennis Notey" or something akin to
>that?
>
>I ask because there is now someone on the Trumpet List using that name,
>posting the same inane insults about respected list members, and causing the
>same sort of general attempted mayhem.  (Only he's using a bellsouth.net
>e-mail address rather than the old AOL address.)

	Yes, Notey@webmail.bellsouth.net was one of several addresses he used.  Is
that the one you're getting grief from now?

	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 ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 09:32:53 -0800 (PST)
From: cmcareers<cmcareers@webmail.nm.freei.net>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Wanted to buy: Medium bore w/ trigger
Message-ID: <200002101732.JAA33206@mail.nm.freei.net>
MIME-Version: 1.0

Well, I got a little too hasty today, and while I was deleting messges from the list, I 
deleted one that was for me about this message I sent out earlier.  If you sent me a 
message in the last day or two, please drop me another note...  Thank you!

Carl Musholt

------- Original Copy -------
>Subject: Wanted to buy: Medium bore w/ trigger
>Date: 02/04/2000 8:14 AM
>From: cmcareers<cmcareers@webmail.nm.freei.net>
>To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
>Reply-To: cmcareers@webmail.nm.freei.net

>Anyone got a medium bore trombone with trigger for sale?  Interested particularly in 
>Bach or Yamaha, but interested in any horn that plays well.  
>
>Please reply to sender only, not list, so we don't clutter the already-cluttered list.  Thank 
>you.
>
>Carl Musholt
>
>
>Get 100% FREE Internet Access from Freei.Net.  100% FREE, 100% Anonymous, 
100% Jam Packed with features.  Check us out at http://www.freei.net.
>





Get 100% FREE Internet Access from Freei.Net.  100% FREE, 100% Anonymous, 100% Jam Packed with features.  Check us out at http://www.freei.net.

From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 11:53:21 -0600
From: Mike Coyle <astro@pconline.com>
To: trombone-l@lists.missouri.edu
Subject: TUBA QUESTIONS
Message-ID: <200002101755.LAA26685@newton.pconline.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

Hey all you tuba playin' doublers.  I know there used to be a tuba version
of the Arban's Method.  Does it still exist, if so, where?  I can't find it
on the web.  Also, is there a tuba players email list?

Also, I use the original cornet version regardless of what instrument I'm
playing it on.  I know that the trombone version is missing some stuff (it
might have been the collection of melodies under "The Art of Phrasing), but
I can't remember.  Could someone out there compare the cornet and trombone
versions and let me know?

Thanks,

Mike

From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 12:04:18 -0600
From: Nathaniel Brickens <BrickensN@missouri.edu>
To: trombone-l@lists.missouri.edu
Subject: Fedchock, Charlie Vernon, and Doug Wright at U. of Missouri
Message-ID: <v04020a00b4c8ad8bb902@[128.206.50.176]>
Mime-Version: 1.0
Content-Type: multipart/alternative; boundary="============_-1261916632==_ma============"

<x-rich>Hello Friends,


Here is a list of Upcoming Trombone Events at the University of
Missouri-Columbia (MU).  Hope to see some of you there.



John Fedchock - MU Jazz Festival.  <bold>Performances</bold>: Friday,
February 11th, 5:30 p.m.and Saturday, Feb. 12, 10:00 p.m.<bold>
Clinic</bold>: Saturday at 5:00 p.m.  These events will be held in
Stotler Lounge, located in the Memorial Union on our campus.


Charlie Vernon - MU Trombone Day, February 20.  <bold>C. V.
Masterclass</bold>: 2:00 p.m. <bold>C.V. Recital</bold>: 6:30 p.m. 
Other events include an MU Trombone Choir Mini-concert at 1:30 p.m. and
a mass choir reading session at 4:00 p.m. (all are welcome).  Events
will be held in the Whitmore Recital Hall (MU Fine Arts Building).


Doug Wright - Masterclass.  March 2, 4:00 p.m., Whitmore Recital Hall.


Please call for additional info or directions.


Best Wishes,

NB 

<fontfamily><param>Palatino</param><bigger>**************************************************

Nathaniel O. Brickens

</bigger></fontfamily><fontfamily><param>Geneva</param>Professor of Trombone 

University of Missouri-Columbia

ITA Press Editor

138 Fine Arts Building

University of Missouri

Columbia, MO 65211

</fontfamily><fontfamily><param>Geneva</param>

BrickensN@missouri.edu


Phone:  (573) 882-0926

Fax:  (573) 884-7444</fontfamily>

</x-rich>
From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 10:30:13 -0800
From: "Rodney Ellard" <ellard@sprint.ca>
To: "Trombone-L" <trombone-l@lists.missouri.edu>
Subject: Mouthpieces
Message-ID: <000a01bf73f4$e126e3e0$8df094d1@rod>
MIME-Version: 1.0
Content-Type: multipart/alternative;
	boundary="----=_NextPart_000_0007_01BF73B1.D0A76460"

<x-html><!x-stuff-for-pete base="" src="" id="0"><!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=text/html;charset=iso-8859-1 http-equiv=Content-Type>
<META content='"MSHTML 4.72.3110.7"' name=GENERATOR>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT color=#000000 size=2>Mouthpiece junkies might like to check out 
Mouthpieceexpress.com.&nbsp; </FONT></DIV>
<DIV><FONT color=#000000 size=2></FONT>&nbsp;</DIV>
<DIV><FONT color=#000000 size=2>Rod</FONT></DIV></BODY></HTML>

</x-html>
From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 10:38:31 -0800
From: "Jim O'Briant" <jobriant@garlic.com>
To: <astro@pconline.com>,
        "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: RE: TUBA QUESTIONS
Message-ID: <LPBBIEFDKGCPAJHNNDOIKEMGCNAA.jobriant@garlic.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Mike Coyle wrote, in part:

> I know there used to be a tuba version
> of the Arban's Method.  Does it still
> exist, if so, where?  I can't find it
> on the web.

It was published within the past few years.  I haven't seen one, but many
folks have complained about the terrible formatting and un-workable page
turns in the book.

> Also, is there a tuba players email list?

Yes.  The Tuba/Euph list has about 1100-1150 subscribers.  To subscribe, go
to ONElist.com and search for TubaEuph.  If you're already registered or
subscribe to another list at ONElist.com, you may go directly to the
TubaEuph Page URL and subscriber there:

	http://www.onelist.com/community/TubaEuph

Alternatively, you may subscribe by sending a blank e-mail (nothing in the
subject and nothing in the text) to the following address:

	TubaEuph-subscribe@onelist.com

If you get a "confirming" e-mail back from ONElist, it's just to confirm
that you really do want to subscribe, and that someone else isn't
subscribing you as a prank.  Click "reply" and send it back, with no typing
at all, and you'll be subscribed.

You will be pleased to know that all new members of TubaEuph are
automatically placed on "moderated" status, so that troublemakers like the
Trombone-L list has experienced in the past are unable to operate there.
All new subscribers' messages are reviewed by the TubaEuph list management
team, and then go to the list only if they are approved.  Troublemakers are
quickly and permanently banned from the list, and if they come back with a
new phony ID that's placed on "moderated" status, too.

