TROMBONE-L Digest 1603 Topics covered in this issue include: 1) Re: Perception by "Adrian Drover" 2) Re: Perception by "Tom Izzo" 3) Re: Conn 88HO vs. Everything Else by Dave Burch 4) Eastman Student by DenBlose@aol.com 5) Re: Mahler on Mahler 7 by ERNIE PAUL LUKAS 6) Conn Bassbones by JTEAGARDEN@aol.com 7) RE: State auditions by "David Pozos" 8) Re: Conn Bassbones by Dave Burch 9) For Sale: Early 1960s Elkhart Conn 88h, King 3b w/f attachment by "chasanov" 10) Re: Charles Mingus by Gary Sloane 11) Re: Rehearsal schedule (was: Mahler) by Douglas Yeo 12) Re: Rehearsal schedule (was: Mahler) by "Gary Maxwell" 13) Re: Rehearsal schedule (was: Mahler) by Douglas Yeo 14) Re: Perception by "Dynamic Music Publications" 15) Re: Perception by "Kenneth Dowdy" 16) Urbie Green to Perform by "Jeff Caldwell" 17) RE: Urbie Green to Perform by "Jeff Caldwell" 18) Tuba for sale by TonyC789@aol.com 19) college by "Adolphus Sprott" 20) Re: college by Beth Lewis 21) Re: college and multiple instructors by Jay Heltzer 22) rotational system and two teachers (was) Re: college by Donn Schaefer 23) Re: Conn Bassbones by Amtrom1@aol.com 24) Re: college by "Talley, Brian Lee" 25) Re: Finding the spot... by Earl Needham 26) Re: Conn Bassbones by Earl Needham 27) Re: college by Earl Needham 28) Re: Conn Bassbones by Earl Needham 29) Re: Finding the spot... by JazzDiva16@aol.com 30) Re: college by daboneman 31) Re: Conn 88HO vs. Everything Else by "Rod Ellard" 32) Re: Conn 88HO vs. Everything Else by Beth Lewis From ???@??? Mon Feb 21 08:38:21 2000 Date: Sun, 20 Feb 2000 12:12:42 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Perception Message-ID: <005001bf7b9b$e7ad39e0$209601d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Kenneth Dowdy To: Trombones and related issues forum. Sent: Saturday, February 19, 2000 5:36 PM Subject: Re: Perception > I don't know, Jen. If Mahler had written it for a chainsaw, could you > imagine the posts we would have on this list? Ever since I bought my Yamaha CS100 chainsaw, I've had nothing but problems. I can't find a good lube. Neither Slide-o-mix nor Pledge seem to work satisfactorily. The neighbours are always complaining when I'm practicing for an important concert. Most airlines refuse to let me carry it on board as hand baggage. Problems, problems, problems. People just don't understand how difficult it is to be an artist these days. By the way, is anyone planning on going to the Seattle chainsaw convention. We need altos, basses and contras for the mass choir. We have commissioned some new charts from Jack Lumber and Will de Forest. The final concert will feature a new work for solo serpent (Doug Yeo) and a thousand chainsaws. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Feb 21 08:38:21 2000 Date: Sun, 20 Feb 2000 08:09:22 -0600 From: "Tom Izzo" To: , "Trombones and related issues forum." Subject: Re: Perception Message-ID: <001f01bf7bac$16f353a0$2975dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Adrian ignomineously typed: > > Ever since I bought my Yamaha CS100 chainsaw, I've had nothing but problems. > I can't find a good lube. Neither Slide-o-mix nor Pledge seem to work > satisfactorily. The neighbours are always complaining when I'm practicing > for an important concert. Most airlines refuse to let me carry it on board > as hand baggage. Problems, problems, problems. People just don't > understand how difficult it is to be an artist these days. > > By the way, is anyone planning on going to the Seattle chainsaw convention. > We need altos, basses and contras for the mass choir. We have commissioned > some new charts from Jack Lumber and Will de Forest. The final concert will > feature a new work for solo serpent (Doug Yeo) and a thousand chainsaws. > hahahahahaha Maybe this discussion would go over better on the Chainsaw-L, or on the mus.rec.arts.orchestral-chainsaw.classics BTW, Adrian, wait to you try out the new CS104, in the spring. Tom > > > > > > > > > From ???@??? Mon Feb 21 08:38:21 2000 Date: Sun, 20 Feb 2000 09:26:39 -0500 From: Dave Burch To: j.grisham@pmail.net Cc: "Trombones and related issues forum." Subject: Re: Conn 88HO vs. Everything Else Message-ID: <38AFF99F.980BE30B@fuse.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Josh Grisham wrote: > Then, after playing on it for a while, the UMI guy that was standing there > brought out this all-new tuning slide that they are developing for the 88H > line. I never knew that a tuning slide would make that much of a > difference!! The guy was telling me that it was made out of lighter metals, > and spun in a different way or something-or-other, but it made a difference > on my response and even a little on range. It even made the horn feel a > little more open, which I also like. I have two tuning slides for my Edwards, and they do make the horn play and sound differently. The standard single-radius yellow brass gives a somewhat more focused, nasal sound, and also slightly brightens the sound (there seem to be more of the high overtones). The rose brass slide, which appears to be double-radius (I need to ask Christan about this), is more open, less nasal, both in feel and sound. Whether that's good or bad is a matter of taste, but I like it. This slide also makes the high range a little easier to play. I started out switching according to the style of music, but soon settled on the double-radius rose brass for everything. I can brighten the sound as much as I need to, and the horn just overall plays better for me. Re the new Conns, I've tried them all, and I agree that they're making some very good horns. Our Cincinnati outlet, Buddy Rogers Music, just got in a whole set of them, including the SGX with Lindberg valve. Gotta go visit. -- @%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@ ------ Dave Burch ------ ---- Hamilton, Ohio ----- -- daveburch@fuse.net -- Church and community trombonist, baritone hornist, recorderist, choral singer After Hours Big Band Cincinnati Brass Band at http://cincinnati.brassband.com Hamilton-Fairfield Symphony Chorale (and sometimes Orchestra) at http://www.hfso.org Senior programmer/analyst, Mercy Health Partners @%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@ From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 10:31:44 EST From: DenBlose@aol.com To: trombone-l@lists.missouri.edu Subject: Eastman Student Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Would the student from Eastman who responded to the thread about the Conn 88HO please e-mail me privately. I've got some questions for you. Thanks Dennis From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 10:17:39 -0600 From: ERNIE PAUL LUKAS To: yeo@yeodoug.com Cc: "Trombones and related issues forum." Subject: Re: Mahler on Mahler 7 Message-ID: <38B013A3.D69C7025@bellsouth.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Douglas Yeo wrote: > > Last night, the Boston Symphony concluded a remarkable 3 week series > of concerts with our principal guest conductor, Bernard Haitink. Thank you for the very interesting information and the program note on Mahler 7. I'm curious, what was the rehearsal schedule for the 3 week series with Haitink? I haven't a clue to how the orchestra prepares for such a project. Of course, individual rehearsal and section rehearsals would only add to the preparation required. If you don't mind... ERNIE PAUL LUKAS TROMBONIST, PUBLICIST BARTLETT COMMUNITY CONCERT BAND MEMPHIS, TENNESSEE USA From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 11:40:00 EST From: JTEAGARDEN@aol.com To: trombone-l@lists.missouri.edu Subject: Conn Bassbones Message-ID: <7b.199a7a1.25e172e0@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Has anyone tried the latest Conn bass bones? I keep hearing about the 88H's but not much about the bass side of things. I attended the MMEA in Minnesota recently and was able to try a B&H bass with heagmann(sp) valves and was not that impressed. I was also able to try the Getzen Eterna in-line with the various lead pipes and found it so so. Unfortunately there were no Conn basses there though UMI was there. So any comments. David Bratcher From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 10:56:30 -0600 From: "David Pozos" To: , "Trombones and related issues forum." Subject: RE: State auditions Message-ID: <000e01bf7bc3$700cf600$36c022c8@computer> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit When I auditioned for all-state orch back in «79 they where asking for Variations on America by Ives, Der Meistersinger prelude and Mahler 1st. Louis Lane was the conductor. When I arrived for chair placements (this was on the first day of the convention) there where 3 guys from the same school in the section, 2 tenors and a bass. When they asked each of us to play Meistersinger, the two tenor players whipped out their K.Brown excerpt books and the judges said they had to play from the music that the judges provided which was the orchestral material. Some of you know that the excerpt book has the music written in tenor clef and the orchestral material is in alto clef. My teacher had me preparing from the orch material so no worries. Those other guys fumbled through, not knowing alto clef. I think on the other tunes they played better than me by just a bit but Meistersinger tipped it my way and I got first chair. Be prepared for any thing and everything! My teacher at that time, Arnold Priest, was right on the money when he got me thinking and preparing that way. It«s like the Gazza Ladra thing where there«s three different versions. Which will it be? Who cares as long as you know them all! Enjoy the preparation! David Pozos Primer Tromb—n Orquesta Sinf—nica de Xalapa -----Mensaje original----- De: Dreco8@aol.com Para: Trombones and related issues forum. Fecha: S‡bado, 19 de Febrero de 2000 11:50 a.m. Asunto: State auditions > First I would like to say thank you to all the replies I received from my >last message. > My name is Brian Jacobs, and I am a sophmore at Chancellor High school. >Just recently I tried out for the all-district band. I managed to come out >one of the top three placements for trombones (second actually). I earned the >right to audition for state band, and as a sophmore I believe this is will be >a great experience and opportunity to test my abilities (I plan on majoring >in music). I would really like to place in the band. If anyone can help me >with any information, that would be GREAT! I have a little trouble with my >chromatic scale. If you have experience in all-states then anything you have >to say, I'm sure would help. Thank you > Brian Jacobs > From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 12:12:14 -0500 From: Dave Burch To: JTEAGARDEN@aol.com Cc: "Trombones and related issues forum." Subject: Re: Conn Bassbones Message-ID: <38B0206E.C7ED0487@fuse.