TROMBONE-L Digest 1605

Topics covered in this issue include:

  1) RE: Finding the spot...
	by "Richardson, Tim" <richardt@LEE.ARMY.MIL>
  2) Re: George Washington's Birthday (was:OTJ classifieds)
	by Derrick Parker <DerrickParker@compuserve.com>
  3) RE: Finding the spot...
	by Earl Needham <KD5XB@AMSAT.ORG>
  4) RE: Mouthpiece Buzzing
	by "Guion, David" <8guion@jmls.edu>
  5) Seating order vs. quality of play (was: Texas All State)
	by "Tom C. Shaddox" <Tom.Shaddox@fnc.fujitsu.com>
  6) RE: Finding the spot...& memorization
	by "Richardson, Tim" <richardt@LEE.ARMY.MIL>
  7) mouthpiece buzzing
	by "Richardson, Tim" <richardt@LEE.ARMY.MIL>
  8) RE: Mouthpiece Buzzing
	by Daniel Maslowski <demaslo@ilstu.edu>
  9) Test
	by List Monitor <tsks@cjnetworks.com>
 10) Ron Barron's Hindemith CD
	by Chris Waage <basstbn@waageworks.com>
 11) Re: Dallas Wind Symphony
	by "Tom C. Shaddox" <Tom.Shaddox@fnc.fujitsu.com>
 12) 2000 Summer Trombone Camps
	by "chasanov" <chasanov@email.msn.com>
 13) Trombone minutia during "Topsy-Turvy"
	by "Tom C. Shaddox" <Tom.Shaddox@fnc.fujitsu.com>
 14) Doug Yeo Signature Mouthpiece
	by Chris Waage <basstbn@waageworks.com>
 15) Re: Doug Yeo Signature Mouthpiece
	by "Chuck De Paolo" <chuck@hickeys.com>
 16) Re: Doug Yeo Signature Mouthpiece
	by Dennis Clason <dclason@nmsu.edu>
 17) Re: Doug Yeo Signature Mouthpiece
	by Douglas Yeo <yeo@yeodoug.com>
 18) Re: Doug Yeo Signature Mouthpiece
	by JFBermann@aol.com
 19) Re: Doug Yeo Signature Mouthpiece
	by "Chuck De Paolo" <chuck@hickeys.com>
 20) Re: Doug Yeo Signature Mouthpiece
	by Douglas Yeo <yeo@yeodoug.com>
 21) Re: Conn Bassbones
	by Bear0Bones@aol.com
 22) Re: Doug Yeo Signature Mouthpiece
	by "Kenneth Dowdy" <ksdowdy@email.msn.com>
 23) Re: Charles Mingus
	by "Kenneth Dowdy" <ksdowdy@email.msn.com>
 24) Re: Conn Bassbones
	by "Rodney Ellard" <ellard@sprint.ca>
 25) Grondahl Orchestra Parts
	by "Bryce L. Mecham" <bmecham@usa.net>
 26) Teflon Treatments?
	by Jeff Hettling <bopper@info.starpoint.net>
 27) Re: Teflon Treatments?
	by "Chad Horsley" <tbneplyer@mindspring.com>
 28) Of Sailors and Whales
	by NSTARVT@aol.com
 29) Re: Teflon Treatments?
	by "Kenneth Dowdy" <ksdowdy@email.msn.com>
 30) THE LIST TROLL
	by Listmonitor Trombone-L <tsks@cjnetworks.com>
 31) Re: Of Sailors and Whales
	by JazzDiva16@aol.com
 32) Arthur Pryor
	by Zemry@aol.com
 33) New Mute
	by Zemry@aol.com
 34) Re: Doug Yeo Signature Mouthpiece
	by BRASSRX@aol.com
 35) Re: New Mute
	by Beth Lewis <ealewis@indiana.edu>
 36) Meinl Weston/Melton
	by Beth Lewis <ealewis@indiana.edu>
 37) Re: New Mute
	by "Gary Maxwell" <gdmaxwell@lightspeed.net>
 38) Brass Quintet Music for sale on eBay
	by "Jim O'Briant" <jobriant@garlic.com>
 39) Re: THE LIST TROLL
	by MikeSuter@aol.com
 40) Re: Arthur Pryor
	by MikeSuter@aol.com
 41) Re: Arthur Pryor
	by Bodie Pfost <bpfost@wcinet.net>
 42) Attn: UK based teachers
	by 108509@wilbur.ld.swin.edu.au (Simon Greatwood)




From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 08:31:47 -0500
From: "Richardson, Tim" <richardt@LEE.ARMY.MIL>
To: "'Earl Needham'" <KD5XB@AMSAT.ORG>, trombone-l@lists.missouri.edu
Subject: RE: Finding the spot...
Message-ID: <21E592FA8BA7D311B5B100062B001FE2082F60@LEE2>

Sorry I missed the start of this thread but,
I vote for memorization.  
Unless you are one of those rare people who just can't memorize, put in the
slight extra effort and get it done.  No different from learning the B nat
harmonic minor scale, just one of the things you work on.  (course I still
can't get that scale, but I'm making progress on C flat).  Personally I
don't see how you can play a piece enough times to learn it without pretty
much memorizing it in the process anyway.  
/tim

> -----Original Message-----
> From:	Earl Needham [SMTP:KD5XB@AMSAT.ORG]
> Sent:	Sunday, February 20, 2000 9:09 PM
> To:	trombone-l@lists.missouri.edu
> Subject:	Re: Finding the spot...
> 
> At 03:26 PM 2/19/00 +0000, Josh Grisham wrote:
> ><snip>
> >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 N34o25.446' W103o12.700' (or so)
> 
> Pet peeve: breath is a noun,  breathe is a verb (When you take a breath, 
> you breathe...)
> 

From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 08:48:55 -0500
From: Derrick Parker <DerrickParker@compuserve.com>
To: Trombone and related <trombone-l@lists.missouri.edu>
Subject: Re: George Washington's Birthday (was:OTJ classifieds)
Message-ID: <200002220849_MC2-9A1E-4ED4@compuserve.com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Disposition: inline
Content-Transfer-Encoding: 8bit

Message text written by Dynamic Dave Hankin
>Trombone related content:  I play the trombone!!!<

Sorry Dave, trombone content not allowed. I've heard you!

Derrick (still lurking) Parker

From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 08:08:35 -0700
From: Earl Needham <KD5XB@AMSAT.ORG>
To: "Richardson, Tim" <richardt@LEE.ARMY.MIL>, trombone-l@lists.missouri.edu
Subject: RE: Finding the spot...
Message-ID: <4.2.2.20000222080534.00bfadf0@127.0.0.1>
Mime-Version: 1.0
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<x-flowed>At 08:31 AM 2/22/00 -0500, Richardson, Tim sent:
>Sorry I missed the start of this thread but,
>I vote for memorization.
>

         You might not if you saw the start.  Here's what I posted:

>         Similar thing happened to me some 30 years ago, only in Blue Bells.
>         Back then, we had to MEMORIZE our piece and the variations just 
> ate me up.
>  I finally had to stop, look at the piano score, and go again.  And guess
>what?  That gave me an instant 4 (with 5 being the lowest score possible)!
>No chance for anything higher since I hadn't MEMORIZED the piece...
>
>         YES, I still think the requirement was flawed, and YES, it still 
> bothers
>me sometimes.  I played a LOT better than a 4.  And it soured me on music
>for a few years, but I was fortunate enough to get going again later.

