TROMBONE-L Digest 1600 Topics covered in this issue include: 1) Re: [JJ-LIST] Shake by sabutin@mindspring.com 2) RE: Moral Dilemma (bell dented while on loan) by "Burger, Eric SSG (USAREUR-BAND)" 3) RE: Shake by "Burger, Eric SSG (USAREUR-BAND)" 4) My Web Site by "Paul D. Kemp, Jr." 5) RE: Erhard Ragwitz by "Guion, David" <8guion@jmls.edu> 6) FS: 2 Interesting mouthpieces on ebay by "Scott Furness" 7) Steve Norrell by Jay Heltzer 8) Re:Moral Dilemma (bell dented while on loan) by Don Wampler 9) RE: Moral Dilemma (bell dented while on loan) by "DOWDY, KENNETH S" 10) RE: Moral Dilemma (bell dented while on loan) by Mike Coyle 11) RE: lending a horn/dents by David Molter 12) Care of silverplated horn by David Molter 13) Help Finding Music, Please by "MARK LEWIS" 14) Re: Moral Dilemma (bell dented while on loan) by MBennetts@aol.com 15) Re: Care of silverplated horn by Stephen Troy 16) Drei Equali by Andrew Michael 17) Strange e-mail by sackbutt 18) Re: Strange e-mail by Beth Lewis 19) RE: Drei Equali by "Lawrence Borden" 20) Re: Drei Equali by Mike Coyle 21) Re: Strange e-mail by sackbutt 22) Re: Drei Equali (fwd) by Beth Lewis 23) Re: Drei Equali by Beth Lewis 24) RE: Drei Equali - 2 alto trombones by Mike Coyle 25) RE: auditions by David Molter 26) RE: Drei Equali by "Guion, David" <8guion@jmls.edu> 27) RE: I need help by "Guion, David" <8guion@jmls.edu> 28) Re: Drei Equali by BOWLSBY@aol.com 29) Re: Drei Equali - 2 alto trombones by Andrew Glendening 30) Re: Drei Equali - 2 alto trombones by Mike Coyle 31) Re: Assistantships/Scholarships by karl g hinterbichler 32) UGA Tuba Position Announcement by Philip Jameson 33) Re: Drei Equali - Halloween by Mike Coyle 34) Re: Shake by james.c.shake@us.pwcglobal.com 35) Re: Drei Equali by Howard Weiner 36) Re: Drei Equali by Howard Weiner 37) RE: Drei Equali - 2 alto trombones by Howard Weiner 38) Clarification: who are the best teachers by Bradley W Main 39) New Euph? by Trmbman@aol.com 40) Re: Care of silverplated horn by Eric and Candice Swanson 41) RE: Drei Equali - 2 alto trombones by Mike Coyle 42) Re: Moral Dilemma (bell dented while on loan) by Jeff Albert 43) Re: Drei Equali by "Tom Izzo" 44) Re: Drei Equali by "Kenneth Dowdy" 45) looking for advice by "Steve Cagle" 46) Re: Drei Equali by Andrew Michael From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 08:05:00 -0500 From: sabutin@mindspring.com To: Zemry@aol.com Cc: trombone-l@lists.missouri.edu Subject: Re: [JJ-LIST] Shake Message-ID: <200002171305.IAA19393@fb02.eng00.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 06:06 AM 2/17/00 -0500, you wrote: >How do you execute the "shake" which appears mostly in jazz? >----- ================================= Depends...the original "shake" was the vibrato turned lip trill that Louis Armstrong used. Since then it's come to mean almost any lip trill at any speed, depending on the idiom, the composer's intent (if the composer's handy to ask), and most importantly, whatever the lead player THINKS it means. Slow, fast, accelerating, wide, not so wide... One tip...try to play whatever shake you have so that the top note is a note in the chord of the phrase. For example, if you are playing a shake on a Bb below middle C in an Eb7 chord, the natural thing is to play it in 1st position, Bb->D. However, if you play it in 5th position, you get Bb->Db, a much better effect in that chord. (Alternately, if it's slow enough you could move the slide from Bb in 1st to Db in second.) As far as how you "execute" it...it's a rapid slur, no tongue, the airstream should remain steady, and the embouchure should do all the work. Later... S. From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 15:10:05 +0100 From: "Burger, Eric SSG (USAREUR-BAND)" To: "'Sue Chase'" , trombone-l@lists.missouri.edu Subject: RE: Moral Dilemma (bell dented while on loan) Message-ID: <7FCBEE52B9AAD2118D0C00A0C9E98B0B38490F@1perscmdexch01.heidelberg.army.mil> MIME-Version: 1.0 Content-Type: text/plain Sue, I think this is easy. It is important that he makes amends for the damage he did to clear his conscience. Allow him to have it repaired. If you don't, he will allways feel bad, and later you will resent the damage. Been there, done it both ways. Eric * * * * * * * * * * Sue Chase sophomore, The Crane School of Music in Potsdam, NY chase87@potsdam.edu Crane trombones online: http://www.geocities.com/cranebones/ From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 15:14:11 +0100 From: "Burger, Eric SSG (USAREUR-BAND)" To: "'Zemry@aol.com'" , jjjohnson-list@list.sirius.com, TROMBONE-L@lists.missouri.edu Subject: RE: Shake Message-ID: <7FCBEE52B9AAD2118D0C00A0C9E98B0B384910@1perscmdexch01.heidelberg.army.mil> MIME-Version: 1.0 Content-Type: text/plain Some of it is just stylistic, but a shake is a lip trill (to an upper partial) done either as quick as you can, or accelerating to cut off. The trick is to listen to some bands that used it a bunch: Maynard F. or Buddy Rich or Kenton... Eric -----Original Message----- From: Zemry@aol.com [mailto:Zemry@aol.com] Sent: Thursday, February 17, 2000 12:07 PM To: jjjohnson-list@list.sirius.com; TROMBONE-L@lists.missouri.edu Subject: Shake How do you execute the "shake" which appears mostly in jazz? From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 09:40:38 -0500 From: "Paul D. Kemp, Jr." To: "Trombones and related issues forum." Subject: My Web Site Message-ID: <001401bf7954$f61a5d80$205ffc9e@volpaulbear> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0011_01BF792B.0C37C780"
Dear Listers,
    I'd like to thank everyone who has visited my website over the past couple of weeks. Anyone who has taken on a project of this type knows how dificult it is to organize everything.  I have added several more pages, with a page on slide technique to be up and running pretty soon. Please feel free to re-visit my site to see the improvements that I've made to it.
