TROMBONE-L Digest 1624 Topics covered in this issue include: 1) Re: The Doug Yeo Signature Mouthpiece & the price of fame by Dennis Clason 2) Re: So much for Berlioz' "nobility and grandeur" by "Michael P. Coyle" 3) RE: So much for Berlioz' "nobility and grandeur" by Thomas Cox 4) Re: Doug Yahoo (Yeehah?) mp by "Adrian Drover" 5) RE: So much for Berlioz' "nobility and grandeur" by "Marple, Richard L COL BAMC-Ft Sam Houston" 6) RE: So much for Berlioz' "nobility and grandeur" by Craig Parmerlee 7) Hannaford Street Silver Band by David Buckley 8) misdirected mail from Brian Rose by "Michael P. Coyle" 9) RE: So much for Berlioz' "nobility and grandeur" by Earl Needham 10) Re: The Doug Yeo Signature Mouthpiece & the price of fame by "Adrian Drover" 11) we need a gizmo by chris@iris.washington.edu 12) Re: we need a gizmo by "Chuck De Paolo" 13) Re: we need a gizmo by "Gary D. Maxwell" 14) RE: misdirected mail from Brian Rose by "Jim O'Briant" 15) RE: we need a gizmo by Roger Karren 16) Re: we need a gizmo by Dennis Clason 17) Re: Majors by sabutin@mindspring.com 18) rBernstein and latin drummers (was:Re: Majors) by sabutin@mindspring.com 19) String Auditions by Antonio Henrique Seixas 20) troll: fact, fiction, personality profile (longish) by Mike Coyle 21) E.M.D.R. by "Thomas Sousa" 22) Re:gizmo this by Matmutt@aol.com 23) Student Horn???? by Topper 24) Re: Student Horn???? by "Tom Izzo" 25) Re: Student Horn???? by Topper 26) Wishner's Music by Topper 27) King 3B by Douglas Kilen 28) Re: we need a gizmo by David Buckley 29) LumberJazz by JBA49@aol.com 30) Microphone Help? by "MARK LEWIS" 31) Re: Microphone Help? by Mike Coyle 32) Bob McChesney CD - shameless plug by BMcCh@aol.com 33) tbone-l archives / Tony Brusseau by Mike Coyle 34) Re: Microphone Help? by "Chuck De Paolo" 35) RE: tbone-l archives / Tony Brusseau by "Marple, Richard L COL BAMC-Ft Sam Houston" 36) RE: King 3B by "DOWDY, KENNETH S" 37) Re: Bob McChesney CD - shameless plug by Bear0Bones@aol.com 38) conn elkhart era by "Peter Jarnebrant" 39) Gizmo followup by Walter Barrett 40) RE: King 3B by Craig Parmerlee 41) Re: Gizmo followup by Mike Coyle 42) Re: Gizmo followup by MikeSuter@aol.com 43) help by "DANIEL COOPER" 44) Re: help by Mike Coyle 45) Performance Anxiety Therapies (was E.M.D.R.) by Randy Campora 46) Hard Cases.. by "Maria R. Tekle-Wolde" 47) Re: Hard Cases.. by "Chuck De Paolo" 48) Re: Performance Anxiety Therapies (was E.M.D.R.) by David Buckley 49) RE: King 3B by "DOWDY, KENNETH S" 50) Re: Hard Cases.. by sabutin@mindspring.com 51) Re: Bob McChesney CD - shameless plug by Neobopr@aol.com 52) Tongue by JennWhaa@aol.com 53) Re: Tongue by sabutin@mindspring.com 54) Tongue by BMcCh@aol.com 55) Re: conn elkhart era by Eric and Candice Swanson 56) Re: Tonguing by Beth Lewis 57) Re: tbone-l archives / Tony Brusseau by AlRobnett@aol.com 58) Microphone Advice by "MARK LEWIS" 59) a humble apology by Matmutt@aol.com 60) Paris Trombone Quartet Recording?? by gonzalo 61) Re: Microphone Help? by Earl Needham 62) Re: Microphone Help? by Wayne Dyess 63) Manipulations by "Adolphus Sprott" 64) Re: Tongue by Neobopr@aol.com 65) TPIN list info by Mike Coyle 66) Travel Hard Cases by BASSBENGE@aol.com 67) Re: Travel Hard Cases by Beth Lewis From ???@??? Wed Mar 15 06:38:29 2000 Date: Mon, 13 Mar 2000 08:50:33 MST From: Dennis Clason To: trombone-l@lists.missouri.edu Subject: Re: The Doug Yeo Signature Mouthpiece & the price of fame Message-ID: <200003131553.IAA164394@nestor.NMSU.Edu> Addressed to: yeo@yeodoug.com trombone-l@lists.missouri.edu ** Reply to note from Douglas Yeo 03/12/00 6:16pm -0500 But Mrs. Yeo is still Yeo, Mama. Dennis -- Dennis L. Clason email: dclason@nmsu.edu Department of Economics / University Statistics Center New Mexico State University Las Cruces, New Mexico USA From ???@??? Wed Mar 15 06:38:29 2000 Date: Mon, 13 Mar 2000 10:37:55 -0600 From: "Michael P. Coyle" To: craig@acticalc.com Cc: trombone-l@lists.missouri.edu Subject: Re: So much for Berlioz' "nobility and grandeur" Message-ID: <200003131638.KAA04071@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" >Microsoft is running a commercial that ends with their graphical tag line >"Where do you want to go today?" while in the background a choir sings from >Mozart's "Requiem." The text is from the 16th verse of the "Dies Irae" >sequence: > > Confutatis maledictis (When the accursed are confounded) > Flammis acribus addictis, (And given over to the bitter flames,) > Voca me cum benedictis.