Jim O'Briant
Bayside Music Press
Gilroy, CA		95020-7455


From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 12:56:23 -0600
From: Mike Coyle <astro@pconline.com>
To: trombone-l@lists.missouri.edu
Subject: RE: TUBA QUESTIONS
Message-ID: <200002101858.MAA00430@newton.pconline.com>
Mime-Version: 1.0
Content-Type: multipart/alternative;
	types="text/plain,text/html";
	boundary="=====================_11117420==_.ALT"

<x-html><!x-stuff-for-pete base="" src="" id="0"><html>
Hi folks, I was asking these questions for a friend - I have gotten
several responses telling me to use the cornet version - I do - but it is
not for me.&nbsp; I can't find the Arban's tuba version in any catalog -
any know where it can be purchsed?<br>
<br>
Also, I have gotten two URLs for tuba/euph email lists - which is
better?<br>
<br>
<a href="http://www.risingup.com/euph/tubaeuph/">http://www.risingup.com/euph/tubaeuph/</a><br>
<br>
<a href="http://www.onelist.com/community/TubaEuph" eudora="autourl">http://www.onelist.com/community/TubaEuph</a><br>
<br>
Thanks,<br>
<br>
Mike<br>
<br>
At 12:38 PM 2/10/00 , you wrote:<br>
&gt;Mike Coyle wrote, in part:<br>
&gt;<br>
&gt;&gt; I know there used to be a tuba version<br>
&gt;&gt; of the Arban's Method.&nbsp; Does it still<br>
&gt;&gt; exist, if so, where?&nbsp; I can't find it<br>
&gt;&gt; on the web.<br>
&gt;<br>
&gt;It was published within the past few years.&nbsp; I haven't seen one,
but many<br>
&gt;folks have complained about the terrible formatting and un-workable
page<br>
&gt;turns in the book.<br>
&gt;<br>
&gt;&gt; Also, is there a tuba players email list?<br>
&gt;<br>
&gt;Yes.&nbsp; The Tuba/Euph list has about 1100-1150 subscribers.&nbsp;
To subscribe, go<br>
&gt;to ONElist.com and search for TubaEuph.&nbsp; If you're already
registered or<br>
&gt;subscribe to another list at ONElist.com, you may go directly to
the<br>
&gt;TubaEuph Page URL and subscriber there:<br>
&gt;<br>
&gt;<x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab><a href="http://www.onelist.com/community/TubaEuph" eudora="autourl">http://www.onelist.com/community/TubaEuph</a><br>
&gt;<br>
&gt;Alternatively, you may subscribe by sending a blank e-mail (nothing
in the<br>
&gt;subject and nothing in the text) to the following address:<br>
&gt;<br>
&gt;<x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>TubaEuph-subscribe@onelist.com<br>
&gt;<br>
&gt;If you get a &quot;confirming&quot; e-mail back from ONElist, it's
just to confirm<br>
&gt;that you really do want to subscribe, and that someone else
isn't<br>
&gt;subscribing you as a prank.&nbsp; Click &quot;reply&quot; and send it
back, with no typing<br>
&gt;at all, and you'll be subscribed.<br>
&gt;<br>
&gt;You will be pleased to know that all new members of TubaEuph 
are<br>
&gt;automatically placed on &quot;moderated&quot; status, so that
troublemakers like the<br>
&gt;Trombone-L list has experienced in the past are unable to operate
there.<br>
&gt;All new subscribers' messages are reviewed by the TubaEuph list
management<br>
&gt;team, and then go to the list only if they are approved.&nbsp;
Troublemakers are<br>
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with a<br>
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too.<br>
&gt;<br>
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&gt;Bayside Music Press<br>
&gt;Gilroy,
CA<x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab><x-tab>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</x-tab>95020-7455<br>
&gt; </html>

</x-html>
From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 11:06:57 -0800 (PST)
From: chris@iris.washington.edu
To: trombone-l@lists.missouri.edu
Subject: Trouble in the Shire
Message-ID: <200002101906.LAA23235@seiche.iris.washington.edu>


David Bobroff non-belligerently said:

>> I was patient.  I made several calls, in advance, to find out if he could
>> have something for me to try when I would be in the area.  In each case he
>> said "yes" and to call him a week or two before my arrival.  I did so in
>> each case and in each case he had "just sent everything out" and had
>> nothing in the shop for me to see.  After six months of this I stopped
>> calling.

I found it somewhat amusing that on one hand Shires is being taken to task 
for not getting horns out, and also for getting horns out to quickly....

Like most discussions (arguments), there is a little bit of truth on
both sides.

tiptoeing as non-belligerently as possible,
Chris L.


From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 14:18:00 -0500
From: BrianB@PR-CN.COM
To: trombone-l@lists.missouri.edu
Subject: RE: TUBA QUESTIONS
Message-ID: <BB5C274EAFAAD111962800A0C99DB6F758CB44@PRCN01>
MIME-Version: 1.0
Content-Type: text/plain

>Also, I have gotten two URLs for tuba/euph email lists - which is better?
>http://www.risingup.com/euph/tubaeuph/
>http://www.onelist.com/community/TubaEuph

Without subscribing, I couldn't tell you, but the risingup page may just
subscribe to Onelist for you. Years ago, I subscribed to a very good list
called TubaEuph. I'm sure some of the other members out there could post and
let us know if either of these is the evolution of that list.

Also, you might tell your friend about T.U.B.A. (Tubist Union Brotherhood
Association), which as far as I can tell is the equivalent of the ITF. They
should be able to find their site on the web.

Brian

From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 13:30:22 -0600
From: Don Wampler <don_wampler@americancentury.com>
To: trombone-l@lists.missouri.edu
Subject: Looking for used King 2B+
Message-ID: <38A311CE.CAE70F2@americancentury.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit


Hi,

I'm interested in finding a specific used King 2B+, or a couple of horns
that I could combine slide and bell on to create the following.

The bell serial number should be in the 904000 series.
The slide serial number should be followed by the letter G.
(The "G" slides have a #5 leadpipe whereas the yellow brass slides have
a #1.)

If anyone has information on obtaining a horn like this, please
contact/reply off-list.

Thanks very much!

From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 12:14:15 -0800
From: "Dean Hubbard" <bonedean@email.msn.com>
To: <trombone-l@lists.missouri.edu>
Cc: "JJ Johnson-List" <jjjohnson-list@list.sirius.com>
Subject: Bay Area Trombonists mark your calendar!!!
Message-ID: <00b701bf7403$9ffc4fe0$9fbf183f@default>

Two very important dates to mark on your calendars.

*Saturday, September 23, 2000*
MARK LAWRENCE will conduct a masterclass at California State University at Hayward

*Saturday, October 28, 2000*
JOE ALESSI will present a masterclass and recital at Los Medanos College in Pittsburgh, CA

Both events will be sponsored by A & G Music of Oakland and will be free to all interested parties.  More details
will follow.

Truly,
Dean Hubbard
Bonedean@msn.com




From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 14:25:39 -0600
From: "Kevin D. Miller" <tubakev@email.msn.com>
To: "TBONE LIST" <TROMBONE-L@LISTS.MISSOURI.EDU>,
        "Tuba List" <TubaEuph@onelist.com>
Subject: Dallas Jazz Orch. in Tulsa
Message-ID: <00bb01bf7405$0cbc78c0$0300a8c0@kevin>

In Concert Saturday Feb 12, 7:30 at Union High School in Tulsa OK. 6636 S
Mingo Rd.

The Dallas Jazz Orchestra under the direction of Galen Jeter.