         This was when I was in high school.  I have countless marches 
memorized, even some of the movements from the Bach cello suites, various 
pieces of band literature, etc.  But I STILL can't play Blue Bells from 
memory, and I've worked on it off and on for thirty years.  The variation 
just get me all befuddled...

         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...)


</x-flowed>
From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 08:55:42 -0600
From: "Guion, David" <8guion@jmls.edu>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: RE: Mouthpiece Buzzing
Message-ID: <E6199363662DD31182E600A024488B2649224A@marshall.jmls.edu>
MIME-Version: 1.0
Content-Type: text/plain

Dan Maslowski wrote,

> What are the benefits of buzzing?  Well, simply....if I'm
> having trouble with my physical side of playing, like not being able to
> focus a certain note or lick on the trombone, then I make it even more
> basic by buzzing it.  If you can hear it, then you can get to buzzing
> it...if you can buzz it, you can begin to play it.  That may seem
> confusing, but if you read it as it is written I think you understand
> where I am coming from.  If I can say anything more about buzzing...use
> it to focus individual notes or licks that may be giving you a hard time
> on the horn then...put it to the horn.  
> 
Funny this should turn up in  my mailbox this morning! Just last night, I
was having trouble with a passage that had accented notes in the
upper-middle register. At the volume marked, all ot the notes cracked when I
tried to accent them. So---I took the mouthpiece out of the horn, got my
trusty twelve inches of plastic tubing and decided to buzz it. I could not
buzz those notes. Not any of them. I could buzz lower. I could buzz higher.
But I could not buzz the notes from about d' or e' to g'-sharp. So I set
about glissing through that register and eventually made it work, but by
that time I was wondering if I was doing something weird with my embouchure
and put my mouthpiece back in my trombone. I immediately tongued the passage
cleanly and loudly. Maybe it worked  :-)

It occurs to me as I write that I probably would not have had any trouble
with those notes without the plastic tubing. I got it to help me buzz low.
But what's going on?

^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^
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 ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 09:11:12 -0600
From: "Tom C. Shaddox" <Tom.Shaddox@fnc.fujitsu.com>
To: trombone-l@lists.missouri.edu
Subject: Seating order vs. quality of play (was: Texas All State)
Message-ID: <38B2A710.BD351ADD@fnc.fujitsu.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Think the seating order is wrong?  Know you're a better player than some
sat "above" you? Feel like you've been the victim of the greatest
injustice since Brutus plunged his dagger into Caesar?


After he first tried out for the Sousa Band, Author Pryor sat second
chair.

Tom Shaddox, 9th chair tenor

JPS: "Frank, you finally played that passage right."
Holton: "It wasn't me, Mr. Sousa, it was the new boy, Pryor."


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 10:16:55 -0500
From: "Richardson, Tim" <richardt@LEE.ARMY.MIL>
To: "'Earl Needham'" <KD5XB@AMSAT.ORG>
Cc: "'bonepost'" <trombone-l@lists.missouri.edu>
Subject: RE: Finding the spot...& memorization
Message-ID: <21E592FA8BA7D311B5B100062B001FE2082F61@LEE2>

Ah, I see, and can agree with you.

While in college, on spring break tour with the concert band, our encore
number was Sousa's (sic) "President's Own" march.  I never succeeded in
learning the triplet runs in the trio cleanly, though I put a lot of effort
into it.  I came to hate that piece, no reason I shouldn't have been able to
play it but I developed a mental block.  Later on as a grownup I tried to
find the music, only to discover no record of it in the Sousa composition
list.  Last year I happened to be allowed to sit in with a pretty good brass
quintet, and one of the pieces we sight read was Sousa's (sic) "President's
Own," with that trio part as solo trombone.  Only thing different was they
spelled Sousa F-I-L-L-M-O-R-E, which went a long way to explaining why I had
never found it.  I am more skilled now than I ever was in college, and I am
sure I played closer to the notes, though not as well as I liked!  But every
feeling of frustration I'd ever had in college playing that thing came back
instantly when I saw the music again.  It wasn't 30 years like your case,
but let's see, 1999 - 1974, well 25 years is pretty close.  

I still think some things should be memorized.   Isn't the Bozza one where
the composer's notes require it, yet I've seen people play it off the sheet?
And it does not have the impact.  To me watching a person read the sheet
music puts an extra layer of abstraction between the performer and the
audience.  Whether playing or listening I feel the communication is more
direct and immediate without a music stand to hide behind and absorb your
eye contact.  
yours,
tim richardson



> -----Original Message-----
> From:	Earl Needham [SMTP:KD5XB@AMSAT.ORG]
> Sent:	Tuesday, February 22, 2000 10:09 AM
> To:	Richardson, Tim; trombone-l@lists.missouri.edu
> Subject:	RE: Finding the spot...
> 
> At 08:31 AM 2/22/00 -0500, Richardson, Tim sent:
> >Sorry I missed the start of this thread but,
> >I vote for memorization.
> >
> 
>          You might not if you saw the start.  Here's what I posted:
> 
> >         Similar thing happened to me some 30 years ago, only in Blue
> Bells.
> >         Back then, we had to MEMORIZE our piece and the variations just 
> > ate me up.
> >  I finally had to stop, look at the piano score, and go again.  And
> guess
> >what?  That gave me an instant 4 (with 5 being the lowest score
> possible)!
> >No chance for anything higher since I hadn't MEMORIZED the piece...
> >
> >         YES, I still think the requirement was flawed, and YES, it still
> 
> > bothers
> >me sometimes.  I played a LOT better than a 4.  And it soured me on music
> >for a few years, but I was fortunate enough to get going again later.
> 
>          This was when I was in high school.  I have countless marches 
> memorized, even some of the movements from the Bach cello suites, various 
> pieces of band literature, etc.  But I STILL can't play Blue Bells from 
> memory, and I've worked on it off and on for thirty years.  The variation 
> just get me all befuddled...
> 
>          Earl
> 
> 
> Earl Needham, KD5XB    mailto:KD5XB@AMSAT.ORG
> Clovis, New Mexico	DM84jk N34o25.446' W103o12.700' (or so)
> 
> Pet peeve: breath is a noun,  breathe is a verb (When you take a breath, 
> you breathe...)