 
Thanks again,
 
 
Paul Kemp
Chattanooga Symphony
 
 From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 08:44:28 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Erhard Ragwitz Message-ID: MIME-Version: 1.0 Content-Type: text/plain Sue Chase wrote, > This semester, I have my first recital. I'm playing Erhard Ragwitz's > "Sonatine" for Trombone and Piano. I'm looking for any information I can > find about Ragwitz. I have access to Ralph Sauer's recording of the > Sonatine, but when it was made, Ragwitz was still alive (he was born in > 1926). Is he still alive today? I've been looking everywhere, and > nothing > has turned up. I'd appreciate any input - either on Ragwitz or on the > piece itself (interpretation, etc.) > Funny you should ask if he's still alive. A similar question started a long thread on the Music Library Association list. Why do you need to know? So your program will have the right dates on it? If that's all, it really doesn't matter. For reasons intelligible only to catalogers, the Library of Congress does not add death dates to headings for personal names if the heading has already been established without them. Therefore you will find recently cataloged material headed "Copland, Aaron, 1900- ". And he's been dead for 10 years. In general, trombonists have to play a lot of literature by little-known composers. If you have to write program notes for your recital, that can be a problem. Otherwise, it probably doesn't matter for anything more than satisfying your curiosity. Now, that's not a bad reason for wanting to know, but it removes the deadline for finding out! FWIW, when I was in graduate school, the first publication to acknowledge a death date was the Schwann catalog. I have no idea if that's still true--or if any recordings of Ragwitz's music are still in print. But it's a place to look. You might also look in the Music Article Guide. I assume your library should have it. It's not a very good index for most purposes, but it indexes the kinds of periodicals that are most likely to have articles on composers of wind solos. If you have to write program notes and cannot find much written about the piece or the composer, then you will have to write your own analysis of what the piece is like--not a bad exercise! ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ 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 18 08:12:10 2000 Date: Thu, 17 Feb 2000 06:47:31 PST From: "Scott Furness" To: trombone-l@lists.missouri.edu Subject: FS: 2 Interesting mouthpieces on ebay Message-ID: <20000217144731.24768.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hello everyone, I have two auctions on two different mouthpieces on ebay. One is a Greg Black 5C: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=263112180 The other is the newest edition to the Christian Lindberg series, the 2CL: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=263107347 Thanks! Scott ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 08:47:27 -0600 From: Jay Heltzer To: trombone Subject: Steve Norrell Message-ID: <38AC09FD.542396B4@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hi list, Does anyone out there have an email address of Steve Norrell? Is he even online? (These days, who isn't?) Please respond privately as to not clutter up the list. Thanks, Jay jhfloyd@earthlink.net From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 09:11:25 -0600 From: Don Wampler To: "trombone-l@lists.missouri.edu" Subject: Re:Moral Dilemma (bell dented while on loan) Message-ID: <38AC0F9D.81112103@americancentury.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sorry if someone's already responded to this. I'm on the digest and am a little slow responding sometimes. Sue, here's a thought for you...re-read your message below paying close attention to two sentences: 1. "It's not a largely noticeable injury, and it won't affect the horn's sound." 2. "Having been in similar situations (though not involving something as pricey as a horn), I know how badly he feels." Then ask yourself these questions: 1. Why even consider replacing the entire bell? In fact, if the dents aren't large and don't affect the sound, are you sure you even want to have them taken out? My 25 year old 88H has a few small dents and dings. I consider them to be battle scars that give my horn character and personality. The most noticeable place is a spot on the bell where the lacquer is gone because I had someone remove a ding and they removed the finish along with it. It would have been a lot better if I'd just left the ding there. That's up to you though, but I wouldn't even consider replacing the bell just because of a small dent or two. 2. If you've been in similar situations, ask yourself how you'd want the other person to react? My guess is that you'd like for the other party to say, "I know how you feel. I've done this type of thing too. Don't worry about it...really, it's okay. It won't hurt the looks that bad and won't hurt the sound at all. Your friendship is much more important to me than the bell of a trombone." Sue, you can always replace the bell or have the dents removed. You can't always replace relationships, and small dings in a friendship over things like this can destroy something much more important than a trombone. My advice is...show him the parts of your message where you sincerely told 1000 other people on this list that it wasn't that big of deal. Then let the poor guy off the hook...I'm sure he's suffered enough already. As they say in New York - fugidaboudit! (Did I get the spelling right there?) ============================================== >Here's a situation for you . . . > >I loaned my new horn (a King 3B, purchased at the '99 ITF) to a good friend >of mine. He's trying it out in hopes of finding a straight horn he likes >before he goes out to buy one. His mouthpiece accidentally rolled off a >music stand, and came into contact with my bell, dinging it in two places. >It's not a largely noticeable injury, and it won't affect the horn's sound. >The biggest issue is the fact that it is a _new_ horn, and that he's >probably gotten to play it more than I have at this point in time. (Due to >time constraints this semester, I'm taking a small hiatus from jazz-playing >lately, so the horn was free for him to use.) > >He feels awful, and has already offered (without my asking) to replace the >entire bell, or to at least pay to get the dents out. Having been in >similar situations (though not involving something as pricey as a horn), I >know how badly he feels. Plus, one could certainly consider it my own >responsibility for taking the risk of lending it out in the first place. >So, the discussion begins: do I let him pay for it in full, or should I >take the blame into my own hands? I'm personally leaning toward a split, >each of us paying half to replace it, but I'm curious as to what people >have to say on this one. > > - Sue From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 09:43:56 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: Moral Dilemma (bell dented while on loan) Message-ID: MIME-Version: 1.0 Content-Type: text/plain Sue, It depends on how much the dents mean to you. No matter what you own (car, gun, horn), the first blemish is the hardest. I guess that is why I always buy used. Anyway, if they are as small of dents as you state, the cost should be less than $20 to get them removed (I don't know where you live, but here in Omaha the cost is a lot less. I had a dent taken out of my son's horn a couple moths ago for $5.00). Unless there is a crease, the lacquer should not be damaged. It all really boils down to this: What would you do if YOU dented the horn. If you would let it fly and say "it adds character", then let this fly. The horn ceased being a "new" horn the day you took it home. You will put more dents and scratches in the thing later anyway. If you are more anal (like me) and have every dent removed as a matter of principal, then have you friend pay for the repair. In either case, replacing the bell is going a bit far. I know that there are some who would disagree, but when I loan something out, I expect that it will be taken care of the same way that I would care for it. If it is not, I expect that it be remedied. I think that the fact that your friend feels bad about this is a good indication that you can reach a mutually acceptable solution. Ken Dowdy > -----Original Message----- > From: Sue Chase [SMTP:chase87@potsdam.edu] > Sent: Wednesday, February 16, 2000 11:17 PM > To: Trombones and related issues forum. > Subject: Moral Dilemma (bell dented while on loan) > > Here's a situation for you . . . > > I loaned my new horn (a King 3B, purchased at the '99 ITF) to a good > friend > of mine. He's trying it out in hopes of finding a straight horn he likes > before he goes out to buy one. His mouthpiece accidentally rolled off a > music stand, and came into contact with my bell, dinging it in two places. > It's not a largely noticeable injury, and it won't affect the horn's > sound. > The biggest issue is the fact that it is a _new_ horn, and that he's > probably gotten to play it more than I have at this point in time. (Due > to > time constraints this semester, I'm taking a small hiatus from > jazz-playing > lately, so the horn was free for him to use.) > > He feels awful, and has already offered (without my asking) to replace the > entire bell, or to at least pay to get the dents out. Having been in > similar situations (though not involving something as pricey as a horn), I > know how badly he feels. Plus, one could certainly consider it my own > responsibility for taking the risk of lending it out in the first place. > So, the discussion begins: do I let him pay for it in full, or should I > take the blame into my own hands? I'm personally leaning toward a split, > each of us paying half to replace it, but I'm curious as to what people > have to say on this one. > > - Sue > > > * * * * * * * * * * > Sue Chase > sophomore, The Crane School of Music in Potsdam, NY > chase87@potsdam.edu > Crane trombones online: http://www.geocities.com/cranebones/ From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 10:03:16 -0600 From: Mike Coyle To: burgere@hq.1perscom.heidelberg.army.mil Cc: trombone-l@lists.missouri.edu Subject: RE: Moral Dilemma (bell dented while on loan) Message-ID: <200002171606.KAA28577@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 08:10 AM 2/17/00 , Eric Burger wrote: > Sue, >I think this is easy. It is important that he makes amends for the damage he >did to clear his conscience. Allow him to have it repaired. If you don't, he >will allways feel bad, and later you will resent the damage. Been there, >done it both ways. >Eric Sue, This is a very wise view of the situation and I couldn't add a thing to it that would make it any better. I say, take Eric's advice. Eric is right on the money about the need to make amends and the potential for future resentment. Mike From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 11:57:26 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: lending a horn/dents Message-ID: <384301756.950806646852.JavaMail.root@web25.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Sue Chase wrote: I know how badly he feels. Plus, one could certainly consider it my own responsibility for taking the risk of lending it out in the first place. So, the discussion begins: do I let him pay for it in full, or should I take the blame into my own hands? I'm personally leaning toward a split, each of us paying half to replace it, but I'm curious as to what people have to say on this one. --- Although accidents happen, I would accept his offer to have the dents taken out. I wouldn't insist on a new bell because it might not sound like the dented one. Personally, a couple of minor dents wouldn't bother me as long as they don't affect sound. Dave Molter Pittsburgh, PA From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 12:01:40 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: Care of silverplated horn Message-ID: <382832298.950806900290.JavaMail.root@web25.