All Tickets General Admission-$10
Available at Tulsa Band Instruments or at the door the day of the show.
--

Kevin Miller
Tulsa Band Instruments
5433-B South Mingo Rd.
Tulsa, OK. 74146
printmusic@tulsaband.com
lowbrass@tulsaband.com
tubakev@msn.com

(918)663-3210
1(800)564-1676





Attachment converted: Macintosh HD:Kevin Miller.vcf (????/----) (00024788)
From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 14:54:59 -0600
From: "Kevin D. Miller" <tubakev@email.msn.com>
To: "TBONE LIST" <TROMBONE-L@LISTS.MISSOURI.EDU>
Subject: Dallas Jazz Orch. in Tulsa
Message-ID: <00ed01bf7409$18d4f340$0300a8c0@kevin>

In Concert Saturday Feb 12, 7:30 at Union High School in Tulsa OK. 6636 S
Mingo Rd.

The Dallas Jazz Orchestra under the direction of Galen Jeter.

All Tickets General Admission-$10
Available at Tulsa Band Instruments or at the door the day of the show.

Kevin Miller
Tulsa Band Instruments
5433-B South Mingo Rd.
Tulsa, OK. 74146
printmusic@tulsaband.com
lowbrass@tulsaband.com
tubakev@msn.com

(918)663-3210
1(800)564-1676




From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 16:10:59 EST
From: BassBonist@aol.com
To: trombone-l@lists.missouri.edu
Subject: Conn bass slide 4 sale
Message-ID: <26.1ad8816.25d48363@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Picture perfect Conn bass trombone handslide, clean, straight, no dents, very 
good alignment.  Brass with nickel-silver crook.

Originally was part of a complete, late model 110H.  Stock factory slide will 
work on a 112H or older Conn bass trombone also.

Price $400 US (firm) plus shipping.

Contact Matt Varho.  Thanks.

BassBonist@aol.com

From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 16:27:56 -0500
From: "Ian McKenzie" <ian.mckenzie@sallynet.org>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: RE: TUBA QUESTIONS
Message-ID: <00Feb10.162757est.131721@moses.sallynet.org>
MIME-Version: 1.0
Content-Type: multipart/alternative;
	boundary="----=_NextPart_000_0007_01BF73D3.ADFA02C0"

<x-html><!x-stuff-for-pete base="" src="" id="0"><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content="text/html; charset=iso-8859-1" http-equiv=Content-Type>
<META content="MSHTML 5.00.2722.2800" name=GENERATOR></HEAD>
<BODY>
<BLOCKQUOTE>
  <DIV><SPAN class=800513121-10022000><FONT color=#0000ff face=Arial 
  size=2>They're both for the same list.</FONT></SPAN></DIV>
  <DIV><SPAN class=800513121-10022000>&nbsp;</SPAN><BR>Also, I have gotten two 
  URLs for tuba/euph email lists - which is better?<BR><BR><A 
  href="http://www.risingup.com/euph/tubaeuph/">http://www.risingup.com/euph/tubaeuph/</A><BR><BR><A 
  href="http://www.onelist.com/community/TubaEuph" 
  eudora="autourl">http://www.onelist.com/community/TubaEuph</A><BR><BR>Thanks,<BR><BR>Mike</DIV></BLOCKQUOTE></BODY></HTML>

</x-html>
From ???@??? Fri Feb 11 08:26:51 2000
Date: Thu, 10 Feb 2000 16:38:37 -0500
From: richardt@LEE.ARMY.MIL
To: campora@peabody.jhu.edu, yeo@yeodoug.com, trombone-l@lists.missouri.edu
Subject: RE: Berg Violin Concerto Errata
Message-ID: <21E592FA8BA7D311B5B100062B001FE2082F51@LEE2>

These two letters are why I'm on the list.  And why I stay on the list when
the flack gets annoying.  Thank you both.  For the info as well as the
vicarious thrill of a glimpse into your world.  
(no disrespect meant to any other topic including slide-o-mix)
yours,
/tim

> -----Original Message-----
> From:	Randy Campora [SMTP:campora@peabody.jhu.edu]
> Sent:	Wednesday, February 09, 2000 6:44 PM
> To:	yeo@yeodoug.com; Trombones and related issues forum.
> Subject:	Re: Berg Violin Concerto Errata
> 
> We were lucky enough to play the Berg here in Baltimore last week with the
> 
> same soloist that Doug mentions, and he asked the conductor to have me 
> change the note in question to an e.  I honestly can't remember if Zinman 
> had me change it when we played it with him three years ago (a person 
> begins to block out all memories of previous music directors when the new 
> one comes into town...).
> 
> We did not have new parts, same rental ones, and he asked me to change one
> 
> more bar:  first movement, third page, first bar of second line should be 
> A, Bb (put a tenor clef in front of the notes there and it's right, don't 
> play it as D, Eb), then back to as printed.  The notes in question are a 
> 16th and an 8th as I recall.
> 
> I must share Doug's abject enthusiasm for this piece.  Not surprising
> since 
> it was Doug who first asked me to study it at Peabody in 1984, and it has 
> been a hobby horse ever since.  It is a joy to play, you can use a nice 
> relaxed German vibrato on the numerous solos, you can listen to your 
> stellar tenor trombone colleague play his/her beautiful solos, it's just a
> 
> one of a kind sort of deal, one of the most satisfying pieces to play as a
> 
> bass trombonist, IMHO.  We played Schubert 9 on the second half so it was 
> trombone heaven for a brief moment in time.
> 
> There is a good recording of the piece with Mutter and Chicago from a 
> handful of years ago with Levine conducting, and the recorded sound is 
> quite nice, very transparent and lots of color, you can hear each detail 
> clearly, etc.  I agree that Peter Zimmerman plays the piece a little more 
> idiomatically than Mutter, as does Thomas Zehetmair with whom we played it
> 
> three years ago (he's a Viennese born and bred string player and it shows 
> on that piece).
> 
> So, if you are wondering what new piece you can learn this month, the Berg
> 
> is it.
> 
> -Randy Campora
> 
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> Randy Campora,  Bass Trombonist
> Baltimore Symphony Orchestra
> Peabody Conservatory of Music
> 
> campora@peabody.jhu.edu
> 410-461-1984
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> 
> 
> 
> 
> At 02:01 PM 2/9/00 , Douglas Yeo wrote:
> >Little things matter, so I thought I'd pass on this tidbit for those who 
> >are interested.
> >
> >The Berg Violin Concerto is one of the great works of the 20th century, 
> >and happens to have wonderful parts for 2 trombones (tenor and bass) and 
> >tuba.  For bass trombone, in particular, it is a gem, as the part
> actually 
> >includes the melody (NO! REALLY?!) for a bit.
> >
> >I've played it many times over the years (I cannot recommend a recording 
> >of it, for me it is a piece which must be experienced live rather than on
> 
> >recording, hence what I thought was a disappointing recent performance by
> 
> >Anne Sophie Mutter with the NY Phil on television a few weeks ago), and 
> >the Boston Symphony is playing it this week with Bernard Haitink 
> >conducting and the person who I believe is the most  passionate advocate 
> >of the piece, Peter Zimmerman, on violin.
> >
> >I have always puzzled a bit over the bass trombone's statement of the
> Bach 
> >"Es ist genug!" chorale melody at m 164 in the 2nd movement.  In all 
> >previous and subsequent statements of the chorale melody in the piece 
> >(whether as originally given, or in inversion) the fourth and fifth notes
> 
> >are identical (if you know the piece or the chorale, you can imagine the 
> >notes B flat, C, D, E as the first four notes). However, in the bass 
> >trombone presentation in bar 165, the score and part both have always 
> >agreed that the fifth note should have a "g" rather than a repeated 
> >"e."  This has always irked me, and I've always mentioned it to
> conductors 
> >who look at the part and score and pronounce the "g" to be correct -
> never 
> >mind my (respectful) protestation that it is the ONLY time this kind of 
> >tampering with the melody occurs in the movement.
> >
> >Today, as we were rehearsing the piece, we found ourselves with new,
> clean 
> >parts on our stands (available only on rental) of the newest edition of 
> >the work, and lo and behold, my part has an "e" for the fifth note just 
> >like I always thought it should be.  I went to Haitink after rehearsal to
> 
> >ask his opinion of the matter and his score, being the "old" edition
> (like 
> >the score I own which I bought 20 years ago), had a "g" - we decided to 
> >settle the issue by asking Zimmerman who was enthusiastic about the query
> 
> >and immediately said that the new edition, recently printed to correct 
> >numerous mistakes in the parts AND score, clearly indicates an "e."  It 
> >pays to have a soloist who has studied not just his part, but was
> involved 
> >deeply with the new edition and understands the importance of a single 
> >note in the bass trombone part.
> >
> >So, there you go.  One note, but not a small thing.
> >
> >It doesn't take much to make my day.
> >
> >-Doug Yeo
> >                   **********************************************
> >                   *                Douglas Yeo                 *
> >                   * Bass Trombonist, Boston Symphony Orchestra *
> >                   * Music Director, The New England Brass Band *
> >                   *              yeo@yeodoug.com               *
> >                   *           http://www.yeodoug.com           *
> >                   *                    <><                     *
> >                   **********************************************
> >
> 