(Call me with thy benediction.) > >I'm glad to see the Microsoft folks have figured out the answer to their >rhetorical question. > >Craig Parmerlee > Craig - BRAVO! An exdfcellent observation. You should definately forward this to Microsoft's marketing department! "When the accursed are confounded" indeed :) Mike From ???@??? Wed Mar 15 06:38:29 2000 Date: Mon, 13 Mar 2000 12:47:56 -0500 From: Thomas Cox To: "'astro@pconline.com'" , "Trombones and related issues forum." Subject: RE: So much for Berlioz' "nobility and grandeur" Message-ID: <5FA575D78630D3118B2E0090276DC89F0241B633@merc08.us.sas.com> MIME-Version: 1.0 Content-Type: text/plain Hi gang: Well, the liner notes of the '89 Bernstein (Deutsche Grammophon) recording translates it: When the wicked are confounded, Doomed to flames of woe unbounded, Call me, with Thy Saints surrounded. ...which at least scans nicely. Second, I can confirm that this is not an urban legend. I was working for Microsoft at the time, and wondering what I had done to be counted as a "confutated maledictor." (Please, no cracks about my lack of Latin - I know where I stand, since my best shot at that first phrase is "When the bad folks fry...") IIRC correctly, that phase of the campaign was started in the fall of '97 and the ad in question ran from about Thanksgiving to early January. It was *quickly* pulled when the translation started circulating on internal eMail lists. I never heard any official comment about whether the marketing person responsible was sacked, but my favorite version of the stories on the grapevine told that it was inserted as a "storyboard" prank, and when no one caught it in time, it was actually produced and released - to the great amusement of those of us in the trenches. Thomas Cox -----Original Message----- From: Michael P. Coyle [mailto:astro@pconline.com] Sent: Monday, March 13, 2000 11:38 AM To: Trombones and related issues forum. Subject: Re: So much for Berlioz' "nobility and grandeur" >Microsoft is running a commercial that ends with their graphical tag line >"Where do you want to go today?" while in the background a choir sings from >Mozart's "Requiem." The text is from the 16th verse of the "Dies Irae" >sequence: > > Confutatis maledictis (When the accursed are confounded) > Flammis acribus addictis, (And given over to the bitter flames,) > Voca me cum benedictis.(Call me with thy benediction.) > >I'm glad to see the Microsoft folks have figured out the answer to their >rhetorical question. > >Craig Parmerlee > Craig - BRAVO! An exdfcellent observation. You should definately forward this to Microsoft's marketing department! "When the accursed are confounded" indeed :) Mike From ???@??? Wed Mar 15 06:38:30 2000 Date: Mon, 13 Mar 2000 11:26:35 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Doug Yahoo (Yeehah?) mp Message-ID: <000101bf8d1e$5e49e6a0$096801d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Tom C. Shaddox To: Trombones and related issues forum. Sent: Sunday, March 12, 2000 6:42 PM Subject: The Doug Yeo Signature Mouthpiece & the price of fame > So I was at Mars Music doing a little recreational trombone driving. I > asked if I could try the Yamaha 421G they had on the rack. "Sure, and > let's get you a mouthpiece for it...hmm, the only bass trombone > mouthpiece we have is this 'Doug Yeah-hoo' model." Well, surely you don't expect anyone in a Martian music shop to be able to pronounce Earthling names properly, do you? And if you think they talk funny on Mars, wait till you hear someone from Yeoville (Scrumpieland) England. NB. Scrumpie is a local apple cider brew from that part of the home planet, probably the reason for much strange-speak. But then, they talk funny in Bwarston, Massachusetts too. I wonder if the Yeo connection has anything to do with that? A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Wed Mar 15 06:38:31 2000 Date: Mon, 13 Mar 2000 13:34:29 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'Thomas.Cox@sas.com'" , "Trombones and related issues forum." Subject: RE: So much for Berlioz' "nobility and grandeur" Message-ID: MIME-Version: 1.0 Content-Type: text/plain In research parlance a "confounder" is any force that effects or influences both the exposure