TROMBONE-L Digest 1619 Topics covered in this issue include: 1) Re: Crabs by "Michael P. Coyle" 2) Re: 77H by JoshuaSL@aol.com 3) Chicago Sym trombone section recording by "Michael P. Coyle" 4) Re: Chicago Sym trombone section recording by "Chuck De Paolo" 5) Re: Chicago Sym trombone section recording by "Michael P. Coyle" 6) Re: Crabs by daboneman 7) Re: Chicago Sym trombone section recording by Beth Lewis 8) Roland VS880 or 1680 by "Michael P. Coyle" 9) Pharmaceutical breakthrough for musicians by "Guion, David" <8guion@jmls.edu> 10) Re: 50H by Eric and Candice Swanson 11) Bach 16 by Paul Niemisto 12) Re: Chicago Sym trombone section recording by windsng@earthlink.net 13) Bach 42BO for sale by andrew raymond joseph cormier 14) away for a few days, chicago recording, et al. by "Michael P. Coyle" 15) Majors by "Phillip Larson" 16) Re: Majors by Eric and Candice Swanson 17) Re: Majors by Eric and Candice Swanson 18) Re: Majors by Wayne Dyess 19) Conn 50H by David Molter 20) Re: Dark Tone and Crabs, too....and Chuck's horn by "Aaron Roth" From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 08 Mar 2000 10:36:54 -0600 From: "Michael P. Coyle" To: tsks@cjnetworks.com Cc: trombone-l@lists.missouri.edu Subject: Re: Crabs Message-ID: <200003081637.KAA02969@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" As crustaceans go, I have always considered myself a lobster, though I'm sure the troll considers me a shrimp :) When I saw the subject of this post I was afraid Chris was going to share something far too personal with us ;-) Mike At 12:17 AM 3/8/00 , you wrote: >Friends: > >Someone forwarded this message to me, and I felt it quite appropriate >to the trombone-l and our little "list troll." > >Please know that my knowledge of crabs is not that great, so I cannot >vouch for the actual biological truth of this story. > > - The Crab Trap - > > Have you ever seen how crabs are caught? The fisherman uses >something called a crab pot, essentially a large bucket. The crabs >go scuttling along and fall in. If only one crab is in the pot, it >can usually free itself by climbing out. > > However, if a second crab falls in, the two crabs will condemn >themselves by pulling each other back in when one tries to escape. > > Which crab are you? > > > >Our little list troll is like that second crab. He or she has never >accomplished anything as a musician, and rather than trying to learn >and grow, chooses to belittle the accomplishments of others to pull >them down to his or her level. > >Don't let someone else's opinion become your reality. > >LM > >p.s.-I do realize that I have violated my earlier statement about not >discussing the list troll any further. I still hold the belief that >the best way to handle the troll is a judicious use of the delete >key. > >LM > From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 8 Mar 2000 11:37:10 EST From: JoshuaSL@aol.com To: trombone-l@lists.missouri.edu Subject: Re: 77H Message-ID: <2b.2c3d763.25f7dbb6@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit (anterior snip type thing) Hi David, I'm certain from the serial numbers, and from talking with our UMI rep that these instruments were DEFINITELY from CONN's days in Texas. The 88H's of that vintage have the words "ARTIST SYMPHONY" stamped on the bell. These only had the word "ARTIST" stamped, but in the same font even as the 88H stamp. I also know for fact that my 7H cane directly from UMI's warehouse, and it was brand new... in the plastic when I received it. The plot thickens... Peace, Tom Sousa Sharon, PA (Posterior snip type thing) When I was working at Chuck Levin's a year ago, I remember seeing the 77H in an old catalog as a .525 bore professional tenor w/ F attachment. I am almost certain that at least on incarnation of the horn was professional calibre. As for the engraving, "Artist" is indeed what the Texas CONN's used to designate their professional horns. The fact that it lacks the word "Symphony" is because it isn't a "symphony bore" horn. check out any other professional horn from that era or the catalogs from then, I doubt anything but the 88H will have the "symphony" designation. -Joshua From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 08 Mar 2000 10:44:55 -0600 From: "Michael P. Coyle" To: trombone-l@lists.missouri.edu Subject: Chicago Sym trombone section recording Message-ID: <200003081645.KAA03984@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I' m not sure who posted a question about that old Chicago Symphony trombone section orchestral excerpt recording, but, I have a copy of that recording on vinyl. I don't know what the laws are concerning duplication of such materials that are out of print, but I'm sure someone here does. I am in the process of running this recording through LP