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit David, I'll give you my impressions, with the caution that I'm a tenor player who started on bass only a year ago. I tried a bunch of new basses last fall, including two from UMI, the Conn 112H and Benge 290. My impression of these two is similar, that it's easy to produce lots of sound and a dark tone, but that the sound can easily go blatty if you're not careful. I think the two horns share the same 10" bell. I prefer my older 112H with its 9 1/2" Fuchs bell, which can be played softly with a sweeter sound and which I can control more easily. If I were buying a new bass, my choice based on what I tried last fall would be one of the Yamahas, probably the YBL 613. They are expensive, though. JTEAGARDEN@aol.com wrote: > > Has anyone tried the latest Conn bass bones? I keep hearing about the 88H's > but not much about the bass side of things. I attended the MMEA in Minnesota > recently and was able to try a B&H bass with heagmann(sp) valves and was not > that impressed. I was also able to try the Getzen Eterna in-line with the > various lead pipes and found it so so. Unfortunately there were no Conn > basses there though UMI was there. So any comments. > > David Bratcher -- @%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@ ------ Dave Burch ------ ---- Hamilton, Ohio ----- -- daveburch@fuse.net -- Church and community trombonist, baritone hornist, recorderist, choral singer After Hours Big Band Cincinnati Brass Band at http://cincinnati.brassband.com Hamilton-Fairfield Symphony Chorale (and sometimes Orchestra) at http://www.hfso.org Senior programmer/analyst, Mercy Health Partners @%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@%@ From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 11:42:59 -0600 From: "chasanov" To: "Trombones and related issues forum." Subject: For Sale: Early 1960s Elkhart Conn 88h, King 3b w/f attachment Message-ID: <004901bf7bc9$ee880dc0$870f1b3f@cso.uiuc.edu> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit PLEASE RESPOND OFF LIST!!!! For Sale: Early 1960's Elkhart Conn 88h Very good condition. Plays great. The inner slide tubes either need to be re-chromed or replaced (Wayne Tanabe at the Brass Bow suggested replating). $1100 firm King 3b w/f attachment lacquer removed from bell section slide is excellent, valve blows great. $675 obo Respond off list to: Elliot L. Chasanov, Professor of Trombone University of Illinois School of Music 1114 W Nevada St Urbana, IL 61801 Phone/Fax: 217.333.6674 echasano@uiuc.edu UI Trombone Site: http://www.uiuc.edu/~echasano 2000 ISYM Trombone Camps: http://www.staff.uiuc.edu/~echasano/isymtc.html From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 09:41:00 -0800 From: Gary Sloane To: "Kenneth Dowdy" , "Trombones and related issues forum." Subject: Re: Charles Mingus Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 6:16 PM -0600 2/19/00, Kenneth Dowdy wrote: >Dear Listmembers, > >I will be attending a Jazz workshop next month, and to prepare, I am >listening to more Jazz than usual. I went down to Border's last week to >look for a recording by Charles Mingus, and I was overwhelmed by the number >of them. Could anyone give me an idea of what would be a recording that is >representative of Mr. Mingus at his best? I realize that is very >subjective, but asking for advice like this has helped to introduce me to >new artists in the past. > >Thanks in advance, > >Ken Dowdy In addition to the fine recommendations already posted, I would add: "Tijuana Moods". Mingus is quoted on the jacket as saying, "This is the best album I ever made." Awesome, raw, lyrical trombone playing by Jimmy Knepper; a constant source of inspiration and wonder. "East Coasting" "The Shoes of the Fisherman's Wife" Have fun listening! From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 12:49:17 -0500 From: Douglas Yeo To: Subject: Re: Rehearsal schedule (was: Mahler) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 10:17 AM -0600 2/20/00, ERNIE PAUL LUKAS wrote: >Douglas Yeo wrote: > > > > Last night, the Boston Symphony concluded a remarkable 3 week series > > of concerts with our principal guest conductor, Bernard Haitink. > > Thank you for the very interesting information and the program note >on Mahler 7. I'm curious, what was the rehearsal schedule for the 3 >week series with Haitink? I haven't