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I just purchased a used silverplated King 5B -- it's not the Silversonic, just plated. Can I or should i use something like right's silver polish on it, or should I simply use the sane lacquer cleaner I use on my regular brass horns? Also, I'm interested in comments on the playability of these horns as compared to the 4B. This 5b has a 9" bell and seems much more even in response and better balanced than the 4B I just sold. It also is better balanced physically -- not as slide heavy. Any similar experiences out there? thanks Dave Molter Pittsburgh, PA From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 09:08:41 -0800 From: "MARK LEWIS" To: Subject: Help Finding Music, Please Message-ID: <0002179508.AA950807058@ccgate.songs.sce.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: "cc:Mail Note Part" A friend is looking for sheet music and a split-track CD for "I will follow Christ," a tune he believes was written by Clay Crosse for a Broadway play of some type. Christian-type vocal music. Anybody suggest publisher or retail websites where this might be found? Obligatory trombone content: I sucked at rehearsal last night. thank you Mark Lewis Oceanside, CA. From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 12:27:45 EST From: MBennetts@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Moral Dilemma (bell dented while on loan) Message-ID: <3b.133cc31.25dd8991@aol.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit In a message dated 02/16/00 11:24:31 PM Central Standard Time, chase87@potsdam.edu writes: > do I let him pay for it in full Absolutely. Wiser trombone players than I can advise you whether it makes more sense to replace the bell or just have the dents removed, but the financial responsibility is absolutely clear - it's especially clear if you put yourself in position of the guy who borrowed the instrument. I'm interested in trying out a certain model instrument, and somebody is a good enough friend to lend me one to play, nearly new. And then I damage it. I don't need to be punished or to do the sackcloth and ashes routine, but I certainly need to pay for the fix, 100%. In addition, I need to do the legwork too, unless the owner doesn't want somebody else (especially somebody as careless as I am) involved with taking the instrument in for repair and picking it up. 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 ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 12:55:12 -0500 From: Stephen Troy To: trombone-l@lists.missouri.edu Subject: Re: Care of silverplated horn Message-ID: <3.0.5.32.20000217125512.008eb990@pop.erols.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:01 PM 2/17/2000 -0500, David Molter wrote: >I just purchased a used silverplated King 5B -- it's not the Silversonic, >just plated. Can I or should i use something like right's silver polish on >it, or should I simply use the sane lacquer cleaner I use on my regular >brass horns? >thanks > >Dave Molter >Pittsburgh, PA I have found the best silver polish to use is 3M "Tarnishield" because it is completely non-abrasive and it leaves behind a chemical coating that resists tarnish. With this stuff, I have to polish my silver euph only once a year - it just never seems to tarnish (as long as I wipe off any drops of valve oil I get on the finish). Steve Troy From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 10:03:32 -0800 From: Andrew Michael To: Subject: Drei Equali Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" All, This spring I am getting to play Beethoven's Drei Equali as the opening piece at our community orchestra concert. (There are some benefits to being president of the orchestra when the conductor decides to do an all-Beethoven concert!). I'd like this to be a well informed performance with some meaningful interpretation. So, a couple of questions.... 1. What recorded performances do people like? I have the Four of a Kind CD but am looking for more suggestions. I understand that there are (at least) two schools of performances: very legato and a more varied articulated approach. I generally favor the latter as the variation seems to allow for more emotional impact. 2. I'd also appreciate any suggested sources that discuss these pieces either in terms of performance practice or their place in history. Is there anything that devotes more than a paragraph to them? Does anyone know where I can find the words that were set to them for Beethoven's funeral? If it helps, we are using the Breitkopf edition. Much thanks and cheers, Andy From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 13:43:52 -0500 From: sackbutt To: Bone List Subject: Strange e-mail Message-ID: <38AC4168.BC82D255@netdepot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Did anybody else on the list get this Return Mail notice? I found it strange since it is addressed to a list member specifically and NOT to me or the list itself! I'm just wondering how it got to me...or the list for that matter, if indeed it even passed through the list. ============================================== Subject: Returned mail: Host unknown (Name server: lists.misouri.edu: host not found) Date:Thu, 17 Feb 2000 03:35:13 -0500 (EST) From:Mail Delivery Subsystem To: JFBermann@aol.com The original message was received at Thu, 17 Feb 2000 03:35:08 -0500 (EST) from root@localhost *** ATTENTION *** An e-mail you sent to an Internet destination could not be delivered. The Internet address is listed in the section labeled: "----- The following addresses had permanent fatal errors -----". ================================================= -- Butch ****************************************************** Hector "Butch" Bourg Jr. - Graphic Designer - Atlanta, GA Trombonist - Sentimental Journey Orchestra http://www.thesjo.com Now with Real Audio Sound Clips! From ???@??? Fri Feb 18 08:12:10 2000 Date: Thu, 17 Feb 2000 13:47:51 -0500 (EST) From: Beth Lewis To: sackbutt Cc: "Trombones and related issues forum." Subject: Re: Strange e-mail Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII It's because he misspelled "missouri" in the address. Nothing to worry about, I'm sure. Beth On Thu, 17 Feb 2000, sackbutt wrote: > Did anybody else on the list get this Return Mail notice? I found it strange since it is addressed > to a list member specifically and NOT to me or the list itself! I'm just wondering how it got to > me...or the list for that matter, if indeed it even passed through the list. > > ============================================== > Subject: Returned mail: Host unknown (Name server: lists.misouri.edu: host not found) > Date:Thu, 17 Feb 2000 03:35:13 -0500 (EST) > From:Mail Delivery Subsystem > To: JFBermann@aol.com > > > > The original message was received at Thu, 17 Feb 2000 03:35:08 -0500 (EST) > from root@localhost > > *** ATTENTION *** > > An e-mail you sent to an Internet destination could not be delivered. > > The Internet address is listed in the section labeled: > "----- The following addresses had permanent fatal errors -----". > > > ================================================= > > > -- > Butch > ****************************************************** > Hector "Butch" Bourg Jr. - Graphic Designer - Atlanta, GA > Trombonist - Sentimental Journey Orchestra > http://www.thesjo.com Now with Real Audio Sound Clips! > > > From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 12:47:57 -0600 From: "Lawrence Borden" To: "Trombone-L" Subject: RE: Drei Equali Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Are you going to use alto on first? These pieces were written with this sound in mind for the top voice. I think they sound much less compelling when played on a set of large tenors. Lawrence Borden Vanderbilt University Nashville Symphony -----Original Message----- From: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of Andrew Michael Sent: Thursday, February 17, 2000 12:04 PM To: Trombones and related issues forum. Subject: Drei Equali All, This spring I am getting to play Beethoven's Drei Equali as the opening piece at our community orchestra concert. (There are some benefits to being president of the orchestra when the conductor decides to do an all-Beethoven concert!). I'd like this to be a well informed performance with some meaningful interpretation. So, a couple of questions.... 1. What recorded performances do people like? I have the Four of a Kind CD but am looking for more suggestions. I understand that there are (at least) two schools of performances: very legato and a more varied articulated approach. I generally favor the latter as the variation seems to allow for more emotional impact. 2. I'd also appreciate any suggested sources that discuss these pieces either in terms of performance practice or their place in history. Is there anything that devotes more than a paragraph to them? Does anyone know where I can find the words that were set to them for Beethoven's funeral? If it helps, we are using the Breitkopf edition. Much thanks and cheers, Andy From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 12:54:18 -0600 From: Mike Coyle To: andy@coastside.net Cc: trombone-l@lists.missouri.edu Subject: Re: Drei Equali Message-ID: <200002171857.MAA11783@newton.pconline.com> Mime-Version: 1.0 Content-Type: multipart/alternative; types="text/plain,text/html"; boundary="=====================_11240735==_.ALT" Beethoven wrote this piece in 1812 for All Soul's Day, and it was performed at his funeral using a trombone and vocal ensemble.

Check out Thayer's life of Beethoven for accounts of B's funeral (I don't have it with me as I write so I can't tell you what it contains).  I can tell you it has a transcript of the autopsy which is really fun reading - Beethoven was definitely not well! Also check out this article: Patricia Elliott, ed. "'Funeral Honors to Beethoven': Moscheles's Account of Beethoven's Funeral on March 29 and the Memorial Concerts of April 3 & 5, 1827."  from vol. 8 (1993) of the Beethoven Journal.

I think the best recording of this piece from the standpoint of musicality is the performance on the Eastman Trombone Choir CD "The Legacy of Emory Remington".  It is done by a large choir but definitely captures the spirit better than any performance I've ever heard.

You should call the Sibley Library at the Eastman School of Music and the NYC public library for help in unearthing the vocal parts (they may not even exist anymore).

You got me interested in this now and I'm doing a little digging - I'll let you know what I find

Mike Coyle


At 12:03 PM 2/17/00 , you wrote:
>All,
>
>This spring I am getting to play Beethoven's Drei Equali as the opening
>piece at our community orchestra concert.  (There are some benefits to
>being president of the orchestra when the conductor decides to do an
>all-Beethoven concert!).  I'd like this to be a well informed performance
>with some meaningful interpretation.  So, a couple of questions....
>
>1.  What recorded performances do people like?  I have the Four of a Kind
>    CD but am looking for more suggestions.  I understand that there are
>    (at least) two schools of performances: very legato and a more varied
>    articulated approach.  I generally favor the latter as the variation
>    seems to allow for more emotional impact.