restoration software (a lengthy and arduous process that occasionally yields good results) because the original is about 27 years old and sounds every bit of that age! Perhaps I can get a copy of that recording to the person who was interested. It'll be just my luck that it is re-issued on CD right after I finish cleaning it up!!!!!!!! Mike From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 8 Mar 2000 12:14:31 -0500 From: "Chuck De Paolo" To: Subject: Re: Chicago Sym trombone section recording Message-ID: <009001bf8921$c4c8c000$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Mike, Here's an idea. Seems like lots of us would want to purchase a restored CD copy of that old LP. I'd suggest you contact the original publisher of the album and see if they might want to enter a licensing agreement with you whereby you sell copies on CD and send them a royalty. Since there's no cost on their part, they might be amenable to such a suggestion. ---Chuck ----- Original Message ----- From: Michael P. Coyle To: Trombones and related issues forum. Sent: Wednesday, March 08, 2000 11:44 AM Subject: Chicago Sym trombone section recording > I' m not sure who posted a question about that old Chicago Symphony > trombone section orchestral excerpt recording, but, I have a copy of that > recording on vinyl. I don't know what the laws are concerning duplication > of such materials that are out of print, but I'm sure someone here does. I > am in the process of running this recording through LP restoration software > (a lengthy and arduous process that occasionally yields good results) > because the original is about 27 years old and sounds every bit of that age! > > Perhaps I can get a copy of that recording to the person who was > interested. It'll be just my luck that it is re-issued on CD right after I > finish cleaning it up!!!!!!!! > > Mike > From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 08 Mar 2000 11:26:39 -0600 From: "Michael P. Coyle" To: trombone-l@lists.missouri.edu Subject: Re: Chicago Sym trombone section recording Message-ID: <200003081727.LAA08555@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Chuck, Not a bad idea, but I'd rather not even go through the hassle of it. Perhaps I could give to someone here as a gift and they could do it though. I don't think there are any restrictions governing gift giving of out of print material :) Mike At 11:14 AM 3/8/00 , you wrote: >Mike, > >Here's an idea. Seems like lots of us would want to purchase a restored CD >copy of that old LP. I'd suggest you contact the original publisher of the >album and see if they might want to enter a licensing agreement with you >whereby you sell copies on CD and send them a royalty. Since there's no cost >on their part, they might be amenable to such a suggestion. > >---Chuck > >----- Original Message ----- >From: Michael P. Coyle >To: Trombones and related issues forum. >Sent: Wednesday, March 08, 2000 11:44 AM >Subject: Chicago Sym trombone section recording > > >> I' m not sure who posted a question about that old Chicago Symphony >> trombone section orchestral excerpt recording, but, I have a copy of that >> recording on vinyl. I don't know what the laws are concerning duplication >> of such materials that are out of print, but I'm sure someone here does. >I >> am in the process of running this recording through LP restoration >software >> (a lengthy and arduous process that occasionally yields good results) >> because the original is about 27 years old and sounds every bit of that >age! >> >> Perhaps I can get a copy of that recording to the person who was >> interested. It'll be just my luck that it is re-issued on CD right after >I >> finish cleaning it up!!!!!!!! >> >> Mike >> > From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 08 Mar 2000 11:34:36 -0600 From: daboneman To: astro@pconline.com Cc: "Trombones and related issues forum." Subject: Re: Crabs Message-ID: <38C68F2C.CB45B2F6@mciworld.com> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit I guess being so close to Louisiana I would have to consider myself a crawfish. Just don't boil me or make etoufe out of me. Dean McCarty freelance trombonist, Houston area "Michael P. Coyle" wrote: > As crustaceans go, I have always considered myself a lobster, though I'm > sure the troll considers me a shrimp :) > > When I saw the subject of this post I was afraid Chris was going to share > something far too personal with us ;-) > > Mike > > At 12:17 AM 3/8/00 , you wrote: > >Friends: > > > >Someone forwarded this message to me, and I felt it quite appropriate > >to the trombone-l and our little "list troll." > > > >Please know that my knowledge of crabs is not that great, so I cannot > >vouch for the actual biological truth of this story. > > > > - The