a clue to how the orchestra >prepares for such a project. Of course, individual rehearsal and >section rehearsals would only add to the preparation required. Most major orchestras operate on an 8 service week, typically 4 rehearsals and 4 concerts per week. The BSO library has the music for anything we play months in advance so players can check it out for personal practice. FYI, this is what my schedule looked like for the last 3 weeks, I can't recall exactly which pieces were rehearsed on which days, but as I played all but one work on the programs for the 3 weeks, I was there at every service. Bernard Haitink was the conductor for these three weeks which is rather typical of our schedule (although the Sat morning rehearsals are rare events): Tue 2/1 2-430 PM Rehearsal Wed 2/2 130-100 PM Rehearsal 200-400 PM Rehearsal Thu 2/3 1030-100 PM Open Rehearsal 800 PM Concert - Beethoven Leonore Ov #2, Beethoven Piano Concerto #1 (Murray Perahia, piano), Poulenc Stabat Mater Fri 2/4 800 PM Concert (same as 2/3) Sat 2/5 1030-100 PM Rehearsal (for next week's progam) 800 PM Concert (same as 2/3) ----- Mon 2/7 1000-400 PM BSO trumpet auditions (first live round) Tue 2/8 1030-100 PM Rehearsal 800 PM Concert (same as 2/3) Wed 2/9 1030-100 PM Rehearsal 730-1000 PM Open Rehearsal Thu 2/10 800 PM Concert - Schumann Manfred Ov, Berg Violin Concerto (Frank Peter Zimmermann, violin), Brahms Sym 4 Fri 2/11 130 PM CONCERT (Same as 2/10) Sat 2/12 1030-100 PM Rehearsal (for next week's program) 8:00 PM Concert (Same as 2/10) ----- Tue 2/15 1030-100 PM Rehearsal 800 PM Concert (Same as 2/10) Wed 2/16 1030-100 PM Rehearsal 200-400 PM Rehearsal Thu 2/17 1030-100 PM Open Rehearsal 800 PM Concert - Mahler Sym 7 Fri 2/18 130 PM Concert (Same as 2/17) Sat 2/19 800 PM Concert (Same as 2/17) ----- -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 11:08:20 -0800 From: "Gary Maxwell" To: , "Trombones and related issues forum." Subject: Re: Rehearsal schedule (was: Mahler) Message-ID: <001101bf7bd5$dad36200$7c02a5d1@maxwells> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit WOW! 23 1/2 hour rehearsal! Know wonder you make the big bucks. (:>)) Gary "Less than Iron Chops" Maxwell Bass Trombone Bakersfield Symphony Orchestra ++++++++++++++++++++++++++++++++++++++++ > > FYI, this is what my schedule looked like for the last 3 weeks, I > Wed 2/2 130-100 PM Rehearsal From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 14:19:25 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: Rehearsal schedule (was: Mahler) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 11:08 AM -0800 2/20/00, Gary Maxwell wrote: >WOW! 23 1/2 hour rehearsal! Know wonder you make the big bucks. >(:>)) >Gary "Less than Iron Chops" Maxwell >Bass Trombone >Bakersfield Symphony Orchestra >++++++++++++++++++++++++++++++++++++++++ > > > > FYI, this is what my schedule looked like for the last 3 weeks, I > > Wed 2/2 130-100 PM Rehearsal Those long rehearsals leave me less time to proofread my postings! :-) Whoops. Should read: Wed 2/2 1030-100 PM Rehearsal -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 20:16:57 -0000 From: "Dynamic Music Publications" To: "Trombones and related issues forum." Subject: Re: Perception Message-ID: <004c01bf7bdf$f8b81400$bd3b63c3@p8d3q> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit From: "Adrian Drover" Sent: 20 February 2000 12:12 > Ever since I bought my Yamaha CS100 chainsaw, I've had nothing but problems. > I can't find a good lube. Neither Slide-o-mix nor Pledge seem to work > satisfactorily. The neighbours are always complaining when I'm practicing > for an important concert. Most airlines refuse to let me carry it on board > as hand baggage. Problems, problems, problems. People just don't > understand how difficult it is to be an artist these days. Funnily enough, Ade, when I leant you my trombone - it still sounded like a chainsaw!! Cheers, Dave 8-) Dave Hankin, Hamilton, Scotland - DYNAMIC MUSIC PUBLICATIONS Specialists in Trombone Ensemble Music - www.btinternet.com/~dynamicmusic Adrian Drover/Dave Hankin Big Band - www.btinternet.com/~dynamicmusic/bigband From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 15:41:52 -0600 From: "Kenneth Dowdy" To: "Trombones and related issues forum." Subject: Re: Perception Message-ID: <001e01bf7beb$4f61be40$f31c0f3f@default> Adrian, A few years back I saw a video with the "Art of Noise" backing Tom Jones. The lead instrument was a chainsaw. Was that really you on Dave's trombone? Ken Dowdy -----Original Message----- From: Dynamic Music Publications To: Trombones and related issues forum. Date: Sunday, February 20, 2000 3:19 PM Subject: Re: Perception >From: "Adrian Drover" >Sent: 20 February 2000 12:12 > >> Ever since I bought my Yamaha CS100 chainsaw, I've had nothing but >problems. >> I can't find a good lube. Neither Slide-o-mix nor Pledge seem to work >> satisfactorily. The neighbours are always complaining when I'm practicing >> for an important concert. Most airlines refuse to let me carry it on >board >> as hand baggage. Problems, problems, problems. People just don't >> understand how difficult it is to be an artist these days. > >Funnily enough, Ade, when I leant you my trombone - it still sounded like a >chainsaw!! > >Cheers, > >Dave 8-) > > >Dave Hankin, Hamilton, Scotland - DYNAMIC MUSIC PUBLICATIONS >Specialists in Trombone Ensemble Music - www.btinternet.com/~dynamicmusic >Adrian Drover/Dave Hankin Big Band - >www.btinternet.com/~dynamicmusic/bigband > From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 14:46:26 -0500 From: "Jeff Caldwell" To: Subject: Urbie Green to Perform Message-ID: <013601bf7bdb$2cb6e060$79d80818@c1019149-a.scllg1.pa.home.