From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 10:47:24 -0500
From: "Richardson, Tim" <richardt@LEE.ARMY.MIL>
To: "'bonepost'" <trombone-l@lists.missouri.edu>
Subject: mouthpiece buzzing
Message-ID: <21E592FA8BA7D311B5B100062B001FE2082F62@LEE2>

Two stories:
A couple of years ago I had to travel to Alabama on business.  I brought my
mouthpiece and a tuning fork, and did much of my regular routine each day
alternating free and mouthpiece buzzing.  I came back, picked up my horn,
and literally could not play a note.  A week of buzzing had taught me enough
bad habits I could not get a tone out at all, and I had a performance
scheduled that Sunday. I played all weekend long into the night doing gentle
long tones and lip slurs and got it working again, but only after some
period of total panic.  

Last week I had to go back to the same place in Alabama again.  I brought my
mouthpiece again.  This time I did ONLY the mouthpiece buzzing that is part
of my regular routine, the glisses out of Doug's book.  (Which took me a
year to learn, but that's another story).  No extra time, no additional
exercises, only what I am used to doing and confident I can do correctly.
The only change was that I breathed through my nose without relaxing my
chops, which makes any exercise very tiring, and can exhaust you in minutes
if done correctly.  (I believe that suggestion came from list member Larry
Borden.)  Results?  I can detect practically no decrement from a week away
from the horn.  And at my level of skill, believe me, I can't afford any
decrement!  <grin> This time the mouthpiece practice worked.  (and maybe it
proves even us oldtimers sometimes learn from our mistakes)
yours,
tim richardson


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 10:21:31 -0600 (CST)
From: Daniel Maslowski <demaslo@ilstu.edu>
To: "Guion, David" <8guion@jmls.edu>
Cc: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: RE: Mouthpiece Buzzing
Message-ID: <Pine.GSO.4.10.10002221007460.24349-100000@gawain.ilstu.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Tue, 22 Feb 2000, Guion, David wrote:
 
> Funny this should turn up in  my mailbox this morning! Just last night, I
> was having trouble with a passage that had accented notes in the
> upper-middle register. At the volume marked, all ot the notes cracked when I
> tried to accent them. So---I took the mouthpiece out of the horn, got my
> trusty twelve inches of plastic tubing and decided to buzz it. I could not
> buzz those notes. Not any of them. I could buzz lower. I could buzz higher.
> But I could not buzz the notes from about d' or e' to g'-sharp. So I set
> about glissing through that register and eventually made it work, but by
> that time I was wondering if I was doing something weird with my embouchure
> and put my mouthpiece back in my trombone. I immediately tongued the passage
> cleanly and loudly. Maybe it worked  :-)
> 
> It occurs to me as I write that I probably would not have had any trouble
> with those notes without the plastic tubing. I got it to help me buzz low.
> But what's going on?

I'm sure there are plenty other ideas out there to this question, but
since this issue tends to bring about verbal wars among what is right
and what isn't, I just want to say that the things I say work for me,
but not always for others.  If you would like to take in what I say and
try it...great, I just want to share any knowledge I may have gained.
	
I like to buzz with just my mouthpiece...no tubing attached.  But even
better than that, I like to use a mouthpiece that I had cut, so that
only half of the cup is still present while both the shank and rim
stayed in tack.  This I found to be even more helpful in actually
"seeing" (if I go in front of a mirror) what is going on with my
embouchure, but more importantly, to make myself blow air to make a
sound.  With half the cup still present, it gives you a little bit of
resistance (the kind you might feel when buzzing on your mouthpiece
alone), while with half of the cup gone, makes it feel more like a free
buzz of sorts.  Soo...what am I getting at?  There is no right or wrong.
Yeah, you can buzz and buzz and still not get the sound or the accuracy
you desire, but I think that comes from too much tension.  If you relax,
listen to the sound in your head and buzz to that...then eventually you
should be able to become more accurate.  Again, I'm not a scientist, and
this isn't the RIGHT or the WRONG way...just some ideas that I found out
when playing, buzzing, whatever.  Just so long as you can keep yourself
relaxed and still keep "your" embouchure, then buzzing helps.  Wow, I
might have gone off on a big tangent there...there is just SO much when
it comes to this and really one word could give a person the wrong idea
about what I'm REALLY trying to say.  If anyone on the list would like
to reply back to me privately for more detail or if they are confused,
PLEASE DO SO.  Like I said, don't want to send the wrong message. 
		-Dan Maslowski


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 10:45:02 -0600
From: List Monitor <tsks@cjnetworks.com>
To: Trombone-L <trombone-l@lists.missouri.edu>
Subject: Test
Message-ID: <B4D8192D.3%tsks@cjnetworks.com>
Mime-version: 1.0

??-?4(0.P? L??L??L???  U3p:
??Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

This is merely a test message.  Please disregard


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 11:32:39 -0600
From: Chris Waage <basstbn@waageworks.com>
To: Trombone-L <trombone-l@lists.missouri.edu>
Subject: Ron Barron's Hindemith CD
Message-ID: <v04220801b4d87857f24a@[206.52.159.95]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

<x-flowed>I just received my monthly trombone treat (if I order more than one 
trombone-related item a month, I sleep on the couch... ;-)

Ron Barron's "Hindemith on Trombone" CD.

Boston Brass, BB-1002 CD

I picked it up from Hickey's, and it is absolutely wonderful!

Chris
_____________________________________________
Chris Waage            basstbn@waageworks.com
       Visit The Mouthpiece Exchange at
          http://www.waageworks.com
_____________________________________________

</x-flowed>
From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 11:38:43 -0600
From: "Tom C. Shaddox" <Tom.Shaddox@fnc.fujitsu.com>
To: trombone-l@lists.missouri.edu
Subject: Re: Dallas Wind Symphony
Message-ID: <38B2C9A2.7EEC0A00@fnc.fujitsu.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Jimmy Clark wrote:
>The Dallas Wind Symphony is presenting a program tomorrow night,
Tuesday at
>8:00PM in the Meyerson Symphony Center in Dallas.

The program is selections from their Grammy nominated CDs. If you can't
make the concert, and if you've never heard a really great, top drawer,
professional wind band, add a DWS CD to your recording library!  (I bet
Jimmy can make suggestions.)

The decade old Meyerson Symphony Center is an absolute jewel.  In this
new age of huge, multipurpose facilities, the Meyerson is a small,
dedicated concert hall.   I hope all of you have a chance to be there
someday, either in the audience or preferably on stage.

Conductor Jerry Junkin has a wonderful rapport with the crowd.  It's
like inviting him over for dinner and listening to him talk about
music.  This is not to say that he's laid back and casual - I've seen
him conduct the final chord of a piece while jumping sideways off the
dais onto the stage, drenched in sweat, his hair disheveled and with his
shirt tail half untucked! He doesn't ask Jimmy, Bob or Barney to stand
for recognition very often, though, so I wonder if he has a "trombone
prejudice".  Probably not, but, gee, it's not like they can't burn the
barn down when they play.

The January DWS concert had uncharacteristically light attendance, due
no doubt to the cancellation of an appearance by the godfather of modern
wind bands, Frederick "I once played the bass drum for Sousa" Fennell.
86 year old Dr. Fennell missed the concert to have rotator cuff surgery
- 60+ years of conducting will do that to a body.  You gotta love this,
though: he sent word that he'd be back in January, 2001!