Crab Trap - > > > > Have you ever seen how crabs are caught? The fisherman uses > >something called a crab pot, essentially a large bucket. The crabs > >go scuttling along and fall in. If only one crab is in the pot, it > >can usually free itself by climbing out. > > > > However, if a second crab falls in, the two crabs will condemn > >themselves by pulling each other back in when one tries to escape. > > > > Which crab are you? > > > > > > > >Our little list troll is like that second crab. He or she has never > >accomplished anything as a musician, and rather than trying to learn > >and grow, chooses to belittle the accomplishments of others to pull > >them down to his or her level. > > > >Don't let someone else's opinion become your reality. > > > >LM > > > >p.s.-I do realize that I have violated my earlier statement about not > >discussing the list troll any further. I still hold the belief that > >the best way to handle the troll is a judicious use of the delete > >key. > > > >LM > > From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 8 Mar 2000 12:40:21 -0500 (EST) From: Beth Lewis To: trombone-l@lists.missouri.edu Subject: Re: Chicago Sym trombone section recording Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII It shouldn't be too difficult to work something out w/ the publisher as this was published (privately) by Jay Friedman himself. If I remember correctly, the master was lost though. Any takers? Beth Lewis On Wed, 8 Mar 2000, Michael P. Coyle wrote: > Chuck, > > Not a bad idea, but I'd rather not even go through the hassle of it. > Perhaps I could give to someone here as a gift and they could do it though. > I don't think there are any restrictions governing gift giving of out of > print material :) > > Mike > > At 11:14 AM 3/8/00 , you wrote: > >Mike, > > > >Here's an idea. Seems like lots of us would want to purchase a restored CD > >copy of that old LP. I'd suggest you contact the original publisher of the > >album and see if they might want to enter a licensing agreement with you > >whereby you sell copies on CD and send them a royalty. Since there's no cost > >on their part, they might be amenable to such a suggestion. > > > >---Chuck > > > >----- Original Message ----- > >From: Michael P. Coyle > >To: Trombones and related issues forum. > >Sent: Wednesday, March 08, 2000 11:44 AM > >Subject: Chicago Sym trombone section recording > > > > > >> I' m not sure who posted a question about that old Chicago Symphony > >> trombone section orchestral excerpt recording, but, I have a copy of that > >> recording on vinyl. I don't know what the laws are concerning duplication > >> of such materials that are out of print, but I'm sure someone here does. > >I > >> am in the process of running this recording through LP restoration > >software > >> (a lengthy and arduous process that occasionally yields good results) > >> because the original is about 27 years old and sounds every bit of that > >age! > >> > >> Perhaps I can get a copy of that recording to the person who was > >> interested. It'll be just my luck that it is re-issued on CD right after > >I > >> finish cleaning it up!!!!!!!! > >> > >> Mike > >> > > > > From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 08 Mar 2000 11:50:01 -0600 From: "Michael P. Coyle" To: trombone-l@lists.missouri.edu Subject: Roland VS880 or 1680 Message-ID: <200003081750.LAA10981@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anyone on the list use a Roland VS880EX or 1680 to do digital recording? Let me know if you do. Thanks, Mike Coyle From ???@??? Thu Mar 09 07:35:30 2000 Date: Wed, 8 Mar 2000 13:36:36 -0600 From: "Guion, David" <8guion@jmls.edu> To: "'Joel Everett'" , "'Steve Marcus'" , "'trombone-l'" , Subject: Pharmaceutical breakthrough for musicians Message-ID: MIME-Version: 1.0 Content-Type: text/plain This came over the Music Library Association list and seems "important" enough to pass on. > Pharmaceutical Breakthrough for Musicians > > BITCHERIL > (ditetraethylprimadonnabitchenhydrazine sulfate USP) brand of attitude > suppressant for orchestral and other ensemble musicians, and certain > species of vocalists. > > > AVAILABLE FORMS > 325mg tablets > 500mg caplets (Bitcheril Extra-Strength) > 50g/l suspension (Bitcheril I.V.) for continuous intravenous infusion > See also Alternate Forms, below > > > INDICATIONS > For the reduction of attitude, frustration, and generalized uppityness > in > orchestral and ensemble playing situations. > For soothing of bruised ego. > For alleviation of feeling of technical, musical, and interpretive > superiority to musicians seated farther forward. > For temporary relief of professional jealousy, baton envy, and related > conditions. > > > ACTION > Temporarily deadens attitudinal receptors in the