From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 15:56:25 -0500
From: Charles <chardy@totcon.com>
To: trombone-l@lists.missouri.edu
Subject: instruments for sale
Message-ID: <1.5.4.32.20000210205625.006fa518@totcon.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

>Conn prototype (no engraving) 6 3/4" bell,  gold lacquer, no major dents, dirty slide (not used in 25 years) circa 1969  $200
>

Mellophone - Clarion - Gold lacquer (worn) - Circa 1950 - excellent  - $190


Baritone/Euph - King 3 valve -no lacquer - Circa 1950's - good shape - $290

chardy@totcon.com


From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 16:50:00 -0600
From: niemisto@stolaf.edu
To: <trombone-l@lists.missouri.edu>
Subject: St. Olaf's Bones
Message-ID: <200002102251.QAA03607@nic.stolaf.edu>
MIME-Version: 1.0
Content-type: text/plain; charset=US-ASCII
Content-transfer-encoding: 7BIT


To: Douglas Yeo <yeo@yeodoug.com>

Doug,
	 We are running an ad on the Trombone Classifieds for the 
"Wondrous Essence" CD.  It can also be ordered on line from the 
St. Olaf Bookstore.  Find it on this page:
http://www.collegebookstore.org/music/stolafband.html

	We also just finished taping the Czech trombone music, 
"Encore Prague Trombones", edited by Joel Blahnik. It should be 
coming out in the "Alliance Publications" catalogue list soon.


Here's our St. Olaf Trombone choir website.

http://www.stolaf.edu/depts/music/trombone/

Thanks,


Paul
Paul Niemisto
Music Dept 
St.Olaf College
Northfield, Mn 55057
(email sent from home)

From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 17:40:24 -0600
From: niemisto@stolaf.edu
To: <trombone-l@lists.missouri.edu>
Subject: Finnish Trombone Concertino
Message-ID: <200002102341.RAA17908@nic.stolaf.edu>
MIME-Version: 1.0
Content-type: text/plain
Content-Transfer-Encoding: 8bit

Kari Sundstrom, trombonist with the Minnesota Orchestra, 
performs a Finnish Concertino for Trombone and Band
==============================================
	The Norseman Band of St. Olaf College is performing  at the 
2000 Minnesota Music Educators Association  Midwinter In 
Service Clinic in a concert held at 3:30 P.M. on Thursday, Feb. 17, 
in the Main Ballroom of the Minneapolis  Convention Center.

	The 93 member ensemble will be presenting a program 
devoted entirely to the band music of contemporary Finnish 
composers.  This will be the first time that a program of this 
repertoire has been presented in the United States to an audience 
of American music educators.  Many of the composers  included in 
the program will be traveling to Minnesota for the  week, as well as 
will several Finnish publishers' representatives.  It will also be the 
first time that a display of Finnish band  publications will be 
presented at a U.S. music conference. 


	The concert program, entitled ãVisions from the Northä,  will 
feature the Concertino for Trombone and Band by Jukka Pekka 
Lehto, with Kari Sundstrom as soloist.  Sundstrom, a recent 
immigrant to the U.S. from Finland, is 2nd  trombone with the 
Minnesota Orchestra. 


The concert will also feature the lead trumpet with the Finnish 
Radio Jazz Band, Esko Heikkinen.  Heikkinen will also be doing a 
lecture demonstration on jazz trumpet playing, Friday morning, 
February 18, at 9:00. Composer and flute player, Jukka Pekka 
Lehto, will also present a Friday lecture demonstration " Flute 
Playing in the New Millennium" at 10:45 .

	The conductor of the Norseman Band, Paul Niemisto, has been 
a frequent traveler to Finland for the past 20 years, where he has 
taught, conducted, and performed. This past year, he was a 
Fulbright research scholar there, studying the history of Finnish 
band repertoire. 

Paul Niemisto
608 Zanmiller Dr W
Northfield,MN 55057-1207
507-645-7554


From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 19:44:56 -0500
From: Andrew Elms <elmsandr@pilot.msu.edu>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Jeb Bishop Interview (long)- improvised music
Message-ID: <38A35B88.76916310@pilot.msu.edu>
MIME-Version: 1.0
Content-Type: multipart/mixed;
 boundary="------------C33A74B4BC317CD49145FE4D"

List-
Here's an interview with Jeb Bishop, a trombonist in Chicago who is
doing some pretty far out improvised music stuff.  I became a huge fan
of his this summer when I was in Chicago for a while.  He does a lot of
work with Ken Vandermark, whom you may have heard of as he recently won
one of those MacArthur 'Genius' grants.  I think his music is some of
the most interesting music being produced today.

Andrew Elms
-- 
"My sister married a German. He complained he couldn't get a
good bagel back home. I said: 'Well, whose fault is that?'"
-Emo Philips
Received: from imo-d01.mx.aol.com (imo-d01.mx.aol.com [205.188.157.33])
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Date: Thu, 10 Feb 2000 16:27:49 EST
Subject: for you...
To: elmsandr@pilot.msu.edu
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maybe you can go to the show? here's an interview with jeb bishop

GRAND RAPIDS, Michigan - Friday, February 11, 7 p.m., Chicago area
trombonist/guitarist Jeb Bishop (of the Vandermark 5) with bassist Kent
Kessler and drummer Tim Mulvenna at Schuler Books and Music, 2660 28th St.
S.E. Free. Call 616-942-9660 for information.

Trombonist Jeb Bishop formed the Jeb Bishop Trio in December of 1996 in
order to explore the possibilities of composing for the minimal but
extremely versatile trio format, and in order to have a vehicle for
improvising at length within looser compositional frameworks.

On February 3, 2000 Jeb Bishop spoke with Blue Lake Public Radio's Lazaro
Vega.

Lazaro Vega: What were you doing tonight, what was going on with the
recording session? Was that you or another band?