>
>2.  I'd also appreciate any suggested sources that discuss these pieces
>    either in terms of performance practice or their place in history.
>    Is there anything that devotes more than a paragraph to them?
>    Does anyone know where I can find the words that were set to them
>    for Beethoven's funeral?
>
>If it helps, we are using the Breitkopf edition.
>
>Much thanks and cheers,
>Andy
> From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 14:06:47 -0500 From: sackbutt To: Bone List Subject: Re: Strange e-mail Message-ID: <38AC46C7.3437867F@netdepot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Beth Lewis wrote: > It's because he misspelled "missouri" in the address. Nothing to worry > about, I'm sure. I caught that...but the mystery is that the e-mail is addressed TO Jim Berman and it was sent FROM MAILER-DEMON@aol.com, informing him that a letter HE sent to the list was undeliverable (presumably because of the misspelling). Neither my address nor the list's address is mentioned. See what I mean? Strange! > > > Beth > On Thu, 17 Feb 2000, sackbutt wrote: > > > Did anybody else on the list get this Return Mail notice? I found it strange since it is addressed > > to a list member specifically and NOT to me or the list itself! I'm just wondering how it got to > > me...or the list for that matter, if indeed it even passed through the list. > > > > ============================================== > > Subject: Returned mail: Host unknown (Name server: lists.misouri.edu: host not found) > > Date:Thu, 17 Feb 2000 03:35:13 -0500 (EST) > > From:Mail Delivery Subsystem > > To: JFBermann@aol.com > > > > > > > > The original message was received at Thu, 17 Feb 2000 03:35:08 -0500 (EST) > > from root@localhost > > > > *** ATTENTION *** > > > > An e-mail you sent to an Internet destination could not be delivered. > > > > The Internet address is listed in the section labeled: > > "----- The following addresses had permanent fatal errors -----". > > > > > > ================================================= > > > > > > -- > > Butch > > ****************************************************** > > Hector "Butch" Bourg Jr. - Graphic Designer - Atlanta, GA > > Trombonist - Sentimental Journey Orchestra > > http://www.thesjo.com Now with Real Audio Sound Clips! > > > > > > -- Butch ****************************************************** Hector "Butch" Bourg Jr. - Graphic Designer - Atlanta, GA Trombonist - Sentimental Journey Orchestra ICQ# 28972254 VISIT OUR UPDATED, REVISED & RELOCATED SITE http://www.thesjo.com Now with Real Audio Sound Clips! From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 14:00:20 -0500 (EST) From: Beth Lewis To: trombone-l@lists.missouri.edu Subject: Re: Drei Equali (fwd) Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I didn't see this in my inbox after sending it to the list, so forgive me if it's a repeat. ---------- Forwarded message ---------- I don't have too many answers, but I have a few questions about this piece myself: Why is it found in two different keys (a Maj2 apart), and which key is more authentic? Is there any publication that discusses differences between the original manuscript (if existing) and present editions? (it seems questionable to me that the edition I've seen bears no articulation variances and few dynamics) Also, I heard from someone that it was performed in a wind band arrangement at Beethoven's funeral. If that's true, did Beethoven originally write this for trombones or did he later (before he died of course) put it into that instrumentation? And does anyone have any idea as to whether he intended this for ATTB (1 alto,2 tenors,1 bass), TTTB (seems unlikely to me) or some variance (one of the recordings I mention below uses ATBB on this work, fwiw) As far as recordings go, of course there's FOAK, but another recording I know is by the Berliner Posaunenquintett. It's OK, but I think that the way they carry off the other pieces on that recording without sounding like heavy, dragging, Wagnerian...(OK I'll quit while I haven't made too many enemies here :) is worth checking out. Anyway it's a really interesting album overall. Thanks to Andy for introducing this thread and others for answering, Beth Lewis On Thu, 17 Feb 2000, Andrew Michael wrote: > All, > > This spring I am getting to play Beethoven's Drei Equali as the opening > piece at our community orchestra concert. (There are some benefits to > being president of the orchestra when the conductor decides to do an > all-Beethoven concert!). I'd like this to be a well informed performance > with some meaningful interpretation. So, a couple of questions.... > > 1. What recorded performances do people like? I have the Four of a Kind > CD but am looking for more suggestions. I understand that there are > (at least) two schools of performances: very legato and a more varied > articulated approach. I generally favor the latter as the variation > seems to allow for more emotional impact. > > 2. I'd also appreciate any suggested sources that discuss these pieces > either in terms of performance practice or their place in history. > Is there anything that devotes more than a paragraph to them? > Does anyone know where I can find the words that were set to them > for Beethoven's funeral? > > If it helps, we are using the Breitkopf edition. > > Much thanks and cheers, > Andy > > From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 13:46:20 -0500 (EST) From: Beth Lewis To: Andrew Michael Cc: "Trombones and related issues forum." Subject: Re: Drei Equali Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I don't have too many answers, but I have a few questions about this piece myself: Why is it found in two different keys (a Maj2 apart), and which key is more authentic? Is there any publication that discusses differences between the original manuscript (if existing) and present editions? (it seems questionable to me that the edition I've seen bears no articulation variances and few dynamics) Also, I heard from someone that it was performed in a wind band arrangement at Beethoven's funeral. If that's true, did Beethoven originally write this for trombones or did he later (before he died of course) put it into that instrumentation? And does anyone have any idea as to whether he intended this for ATTB (1 alto,2 tenors,1 bass), TTTB (seems unlikely to me) or some variance (one of the recordings I mention below uses ATBB on this work, fwiw) As far as recordings go, of course there's FOAK, but another recording I know is by the Berliner Posaunenquintett. It's OK, but I think that the way they carry off the other pieces on that recording without sounding like heavy, dragging, Wagnerian...(OK I'll quit while I haven't made too many enemies here :) is worth checking out. Anyway it's a really interesting album overall. Thanks to Andy for introducing this thread and others for answering (hopefully), Beth Lewis On Thu, 17 Feb 2000, Andrew Michael wrote: > All, > > This spring I am getting to play Beethoven's Drei Equali as the opening > piece at our community orchestra concert. (There are some benefits to > being president of the orchestra when the conductor decides to do an > all-Beethoven concert!). I'd like this to be a well informed performance > with some meaningful interpretation. So, a couple of questions.... > > 1. What recorded performances do people like? I have the Four of a Kind > CD but am looking for more suggestions. I understand that there are > (at least) two schools of performances: very legato and a more varied > articulated approach. I generally favor the latter as the variation > seems to allow for more emotional impact. > > 2. I'd also appreciate any suggested sources that discuss these pieces > either in terms of performance practice or their place in history. > Is there anything that devotes more than a paragraph to them? > Does anyone know where I can find the words that were set to them > for Beethoven's funeral? > > If it helps, we are using the Breitkopf edition. > > Much thanks and cheers, > Andy > > From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 13:05:24 -0600 From: Mike Coyle To: Lawrence.Borden@home.com Cc: trombone-l@lists.missouri.edu Subject: RE: Drei Equali - 2 alto trombones Message-ID: <200002171908.NAA12805@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:47 PM 2/17/00 , you wrote: >Are you going to use alto on first? These pieces were written with this >sound in mind for the top voice. I think they sound much less compelling >when played on a set of large tenors. > >Lawrence Borden >Vanderbilt University >Nashville Symphony Lawrence, Actually the original was written for two altos, one tenor, one bass. More info: (Drei Equali) were performed at (Beethoven's) own funeral procession with the addition of male voices to a Latin text alternating with the trombone ensemble as they progressed to the cemetery. I have not yet located that text. Mike > > >-----Original Message----- >From: owner-trombone-l@lists.missouri.edu >[mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of Andrew Michael >Sent: Thursday, February 17, 2000 12:04 PM >To: Trombones and related issues forum. >Subject: Drei Equali > > >All, > >This spring I am getting to play Beethoven's Drei Equali as the opening >piece at our community orchestra concert. (There are some benefits to >being president of the orchestra when the conductor decides to do an >all-Beethoven concert!). I'd like this to be a well informed performance >with some meaningful interpretation. So, a couple of questions.... > >1. What recorded performances do people like? I have the Four of a Kind > CD but am looking for more suggestions. I understand that there are > (at least) two schools of performances: very legato and a more varied > articulated approach. I generally favor the latter as the variation > seems to allow for more emotional impact. > >2. I'd also appreciate any suggested sources that discuss these pieces > either in terms of performance practice or their place in history. > Is there anything that devotes more than a paragraph to them? > Does anyone know where I can find the words that were set to them > for Beethoven's funeral? > >If it helps, we are using the Breitkopf edition. > >Much thanks and cheers, >Andy > From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 14:09:49 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: RE: auditions Message-ID: <379427764.950814589979.JavaMail.root@web27.