Those not in attendance in January missed one of the DWS's finest
concerts - the audience was still on their feet applauding and cheering
when the house manager turned the lights up to get us to go home after
the encore drew two additional "curtain" calls. (There's actually not a
curtain at this purpose-built hall.)

Lastly, rumor has it that DWS founder Kim Campbell is a trombonist.

Tom Shaddox, 9th chair tenor


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 12:52:43 -0600
From: "chasanov" <chasanov@email.msn.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: 2000 Summer Trombone Camps
Message-ID: <004e01bf7d66$0158db80$6e0f1b3f@cso.uiuc.edu>
MIME-Version: 1.0
Content-Type: multipart/alternative;
	boundary="----=_NextPart_000_004B_01BF7D33.B5BB0540"

<x-html><!x-stuff-for-pete base="" src="" id="0"><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content="text/html; charset=iso-8859-1" http-equiv=Content-Type>
<META content="MSHTML 5.00.2314.1000" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT face=Arial size=2>
<P><B><FONT size=+2>2000 Illinois Summer Youth Music Trombone Camps<BR>July 
16-22, 2000<BR>Sunday thru Saturday (7 days) </FONT></B><BR>
<P><FONT size=+1>University of Illinois at Urbana-Champaign</P>
<DIV align=left><U>Faculty</U><BR>Elliot Chasanov, University of 
Illinois<BR>Marc LaChance, Eastern New Mexico University <BR>William Rose, 
McNeese State University<BR>Michael Wheeler, former bass trombonist, U.S. Air 
Force Band, Washington, D.C.</DIV>
<DIV align=left>&nbsp;</DIV>
<DIV align=left><FONT size=+1>2000 ISYM Senior Trombone Camp</FONT><BR>(Entering 
Grade 10-completed grade 12)</DIV>
<DIV align=left><FONT size=+1>2000 ISYM Junior Trombone Camp 
</FONT><BR>(Entering Grade 7-entering grade 9)</DIV>
<DIV align=left>Features of Both Camps:</DIV>
<DIV align=left>Daily Masterclasses<BR>Coached Trombone Quartets<BR>Large 
Trombone Choirs<BR>Technique Classes<BR>Focus on Development of Fundamentals and 
Musicianship</DIV>
<P align=left>Two Trombone Camps are offered each summer during the ISYM 
program.<BR>Their goal is to develop technical and musical skill in young 
trombonists.<BR>Daily masterclasses, technique sessions, quartet coachings and 
<BR>large trombone choir rehearsals are used as vehicles to achieve these 
goals.<BR><BR>The typical day begins with warm-up and technique sessions. 
<BR>Following the warm-up, the students progress to large choir and quartet 
rehearsals and masterclasses.<BR>The afternoon is filled with more coaching and 
rehearsing culminating in a large choir rehearsal.</P>
<P>for more information on ISYM 2000 contact:<BR>Illinois Summer Youth Music</P>
<P>1005 W. Nevada St.<BR>Urbana, IL 61801<BR>USA<BR>or call 217/333-1580 for an 
application<BR></FONT></FONT><FONT face=Arial size=2></FONT></P>
<P><FONT face=Arial size=2>Elliot L. Chasanov, Professor of 
Trombone<BR>University of Illinois School of Music<BR>1114 W Nevada 
St<BR>Urbana, IL 61801<BR>Phone/Fax: 217.333.6674<BR><A 
href="mailto:echasano@uiuc.edu">echasano@uiuc.edu</A><BR>UI Trombone Site:<BR><A 
href="http://www.uiuc.edu/~echasano">http://www.uiuc.edu/~echasano</A><BR>2000 
ISYM Trombone Camps:<BR><A 
href="http://www.staff.uiuc.edu/~echasano/isymtc.html">http://www.staff.uiuc.edu/~echasano/isymtc.html</A><BR>&nbsp;</FONT></P></DIV></BODY></HTML>

</x-html>
From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 13:20:34 -0600
From: "Tom C. Shaddox" <Tom.Shaddox@fnc.fujitsu.com>
To: trombone-l@lists.missouri.edu
Subject: Trombone minutia during "Topsy-Turvy"
Message-ID: <38B2E182.75966542@fnc.fujitsu.com>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Two scenes, as the camera pulls away from the pit musicians, for a few
seconds each in a three hour movie?  There, next to the straight tenor.
Do you see it? Yes! The "English Rose", a G bass trombone!

Kudos to those responsible.

Tom Shaddox, 9th chair tenor


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 15:35:28 -0600
From: Chris Waage <basstbn@waageworks.com>
To: Trombone-L <trombone-l@lists.missouri.edu>
Subject: Doug Yeo Signature Mouthpiece
Message-ID: <v04220807b4d8b158ac25@[206.52.159.95]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

<x-flowed>Here's some interesting news - I received a newsletter from Yamaha, 
and they are now offering all of their signature series mouthpieces 
(including the Doug Yeo) in silver alone at a lower price.

I don't know what the price will be, but it will probably be much 
less than the $195 list of the gold model!

Chris
_____________________________________________
Chris Waage            basstbn@waageworks.com
       Visit The Mouthpiece Exchange at
          http://www.waageworks.com
_____________________________________________

</x-flowed>
From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 16:55:03 -0500
From: "Chuck De Paolo" <chuck@hickeys.com>
To: <trombone-l@lists.missouri.edu>
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <00e201bf7d7f$7950f2d0$0200a8c0@ws2>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Chris and all,

We heard that too.  And as a result I've just finished adding both Yamaha's
Yeo and Trudel "Replica" mouthpieces to the new catalog (numbers 34499 and
34498 respectively).  It goes to press tommorrow - talk about making the
deadline!  They will sell for much less than the sig models - suggested list
price is $59.50 (list on the signature series is $195).  They are identical
in every way except for the gold plating.  Go figure.

In Music,
---Chuck
General Manager & Webmaster,
Trombone Catalog Editor

Hickey's Music Center
104 Adams Street
Ithaca, NY  14850

607.272.8262 (Phone)
607.272.2203 (Fax)
chuck@hickeys.com (E-Mail)
http://www.hickeys.com (Website)
http://208.134.241.150/weather/us/cities/NY_Ithaca.html (Weather)


----- Original Message -----
From: Chris Waage <basstbn@waageworks.com>
To: Trombones and related issues forum. <trombone-l@lists.missouri.edu>
Sent: Tuesday, February 22, 2000 4:35 PM
Subject: Doug Yeo Signature Mouthpiece


> Here's some interesting news - I received a newsletter from Yamaha,
> and they are now offering all of their signature series mouthpieces
> (including the Doug Yeo) in silver alone at a lower price.
>
> I don't know what the price will be, but it will probably be much
> less than the $195 list of the gold model!