Jeb Bishop: It was a project we've been doing for about a week now, this
thing Ken Vandermark organized called The Territory Band, which is a
nine-piece band with Chicago people. Basically the Vandermark 5 line-up plus
Fred Lonberg-Holm on cello, and plus two out of town guests, Axel Durner on
trumpet from Germany, and Paul Lytton on drums, the legendary English
percussionist now living in Belgium, actually. But, we did four days of
rehearsal, and then we did a gig last night at the Empty Bottle and today
and tomorrow we're recording a CD for Okka Disc. It's five extended
compositions by Ken that we're doing. It's pretty ambitious in terms of
structure and length of the compositions: we're really taking advantage of
all the textural and compositional possibilities in a nine-piece group.

Vega: That's one thing I thought the Vandermark 5 did a good job with at the
recent Tribute to Lester Bowie.

Bishop: Oh yeah! Were you there? Oh, I didn't know that.

Vega: Your version of "New York is Full of Lonely People" was, like you
said -- Ken marshals the forces at hand.

Bishop: Yes, I think Ken as a composer has really gotten more and more
ambitious in terms of his thinking about structure and, yeah, arrangement.

Vega: I remember when I first heard him he was with the NRG Ensemble. The
UICA brought Hal Russell's band up here to Grand Rapids when Hal was alive.
Then I heard Ken with the band and he just seemed to be primarily an energy
music improvisor.  So when the Vandermark 5 first came to Schuler Books and
Music in Grand Rapids, that blew me away, that aspect of writing.

Bishop: Yes. I think his sense of composition, I mean you'd have to talk to
him about it, has gotten progressively more and more complex over the last
years.

Vega: Let's talk about the trio that's coming to Grand Rapids with Kent
Kessler, bass, and Tim Mulvenna, drums: That for you musically seems to have
a great deal of the same elements that you're talking about. It is an
improvisational setting but seems to have a lot of cues for rhythmic shifts.

Bishop: Yes, I see the trio thing as special to me as this thing where
compositionally you can approach it in a really minimal way. When you're
doing compositions for a trio the goal, for me anyway, is to have something
that uses a minimal amount of structure but still manages to create a
distinctive context. You know what I'm saying? So you want to have something
that has material that is stripped down in a way that corresponds to the
stripped down nature of the trio structure, but still establishes a
distinctive framework or context for improvising.

Vega: It's not necessarily just a melodic fragment, like a head.

Bishop: No. That's one element; certainly, some of the tunes are based
around that. But also I try to think in terms of the different combinations
of duos, for example, that are possible within a trio, or the different
textural possibilities that are open to us with the particular backgrounds
of the players. You don't have to just deal with melodic stuff. I can tell
these guys to do certain kinds of a textural approach and they can respond
to that. We've worked together, Kent, Tim and I, have worked together a lot
in the last few years so we have a shared basis for talking about that kind
of thing.

Vega: It seemed to me that "Nomads," for instance, was sort of like the
Ornette Coleman ballad "Beauty Is a Rare Thing."

Bishop: O.k. I can see that.

Vega: Maybe you weren't thinking about that, but it sort of has that ebb and
flow.

Bishop: I wasn't thinking of that in particular. I was actually thinking
when I wrote it, that was a while back, when I came up with that melodic
thing and that kind of slow, stately rhythmical thing without being in a
definite pulse I was thinking of certain late Coltrane things, as late as
"Expressions" for example. That's the kind of melodic stuff you find on
that.

Vega: I've really been enjoying the CD and in fact for this Saturday morning
's radio program I put "Big Stubby" on. That's on my promo for this Saturday
morning's show. That's a little more hard hitting.

Bishop: Yeah, that's more hard driving, a free/hard-bop kind of head. That's
a tune we like to take and extend more in performance a lot of times, more
than is evident on the CD actually.

Vega: It's interesting to hear this trombone trio. The only other I can
really think of right now is the Barry Altschul record with Ray Anderson,
"Brahma."

Bishop: Yes, I've heard some of that. Ray Anderson has a number of trios and
things out. Yeah, it's a lot different.

One of the models I tend to think of for this group is another contemporary
group is Ab Baars Trio, the trio of the Dutch saxophone player Ab Baars, the
trio with Martin Van Duynhoven who's on percussion and Wilbert De Joode on
bass.

Vega: Is this a group you encountered when you were going to school in
Europe?

Bishop: No, I didn't hear them until later. I heard of those guys from
hanging around Chicago. They're part of the Dutch scene. There's an
awareness of that stuff here in Chicago. I have just one CD by these guys,
but I've gotten to see them in live performance also. They came here
probably a year and a half ago.

There's just something about the way he approaches the composition for that
group. It's similar to the concept I was talking about: having a minimal
amount of information that sets up a space, the composition.

Vega: So when you're talking about a "minimal amount of information" could
you give me a for-instance with that? Is that just like a modal scale?

Bishop: No, it varies according to the tune. In some tunes it's instructions
for the kind of space that we're going to explore, and in some tunes it's a
melodic fragment, and in some tunes it's a rhythmic idea with some minimal
melodic information. It's hard to explain it without going more into the
details of the particular tune, which is hard to do if we don't sit down
with a piece of paper and I show you what it is.

But, sometimes it's a little more complicated, but it is never as
complicated as the stuff we do in the Vandermark 5, for example, that's much
more about complicated arrangements of material.

Vega: And a lot of unison playing.

Bishop: In a trio the trombone can play unison with a bass, and that happens
sometimes, but even when that happens it has a more stripped down feeling
than when it's within a quintet context.

Vega: You mentioned the Dutch scene in Chicago a moment ago, and it really
is striking to me how Chicago was instrumental in the development of free
jazz. The birth of it through Sun Ra and his presence there, and eventually
the AACM, which seems to be a form of musical exploration that was picked up
in Europe. But I've interviewed Paul Lytton and he said, No man, that had
nothing to do with what we did, we did our own thing. So maybe that seems to
be an overgeneralization. In any case there seems to be a similarity in
attitudes about expressing music without necessarily having to be beholden
to harmony, rhythm and melody.

Bishop: Yes. Well, it's just trying to find something new. Harmony, for
example, was thoroughly explored by certain figures and then you come along
and you feel like people who came before have done what can be done with
that. And you don't want to ignore it, but you also don't want to just
repeat what other people have done, so you try to find a different way.

Vega: Absolutely. I've spoken to Roscoe Mitchell about it before and he'll
say, Let's build a piece on contour, or something to that effect. Texture is
always a way, and another thing is just the acoustical properties of a room.

Bishop: That's true: in particular the acoustical properties of a particular
instrument in a particular room. Each instrument as played by a particular
player has it's own acoustical properties. Part of what you are doing in
dealing with the general musical area that we're dealing with is exploring
the acoustic properties of your instrument and then being aware of the
properties of the space in which you find yourself playing in.

I certainly have a different experience playing the trombone at the Empty
Bottle, for example, as opposed to playing at Airwaves, the studio that we
record at. Those are very different spaces to record in. Or at Schuler Books
and Music: I've played there a couple of times. That acoustically is a very
different space than the typical concert hall or rock club.it's a good space
to play in, and I like playing in a space like that that is not like a bar.

Vega: That's the next point: when you're off exploring the acoustical
properties of you instrument in a given acoustic environment, what about the
listener? That's the next question, what are they doing there in terms of
your communicating with them or getting something from your exploration?