sub-primadonnal region > of > the left temporal lobe. > > > DOSAGE > Note: The following are recommended guidelines, subject to increase in > cases > of exceptional attitude. > > Children and Vocalists: Use of Bitcheril in these instances is not > recommended, except in cases of child prodigies, tenors, and sopranos, for > whom extreme dosages have proven to be of therapeutic value (see Alternate > Forms, below). > > Violinists: Two 325mg tablets every 3-hour rehearsal. > This may be increased to two Extra-Strength caplets if symptoms > persist. > > Cellists/String Basses/Woodwind Players (Except Flutists): > One-half tablet every 3-hour rehearsal for every octave played above > middle C. > > Violists and Flutists: > The recommended dosage of 5000mg every one-half rehearsal makes oral > administration impractical. > Generally, continuous intravenous infusion is indicated. > > Brass Players: Research has shown that attitudinal receptors of brass > players are immune from suppression by any means. The use of attitude > suppressant agents has therefore proved of no therapeutic value in > these cases. > > > POSSIBLE SIDE EFFECTS > Dizziness, confusion, decreased ability to keep track of running > measure numbers. General decrease in creativity and originality. In > violists, excessive dosages have been known to cause dramatic and > uncontrollable increases in alto clef reading ability, and marked desire > to play relatively uninteresting accompanimental figures. (See attached > leaflet, "Accompanyingitis: Its Causes and Prevention") > > > ALTERNATE FORMS OF BITCHERIL > For special situations. > > Gripenot: Bitcheril brand attitude suppressant in pleasant-tasting, > espresso-flavored liquid form. > For players experiencing difficulty in swallowing tablets. > Also recommended for surreptitious introduction into colleagues' > cappuccinos. > > Whinebegon: Bitcheril brand attitude suppressant in aerosol form, for > sectional or orchestra-wide dispersal. > > From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 08 Mar 2000 14:19:53 +0000 From: Eric and Candice Swanson Cc: "Trombones and related issues forum." Subject: Re: 50H Message-ID: <38C66187.A3E6C94B@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Steve Cagle wrote: > I'm looking to see if anyone can tell me about a horn I just came to > obtain. It is a conn 50H with f -attachment. > > Steve, > > It is Conn's .525" bore student line, F attachment horn. If you like > it play it. > > Eric Swanson From ???@??? Thu Mar 09 07:35:31 2000 Date: Thu, 9 Mar 2000 03:54:59 -0500 From: Paul Niemisto To: trombone-l@lists.missouri.edu, brass@quartz.gly.fsu.edu Subject: Bach 16 Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I have this nice little Bach 16, tenor trombone, for sale. Serial number 50190. Some lacquer wear around hand grip, one ding on bell that is easily fixed. Otherwise in fine shape. Anybody interested? PAUL NIEMISTO niemisto@stolaf.edu Associate Professor of Music Christiansen Hall of Music 117 St.Olaf College Northfield, MN 55057 Ph: 507-646-3186 Fax: 507-646-3527 From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 8 Mar 2000 16:27:14 -0600 From: windsng@earthlink.net To: , "Trombones and related issues forum." Subject: Re: Chicago Sym trombone section recording Message-ID: <005c01bf894d$b5675b40$30db1b26@brianslaptop> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I asked Jay Friedman about this and was told a project like this was in the works already. Education Brass Recordings was the label owned by Jay and he retains copyright. While running it through the filtering mill for personal use is one thing, selling or giving away copies is a violation of the copyright laws. Do not put yourself in a sticky legal issue. Brian Frederiksen > I' m not sure who posted a question about that old Chicago Symphony > trombone section orchestral excerpt recording, but, I have a copy of that > recording on vinyl. I don't know what the laws are concerning duplication > of such materials that are out of print, but I'm sure someone here does. I > am in the process of running this recording through LP restoration software > (a lengthy and arduous process that occasionally yields good results) > because the original is about 27 years old and sounds every bit of that age! > > Perhaps I can get a copy of that recording to the person who was > interested. It'll be just my luck that it is re-issued on CD right after I > finish cleaning it up!!!!!!!! > > Mike > > From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 8 Mar 2000 15:28:28 -0800 (PST) From: andrew raymond joseph cormier To: trombone-l@lists.missouri.edu Subject: Bach 42BO for sale Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I am looking to sell my Bach 42BO (open wrap). It has a Yellow