From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 15:08:52 MST
From: Dennis Clason <dclason@nmsu.edu>
To: trombone-l@lists.missouri.edu
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <200002222210.PAA51306@nestor.NMSU.Edu>

** Reply to note from Chuck De Paolo <chuck@hickeys.com> 02/22/00  4:55pm -0500

Now hold it, boys and girls.  I can buy a silver mouthpiece for sixty bongos, and  
have my jeweler do heavy gold plate for $25 or so.  Where do the other hundred and  
ten bongos go?  Into my pocket?  It CAN'T be that expensive to do gold plating in  
Japan ... can it?

> We heard that too.  And as a result I've just finished adding both Yamaha's
> Yeo and Trudel "Replica" mouthpieces to the new catalog (numbers 34499 and
> 34498 respectively).  It goes to press tommorrow - talk about making the
> deadline!  They will sell for much less than the sig models - suggested list
> price is $59.50 (list on the signature series is $195).  They are identical
> in every way except for the gold plating.  Go figure.


Dennis L. Clason                                          email:  
dclason@nmsu.edu
Department of Economics / University Statistics Center
New Mexico State University
Las Cruces, New Mexico   USA


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:21:05 -0500
From: Douglas Yeo <yeo@yeodoug.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <v04210105b4d8bbc3f6c3@[168.122.15.195]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

<x-flowed>At 3:08 PM -0700 2/22/00, Dennis Clason wrote:

>Now hold it, boys and girls.  I can buy a silver mouthpiece for 
>sixty bongos, and
>have my jeweler do heavy gold plate for $25 or so.  Where do the 
>other hundred and
>ten bongos go?  Into my pocket?  It CAN'T be that expensive to do 
>gold plating in
>Japan ... can it?


Yes.  The process of plating the way Yamaha does is very expensive, 
plating only the throat, cup and rim.  Yamaha's plating on the 
signature series mouthpiece and their GP series is impeccable. Also, 
it is 24k, extremely durable as well.  I'm delighted the mouthpiece 
will be available in silverplate making it available to a larger 
group of players who might be interested in it.

BTW, the extra change hasn't gone into MY pocket, that's for sure!!!

-Doug Yeo

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

</x-flowed>
From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:20:31 EST
From: JFBermann@aol.com
To: chuck@hickeys.com, trombone-l@lists.missouri.edu
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <74.19e4a6d.25e465af@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Dear Chris, Chuck and Colleagues,
When I found out that Doug's mouthpiece and others in the signature
series were going to made available in a less expensive silver plated
version I was frankly quite disapointed in Yamaha. I've known Doug
for many years and am confident in what he says as gospel. It's my
understanding that Doug's mouthpiece is expensive because of the
way it is plated, in addition to development and production costs.
The premise behind the mouthpiece being plated as it is, has to do
not with the cosmetics of the mouthpiece, but the belief that the
gold plating inside the cup and inner shank makes a better path
for the airstream to follow, actually making it move faster. This
feature along with the physical specs all contribute to the idea
the mouthpiece originally intended to follow. I'm curious myself
to see how differently the NEW AFFORDABLE Yeo Mouthpiece
plays than it's original version. Doug, hope I didn't open up any
cans of worms. :o)


Jim Bermann

From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:50:46 -0500
From: "Chuck De Paolo" <chuck@hickeys.com>
To: "Trombone-L" <trombone-l@lists.missouri.edu>
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <011701bf7d87$41ad5a00$0200a8c0@ws2>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Jim & all,

Yamaha had told me point blank that the high cost of the signature
mouthpieces is due to the gold plating.  It would be one thing for them
plate the entire mouthpiece, doing so is not that big a deal.  But
apparently plating it half & half like they do is difficult, labor
intensive, and time consuming.  All three add up to alot of bucks involved
in the manufacturing process.  The mouthpiece is certainly a handsome unit,
and IMO the gold plating makes it more playable.  Personally I'm neutral on
the subject of gold innards helping or hindering -- I'll defer that issue to
the pros.  I do however advocate for gold rims as they make shifting and lip
motion much easier.  But, since the gold rim and innards makes these models
special, why not just gold plate the whole thing and bring it to market at
$100 MSRP instead of $200?  One of the mysteries of life!

---Chuck

> It's my
> understanding that Doug's mouthpiece is expensive because of the
> way it is plated, in addition to development and production costs.
> The premise behind the mouthpiece being plated as it is, has to do
> not with the cosmetics of the mouthpiece, but the belief that the
> gold plating inside the cup and inner shank makes a better path
> for the airstream to follow, actually making it move faster. This
> feature along with the physical specs all contribute to the idea
> the mouthpiece originally intended to follow. I'm curious myself
> to see how differently the NEW AFFORDABLE Yeo Mouthpiece
> plays than it's original version.



From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:52:07 -0500
From: Douglas Yeo <yeo@yeodoug.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <v04210106b4d8c2a69672@[168.122.15.195]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

<x-flowed>At 5:20 PM -0500 2/22/00, JFBermann@aol.com wrote:

>Dear Chris, Chuck and Colleagues,
>When I found out that Doug's mouthpiece and others in the signature
>series were going to made available in a less expensive silver plated
>version I was frankly quite disapointed in Yamaha.

Not to worry, Jim.  The mouthpiece will now be available in 
silverplate only AND the originally gold/silver plated version.

>I've known Doug
>for many years and am confident in what he says as gospel. It's my
>understanding that Doug's mouthpiece is expensive because of the
>way it is plated, in addition to development and production costs.
>The premise behind the mouthpiece being plated as it is, has to do
>not with the cosmetics of the mouthpiece, but the belief that the
>gold plating inside the cup and inner shank makes a better path
>for the airstream to follow, actually making it move faster. This
>feature along with the physical specs all contribute to the idea
>the mouthpiece originally intended to follow.


Yes, that is certainly a big part of why I like the mouthpiece, and, 
in addition, the feel of the gold plated rim.

>I'm curious myself
>to see how differently the NEW AFFORDABLE Yeo Mouthpiece
>plays than its original version. Doug, hope I didn't open up any
>cans of worms. :o)


No worms.  The original model in gold is rather expensive - may 
people have purchased it and like it.  However, the cost is more than 
a little stretch for many people who otherwise might buy a Schilke 60 
or Bach 1G instead.  By offering the mouthpiece in silverplate at a 
lower price, Yamaha is making the mouthpiece available to a whole 
different marketplace.  For those wanting all the benefits of the 
original design, that will still be available.  For those whom price 
is a significant deciding factor, the new all silverplate model is an 
option which I think will still compare favorably with other 
mouthpieces of similar sizes.

-Doug Yeo

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

</x-flowed>
From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:52:38 EST
From: Bear0Bones@aol.com
To: trombone-l@lists.missouri.edu
Subject: Re: Conn Bassbones
Message-ID: <d6.15991cf.25e46d36@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

In response to the questions about Conn Bass Trombones-
As some of you may know, I have been working with Conn (they might say 
bothering them) on this new bass trombone project for a couple of years.  My 
goal has always been to get them to reissue the 62-H with whatever modern 
upgrades seemed appropriate.  At this time, they are not planning to make any 
"slide tuning" horns, however the prototype which I have been using for about 
12 weeks is a great pleasure to play, even when I go back and forth between 
it and my old 62-H.  They have based the new bell on the 62-H/Fuchs bell and 
added new larger rotary valves which seem to allow a lot more sound from the 
trigger register.  I would imagine there will probably be a similar list of 
options to those of the current 88-H models.  
The horns will probably be on the market before the end on the year.