Bishop:  Yeah, well, the goal is to communicate with the listener. But to a
certain extent there's a certain contribution that has to come from the
listener and to some extent we the musicians do not have any control over
that. The listener brings to it whatever his or her personal history,
experience and interest is. What we are doing will engage with that to
whatever extent is possible given that individual's particular makeup. And
that is something we have only limited.we do what we can do and beyond that
it's up to the listener to come to it to some extent.

Vega: Right. Because, well, you are out on the frontiers of improvisation
where people haven't gone before.

Bishop: (Chuckles) Well, you know, that's, that's pretentious, I guess. I
feel as though a large amount of what I'm doing is stuff that has been done
before and I'm just trying to negotiate it and come to terms with it in my
own way.

Vega: Well that's cool.

Bishop: Maybe someday I'll be able to make my own contribution. Or when
things are really happening that I may manage to inject some of myself into
it. But I'm keenly aware of the elements I'm "borrowing" from, to put it
euphemistically, from stuff that's happened in the past.

Vega: Maybe they are musical developments that are not widely known.

Bishop: That's true. It's not household names we're talking about.

Vega: But necessary. To me it's the true trajectory of the evolution of jazz
or evolution of creative improvised music; this sort of realm we're talking
about and maybe some of the people you were influenced by. That's where the
creative aspects of music are right now.

Bishop: Those are the things that have attracted me. Opinions differ, but
this is the music that I see as being the important stuff.

Vega: I've heard the duet recording you made with Joe McPhee, "The Brass
City" (Okka Disc  OD12025) and we've spoken about that a little bit, about
how that developed on it's own, but I have not heard the Wadda Leo Smith
duet on Wobbly Rail.

Bishop: Well, it's not a whole CD of music with him, it's a CD of duets with
six different people and two of the tracks are with him.

Vega: He's like my favorite guy. In terms of trumpet right now he's at the
pinnacle of trumpet expression.

Bishop: Yes, he's a great figure. He's a legendary figure and an incredible
trumpet player. It was really great to work with him.

Vega: How did you find that? I mean he can really blast.

Bishop: Oh totally, yeah. Well, I found it very, very easy to play with him,
actually. We went in and we did a little less than an hour of playing just
right off the bat, a number of pieces. And then I picked two of them for the
CD. It was a first meeting. I went and picked him up and we had a short
conversation. It felt pretty easy.

He's a very, musically and personally in terms of his personality,
sympathetic character. He picks up on what's going on in the environment and
responds to it in a very sympathetic way. I didn't find it difficult at all
to play with him. I hope it was a positive experience for him as well.

Vega: I'm looking at the various things you did there and here's Mats
Gustafsson. Mats to me is like a drummer with a saxophone in his hands. Is
that the way you found it when you played those duets with him?

Bishop: (Laughing) Well, I've played with Mats in some different situations
and I know what you mean about his rhythmic intensity. But the particular
duets we did were rhythmically abstracted to the point where I didn't feel
like I was dealing with a drummer so much, but definitely with someone who
views the saxophone as a source of sound, you know?  He stripped it down and
built it back up in terms of his own vocabulary of sounds that he's found on
the thing.

That's also something I'm interested in about the trombone, is trying to
approach it that way.

Vega: It doesn't seem like many people have taken the trombone to its
umpteenth value, or playing false registers. Roswell Rudd and Ray Anderson
have done their own thing, and George Lewis. But there's not a wide group of
people. There are many people who have followed J.J. Johnson and Kid Ory.  I
actually think the music of Kid Ory and earlier jazz styles have more to do
with what you do now.

Bishop: Well that's probably true. I see the trombone as this very earthy,
physical kind of instrument. The bebop tradition in trombone I have immense
respect for, but my own conception of the trombone has more to do with its
rough edges. The J.J. thing in particular seems to be, to some extent is
about smoothing the rough edges off of the instrument. I'm more about
celebrating the rough edges of the instrument, because they're going to be
there (laughs): It's not a saxophone. The trombone has it's own personality
that cannot be completely suppressed.

I was talking about this before with different people and I don't want it to
sound like I'm not a fan of J.J.'s playing because I am, but it points in a
direction that's different from the direction that I see myself going.

Vega: What about an early innovator like Jack Teagarden?

Bishop: Yeah, well, he was an incredible technician. From the point of view
of technique he was completely amazing. It's not as if I'm talking about
being sloppy or anything like that.

Vega: Teagarden I guess was really mechanically minded, he was almost an
engineer type in his outlook, and he innovated ways of moving on the
trombone that made it easier to hit notes without as much slide movement.

Bishop: Sure, sure: he's like a precursor to J.J. or Frank Rosolino. I can
hear that.

Vega: So are those parts of the history of the vocabulary in the use of that
instrument, are those thing you will draw upon, or not so much?

Bishop: You know I haven't made this careful study. I've never really been
big on transcribing huge chunks of people's stuff. I've done a little bit of
that. But I've done as much of that from trumpet or saxophone as I have from
trombone, and if you put it all together it's still not a lot. I'm more
about being influenced by the general impression that something makes.

But as far as your question, yes, I mean I'm open to anything that I hear
that impresses me with the way that it expresses something, that is part of
what I try to get across. For me it has been as much about rock bands, for
example, The Velvet Underground or The Stooges, they're as much a part of
things that have influenced me as anything in jazz.

Vega: You're still working in that, too, right?

Bishop: Ah, well, I play the guitar still, but trombone is primary. I don't
really play in anything that you could call a rock band, no. I've done that
in the past but nowadays I'm not. At the moment I'm not doing anything that
could be described like that.

But still that's a part of my musical formation; it's part of who I am as a
musician.

Vega:  I think it'd be hard to grow up in this day and age without being
influenced by rock and roll at some point in your life.

Bishop: Oh yeah, yeah. I was born in the early '60's and I grew up in the
'60's, '70's and 80's and that's a huge part of the music that's around you.

For somebody like me coming out of my time and place it would be completely
artificial to exclude rock music, for example, from my musical personality.
It doesn't make any sense to me.

Vega: I also know early-on you were schooled in classical music on the
trombone.

Bishop: That is what I did up to a certain point.

Vega: And somewhere along the line you found out about a plunger mute.

Bishop: Everybody knows about that - brass players using plungers has been
around since the 1930's. I don't know the first person to do it, actually,
but it's been around for a long time. And if you're a brass player you're
aware of that from an early age just because you see and hear people doing
that. I don't remember when I first heard that.

But as far as my own explorations of it, that started more recently. You
pick (a plunger mute) up and play around with it and find all these
different sounds you can make. There are certain things that suggest
themselves with the plunger, other mutes and also just trying to make
different sounds on the trombone.

The experience I've had is that I've spent time trying to find all these
different sounds and I found certain things that interested me and tried to
develop them. Later on I've heard other people who got there before I did.
All these sounds.I wasn't assuming that I discovered them, but having
explored them I then found out people had been there before me.

I was talking to Paul Lytton about this once and he was talking about how
when he was coming up in this music, he was around when the various
instruments were being "liberated" is the way he put it. He saw the
saxophone get liberated and then the drums get liberated and the piano got
liberated and the trombone got liberated. There was a time with all these
instruments when that was happening and you could be on the scene and see
that happening. Somebody like me came along later, and that work had already
been done.

It's not like I'm going to re-liberate the trombone. If you say that Paul
Rutherford, for example, or Gunther Christmann or Roswell Rudd or whoever
liberated the trombone it's not like I'm going to come along and re-liberate
it, or find things that they didn't find.