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Although I hesitated to get involved in the discussion started by Weston Sprott about placement in the Texas auditions, I'll add my thoughts. First, I've seen posts by Weston on other groups and he seems by all measure an intelligent and highly talented individual. But like many of his age group (and all of us were that age once) he receives both the advantages (enthusiasm) and drawbacks (inexperience) of youth. It's tough to be let down when you've had your hopes set so high, and it's even more difficult being beaten out for a position by someone whose talent clearly is less than yours. But it happens. Every day, somewhere. But the lesson here, and one that will be repeated many, many times as Weston ages, is that all things are relative, all thinhgs are subjective. Unless the test is one that allows for no interpretation (spelling and math, for example), subjectiveness always will enter into the scoring. How you sound to yourself is not how you sound to others, and how you sound to others varies from individual to individual ... otherwise, how could Kenny G. and Celine Dion be both widely reviled AND loved? Not long ago a poster to either this group or the alt.trombone group detailed how he had audition for, I think, both the Army and Navy bands. the Navy offered him 1st chair, but he turned it down to audition for the Army. The Army offered him 3rd. He was beaten out by ... you guessed it ... the guys he had beaten out for the Navy chair. About all you can do is play your best and, if your best isn't good enough, use the disappointment as a tool to motivate you. Do the best you can with the opportunities you are given, and be thankful that you have those opportunities. Most of all, understand that your opinion of your own playing is subjective, just like everyone else's. Dave Molter Pittsburgh, PA From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 13:25:22 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Drei Equali Message-ID: MIME-Version: 1.0 Content-Type: text/plain Andrew Michael asked: > 1. What recorded performances do people like? I have the Four of a Kind > CD but am looking for more suggestions. I understand that there are > (at least) two schools of performances: very legato and a more varied > articulated approach. I generally favor the latter as the variation > seems to allow for more emotional impact. > If you have already decided the approach you prefer, why look to a recording for permission to do it that way? The four of you will have to decide what works for you. Make the music your own. Beth Lewis followed up Andy's question by asking: >I don't have too many answers, but I have a few questions about this >piece >myself: Why is it found in two different keys (a Maj2 apart), and which >key is more authentic? Is there any publication that discusses >differences between the original manuscript (if existing) and present >editions? (it seems questionable to me that the edition I've seen bears >no >articulation variances and few dynamics) Look in Kinsky's thematic catalog of Beethoven's works under WoO 30. That will tell you the right key. As far as the lack of articulations and dynamics is concerned, the more of them an edition has, the more likely they were added by an editor. These pieces, alas, were not composed with the greatest of care. Notice that each one is shorter and less well marked than the one before. A friend of mine likes to call them the "Dry Equali". But the lack of markings is just all the more reason not to slavishly follow someone else's recording or performance! As far as the instrumentation is concerned, I have read somewhere (and if I remembered, I'd certainly say where!) that the title implies performance by four equal instruments, or TTTT. I'm not sure exactly when Germans started building trombones with a larger bore than that used anywhere else, but it was probably some time after 1812, when these pieces were written. Four medium bore tenors would be the ideal combination to my way of thinking. ATTT, ATTB, or TTTB or four .547s would not be wrong. Andy's quartet will undoubtedly play the Equali on the same instruments they play for the rest of the concert. Good intonation, clean articulation, and good ensemble playing will contribute as much to a clean and clear texture as the choice of instruments. ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ 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 18 08:12:11 2000 Date: Thu, 17 Feb 2000 13:37:39 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." , "'Dreco8@aol.com'" Subject: RE: I need help Message-ID: MIME-Version: 1.0 Content-Type: text/plain Brian Jacobs asked, > I have a lot of trouble articulating in the upper register. What can I > do > to improve my playing higher notes? > No one else seems to have answered this, so I'll take a shot at it. One useful exercise is to play fairly slow arpeggios up and down, two staccato eighth notes per pitch. Start in the lower or middle range and go up by half steps. Also, play long tones for a while in the upper register to build strength. Do not burden yourself with the expectation of a quick fix. I have no idea how old you are or how long you have been playing, but my upper register now is much stronger than it ever was when I was in college. (My memory is not good enough for me to confidently say that my articulation is better, but it may be.) ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ 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 18 08:12:11 2000 Date: Thu, 17 Feb 2000 14:47:18 EST From: BOWLSBY@aol.com To: 8guion@jmls.edu, trombone-l@lists.missouri.edu Subject: Re: Drei Equali Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 2/17/00 11:30:20 Pacific Standard Time, 8guion@jmls.edu writes: << As far as the instrumentation is concerned, I have read somewhere (and if I remembered, I'd certainly say where!) that the title implies performance by four equal instruments, or TTTT >> I'm not German nor know the language, but I seem to recall from nursery rhymes that 'Drei' is the German word for the number 3.....in other words, '3 equals'....you know 'einze, vei, drei'...one, two, three... So what could Three Equals be referring to? Well, there are three movements right? hmmmm, maybe he's referring to the Trinity? Was Mr. B a religious man? All Saints Day was a religious holiday back then, which I think has been convoluted into what we now know as Halloween...anyone else care to elaborate? Jeff Bowlsby From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 14:59:54 -0500 From: Andrew Glendening Cc: "Trombones and related issues forum." Subject: Re: Drei Equali - 2 alto trombones Message-ID: <38AC532C.709F092C@denison.edu> MIME-version: 1.0 Content-type: multipart/mixed; boundary="------------66F31B97BB089D4FAD661737" > Lawrence, > > Actually the original was written for two altos, one tenor, one bass. > > More info: > > (Drei Equali) were performed at (Beethoven's) own funeral procession with > the addition of male voices to a Latin text alternating with the trombone > ensemble as they progressed to the cemetery. I have not yet located that > text. > > Mike > Two of the three Equali were set by Ignaz Ritter von Seyfried to the Miserere and Amplius texts. The third was set one year later to a text by Franz Grillparzer (possibly by Schubert) and sung at the setting of Beethoven's headstone. I have the music and am working on a chorale/trombone edition. The vocal version keys go C minor, Ab major, and D major. The Amplius is in Ab (The 3/2 movement.) Lot's of rhythm changes, articulation, and dynamics in Seyfried's version. Andrew Glendening Content-Type: text/x-vcard; charset=us-ascii; name="Glendening.vcf" Content-Transfer-Encoding: 7bit Content-Description: Card for Andrew Glendening Content-Disposition: attachment; filename="Glendening.vcf" Attachment converted: Macintosh HD:Glendening.vcf (TEXT/ttxt) (000250C4) From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 13:53:52 -0600 From: Mike Coyle To: Glendening@cc.denison.edu Cc: trombone-l@lists.missouri.edu Subject: Re: Drei Equali - 2 alto trombones Message-ID: <200002171957.NAA17702@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Excellent! You've saved me the trouble of finding this myself :) What is a .vcf file? Mike At 01:59 PM 2/17/00 , you wrote: > > > >> Lawrence, >> >> Actually the original was written for two altos, one tenor, one bass. >> >> More info: >> >> (Drei Equali) were performed at (Beethoven's) own funeral procession with >> the addition of male voices to a Latin text alternating with the trombone >> ensemble as they progressed to the cemetery. I have not yet located that >> text. >> >> Mike >> > >Two of the three Equali were set by Ignaz Ritter von Seyfried to the Miserere >and Amplius texts. The third was set one year later to a text by Franz >Grillparzer (possibly by Schubert) and sung at the setting of Beethoven's >headstone. I have the music and am working on a chorale/trombone edition. > >The vocal version keys go C minor, Ab major, and D major. The Amplius is in >Ab (The 3/2 movement.) Lot's of rhythm changes, articulation, and dynamics >in Seyfried's version. > > >Andrew Glendening > > > From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 13:02:51 -0700 (MST) From: karl g hinterbichler To: "Trombones and related issues forum." Subject: Re: Assistantships/Scholarships Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII STILL AVAILABLE! > Tenor and Bass trombone Graduate Assistantships