Bill Reichenbach

From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:32:06 -0600
From: "Kenneth Dowdy" <ksdowdy@email.msn.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <004e01bf7d8d$0a2c4f40$17190f3f@default>

Two toning a mouthpiece is very expensive.  I tried to have an old Conn of
mine plated to match the Connstellation mouthpieces that I have and found it
far cheaper to just gold plate the entire thing.  For those that like gold
and like hanging on to some of their money, the new Yamaha mouthpieces are
inexpensive enough to where you could ship them to Anderson for gold plating
and still be under the cost of a custom Schilke or a Doug Elliott.

Hat's off to Yamaha for this move!

Ken Dowdy

-----Original Message-----
From: Douglas Yeo <yeo@yeodoug.com>
To: Trombones and related issues forum. <trombone-l@lists.missouri.edu>
Date: Tuesday, February 22, 2000 4:49 PM
Subject: Re: Doug Yeo Signature Mouthpiece


<snip>
>
>
>No worms.  The original model in gold is rather expensive - may
>people have purchased it and like it.  However, the cost is more than
>a little stretch for many people who otherwise might buy a Schilke 60
>or Bach 1G instead.  By offering the mouthpiece in silverplate at a
>lower price, Yamaha is making the mouthpiece available to a whole
>different marketplace.  For those wanting all the benefits of the
>original design, that will still be available.  For those whom price
>is a significant deciding factor, the new all silverplate model is an
>option which I think will still compare favorably with other
>mouthpieces of similar sizes.
>
>-Doug Yeo
>
>                   **********************************************
>                   *                Douglas Yeo                 *
>                   * Bass Trombonist, Boston Symphony Orchestra *
>                   * Music Director, The New England Brass Band *
>                   *              yeo@yeodoug.com               *
>                   *           http://www.yeodoug.com           *
>                   *                    <><                     *
>                   **********************************************
>




From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:37:12 -0600
From: "Kenneth Dowdy" <ksdowdy@email.msn.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Charles Mingus
Message-ID: <006101bf7d8d$c029f860$17190f3f@default>

Thank you to all who posted a response to my question about Charles Mingus.
>From the responses that I have recieved, it seems that it would be difficult
to go wrong with any of his tunes.  And a big thanks to Sam for letting me
know what kind of music that CM composed and recorded.  Sounds like the
stuff I like to hear.  I am now eagerly awaiting the UPS truck.

Ken Dowdy


>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
>





From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 16:28:21 -0800
From: "Rodney Ellard" <ellard@sprint.ca>
To: <Bear0Bones@aol.com>,
        "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Conn Bassbones
Message-ID: <001a01bf7d94$eaf7bf80$b2e294d1@rod>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

What horn did you use on the recent Michael Davis tour? (specifically, in
Vancouver at the end of January?)

Rod

Bill wrote: "... the prototype which I have been using for about
>12 weeks is a great pleasure to play, even when I go back and forth between
>it and my old 62-H.
>


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 17:45:45 -0700
From: "Bryce L. Mecham" <bmecham@usa.net>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Grondahl Orchestra Parts
Message-ID: <38B32DB9.BDC9BA9D@usa.net>
MIME-version: 1.0
Content-type: text/plain; charset=us-ascii
Content-transfer-encoding: 7bit

Does anyone know the best source for obtaining orchestral parts to the
Grondahl Concertro?

Thanks

Bryce Mecham


From ???@??? Wed Feb 23 07:52:25 2000
Date: Tue, 22 Feb 2000 18:52:09 -0600
From: Jeff Hettling <bopper@info.starpoint.net>
To: Trombone-l <trombone-l@lists.missouri.edu>
Subject: Teflon Treatments?
Message-ID: <38B32F37.8D8CD267@starpoint.net>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

I just got back from playing an audition for a college schlorship.
Since I was at the college, I took advantage of a lesson from my jazz
improv teacher.  He had receantly had a Teflon treatment done to his
slide.  He stands by it, but I still have my doubts.  If any of you out
there have this treatment done to their slide what are the pros?
Cons?   Would this treatment need to be done more than once?
Thanks,
Jeff


From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 19:52:34 -0800
From: "Chad Horsley" <tbneplyer@mindspring.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Teflon Treatments?
Message-ID: <000a01bf7db1$6b724ec0$3996fea9@com>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

I use the same type stuff and I also believe it to be amazing. It is called
Superslide. I got it at the 98 ITF and 99 ITF. If you have doubts about if
it works or who uses it, call Joe Alessi..........because his slide has it
on it.
----------------------------------------------------
Chad Horsley
tbneplyer@mindspring.com
AIM....tbneplyer
----- Original Message -----
From: "Jeff Hettling" <bopper@info.starpoint.net>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Sent: Tuesday, February 22, 2000 4:52 PM
Subject: Teflon Treatments?


> I just got back from playing an audition for a college schlorship.
> Since I was at the college, I took advantage of a lesson from my jazz
> improv teacher.  He had receantly had a Teflon treatment done to his
> slide.  He stands by it, but I still have my doubts.  If any of you out
> there have this treatment done to their slide what are the pros?
> Cons?   Would this treatment need to be done more than once?
> Thanks,
> Jeff
>


From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 20:59:31 EST
From: NSTARVT@aol.com
To: trombone-l@lists.missouri.edu
Subject: Of Sailors and Whales
Message-ID: <2f.1d292a0.25e49903@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Hello,

The only trombone content of this enote is the fact that I heard about this 
piece (McBeth's "Of Sailors and Whales") on this list.

I have purchased it and now am looking at programming it for my high school 
band for our June concert.  I would like to find a recording of it.  Anyone 
have any ideas on where to look?

Thanks in advance - STEF

Steffen Parker
Colchester High School
Vermont All State Music Festival Director

From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 21:16:52 -0600
From: "Kenneth Dowdy" <ksdowdy@email.msn.com>
To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Teflon Treatments?
Message-ID: <000a01bf7dac$6ff2e720$f2180f3f@default>

My King 3B slide was just Teflon treated as part of the cleaning, polishing,
and alignment process performed by the "Slide Doctor".  Dr. Upchurch also
recommended the use of Superslick cream and Plus Oil.  The 3B slide was
dragging when I sent it to him, and it came back in far better condition
than it left.  I will certainly vouch for the quality of his work.  Also,
Dr. Upchurch was very good at letting me know what was going on with my
slide.  He did everything that he promised, on schedule.  This is very
refreshing after some experiences that I have had with others.