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Jesse is Urbie's son, for those who didn't know. Delaware Water Gap is close to the eastern border of Pennsylvania, USA very close to Interstate 80, which continues on to New York City after a short journey across New Jersey. URBIE GREEN with THE JESSE GREEN TRIO Urbie Green is rated among the greats in the field of jazz. A musician's musician - a trombonist's trombonist - a jazzman's jazzman - he is all of these rolled into one. Urbie is a multiple winner of the "Most Valuable Player Award" from the National Academy of Recording Arts and Sciences and perhaps the most recorded musician of all time. Urbie, trombone; Jesse, piano; Jim McDonough, bass; Tom Whaley, drums. $7 music charge. Main Street (PA Rt. 611 S), Delaware Water Gap, PA 570-424-2000 From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 15:23:07 -0500 From: "Jeff Caldwell" To: "Chris Waage" Cc: Subject: RE: Urbie Green to Perform Message-ID: <013701bf7be0$4c4c9000$79d80818@c1019149-a.scllg1.pa.home.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Chris, I apologize for not including the date. It's **SATURDAY, FEBRUARY 26TH 8:00 PM ö MIDNIGHT** if I'm reading their web page (http://home.ptd.net/~solliday/schedule.html) correctly but I'd check with them, make reservations etc. Thanks for pointing this out, I'll make a follow-up post to the list. > -----Original Message----- > From: Chris Waage [mailto:basstbn@waageworks.com] > Sent: Sunday, February 20, 2000 5:02 PM > To: ab4wo@home.com > Subject: Re: Urbie Green to Perform > > > When? > > Chris > > >Jesse is Urbie's son, for those who didn't know. Delaware Water > Gap is close > >to the eastern border of Pennsylvania, USA very close to Interstate 80, > >which continues on to New York City after a short journey across > New Jersey. > > > >URBIE GREEN with THE JESSE GREEN TRIO > >Urbie Green is rated among the greats in the field of jazz. A musician's > >musician - a trombonist's trombonist - a jazzman's jazzman - he is all of > >these rolled into one. Urbie is a multiple winner of the "Most Valuable > >Player Award" from the National Academy of Recording Arts and > Sciences and > >perhaps the most recorded musician of all time. Urbie, trombone; Jesse, > >piano; Jim McDonough, bass; Tom Whaley, drums. $7 music charge. > > > >Main Street (PA Rt. 611 S), Delaware Water Gap, PA > >570-424-2000 > > _____________________________________________ > Chris Waage basstbn@waageworks.com > Visit the Mouthpiece Exchange at > http://www.waageworks.com > _____________________________________________ > From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 18:08:00 EST From: TonyC789@aol.com To: trombone-l@lists.missouri.edu, tpin@parnassus.dana.edu, TubaEuph@onelist.com, horn-owner@onelist.com Subject: Tuba for sale Message-ID: <90.f3772d.25e1cdd0@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Meinl Weston 4/4 5-valve CC convertible 5th valve. Hard Case, Reunion Blues gig bag. $4,000 Tony Clements From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 18:03:22 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: college Message-ID: <000401bf7bff$152fe300$2ee0490c@default> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit This question is really one the will have opinionated answers, but I would like to hear what everyone has to say regarding this situation. If I attend a university with multiple trombone professors, would I be better off studying with one person for four years, or working with 2 or 3 people for a year or two each? So, would it be to my benefit to gain a whole lot from one person or to gain bits and pieces from several people? All thoughts and suggestions would be appreciated. Weston Sprott From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 19:39:49 -0500 (EST) From: Beth Lewis To: Adolphus Sprott Cc: "Trombones and related issues forum." Subject: Re: college Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII As one attending such a university, I'll share my opinions about this. I think that the best advantage to this system is the fact that if, at some point in your undergrad career, you decide that you don't want to study with the person who you initially wanted to, you can just switch studios and not have to go through the hastle of transferring to an entirely different school. Plus this provides the option of studying with someone else for a year in case your 1st