and/or Graduate Tuition > Scholarships are available to outstanding students wishing to pursue the > MM or the MME. Scholarships up to full tuition are awarded > for performance in the UNM Wind Symphony & Chamber Winds. Additional > scholarships are available for performance in the UNM Orchestra. > For applicaitons and further information contact: > Dr. Karl Hinterbichler > Dept. of Music > University of New Mexico > Albuquerque, NM 87131 > khtbn@unm.edu > > From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 15:08:23 -0500 From: Philip Jameson To: TROMBONE-L@LISTS.MISSOURI.EDU Subject: UGA Tuba Position Announcement Message-ID: Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1261304391==_ma============" Greetings fellow trombonists: Please pass this announcement on to anyone interested. New_YorkFACULTY POSITION IN TUBA-EUPHONIUM New_YorkPosition: Tenure-track applied tuba-euphonium; tuba performer with the Georgia Brass Quintet (faculty) and Georgia Brass (faculty and student ensemble under the direction of Fred Mills); direct tuba-euphonium ensemble; and teach related brass literature and pedagogy courses. Artist-teacher of tuba and euphonium to recruit and instruct students from undergraduate through doctoral degree programs, including artist-level graduate students to perform in funded brass quintets. Qualifications: Doctorate or demonstrated equivalence in major performance experience; college-level teaching experience with documented success in recruitment and accomplishments of tuba and euphonium students; expertise in orchestra, band, and chamber music; comprehensive knowledge of the repertoire for solo tuba and euphonium, and tuba-euphonium ensemble. The successful candidate must be eligible for appointment to the graduate faculty of the University of Georgia. Rank and Salary: Commensurate with performance and academic credentials, teaching experience and professional reputation, and the published personnel policies of the University of Georgia. Rank will be at the assistant professor level. Application: Review of applications will begin on March 15, 2000 and will continue until the position is filled. Applicants should send a letter of application, current curriculum vitae, three letters of reference specific to this position, a list of additional references, and current audio and/or video recordings of live performances. A placement file is optional. Address all correspondence to: Brenda Johnson, Secretary to the Chair Tuba Search Committee School of Music--University of Georgia 250 River Road Athens, GA 30602-7287 For additional information: Dr. Philip Jameson, Search Committee Chair ` Phone: 706/542-2723 Fax: 706/542-2773 email: pjameson@uga.edu website: http://www.uga.edu/~music/ The University of Georgia is an Equal Opportunity/Affirmative Action Institution Dr. Philip Jameson Professor of Trombone University of Georgia School of Music 250 River Road Athens, GA 30602 706/542-2723 Email pjameson@rameau.music.uga.edu pjameson@arches.uga.edu (Main) From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 14:07:28 -0600 From: Mike Coyle To: BOWLSBY@aol.com Cc: trombone-l@lists.missouri.edu Subject: Re: Drei Equali - Halloween Message-ID: <200002172010.OAA19098@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >I'm not German nor know the language, but I seem to recall from nursery >rhymes that 'Drei' is the German word for the number 3.....in other words, '3 >equals'....you know 'einze, vei, drei'...one, two, three... actually, it's eins, zwei... > >So what could Three Equals be referring to? Well, there are three movements >right? hmmmm, maybe he's referring to the Trinity? Was Mr. B a religious >man? All Saints Day was a religious holiday back then, which I think has >been convoluted into what we now know as Halloween...anyone else care to >elaborate? Well, you're right and wrong. All Saint's day (Allhallows - hallow, meaning venerated or holy, comes from a noun use of Old English halig, which as an adjective developed into the modern English "holy" - also see German heilig) The eve of All Saint's Day did in fact transmogrify into Halloween (hallow - een = e(v)en). However, Drei Equali was written for All SOUL'S day - different holiday. All Saint's Day celebrates the Saints (as it's name would imply), observed on November 1. All Soul's Day is a day of solemn prayer for all dead persons observed by Roman Catholics and certain Anglicans usually on November 2. One would think that Halloween would have originated from All Soul's Day as it is a celebration of death (in a sense), but it's name comes from All Saint's Day. Mike Coyle > >Jeff Bowlsby > From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 15:33:52 -0500 From: james.c.shake@us.pwcglobal.com To: trombone-l@lists.missouri.edu Subject: Re: Shake Message-ID: <85256888.007101F8.00@intlnamsmtp20.us.pw.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-disposition: inline I started to tremble when you mentioned the word "execute" in connection with my name, even if I don't play much jazz anymore! Oops, you're talking about a technique - do you mean the reverse of the Alexander technique so that you tremble while playing? ;-) Seriously (now that I've stopped shaking) isn't a "shake" similar to a trill, but on an interval larger than a second (i.e. a fast lip slur in a single position)? (Help me out folks, I'm not at home so I don't have any music reference books.) Jim Shake (Rattle, and Roll) -- trombonist and percussionist ---------------------------------------------------------------- The information transmitted is intended only for the person or entity to which it is addressed and may contain confidential and/or privileged material. Any review, retransmission, dissemination or other use of, or taking of any action in reliance upon, this information by persons or entities other than the intended recipient is prohibited. If you received this in error, please contact the sender and delete the material from any computer. From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 21:54:12 From: Howard Weiner To: BOWLSBY@aol.com, "Trombones and related issues forum." Subject: Re: Drei Equali Message-ID: <3.0.1.16.20000217215412.2bf77aaa@mail.privat.toplink.de> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 14:47 17.02.2000 EST, BOWLSBY@aol.com wrote: >So what could Three Equals be referring to? Well, there are three movements >right? hmmmm, maybe he's referring to the Trinity? And this is from last September: The Kirchenmusik-Ordnung (Church Music Regulations) by Franz Xaver Glšggl (Vienna, 1828) describes the traditional Austrian funeral ceremony: "At [funerals] of the first category, upon the arrival of the clergy a short funeral music (Equal) with trombones or other wind instruments is played to announce the beginning of the funeral service to those in attendance; following its [the service's] completion the funeral procession commences, this also being accompanied by wind funeral music." BTW, it was this same Franz Xaver Glšggl (1764-1839) for whom Beethoven wrote his Equale. And according to Othmar Wessely ("Zur Geschichte des Equals," _Beethoven Studien_ 12, 1970), the term "Equal" (notice the singular form!) as the designation for short, chordal, three- to four-part trombone pieces seems to have originated from Glšggl. Howard -- Howard Weiner weiner@privat.toplink.de http://www.odilia.ch/howard-weiner "Writing about music is like dancing about architecture" - attributed to Frank Zappa "Beschriebene Musik ist wie ein erzŠhltes Mittagessen" - Franz Grillparzer zugeschrieben From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 21:46:56 From: Howard Weiner To: ealewis@indiana.edu, "Trombones and related issues forum." Subject: Re: Drei Equali Message-ID: <3.0.1.16.20000217214656.2bf7e114@mail.privat.toplink.de> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 13:46 17.02.2000 -0500, Beth Lewis wrote: >I don't have too many answers, but I have a few questions about this piece >myself: Why is it found in two different keys (a Maj2 apart), and which >key is more authentic? Funny, I was just at the library today researching the Equali again. In any case, I posted the following to the list just last June: Alexander Wheelock Thayer's "The Life of Ludwig van Beethoven" contains the following story: "Franz Glšggl - later a music publisher in Vienna, then a youth in Linz - shortly before his death wrote down his reminiscences for use in this work. 'Beethoven was on intimate terms of friendship with my father, kapellmeister of the cathedral of Linz, and when he was there in 1812, he was at our house every day and several times took meals with us. My father asked him for an Aequale for six trombones as in his collection of old instruments he had a soprano and a quart trombone, whereas only alto, tenor and bass trombones were commonly used. Beethoven wanted to hear an Aequale such as was played at funerals in Linz, and one afternoon when Beethoven was expected to dine with us, my father appointed three trombone players and had them play an Aequale as desired, after which Beethoven sat down and composed one for six trombones, which my father had his trombonists play'." One Aquale for six trombones? As Thayer noted, Franz Glšggl wrote this shortly before his death, and therefore many years after the events described. His memory seems to have let him down a bit. Equale 1 & 3 were performed in Beethoven's funeral procession. The following is from a description of Beethoven's funeral by Tobias Haslinger, Beethoven's friend and publisher, and one-time owner of the Equale autograph: "The interesting, generally known story of the creation of the cited Miserere is, moreover, as follows: In the autumn of the year 1812, as L. van Beethoven was visiting his brother, then residing as a simple apothecary in Linz, he was asked by the local Cathedral Kapellmeister Mr. Glšggl to compose for him so-called Equale for four trombones for All-Souls' Day (November 2nd), which he would