After being very pleased with the action on my 3B slide, I decided to try
the Superslick cream and plus oil on my other trombones.  These have NOT
been treated with the Teflon treatment, nor have they had anything special
done with them.  In fact, I was going to send the Reynolds slide to Dr.
Upchurch for work as soon as the 3B slide came back.  After cleaning and
applying the Superslick and Plus Oil (with water, of course), I have found
the action on my untreated Conn 48H and Reynolds to be even faster than the
treated and aligned 3B (NOTE: I have not completed all the cleaning cycles
on the 3B yet, and it is getting faster with every cleaning as promised).
The improvement on the Conn and Reynolds came from just changing lubricant.
BTW, I have always used oil in the past because I have not had any luck with
the creams.  Superslick is the first "cream" that I have ever had work on
one of my slides.  I don't know if it is that the cream is superior, or if
it is the Plus Oil that helps matters, but I have found that using the stuff
per Dr. Upchurch's recommendations has greatly improved the action of my
slides, even if that was the only thing done to them.

So, based on the above, I don't think that the Teflon contributes that much
to the action of the slide.  It seems to me that the biggest factor is the
alignment of the slide and the lubricant being used.  A bit of theory here:
A perfectly aligned slide should be riding on a film of lubricant or water,
and there should be no contact between the inner and outer slide.  With this
being the case, just what is the Teflon supposed to do?  My gimmick alarm is
sounding.  However, as has been said many other times on this list, if it
works for you, do it.

Ken Dowdy


-----Original Message-----
From: Chad Horsley <tbneplyer@mindspring.com>
To: Trombones and related issues forum. <trombone-l@lists.missouri.edu>
Date: Tuesday, February 22, 2000 7:54 PM
Subject: Re: Teflon Treatments?


>I use the same type stuff and I also believe it to be amazing. It is called
>Superslide. I got it at the 98 ITF and 99 ITF. If you have doubts about if
>it works or who uses it, call Joe Alessi..........because his slide has it
>on it.
>----------------------------------------------------
>Chad Horsley
>tbneplyer@mindspring.com
>AIM....tbneplyer
>----- Original Message -----
>From: "Jeff Hettling" <bopper@info.starpoint.net>
>To: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
>Sent: Tuesday, February 22, 2000 4:52 PM
>Subject: Teflon Treatments?
>
>
>> I just got back from playing an audition for a college schlorship.
>> Since I was at the college, I took advantage of a lesson from my jazz
>> improv teacher.  He had receantly had a Teflon treatment done to his
>> slide.  He stands by it, but I still have my doubts.  If any of you out
>> there have this treatment done to their slide what are the pros?
>> Cons?   Would this treatment need to be done more than once?
>> Thanks,
>> Jeff
>>
>




From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 21:12:00 -0600
From: Listmonitor Trombone-L <tsks@cjnetworks.com>
To: Trombone-L <trombone-l@lists.missouri.edu>
Subject: THE LIST TROLL
Message-ID: <v04220800b4d8fec15781@[199.240.167.132]>
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii" ; format="flowed"

<x-flowed>List members:

Over the past several years, the trombone-l has been plagued by an 
individual who has come to be referred to as the list troll.  This 
individual reads list messages (both on the trombone-l and the JJ 
Johnson list), then sends abusive, annoying and sometimes obscene 
messages to the senders.

Over the past several months, there have been four individual e-mail 
addresses removed from the trombone-l based upon research and 
tracking of the troll's activity.  Since the last e-mail address was 
removed, it appears the activity has ceased.

If you receive an abusive message from an individual related to a 
post to the trombone-l, please do the following:
1.  Do not respond to the message.
2.  Please copy the message (including all headers) and forward it to 
tsks@cjnetworks.com.  If you desire assistance in copying the full 
message headers, please e-mail and I will assist you with this.

Since the list monitor position was created approximately six months 
ago, the list has remained essentially trouble-free.  There is no way 
this could be accomplished without the assistance of you, the list 
member.

Thank you all for your assistance in providing a forum where 
trombone-related topics can be discussed without fear of abuse.

LM

</x-flowed>
From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 22:29:23 EST
From: JazzDiva16@aol.com
To: NSTARVT@aol.com, trombone-l@lists.missouri.edu
Subject: Re: Of Sailors and Whales
Message-ID: <4c.205288c.25e4ae13@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Our symphonic band is playing that piece.....we have a CD recording.  I'll 
check the album name tomorrow and get back to you ASAP.  

Kristina

From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 23:34:54 EST
From: Zemry@aol.com
To: jjjohnson-list@list.sirius.com, TROMBONE-L@lists.missouri.edu
Subject: Arthur Pryor
Message-ID: <f.1616272.25e4bd6e@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

How would Arthur Pryor stack up against today's top trombonists in either 
classical or jazz? Just a question that popped in my mind.

From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 23:45:56 EST
From: Zemry@aol.com
To: jjjohnson-list@list.sirius.com, TROMBONE-L@lists.missouri.edu
Subject: New Mute
Message-ID: <88.108223f.25e4c004@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

I want to use a mute other than a cup or straight mute. Which is a better 
first purchase, a plunger mute or a wah-wah mute? 

From ???@??? Wed Feb 23 07:52:26 2000
Date: Wed, 23 Feb 2000 00:00:15 EST
From: BRASSRX@aol.com
To: ksdowdy@email.msn.com, trombone-l@lists.missouri.edu
Subject: Re: Doug Yeo Signature Mouthpiece
Message-ID: <bb.1356826.25e4c35f@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

In a message dated 2/22/2000 3:26:04 PM Pacific Standard Time, 
ksdowdy@email.msn.com writes:

<< Two toning a mouthpiece is very expensive.  I tried to have an old Conn of
 mine plated to match the Connstellation mouthpieces that I have and found it
 far cheaper to just gold plate the entire thing.  For those that like gold
 and like hanging on to some of their money, the new Yamaha mouthpieces are
 inexpensive enough to where you could ship them to Anderson for gold plating
 and still be under the cost of a custom Schilke or a Doug Elliott.
 
 Hat's off to Yamaha for this move!
  >>

Gold plating just the rim is really not that expensive as we do this type of 
plating all the time.  We do charge the same amount as plating a complete 
mouthpiece only because of the labor and time involved to mask off the rest 
of the mouthpiece.

So buy the less expensive version and have someone just plate the rim.....

Wayne Tanabe
The Brass Bow Music Co.
101 North Hickory Ave.
Arlington Hts. IL  60004
847-253-7552
847-253-0792 fax
Brassrx@aol.com
www.thebrassbow.com

From ???@??? Wed Feb 23 07:52:26 2000
Date: Wed, 23 Feb 2000 00:09:45 -0500 (EST)
From: Beth Lewis <ealewis@indiana.edu>
To: Zemry@aol.com
Cc: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: New Mute
Message-ID: <Pine.GSO.3.96.1000222235844.11265I-100000@kate.ucs.indiana.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

A plunger's a LOT cheaper and an absolute necessity if you're going to do any 
jazz playing; just try to find the old-fashioned kind (otherwise you'll
need to cut some stuff out of the inside to make it truly hollow). Some
advise to also cut a hole about the size of a penny where the stick/handle
is supposed to be and cut away all of the rim surrounding the inside, but
that's all according to personal taste.