choice teacher's studio is already full (again, without transferring). Having not studied with one teacher for more that two years (at the most), I believe that studying with one person for three or four years could be a real asset to one's development. Every time you switch teachers you have to (both) go through an adjustment period, and it would be a pain to have to do that every year. Although I can't speak for other schools, at IU there always exists oportunities to gain insight from other teachers through juries, masterclasses, and the like, so it's not at all as if your current teacher is the only one accesible. If all it took was "gaining bits and pieces", all we would need to do to become great players would be to attend numerous masterclasses and spend all day in a practice room. But it's not. One needs to have someone who can objectively evaluate their playing _over an extended period of time_. That's what improvement's all about. So find a good teacher who you can work with, and study with that person for as long as you can still progress toward your goals (could be months or YEARS) Beth Lewis PS: If any of this seems incoherent grammatically or otherwise, rest assured that it is only because I've had to "lerne Deutsch" for the past 4+ hours, not because of some kind of mental condition (unless you consider the desire to take a German class a symptom of a mental disorder :) On Sun, 20 Feb 2000, Adolphus Sprott wrote: > This question is really one the will have opinionated answers, but I would > like to hear what everyone has to say regarding this situation. If I attend > a university with multiple trombone professors, would I be better off > studying with one person for four years, or working with 2 or 3 people for a > year or two each? So, would it be to my benefit to gain a whole lot from > one person or to gain bits and pieces from several people? All thoughts and > suggestions would be appreciated. > > Weston Sprott > > > From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 18:39:38 -0600 From: Jay Heltzer To: trombone Subject: Re: college and multiple instructors Message-ID: <38B08949.D166EDAF@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 Adolphus Sprott wrote: > This question is really one the will have opinionated answers, but I would > like to hear what everyone has to say regarding this situation. If I attend > a university with multiple trombone professors, would I be better off > studying with one person for four years, or working with 2 or 3 people for a > year or two each? So, would it be to my benefit to gain a whole lot from > one person or to gain bits and pieces from several people? All thoughts and > suggestions would be appreciated. > > Weston Sprott MHO, I attended Indiana University for this very reason. I wanted to study with Ed Anderson, but I knew that I would have M. Dee Stewart (hi Mr. Stewart) and Keith Brown at my disposal for additional help. I also knew that the three professors shared the masterclass responsibilities each week, so in essence, I was able to benefit from their expertise without leaving the studio I was in. Additionally, i took the opportunity to simply book lesson times on my own with the other professors just for additional opinions. If you are applying to a school with more than one instructor for your instrument, you should regardlessly take advantage of the opportunities presented to you. Furthermore, if you are going to be an undergrad student, this could be a very important time in your development as a musician. Pick one professor and get the most out of them. If you feel that they are not right for you, switch. Trust me, you will know. Don't plan on jumping ship before you arrive. See what your first choice is like. As I mentioned, you can always take individual lessons with whomever you want, which includes every other professor the school has to offer, ie. tuba, trumpet, clarinet, viola, conductor, etc. Hope this helps, Jay Heltzer MM Indiana University '98 From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 18:44:15 -0600 (CST) From: Donn Schaefer To: Adolphus Sprott Cc: "Trombones and related issues forum." Subject: rotational system and two teachers (was) Re: college Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Good question. I would try to gather as much knowledge from as many sources as possible. Some tricks and methods will work and others won't. I think it is a good idea to work with a variety of teachers. One potential drawback is that some teachers will have a hidden strategy as they help you develop as a player. They may choose not to work on a specific area of playing until you develop another. In this case, it might be best to stick with one teacher for a longer period of time. David Gier and I had an innovative system of teaching at the University of Iowa. We called it the "Rotational System" of teaching. Each student had a primary teacher. Dr. Gier would take the strongest students while I would work on the younger players. Out of every four lessons, one would be spent with the secondary