Brass Bell and a light weight slide, with hardshell case. It is only 4 years old. Excellent working slide and trigger includes the Clontz linkage for great response. I'm asking $1200 US. Any questions please correspond with me off the list. Andrew Cormier andrewrj@interchange.ubc.ca From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 08 Mar 2000 18:18:05 -0600 From: "Michael P. Coyle" To: trombone-l@lists.missouri.edu Subject: away for a few days, chicago recording, et al. Message-ID: <200003090018.SAA16784@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey folks, I have gotten many replies to the Chicago Sym recording post, but I am going out of town for a days (lovely Banff, Canada :) so I am apologizing for not being able to get back in touch with you all personally. Someone else on the list suggested that this recording is already in the process of being re-issued! That would be great cause I sure don't have enough time to deal with it. Thanks to all of you who replied with encouraging words to my "troll" post. I really like this list and have no intention of leaving because of one bad apple :) Be well, Talk to y'all next week. From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 8 Mar 2000 16:18:20 -0800 From: "Phillip Larson" To: Subject: Majors Message-ID: <20000309002328.64552.qmail@hotmail.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ok, I'm a high school student preparing to go to college and I'm wondering if you guys could explain the differences between majoring in peformance vs. jazz studies, other then the obvious classical vs. jazz. What kind of playing could someone be expected to go on to after recieving a degree in either of those? Thanks in advance, Phil From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 08 Mar 2000 20:26:08 +0000 From: Eric and Candice Swanson Cc: "Trombones and related issues forum." Subject: Re: Majors Message-ID: <38C6B757.FB9CA913@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 08 Mar 2000 20:28:04 +0000 From: Eric and Candice Swanson Cc: "Trombones and related issues forum." Subject: Re: Majors Message-ID: <38C6B7CB.A2239414@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Phillip Larson wrote: > ok, I'm a high school student preparing to go to college and I'm wondering > if you guys could explain the differences between majoring in peformance vs. > jazz studies, other then the obvious classical vs. jazz. What kind of > playing could someone be expected to go on to after recieving a degree in > either of those? Phil, Anything you want. The degree won't matter, nobody cares if you have a degree at all if you can play. Eric Swanson From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 8 Mar 2000 21:04:07 -0600 From: Wayne Dyess To: biokill@hotmail.com Cc: Trombone-L Subject: Re: Majors Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >ok, I'm a high school student preparing to go to college and I'm wondering >if you guys could explain the differences between majoring in peformance vs. >jazz studies, other then the obvious classical vs. jazz. What kind of >playing could someone be expected to go on to after recieving a degree in >either of those? > > >Thanks in advance, >Phil Howdy from Texas, Phil. I can give you an idea... It doesn't MATTER what your degree is in, or if you even HAVE a degree. AAAAAAIIIIIIIIII!!!!!!!!!!! --- Wrong answer! Right? Maybe. Actually, that is a very intelligent question. There just aren't any good answers. Your short paragraph implies that what you REALLY want to do after college is to be a jazz player. Would that assumption be accurate? If so, you have many paths to consider -- only one of which is to become a jazz major in a university somewhere. There are a few key words I would have you to consider: (a) DEDICATION In order to be a really good jazz musician, you have be dedicated to your future profession. This is true of any aspiring professional musician, whether for jazz, classical, or kazoo-union-band. Are you willing to spend "mega" hours practicing your craft? How much are you practicing now? How good are you? Can you record yourself and say honestly that you would BUY that recording? Are you as good as (say) Carl Fontana, J. J. Johnson, or your favorite "flavor-of-the-month" artist? You don't have to be NOW -- but in 4 or 5 years, you'd better be close. Yes? So there is much involved in this word, "dedication." You must LOVE what you do. No one should be able to talk you out of your dreams, and you can't be in it for the money. Be prepared to learn -- from memory -- hundreds, if not thousands, of jazz standards. Be prepared to play any one of those standards in any key. (For the aspiring orchestral musician, it is all about "excerpts.") We could write a BOOK on this subject, couldn't