Beth

On Tue, 22 Feb 2000 Zemry@aol.com wrote:

> I want to use a mute other than a cup or straight mute. Which is a better 
> first purchase, a plunger mute or a wah-wah mute? 
> 
> 


From ???@??? Wed Feb 23 07:52:26 2000
Date: Wed, 23 Feb 2000 00:21:09 -0500 (EST)
From: Beth Lewis <ealewis@indiana.edu>
To: trombone-l@lists.missouri.edu
Subject: Meinl Weston/Melton
Message-ID: <Pine.GSO.3.96.1000223001034.11265J-100000@kate.ucs.indiana.edu>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

Hi all,

This isn't exactly trombone-related but because some of you probably know
about this I'm asking here.  I've been looking for information on Meinl
Weston (or Melton as those outside US would know them) bass trumpets.
I've been told that they're high quality and less expensive and have
a shorter turn-around time with orders than Alexanders.  So, does anyone
know if they have a distributor in the US or, if not, how people in the US
usually buy these instruments?  I've tried searching on the web in both
English and German, but that hasn't turned up much (other than their
German and English websites which barely mention bass trumpets).

Thanks,
Beth Lewis


From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 21:27:38 -0800
From: "Gary Maxwell" <gdmaxwell@lightspeed.net>
To: <Zemry@aol.com>,
        "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: New Mute
Message-ID: <001301bf7dbe$b5664560$b741a5d1@maxwells>
MIME-Version: 1.0
Content-Type: text/plain
Content-Transfer-Encoding: 7bit



> I want to use a mute other than a cup or straight mute. Which is a better
> first purchase, a plunger mute or a wah-wah mute?

Why buy a plunger mute.  Purchase a large, rubber, toilet plunger for about
a buck and then have money left over for a down payment on a wah-wah, or a
case of Guinness, which ever comes first.


All the best,
Gary Maxwell
Bass Trombone
Bakersfield Symphony Orchestra
>


From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 21:41:02 -0800
From: "Jim O'Briant" <jobriant@garlic.com>
To: "Trombone Mailing List" <trombone-l@lists.missouri.edu>
Subject: Brass Quintet Music for sale on eBay
Message-ID: <LPBBIEFDKGCPAJHNNDOICEOLCPAA.jobriant@garlic.com>
MIME-Version: 1.0
Content-Type: text/plain;
	charset="Windows-1252"
Content-Transfer-Encoding: 7bit

I've listed  multiple copies of each of the following Brass Quintet
arrangements for sale on eBay.  Each title is in a "Dutch Auction" with
sufficient copies for sale that bidders should be able to place a bid at or
near the minimum and still have their bid be successful.

The four titles are:

"Toys Medley" -- a medley of "Parade of the Wooden Soldiers" by Leon Jessel
and "Toyland" and "March of the Toys" by Victor Herbert, arranged by Jim
O'Briant
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=267692345

"Haunting Rag" (1911) by Julius Lenzburg, arranged by Jim O'Briant
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=267683365

"That Demon Rag" (1912) by Russell Smith, arranged by Jim O'Briant
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=267673321

"Smiles and Chuckles" (1917) by F. Henri Klickmann, arranged by Clesen
Havill Smith
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=267621296

If you're interested in more details or in perhaps placing a bid, you may
visit the URL's above, or you may go to the eBay website at
http://www.ebay.com and run a search on "Brass Quintet" (the search ought to
bring up these titles by some time Wednesday morning, USA time).

Thanks in advance for your interest and your bids.

Jim O'Briant
Bayside Music Press
Gilroy, CA


From ???@??? Wed Feb 23 07:52:26 2000
Date: Wed, 23 Feb 2000 01:04:03 EST
From: MikeSuter@aol.com
To: tsks@cjnetworks.com, trombone-l@lists.missouri.edu
Subject: Re: THE LIST TROLL
Message-ID: <8.1978a8d.25e4d253@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Hi Guys,

<<who has come to be referred to as the list troll.>>

Under the name "Dennis Notey" he has also attacked the trumpet list, which 
has caused no end of trouble to my friend Dennis Noday. I briefly joined the 
trumpet list (but not long enough for it to affect my intonation) to let them 
know about our troll's history. 

Now, if we could just get him to join the sax list.

Mike Suter


From ???@??? Wed Feb 23 07:52:26 2000
Date: Wed, 23 Feb 2000 01:44:37 EST
From: MikeSuter@aol.com
To: trombone-l@lists.missouri.edu
Subject: Re: Arthur Pryor
Message-ID: <9c.1d123b1.25e4dbd5@aol.com>
MIME-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Hi Guys,

<<How would Arthur Pryor stack up against today's top trombonists in either 
classical or jazz?>>

Probably not very well. But you have to keep in mind he'd be about 128 years 
old.

All The Best,    Mike Suter


From ???@??? Wed Feb 23 07:52:26 2000
Date: Tue, 22 Feb 2000 23:59:37 -0800 (PST)
From: Bodie Pfost <bpfost@wcinet.net>
To: MikeSuter@aol.com
Cc: "Trombones and related issues forum." <trombone-l@lists.missouri.edu>
Subject: Re: Arthur Pryor
Message-ID: <Pine.GSO.3.95.1000222234919.28315A-100000@wci2.wcinet.net>
MIME-Version: 1.0
Content-Type: TEXT/PLAIN; charset=US-ASCII

Are you kidding me?  Just imagine how fast he'd be able to play if he
learned to double tongue!  Not saying that fast playing is everything, but
still...  maybe he'd get into bebop or something.

My 1/5 peso...
Bodie Pfost



On Wed, 23 Feb 2000 MikeSuter@aol.com wrote:

> Hi Guys,
> 
> <<How would Arthur Pryor stack up against today's top trombonists in either 
> classical or jazz?>>
> 
> Probably not very well. But you have to keep in mind he'd be about 128 years 
> old.
> 
> All The Best,    Mike Suter
> 
> 


From ???@??? Wed Feb 23 07:52:26 2000
Date: Wed, 23 Feb 2000 11:46:56 GMT
From: 108509@wilbur.ld.swin.edu.au (Simon Greatwood)
To: trombone-l@lists.missouri.edu
Subject: Attn: UK based teachers
Message-ID: <38b37246.13033948@wilbur.ld.swin.edu.au>
MIME-Version: 1.0
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 8bit

Re : the Eric Banks - ballad for Trombone I enquired about recently. I
still haven't recieved any response about the end of the piece. I
assumed that this is because of a limited circulation of the work,
published in London.

If any of you teachers have come across this piece and can explain the
subdominatnt (Bb) in the trombone in the last bar, I would greatly
appreciate hearing it as I hope to perform this with wind band (my own
arrangement) quite soon. It is just plain uncomfortable holding a Bb
above an F major chord.

Thanks for any help at all.

Simon Greatwood