then have his musicians play, as was usual, on this feast. -- Beethoven declared himself willing; he actually wrote three movements for this purpose, which are indeed short, but which, through the excellence of their design, attest to the master's hand; and the present publisher of these same [works] was later so fortunate to also be able to enrich his collection, which through the many autographs of this great composer had acquired such inestimable worth, with this original manuscript. As now, on the morning of 26th March 1827, not a doubt remained that the impending loss was all too near, indeed inevitable, Mr. Haslinger went with this manuscript to Kapellmeister Mr. von Seyfried in order to discuss the possibility of forming a choral- anthem out of these Equales to the words of the Miserere, and thus to escort the mortal remains of our prince of composers to eternal peace to the mournful sounds of his own creations. After close examination of the relic, Mr. von Seyfried agreed to this idea, and immediately set to work, which then, since at six o'clock nature had already reclaimed its property, was finished yet that same night. This composition was now employed here in double fashion: first, the original melody (transposed a tone lower, however, to make it easier for the vocalists) played by the four trombonists, then the chorale, set to the words of the penitential psalm Miserere mei Deus, intoned by the aforesaid sixteen singers, and continued thus in alternation by stanza until the arrival at the church." Ignaz von Seyfried set the text "Miserere mei" to Equale 1 and "Amplius lava me" to Equale 3. These two arrangements, along with the description of Beethoven's funeral, were published by Haslinger in June 1827. Seyfried also supplied Equale 2 with a text, "Du, dem nie im Leben..." by Franz Grillparzer. This arrangement was performed at the dedication of Beethoven's gravestone on the first anniversary of his death. It was published by Haslinger in March 1829. The first edition of the original version for four trombones seems to have been that in the old Collected Works, published by Breitkopf & HŠrtel in 1888, but it is not based on the orignal manuscript, which however apparently still exists in the State Library in Berlin. Howard -- Howard Weiner weiner@privat.toplink.de http://www.odilia.ch/howard-weiner "Writing about music is like dancing about architecture" - attributed to Frank Zappa "Beschriebene Musik ist wie ein erzŠhltes Mittagessen" - Franz Grillparzer zugeschrieben From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 21:50:28 From: Howard Weiner To: astro@pconline.com, "Trombones and related issues forum." Subject: RE: Drei Equali - 2 alto trombones Message-ID: <3.0.1.16.20000217215028.2bf79290@mail.privat.toplink.de> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 13:05 17.02.2000 -0600, Mike Coyle wrote: > >Actually the original was written for two altos, one tenor, one bass. > The original clefs may have been alto, alto, tenor, bass, but that doesn't necessarily mean that they were intended for 2 altos, tenor, and bass trombones. At almost no point in history are the clefs a reliable indication of the instrument intended. Howard -- Howard Weiner weiner@privat.toplink.de http://www.odilia.ch/howard-weiner "Writing about music is like dancing about architecture" - attributed to Frank Zappa "Beschriebene Musik ist wie ein erzŠhltes Mittagessen" - Franz Grillparzer zugeschrieben From ???@??? Fri Feb 18 08:12:11 2000 Date: Thu, 17 Feb 2000 16:20:51 -0500 From: Bradley W Main To: TROMBONE-L@LISTS.MISSOURI.EDU Subject: Clarification: who are the best teachers Message-ID: <05256888.007504F1.00@aammta1.d51.lilly.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-disposition: inline I need to clarify or perhaps apologize for not communicating clearly in my request for opinions on : who are the best trombone performance teachers and where are they located. I am a cardiovascular physiologist and work as a research scientist for a fortune 500 company. Because I think as a scientist, a survey seemed to be a logical way to collect specific data across a wide area of the continent. I happen to be the parent of at least 2 children who apparently are musically talented, based on the testimony of several professional musicians. (I have to rely on the opinion's of others since I personally don't think bagpipes sound all that bad :-) One of my children is a trombone player and is starting his search for a college. We have already experienced what Sam wrote in a note earlier. Sabutin wrote: The university/conservatory scene is now reaching a stage much like collegiate athletics...people are actually RECRUITING good players. A prospective student w/real talent, although the schools don't really want you to know this, is in the driver's seat. Choose a school on the basis of who you will get as a teacher, if you really want to be a player...and if it doesn't work out, either get another teacher (often schools will let you study privately instead of studying w/someone on their staff, if you insist) or get another school. I can attest that this is exactly the case. My son is being "courted" by several institutions, hence the interest in the opinion survey, since I do not have the expertise to help my son make a wise decision when it comes to basically choosing who he will start his studies with for a performance career. I have talked to several professional musicians on and off the list and there is a common piece of advice that seems to be coming from all who make a living at performance and that is: find the best teacher, work hard, play as much as you can. My son expects to be applying to between 15 and 30 schools/conservatories over the next year. He is expecting the opportunity to audition in person to most of these, as this seems to be the most reliable way to actually get to talk with some of the faculty. So, I apologize for confusing some of you and thank those that have already given opinions to me personally. By the way, preliminary results show (not surprisingly) that a common thread in all recommendations of great teachers is that the teacher take an interest in the student not just musically, but as a person. In case you have forgotten the "guidelines" of the original request, they were: I am looking for 3 categories of respondents. A) College Jr., Sr., or grad students, majoring in performance. B) Professionals in performance (at least half of your annual income is from performance or performance related activity). C) College/Conservatory full time staff (professors, instructors, etc.). This is what I would like to hear from you. 1) Person you recommend, 2) where that person is located (institution or organization), 3) what makes them outstanding. 4) what category (above) you consider yourself. More than one recommendation is OK. I would prefer that these opinions are sent to me off the list so that all of the opinions will remain anonymous to the list. BWM@lilly.com From ???@??? Fri Feb 18 08:12:12 2000 Date: Thu, 17 Feb 2000 16:43:26 EST From: Trmbman@aol.com To: trombone-l@lists.missouri.edu Subject: New Euph? Message-ID: <2b.2086b95.25ddc57e@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I just received a new Euphonium to play. I received it from the college I am going to next year. It is a silver Besson model 765. Absolutely gorgeous. That is the problem though, does anyone now I can keep it purdy.... What kind of rag would you suggest to wipe the finger prints. Trombone and Euphonium Player Visit my Webpage at Http://Wactrm.tripod.com or contact me at Trmbman@aol.com From ???@??? Fri Feb 18 08:12:12 2000 Date: Thu, 17 Feb 2000 16:08:36 +0000 From: Eric and Candice Swanson To: kingbone@earthlink.net Cc: "Trombones and related issues forum." Subject: Re: Care of silverplated horn Message-ID: <38AC1CFB.287369CE@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit David Molter wrote: > I just purchased a used silverplated King 5B -- it's not the Silversonic, > just plated. Can I or should i use something like right's silver polish on > it, or should I simply use the sane lacquer cleaner I use on my regular > brass horns? > Dave, Yes, use silver polish. Wright's or Haggerty's both are good. Lacquer cleaner will not do it much good, sane or insane. Eric Swanson From ???@??? Fri Feb 18 08:12:12 2000 Date: Thu, 17 Feb 2000 17:13:19 -0600 From: Mike Coyle To: weiner@privat.toplink.de Cc: trombone-l@lists.missouri.edu Subject: RE: Drei Equali - 2 alto trombones Message-ID: <200002172316.RAA05523@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit At 03:50 PM 2/17/00 , you wrote: >At 13:05 17.02.2000 -0600, Mike Coyle wrote: >> >>Actually the original was written for two altos, one tenor, one bass. >> > >The original clefs may have been alto, alto, tenor, bass, but that doesn't >necessarily mean that they were intended for 2 altos, tenor, and bass >trombones. At almost no point in history are the clefs a reliable >indication of the instrument intended. The info on instrumentation is from a document prepared by John Marcellus for his doctoral thesis. It is rather well researched and I'd tend to believe it til proven eroneous. Mike > >Howard > > >-- >Howard Weiner >weiner@privat.toplink.de >http://www.odilia.ch/howard-weiner > >"Writing about music is like dancing about architecture" > - attributed to Frank Zappa > >"Beschriebene Musik ist wie ein erzŠhltes Mittagessen" > - Franz Grillparzer zugeschrieben > From ???@??? Fri Feb 18 08:12:12 2000 Date: Thu, 17 Feb 2000 18:26:22 -0600 From: Jeff Albert To: chase87@potsdam.edu Cc: "Trombones and related issues forum." Subject: Re: Moral Dilemma (bell dented while on loan) Message-ID: <38AC91AB.E487CFC6@bellsouth.