teacher. This allowed each student to have similar concepts reinforced by two teachers. Gier and I would frequently discuss a student's progress and formulate a plan of attack. The students enjoyed this approach and often saw a rotation lesson as a chance to show off their progress. It was also a good opportunity for me to develop my teaching skills working in conjunction with an established trombone teacher. A final thought: some teachers will be offended if you take lessons with another teacher. Discuss your intentions before taking lessons "behind your teacher's back." If they have a problem with outside lessons or switching teachers, they might not be a good choice in teachers. Good Luck! Donn Schaefer On Sun, 20 Feb 2000, Adolphus Sprott wrote: > Date: Sun, 20 Feb 2000 18:03:22 -0600 > From: Adolphus Sprott > To: Trombones and related issues forum. > Subject: college > > This question is really one the will have opinionated answers, but I would > like to hear what everyone has to say regarding this situation. If I attend > a university with multiple trombone professors, would I be better off > studying with one person for four years, or working with 2 or 3 people for a > year or two each? So, would it be to my benefit to gain a whole lot from > one person or to gain bits and pieces from several people? All thoughts and > suggestions would be appreciated. > > Weston Sprott > > > From ???@??? Mon Feb 21 08:38:22 2000 Date: Sun, 20 Feb 2000 19:48:05 EST From: Amtrom1@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Conn Bassbones Message-ID: <34.19f09b8.25e1e545@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I talked with a UMI rep lately and he informed me that they are hoping to release a new bass trombone within the year. It supposedly is going to be based on the old 62H, but will have the tuning in the bell section and not on the slide. Who knows what options Conn will come up with, but I'm pretty sure the prototype that Bill Reichenbach is playing has a 9.5 inch bell. Aaron Moats Eastman School of Music PRISM Brass Quintet From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 19:03:18 -0600 (Central Standard Time) From: "Talley, Brian Lee" To: Adolphus Sprott Cc: "Trombones and related issues forum." Subject: Re: college Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I believe that your last idea about studying primarily with one person for four years and getting tips and advice here and there from other people is the way to go. When studying with one person you achieve a greater student-teacher realtionship and understanding. Sometimes it doesn't take long for you to understand what your teacher is trying to tell you and sometimes it takes reptition of those ideas from that person to make you understand what ideas are trying to be brought across. For myself (I'm a senior at the Blair School of Music at Vanderbilt University) certain things my teacher had been telling me over the last three years really clicked in me last semester and I've made as much, or even more progress as a musician in the last three months than I had over the last three years. I acredit that to the repitition of certain ideals my teacher (Lawrence Borden) constantly tells me in my lessons. Only when true understanding between the master and the pupil is reached is when substantial progress happens and goals are achieved. I have taken lessons with a few other people around town here (Nashville) and that helps to get different perspectives and interpretations on either the music you have prepared or your playing specifically. I recommend that you try to find one teacher for undergrad tenure. If the situation comes up that you and your teacher have conflicting interests or personalities then you can try to switch teachers, that is if your school has more than one. Also, in this situation you shouldn't worry at all about upsetting and offending your current teacher. You are at school to get the best education possible and if that means switching teachers then so be it. That teacher will most often understand the situation and respect your decision, at least they should. I hope that I gave you some good insight. Brian Talley Bass bone @ Blair School of Music ----------------------------------------------------------------- Talley, Brian Lee Vanderbilt University Email: brian.l.talley@Vanderbilt.Edu From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 19:08:31 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: Finding the spot... Message-ID: <4.2.2.20000220190646.00a6e950@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit At 03:26 PM 2/19/00 +0000, Josh Grisham wrote: > >We had our solo competitions two weeks ago, where I played Blue Bells, and, >yes, we have to play it by memory if we want to go on to state competitions. I'm glad this worked out so well for you, Josh. However, my point was that I don't believe these pieces should have to be memorized. Are we working on MUSICIANSHIP or MEMORIZATION? Or are they intertwined? Hmm. I feel a thread coming on... Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 19:13:04 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: Conn Bassbones Message-ID: <4.2.2.20000220191228.00a6eb70@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit At 07:48 PM 2/20/00 -0500, Amtrom1@aol.com wrote: >I talked with a UMI rep lately and he informed me that they are hoping to >release a new bass trombone within the year. It supposedly is going to be >based on the old 62H, but will have the tuning in the bell section and not on >the slide. Who knows what options Conn will come up with, but I'm pretty >sure the prototype that Bill Reichenbach is playing has a 9.5 inch bell. > >Aaron Moats >Eastman School of Music >PRISM Brass Quintet Sure would be nice to have tining on the main slide as an OPTION. Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 19:14:44 -0700 From: Earl Needham To: "Adolphus Sprott" , "Trombones and related issues forum." Subject: Re: college Message-ID: <4.2.2.20000220191324.00a71920@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit At 06:03 PM 2/20/00 -0600, Adolphus Sprott wrote: >This question is really one the will have opinionated answers, but I would >like to hear what everyone has to say regarding this situation. If I attend >a university with multiple trombone professors, would I be better off >studying with one person for four years, or working with 2 or 3 people for a >year or two each? So, would it be to my benefit to gain a whole lot from >one person or to gain bits and pieces from several people? All thoughts and >suggestions would be appreciated. > >Weston Sprott Does it have to be either on or the other? Why not study with ONE instructor for four years, as your "regular" instructor, with an occasional lesson from the others as you wishes, money, and needs dictate? Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 19:17:18 -0700 From: Earl Needham To: "Trombones and related issues forum." Subject: Re: Conn Bassbones Message-ID: <4.2.2.20000220191642.00aaa990@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit At 07:13 PM 2/20/00 -0700, Earl Needham wrote: Sure would be nice to have tining on the main slide as an OPTION. Uh -- I meant TUNING! Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 22:18:53 EST From: JazzDiva16@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Finding the spot... Message-ID: <18.10f06d8.25e2089d@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I know the feeling. I've got a piano competition coming up soon. In fact, I can't use my music on any performance/audition/etc. That kinda makes sense though, I guess!?!? From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 22:15:43 -0600 From: daboneman To: Adolphus Sprott Cc: "Trombones and related issues forum." Subject: Re: college Message-ID: <38B0BBEF.DECC6E7B@mciworld.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit I think that you should have one primary instructor and utilize the others for other viewpoints... just don't use those viewpoints against each other in the lessons. Last thing you want to do is start a feud between the instructors due to viewpoints... keep in mind that they are all trying to get you to the same goal. Adolphus Sprott wrote: > This question is really one the will have opinionated answers, but I would > like to hear what everyone has to say regarding this situation. If I attend > a university with multiple trombone professors, would I be better off > studying with one person for four years, or working with 2 or 3 people for a > year or two each? So, would it be to my benefit to gain a whole lot from > one person or to gain bits and pieces from several people? All thoughts and > suggestions would be appreciated. > > Weston Sprott From ???@??? Mon Feb 21 08:38:23 2000 Date: Sun, 20 Feb 2000 20:46:43 -0800 From: "Rod Ellard" To: , "Trombones and related issues forum." Subject: Re: Conn 88HO vs. Everything Else Message-ID: <000701bf7c26$a9d56800$1bb794d1@ellard> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Has anyone won a major audition playing an 88H recently? Rod From ???@??? Mon Feb 21 08:38:23 2000 Date: Mon, 21 Feb 2000 00:20:33 -0500 (EST) From: Beth Lewis To: Rod Ellard Cc: "Trombones and related issues forum." Subject: Re: Conn 88HO vs. Everything Else Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I don't know any intimate details to this and do not claim to, but my ex-teacher made it into the finals of a major audition and purchased an 88H immediately before the final round (which was months after the prelims). I don't know if it was something he took upon himself or if he was actually told to find one before the finals (that section plays Conns), but, technically, he "recently won a major audition playing an 88H." Judging from this and the recent Philadelphia audition one might be led to the assumption that if you play well enough, auditioners aren't as likely to dismiss you because of your choice of equipment as one might think, yes? Beth Lewis On Sun, 20 Feb 2000, Rod Ellard wrote: > Has anyone won a major audition playing an 88H recently? > > Rod > >