we? Let's stop here, and just keep in mind that your DEDICATION must be intense and heart-felt. (b) IMMERSION Any performer, regardless of genre, should totally immerse himself into that "world". Want to be a world-class performer of jazz? You must LIVE jazz. Listen at every opportunity. I have several students who walk around campus and down the halls wearing headphones. They listen to jazz ALL THE TIME! They play at every opportunity. If there is no opportunity, they MAKE things happen. Form your own group... but play as much as possible. Play in every ensemble that you can while in college. Listen to every jazz trombonist you can find a recordings of (excuse my poor grammar). Start with someone like Louie Armstrong (or Trummy Young), Kid Ory, Jack Teagarden, Jack Jenny, "Tricky Sam" Nanton, Tommy Dorsey, Juan Tizol, Al Grey, Curtis Fuller, Benny Powell, and continue your listening and learning to others, such as J. J. Johnson, Kai Winding, Bob Brookmeyer, Frank Rosolino, Milt Bernhart, Carl Fontana, Bill Watrous... and hey! We're just now getting to the 70's. Have I mentioned IMMERSION lately??? And then there are the big bands you need to be aware of... know their styles. I won't mention them all... but be sure to listen to the "biggies", such as Count Basie, Woody Herman, Duke Ellington, Stan Kenton... And you should also be able to identify these musicians when you hear them: Charlie "Bird" Parker, Dizzy Gillespie, Miles Davis, Lester Young, Stan Getz, and on and on! Back to styles -- do you know what kind of trombone playing you should do in Dixieland style as opposed to Bebop? Are you aware of the "cool" school? What about "free" jazz? There are so many things to learn! And we can learn best by IMMERSION. Ya gotta LIVE it day and night... or night and day (ahem). (c) IMAGE This last "key" word is possibly the most important. I strongly believe that a person's relationships with co-workers and bosses are based 90% on perception, not substance. If you believe I'm efficient, . . .I am. If you believe I'm a hard worker, . . . I am. The point here is not to encourage one to attempt to fool people, but to point out that image is almost everything. Your substance (the other 10%) implies your image and therefore is important in getting others to think about you in a certain way. In college "psych" classes, they often talk of "expectations" where classes of teachers who thought they had accelerated kids and teachers who thought their classes were below average were compared. The "smart" kids performed much better than the "slow" kids although the abilities of both groups were statistically identical. The "smart" kids teachers described them as eager to learn, bright, energetic, and ambitious. The other group was described by their teachers as reticent, unmotivated, lazy, and "not fun" to teach. IMAGE is everything. EXPECTATION is everything. So image produces expectations. Treat image like the gold that it is. I must be absolutely honest with you when I say I often feel like a fraud. A couple of friends of mine and I have admitted to each other that after our successes, where other people have thought we were such hard and diligent workers, we knew in our hearts that we often really goofed off: that we weren't half as smart, half as serious, half as dedicated, or half as deserving as they thought we were. So why are they so highly thought of? Image, image, image. For a business to succeed, it's "location, location, location." For a man, . . . . it's "image, image, image." You have a great image because of your accomplishments, your credentials, and your talent. So in the "real" world of the performing musician, guard your image and keep it polished. Never let it dull. IMAGE is everything! (d) the REAL world OK. That's not a word... it's several. But in the "real" world of professional playing, it matters not where your degree is from, what it's in, nor if you even HAVE a degree. What matters is -- CAN YOU PLAY and ARE YOU THE BEST AVAILABLE FOR THE JOB? That's what really matters. And in the real world, I personally think you are "best off" by getting a music-ed degree. This was advised to me to Dr. Gene Hall when I had my choice of degrees as an undergrad. I took every music class that was offered practically, and therefore qualified for either the performance degree or the music education degree. Our school would not grant BOTH... Dr. Hall's advise made a very strong impression on me. "To be a player, you really don't need a degree," he said. Of course, having just struggled through 4 years of college, that got my attention really quickly. He explained that to be a professional musician, one must be able to perform -- plain and simple. Contractors don't look at resume's nor college transcripts. Networking is