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Let him pay for all of having the dents removed. Jeff Sue Chase wrote: > Here's a situation for you . . . > > I loaned my new horn (a King 3B, purchased at the '99 ITF) to a good friend > of mine. He's trying it out in hopes of finding a straight horn he likes > before he goes out to buy one. His mouthpiece accidentally rolled off a > music stand, and came into contact with my bell, dinging it in two places. > It's not a largely noticeable injury, and it won't affect the horn's sound. > The biggest issue is the fact that it is a _new_ horn, and that he's > probably gotten to play it more than I have at this point in time. (Due to > time constraints this semester, I'm taking a small hiatus from jazz-playing > lately, so the horn was free for him to use.) > > He feels awful, and has already offered (without my asking) to replace the > entire bell, or to at least pay to get the dents out. Having been in > similar situations (though not involving something as pricey as a horn), I > know how badly he feels. Plus, one could certainly consider it my own > responsibility for taking the risk of lending it out in the first place. > So, the discussion begins: do I let him pay for it in full, or should I > take the blame into my own hands? I'm personally leaning toward a split, > each of us paying half to replace it, but I'm curious as to what people > have to say on this one. > > - Sue > > * * * * * * * * * * > Sue Chase > sophomore, The Crane School of Music in Potsdam, NY > chase87@potsdam.edu > Crane trombones online: http://www.geocities.com/cranebones/ -- Jeff Albert "Every song has a soul." Keith Jarrett From ???@??? Fri Feb 18 08:12:12 2000 Date: Thu, 17 Feb 2000 20:29:47 -0600 From: "Tom Izzo" To: , "Trombones and related issues forum." Subject: Re: Drei Equali Message-ID: <005601bf79b8$071c45e0$ae75dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Andy, Larry is right on the money here! ----- Original Message ----- From: Lawrence Borden > Are you going to use alto on first? These pieces were written with this > sound in mind for the top voice. I think they sound much less compelling > when played on a set of large tenors. > In agreement 100%. In fact, I prefer small Tenors on 2nd & 3rd, & use nothing larger than 42B or 88H on the Bass part. Tom > Lawrence Borden > Vanderbilt University > Nashville Symphony > > > -----Original Message----- > From: owner-trombone-l@lists.missouri.edu > [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of Andrew Michael > Sent: Thursday, February 17, 2000 12:04 PM > To: Trombones and related issues forum. > Subject: Drei Equali > > > All, > > This spring I am getting to play Beethoven's Drei Equali as the opening > piece at our community orchestra concert. (There are some benefits to > being president of the orchestra when the conductor decides to do an > all-Beethoven concert!). I'd like this to be a well informed performance > with some meaningful interpretation. So, a couple of questions.... > > 1. What recorded performances do people like? I have the Four of a Kind > CD but am looking for more suggestions. I understand that there are > (at least) two schools of performances: very legato and a more varied > articulated approach. I generally favor the latter as the variation > seems to allow for more emotional impact. > > 2. I'd also appreciate any suggested sources that discuss these pieces > either in terms of performance practice or their place in history. > Is there anything that devotes more than a paragraph to them? > Does anyone know where I can find the words that were set to them > for Beethoven's funeral? > > If it helps, we are using the Breitkopf edition. > > Much thanks and cheers, > Andy > > From ???@??? Fri Feb 18 08:12:12 2000 Date: Thu, 17 Feb 2000 20:41:29 -0600 From: "Kenneth Dowdy" To: "Trombones and related issues forum." Subject: Re: Drei Equali Message-ID: <003d01bf79b9$aacf82a0$9c3c103f@default> Andrew, The Triton Trombone Quartet did a recording of the Breitkopf edition of Three Aequale on their German Music for Trombones CD (BIS-CD-644). They use an AATB format and they sound quite good. I would certainly be proud if I could sound like them. Ken Dowdy -----Original Message----- From: Andrew Michael To: Trombones and related issues forum. Date: Thursday, February 17, 2000 12:10 PM Subject: Drei Equali >All, > >This spring I am getting to play Beethoven's Drei Equali as the opening >piece at our community orchestra concert. (There are some benefits to >being president of the orchestra when the conductor decides to do an >all-Beethoven concert!). I'd like this to be a well informed performance >with some meaningful interpretation. So, a couple of questions.... > >1. What recorded performances do people like? I have the Four of a Kind > CD but am looking for more suggestions. I understand that there are > (at least) two schools of performances: very legato and a more varied > articulated approach. I generally favor the latter as the variation > seems to allow for more emotional impact. > >2. I'd also appreciate any suggested sources that discuss these pieces > either in terms of performance practice or their place in history. > Is there anything that devotes more than a paragraph to them? > Does anyone know where I can find the words that were set to them > for Beethoven's funeral? > >If it helps, we are using the Breitkopf edition. > >Much thanks and cheers, >Andy From ???@??? Fri Feb 18 08:12:12 2000 Date: Thu, 17 Feb 2000 22:39:16 -0600 From: "Steve Cagle" To: "T BONE" Subject: looking for advice Message-ID: <000a01bf79ca$1ea44520$48ee193f@home> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0007_01BF7997.D2DBB560"
I am hoping to find some info on a problem i have. I recently picked my horn back up after about 20 years. it was never my intention to stop but i ran into a problem in my freshman year of college. prior to that i had been 1st chair all state, played 1st part, 3rd chair as a freshman, and was starting to make some money playing at various venues in my region. i had a severe dental problem and had to have all my upper teeth pulled and got a full upper denture and a half lower partial put in. my instructors pretty much wrote me off at that time so i lost my heart for playing due to discouragement. a few years ago a freind gave me a horn and to my surprise, i was able to play quite well, considering the time off i had. i have joined a community band and have enjoyed that quite well. to get to the point of this e-mail, is there any teacher or player out there who has some advice on how to make adjustments or deal with the problems i encounter playing with a full upper denture and a partial? I have started doing the remington exercises and tyrell progressive studies. The biggest problem i have is fast tonguing in the low register (low f and lower), and 16th note or faster lip slurs.
From ???@??? Fri Feb 18 08:12:12 2000 Date: Fri, 18 Feb 2000 01:21:13 -0800 From: Andrew Michael To: "Trombones and related issues forum." Subject: Re: Drei Equali Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" WOW!! This is way more info than I hoped to get in one day. My thanks to everyone. Especially those that reposted past threads. I had hit the archives, but searched under Drei & Equali and came up with 5 emails, but forgot the more correct spelling of Equale. Duh! I'll have to do individual replies later, but here are a few bits and pieces here and now. Choice of horn issues: I'll be playing alto on the first part. I'm pretty sure the player doing the second part doesn't have an alto. However, she is capable of a wide range of tone on her 42B. I'll admit to some dreams, as Tom Izzo suggested, that she and the person playing third could come up with smaller bore horns, but it is a community group. The bass trombonist has a collection of basses and tenors to match almost anyone on this list. Note: I said almost. I suspect Tom Izzo has more A and G horns than he has. I suspect he will go with a tenor for this concert. I find the info on using two altos and the idea of using four tenors both interesting. I had thought of the former based on the parts but hadn't appreciated that actual research supported it especially as the idea of equal voices had suggested the latter. However, is is probably best if I stick with one horn through the whole concert. And that brings us to. Other programming on the concert: The program is Drei Equale, Overture to Coriolan, Violin Concerto, and Symphony #5. So, since I am definitely doing the symphony on alto I will also do the Equale on alto. Plus, I love the opportunity to play alto. CD suggestions: I will definitely track some of these down. Of course, as like all good list members, I have the Eastman CD. I just hadn't thought to pull it out since I was looking for quartets. Duh, again. Lyrics and funeral and all-saints and souls info: All fascinating. I will hit the library. And I do hope to see the edition that Andrew Glendening is working on come out some day. I would be fascinated to see it and suspect that it would program very well with our quartet and my wife's chorale (which shares a conductor with my orchestra). Articulation choices: I said I **favored** an approach with **more varied** articulation. Note the emphasis on favored and more varied. I am still very open to ideas and am certainly not throwing legato out. In fact, I consider the Four of a Kind approach to be varied articulation. It's not all legato. And I better stay open minded since the woman playing second has a Ph.D. in music will bring plenty to the table. And don't worry, I have no fear in making music my own. In fact, it probably cost me my shot at all-state back in high school. But, that's another thread. My goal is to capture the emotional impact these pieces should have as funeral music. When I was practicing the parts over vacation at my in-laws house, my mother-in-law said, "That's very soulful music." Now, to try and project that to the whole audience. Again: many, many thanks to all. It's a fascinating collection of information and it will take me quite a while to fully digest it all. Especially, because digesting it all will take some listening and library reading. Thanks again, Andy