It's more a question of taking those same possibilities that they explored
and recombining them or re-exploring them in a way that's me, that's Jeb
Bishop rather than being a copy of somebody else.

Vega: It seems as if the instrumental palette included more colors, and to
back track is similar to saying color T.V. is o.k. But I like black and
white. The instrumentalists that you just mentioned broadened the palette of
musical possibilities and sounds that they were able to make. So why go from
this really broad colorful palette back to something more monochromatic
unless you were doing repertory music?

Bishop: I don't know. Every individual has there own reasons for doing what
they do. I want to avoid putting anyone down for playing the way they play.
People can play like that and play really well and play great music. So I'm
not going to put somebody down for that. But I understand what you're
saying.

My path has been to try to listen to whom I listen to and try to build on
that and go somewhere else.

Vega: The music for the concert in Grand Rapids will be?

Bishop: There will be some new stuff. We'll definitely do some music from
the CD and some material that's not on the CD. There's a new ballad tune
called "No More and No Less" that I've had for awhile. And there's an
up-tempo thing called "Piggly Wiggly." I'm sure we'll do that one. I like to
play that. I'm working on some new things now, actually, that we're going to
rehearse next week and I want to try to do those on the tour.

Vega: In addition to what you're doing with the trio, what does the next
month look like for you?

Bishop: This past week has been taken up with this Territory Band with Ken.
But also there's a large group that Ken and I have been organizing called
The Chicago Improvisors Group. This weekend, coming up on the 5th and 6th
(2/5-6/00), we have a rehearsal and then on a concert on the 6th. It's a
large group doing almost completely free improvisation. We use charts in the
sense that we have structures that determine loosely the path of the
improvisation. But it's not a matter of having notes or melodic information
determined ahead of time. This will be the third concert by that group. We'
re trying to do a thing at The Green Mill on Sunday afternoons on the first
Sunday of every month. That's a relatively new on-going project.

Vandermark 5 is still playing and we'll be doing some touring later this
year.

The Peter Brotzmann Chicago Tentet will be doing a pretty extensive tour
later on this year.

There are various festival appearances that are going to be doing a large
band led by the German pianist Georg Graawe in Europe in April. We have a
few shows with that and some recording.

Vega: So do you still have your day gig?

Bishop: Well, I quit my job downtown back in May, and I've been doing the
same thing on a freelance basis here at home. I'm a translator; I translate
written documents from German into English. Mostly patent related stuff,
patent applications and material related to that. So my clients are law
firms that need this stuff translated.

fini


From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 19:23:11 -0600
From: Mike Coyle <astro@pconline.com>
To: trombone-l@lists.missouri.edu
Subject: Joe Rocarro
Message-ID: <200002110126.TAA03814@newton.pconline.com>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

Gratuitous apology for bothering the whole list with this:  sorry.

If anyone from the services bands knows a tuba player named Joe Rocarro, I
am trying to get hold of him (old friend with whom I have lost touch).
Last I heard he was playing in one of the services bands.  Please email me.

Thanks,

mike

From ???@??? Fri Feb 11 08:26:52 2000
Date: Fri, 11 Feb 2000 10:51:25 +0900
From: Joseph Green <jgreen@m.u-tokyo.ac.jp>
To: trombone-l@lists.missouri.edu
Subject: Gliss technique
Message-ID: <38A36B1B.2556@m.u-tokyo.ac.jp>
MIME-Version: 1.0
Content-Type: text/plain; charset=iso-2022-jp
Content-Transfer-Encoding: 7bit

I don't remember ever being taught gliss technique, but there are at
least two approaches: one is to keep the speed of the slide as constant
as possible, and the other is to keep the time between half-tones as
constant as possible.

(Of course, these can be combined, and there are other possibilities
too, but for now I'm thinking about these two.)

Obviously, the slower the gliss and the wider its range, the easier it
is to hear the difference between these two techniques. 

So how do teachers handle this? Always teach only one of them? Be sure
students are aware of both, and help them choose the most appropriate
one for each situation?

That leads to the next question: How do composers handle this? Obviously
the two could be notated differently (for the first, a line or a wavy
line; for the second, all the half-tones written out), but which
composers know that much about trombones and are also that careful about
how they notate glisses?

JG


From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 21:40:38 -0500
From: SOB 3:16 <Sobo@worldlynx.net>
To: trombone <TROMBONE-L@LISTS.MISSOURI.EDU>
Subject: Euphoniums
Message-ID: <38A376A5.F9CFF143@worldlynx.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
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Does anyone have a preference out of these two Euphoniums. Im looking
for a good Euphonium that can get me through high school, tryouts, and
college :

Besson Model 968GS and Yamaha Model YEP321


From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 21:54:55 EST
From: JazzDiva16@aol.com
To: Sobo@worldlynx.net, trombone-l@lists.missouri.edu
Subject: Re: Euphoniums
Message-ID: <26.1b5b5dc.25d4d3ff@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

if i were you, i would try to get a compensating horn.  i have a YEP321 (i'm 
a high school soph) and dont' get me wrong, it's a good horn, but a 
compensating one would be better.  i'm saving up for one...

From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 22:25:13 -0500 (EST)
From: Beth Lewis <ealewis@indiana.edu>
To: JazzDiva16@aol.com
Cc: trombone-l@lists.missouri.edu
Subject: Re: Euphoniums
Message-ID: <Pine.GSO.3.96.1000210221640.28800A-100000@kate.ucs.indiana.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

When you do get enough money for that, drop me a line and I'll very
willingly relieve you of the 321 :)

Beth Lewis
PS: I'm not trying to be snide here, but Jay Friedman DID play an old 
student model baritone with the CSO...
On Thu, 10 Feb 2000 JazzDiva16@aol.com wrote:

> if i were you, i would try to get a compensating horn.  i have a YEP321 (i'm 
> a high school soph) and dont' get me wrong, it's a good horn, but a 
> compensating one would be better.  i'm saving up for one...
> 
> 


From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 22:32:52 EST
From: Posaune9@aol.com
To: trombone-l@lists.missouri.edu
Subject: Re: Euphoniums
Message-ID: <74.15e72f7.25d4dce4@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

We just purchased a new euphonium here at Curtis.  We went to Dillons and had 
just about every model to choose from.  We tried a Willson, Yamaha, and two 
Besson models (prestige and sovereign).  We picked the Yamaha 642 or 624 I 
can't quite remember which one for sure.  It had the best sound for what we 
were using it for, best response, and great valves.  The next closest thing 
was the Besson Sovereign which interestingly ISN'T supposed to be Besson's 
best model.  The prestige we tried is supposed to be Besson's top of the 
line...but it didn't play that way.

Hope this helps.

Ryan Johnstone
Curtis Institute of Music
Philadelphia, PA
(215) 496-9266

From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 19:42:33 -0800
From: Andrew Michael <andy@coastside.net>
To: yeo@yeodoug.com,
        "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Bass Trumpets
Message-ID: <v04011703b4c9344db3d2@[207.213.213.66]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"

At 8:02 AM -0500 2/10/00, Douglas Yeo wrote:
>At 1:27 AM -0500 2/10/00, Beth Lewis wrote:
>I've been playing bass trumpet in the Boston Sym since about 1988 and
>I own two instruments:
>
>Bach 3 valve piston, in B flat (New York vintage)
.....
>Bach still makes bass trumpets, I have no idea of the cost, methinks
>around $2500 or so?  B flat bass trumpet will serve you well for
>Janacek and Stravinsky - any "band" pieces for bass trumpet.