more important than you know, for it is all in who you know. But it's just smart (yes, I agree with Dr. Hall) to have an education degree to fall back upon. In the real world of the professional musician, you must be willing to go where the jobs are. For the aspiring jazz musician, that usually means either New York or L.A. For the aspiring orchestral musician, it means a willingness to move to any major city -- following a successful but gruelling audition. What kinds of jobs are out there? Tons. You can play "casuals" almost anywhere -- for $25, 50, 75, even $100 a pop. "Casuals" -- those are the ever-present wedding receptions, private parties, Sunday Jazz brunches, etc. But you can't make much of a living playing this way. So the real money is to be made in the recording and entertainment industries. Therefore, you have to be willing to move to where the action is -- and be able to play in ANY style. Learning a really good double might be another consideration. And when the reality sinks in that life is tough and you are really in love with your high school sweetheart and want to get married and start a family -- you'd better be ready to get a job. And that's where the music-ed degree comes in mighty handy! There is a real need for talented, dedicated teachers in the U.S.!!!! IMMERSION, DEDICATION, IMAGE, and the REAL WORLD. (and THAT's my FINAL ANSWER). :-) Best of luck to you! --Dr. Wayne Dyess Past-President, IAJE-TX Unit _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ _/ _/ _/ Wayne Dyess, Ed.D. Tel. +1-409-880-8146 _/ _/ Lamar University Music Dept. _/ _/ P.O.Box 10044, Beaumont, TX.77710 _/ _/ _/ _/ United Musical Instruments (UMI) _/ _/ "If it sounds good, it is good." -Duke Ellington _/ _/ _/ _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/ Old trombone players never die; They just slide away! From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 8 Mar 2000 23:06:49 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: Conn 50H Message-ID: <386230651.952574809301.JavaMail.root@web31.pub01> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit The 50H is a .525 bore horn. I haven't played one, but my teacher, who is a UMI clinician, says it's not as good a horn as the King 607F and 608F, which are also .525 bore. However, Ialways say that if you like it, it's the right horn for you. I play a Bach 36BO (.525) and find it serves just about all my needs very well. Dave Moletr Pittsburgh, PA From ???@??? Thu Mar 09 07:35:31 2000 Date: Wed, 08 Mar 2000 21:54:16 PST From: "Aaron Roth" To: trombone-l@lists.missouri.edu Subject: Re: Dark Tone and Crabs, too....and Chuck's horn Message-ID: <20000309055416.76301.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Lemme nail a couple of birds with one tennis ball. In Matt Varho's post was included: > <in > we had a string of guest conductors each of whom asked for a "darker > tone" from the brasses. By experimenting in rehearsal we found that for > one that meant "play louder," another, "play softer," another "play more > legato," another " menacing and evil" (Night on Bald Mountain), another > "dolce", and on and on.>> > >This may have more to do with poor spoken communication skills of some >conductors! While it's true that there are shades of meaning for a word or >phrase, and many more with "artistic" types, I think that good >communication >skills are essential for musicians who have to run rehearsals, and this is >a >good case in point: >Too many don't know how to EFFECTIVELY get their point across. When our conductor asked for a darker tone from the tromboni, the principal used equalizer knobs: he interpreted "darker" to mean more low and less high, so: more bass trombone and less tenor, adjusting the balance of tones. The conductor didn't worry at all about just what we did to accomplish the goal so long as we produced the desired result. Incidentally, we're playing "The Phantom Menace", the suite for orchestra by John Williams. Lots of bass 'bone! I'm playing both the 3rd and 4th trombone parts, so while I elected not to use multiphonics for the chords (:p), I have two trombones' worth of sound to produce, as big and dark as possible. And for the Crabs: >As crustaceans go, I have always considered myself a lobster, though >I'm >sure the troll considers me a shrimp :) >When I saw the subject of this post I was afraid Chris was going to >share >something far too personal with us ;-) > >Mike Oh, I'm a shrimp! 5'6", about 125 lbs. (168 cm and 57 kg), carrying a horn almost as big as I am, I am the "shrimp" of the trombone studio. Speaking of my horn, here's a note for Chuck De Paolo: did you know this was your 'bone? You sold it to Doug Farwell a few years back.... -Aaron Roth ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com