Another choice is to buy used.  If interested I know of a New York
vintage Bach 3 valve piston on the market for about $2500.
Email me privately if you want to know more.  I'd keep it a secret
but it will be a long, long time before that much money will get
into my bass trumpet budget.

In the meantime I fool around with one of these...
>Getzen makes something called a bass trumpet in their catalog, but
>it's really a small bore marching trombone all wrapped up.  I did use
>one for many years and finally sold it, 3 valve piston, in B flat.
>When I bought mine in 1988 it was $500, it's probably more of a
>marching band instrument but it will work in an orchestra.

Doug did you actually play the Getzen in the BSO?  Maybe I shouldn't
keep mine so far under wraps! :-)  Of course, I paid half that
two years ago, so yours was probably in much better shape.

Another bass trumpet tip: if you get one without a case Altieri
was very nice to make one for me for a very small cost over their
normal trumpet bag.

Andy

From ???@??? Fri Feb 11 08:26:52 2000
Date: Fri, 11 Feb 2000 00:10:41 EST
From: LouCamp@aol.com
To: trombone-l@lists.missouri.edu
Subject: Wanted: King 2B+
Message-ID: <57.1c6ee90.25d4f3d1@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Please contact me directly.

Lou 
LouCamp@aol.com
Tel/Fax: (801)296-6338

From ???@??? Fri Feb 11 08:26:52 2000
Date: Fri, 11 Feb 2000 00:10:45 EST
From: LouCamp@aol.com
To: trombone-l@lists.missouri.edu
Subject: Wanted: King counter weight (old style)
Message-ID: <a7.197a135.25d4f3d5@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Looking for a counter weight and or tunining slide from the H.N. White era. 
It's the old style weight that doesn't have any screws to hold it on. The 
entire weight is threaded. 

Please contact me (Lou Campbell) at:

LouCamp@aol.com
tel/fax: (801)296-6338

From ???@??? Fri Feb 11 08:26:52 2000
Date: Fri, 11 Feb 2000 00:10:28 EST
From: LouCamp@aol.com
To: chris@iris.washington.edu, trombone-l@lists.missouri.edu
Subject: Re:  Trouble in the Shire
Message-ID: <e.d1e236.25d4f3c4@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

I believe Shires sends most of his horns to Japan since they are on the top 
of his priority list. At least that's what he told me three years ago when I 
tried to buy one.

For what it's worth,

Lou

From ???@??? Fri Feb 11 08:26:52 2000
Date: Fri, 11 Feb 2000 07:57:28 +0100 (MET)
From: Hanspeter Schmid <schmid@isi.ee.ethz.ch>
To: trombone-l@lists.missouri.edu
Subject: Re: Philosophy
Message-ID: <200002110657.HAA15446@isibee21.ethz.ch>

>>>>> Dennis Clason <dclason@nmsu.edu> (" Dennis>" ) says:

  Dennis> I guess it's time to fan the flames of our "cultural"
  Dennis> discussion.  From an anthropologist's point of view, culture
  Dennis> is one of those characteristics that make us human.

  Dennis> From that viewpoint, one cannot say that the humans of North
  Dennis> America are have no culture -- if you're human, you have
  Dennis> culture by definition.

  Dennis> I think that the defining characteristic of American culture
  Dennis> is syncretism.  We are perfectly willing to borrow almost
  Dennis> anything.  Along with syncretism there is a desire for
  Dennis> novelty.

Yes, and a desire for greatness and power.  For me (I'm Swiss, and our
country is both very small and very old), the North American culture
is a very childish culture: naïve (not only in the negative sense of
the word), enthusiastic, but also constantly on the move and loosing
interest fast, polarizing, tending to be superficial, and constantly
competing, wanting to be the best.

This has both a great appeal to me (I wish our own culture was more
childish), but it also frightens me terribly: the U.S.A. have both the
power and the will to change the whole world, but they are wanting
both the broad horizon for doing this and an attention time span that
is longer than it takes to elect a president.  They keep on making
decisions which shake the world (e.g., not signing the treaty to stop
testing nuclear weapons, or not signing the international treaty
intended to protect children from violence and in both cases giving
other nations the argument "why should we sign the treaties when even
the Americans don't sign it?") for purely domestical and sometimes
very selfish reasons (in the two examples, because some Senator wants
to kick Clinton's ass, and because the treaty protecting children
would make it impossible to inflict the death penalty on people had
not come of age yet when they commited their crime, which is common
practice now in some states of the U.S.A.)

To conclude my letter, I think that by saying the North Americans have
no culture, they actually mean that their culture is very immature,
certainly not fit for an attempt to rule the world.

As I said, I don't want to condemn the North American culture.  I
think it is great in many respects.  It is just not fit to be paired
with the incredible power the U.S.A. have.


  Dennis> Perhaps our language predisposes us to this view -- English
  Dennis> is always willing to borrow words from other languages to
  Dennis> define things we need but don't have (e.g., schmuck,
  Dennis> borrowed from Yiddish; lariat, borrowed from Spanish; beef,
  Dennis> stolen from French; and on and on ...)  If we can't find the
  Dennis> right word in a nearby language (gestalt, weltanschauung),
  Dennis> we'll make one up (radar, sonar, laser).

The British have the same approach to language, but their culture
differs strongly from yours, I think.  So language alone may not be a
really good explanation.


Finally, one detail:

  Dennis> Face it, Mozart only had to compete with Salieri. 

Ah, I believe this is far from true.  Salieri is just the one of
Mozart's most serious competitors who is still well known today.


Well, Dennis, I hope you'll still speak with me after this letter.

Kind regards,
Hanspeter

-- 
Hanspeter Schmid                      Cole's Law: Thinly sliced
    Analog IC Designer (Research)                      cabbage and carrots.
  Signal Processing Laboratory, ETHZ. 
http://www.isi.ee.ethz.ch/~schmid/                        Have a good time!

From ???@??? Fri Feb 11 08:26:52 2000
Date: Thu, 10 Feb 2000 23:08:37 -0800
From: "Jim O'Briant" <jobriant@garlic.com>
To: "Trombone Mailing List" <trombone-l@lists.missouri.edu>
Subject: Brass Quintet Publications for sale on eBay
Message-ID: <LPBBIEFDKGCPAJHNNDOIAEODCNAA.jobriant@garlic.com>
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	charset="Windows-1252"
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I've just listed multiple copies of several of Brass Quintet arrangements
for sale on eBay.  Here are the titles and URL's:

Anton Bruckner:  Prelude and Fugue in D Minor, arr. John Orzel
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=258467856

Richard Wagner:  Fest March from "Tannhauser," arr. John Orzel
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=258470221

John W. Bratton"  The Teddy Bears' Picnic, arr. Jim O'Briant
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=258475692

Traditional:  "Songs from the Emerald Isle," arr. Jim O'Briant
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=258473159

Charles L. Johnson"  "Dill Pickles," Rag (1906), arr. Jim O'Briant
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=258476987

These are all "tried and true" arrangements that have been played multiple
times in rehearsal and in performance.  The first two are from the library
of The Monterey Brass Quintet in Monterey, CA, and the last three are
arrangements I did for my own quintet, The South Valley Brass of Gilroy, CA.

If you don't care to click on the URL's or if your mail reader doesn't turn
them into links, you can go to eBay at http://www.ebay.com and run a search
for "Brass Quintet."

Thanks in advance for your interest and your bids.

Jim O'Briant
Bayside Music Press
Gilroy, CA