being evaluated and the outcome being measured. In "Epidemiology of Medicine" by Charles Hennekens, he writes confounding ..."is in fact due to a mixing of effects between the exposure (creating MS Windows), the disease (having to use it), and a third factor" the confounder, which in this case must be the "flames of woe unbounded" just as stated in this passage. I for one can certainly visualize these flames licking the developers as well as the future users. Sublime! Rick Marple San Antonio TX -----Original Message----- From: Thomas Cox [mailto:Thomas.Cox@sas.com] Sent: Monday, March 13, 2000 11:48 AM To: Trombones and related issues forum. Subject: RE: So much for Berlioz' "nobility and grandeur" Hi gang: Well, the liner notes of the '89 Bernstein (Deutsche Grammophon) recording translates it: When the wicked are confounded, Doomed to flames of woe unbounded, Call me, with Thy Saints surrounded. ...which at least scans nicely. Second, I can confirm that this is not an urban legend. I was working for Microsoft at the time, and wondering what I had done to be counted as a "confutated maledictor." (Please, no cracks about my lack of Latin - I know where I stand, since my best shot at that first phrase is "When the bad folks fry...") IIRC correctly, that phase of the campaign was started in the fall of '97 and the ad in question ran from about Thanksgiving to early January. It was *quickly* pulled when the translation started circulating on internal eMail lists. I never heard any official comment about whether the marketing person responsible was sacked, but my favorite version of the stories on the grapevine told that it was inserted as a "storyboard" prank, and when no one caught it in time, it was actually produced and released - to the great amusement of those of us in the trenches. Thomas Cox -----Original Message----- From: Michael P. Coyle [mailto:astro@pconline.com] Sent: Monday, March 13, 2000 11:38 AM To: Trombones and related issues forum. Subject: Re: So much for Berlioz' "nobility and grandeur" >Microsoft is running a commercial that ends with their graphical tag line >"Where do you want to go today?" while in the background a choir sings from >Mozart's "Requiem." The text is from the 16th verse of the "Dies Irae" >sequence: > > Confutatis maledictis (When the accursed are confounded) > Flammis acribus addictis, (And given over to the bitter flames,) > Voca me cum benedictis.(Call me with thy benediction.) > >I'm glad to see the Microsoft folks have figured out the answer to their >rhetorical question. > >Craig Parmerlee > Craig - BRAVO! An exdfcellent observation. You should definately forward this to Microsoft's marketing department! "When the accursed are confounded" indeed :) Mike From ???@??? Wed Mar 15 06:38:33 2000 Date: Mon, 13 Mar 2000 14:45:39 -0400 From: Craig Parmerlee To: Subject: RE: So much for Berlioz' "nobility and grandeur" Message-ID: <4.3.0.20000313143220.00a61ad0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 12:47 PM 03/13/2000 -0500, Thomas Cox wrote: >Hi gang: > >Well, the liner notes of the '89 Bernstein (Deutsche Grammophon) >recording translates it: > > When the wicked are confounded, > Doomed to flames of woe unbounded, > Call me, with Thy Saints surrounded. > >...which at least scans nicely. > >Second, I can confirm that this is not an urban legend. I was working >for Microsoft at the time, and wondering what I had done to be counted >as a "confutated maledictor." (Please, no cracks about my lack of Latin - >I know where I stand, since my best shot at that first phrase is "When >the bad folks fry...") > >IIRC correctly, that phase of the campaign was started in the fall of >'97 and the ad in question ran from about Thanksgiving to early January. >It was *quickly* pulled when the translation started circulating on >internal eMail lists. I never heard any official comment about whether >the marketing person responsible was sacked, but my favorite version >of the stories on the grapevine told that it was inserted as a >"storyboard" prank, and when no one caught it in time, it was actually >produced and released - to the great amusement of those of us in the >trenches. > >Thomas Cox > > >-----Original Message----- >From: Michael P. Coyle [mailto:astro@pconline.com] >Sent: Monday, March 13, 2000 11:38 AM >To: Trombones and related issues forum. >Subject: Re: So much for Berlioz' "nobility and grandeur" > > >Craig - BRAVO! An exdfcellent observation. You should definately forward >this to Microsoft's marketing department! > >"When the accursed are confounded" indeed :) > >Mike I can't take credit for that. I'm only a conduit here. However, two different people have told me they witnessed this ad recently. I have not seen it personally. Regardless, the irony is too delicious to ignore. Who among us hasn't felt "accursed and confounded" and "doomed to flames" when using the software from that particular company? I can't think of any more apt choice of words to describe me as a Microsoft user. If Microsoft made trombones, the bells would explode and the slides would come off their sleeves with any warning whatsoever. Valves that misbehave would be considered a badge of honor among trombonists, and the instrument would be wholly incapable of executing a simple Bb scale without some bizarre mishap. But most of all, we would all be talking about how these "anomalies" would be fixed with Trombone 2001 (due out in early 2002 for sure). Craig From ???@??? Wed Mar 15 06:38:34 2000 Date: Mon, 13 Mar 2000 14:50:00 -0500 From: David Buckley To: Trombone-L Subject: Hannaford Street Silver Band Message-ID: <38CD4668.A065D4D4@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Knowing that trombone players are all true musicians with a broad range of musical instruments beyond just their own horns, I am sending along my comments on the recent concert, even though its star is a euphonium player. Dave. The star of the Hannaford Street Silver Band concert in Toronto on Sunday was clearly Shoichoro Hokazono, the euphonium soloist of the Japan Air Self-Defense Force Band. But not far behind was the program concept of East meets West thought up by Artistic Director Ray Tizzard. Hokazono showed us a warm, mature, rich and full euph sound with a firmly controlled and sensitive vibrato. He has as fine a euph sound as I have heard and maybe the best. This sound was matched by brilliant technique in all registers. The piece Legend for Euphonum and Brass Band by Marcel Kentsubitsch, which started life for euph and piano and has also been arranged for military band and euph giving rise to the question of the real name of the piece, demonstrated all aspects of this young man's remarkable artistry. A wondeful addition to the repertoire. The soloist also brought new insight to James Curnow's Rhapsody for Euphonium and Band, a much more traditional composition. For the horn fanatics in the crowd, he played on a Yamaha instrument proving that Yamaha has mastered the euph along with the rest of their line. Ray Tizzard consistantly comes up with program ideas that are refreshing and also accessible. Thay have resulted in the development for Hannaford of a core audience that is much broader than that of a traditional brass band. This program while presenting such traditional band items as Bill Gordon's march, The Great Revival, Moeley Clavert's Canadian Folk Song Suite, Curnow's The New Covenant and the encore Blaze Away also introduced us to Three Japanese Folk Songs By Takuzo Inagaki and Garden Rain for Brass Ensemble, originally written for the Phillip Jones Brass Ensemble by Toru Takemitsu. Sword, Jewel and Mirror while based on a Japanese folk tale was written as a test piece by Philip Harper but is not in the least in the test piece mold. Rocky Mountain Overture by John Burge was originally written for orchestra but loses nothing in its recoring by Burge for brass band at the insigation of Tizzard. Michael Reason, a young orchestral conductor filling in for an injured Jim Curnow, kept things tight and controlled. Hannaford seemed to me to show more dynamic range than has usually been the case. Whether that was due to Reason or the the band having recently hosted Black Dyke Mills, the exploraion of true pps and ffs was welcome. Thanks Ray for your continuing efforts to show that there is more to brass banding than contesting. It does surprise me a little that more brass guys do not attend but I guess, even in Canada, brass can be a little insulating. Dave Buckley From ???@??? Wed Mar 15 06:38:35 2000 Date: Mon, 13 Mar 2000 15:02:58 -0600 From: "Michael P. Coyle" To: trombone-l@lists.missouri.edu Subject: misdirected mail from Brian Rose Message-ID: <200003132103.PAA30769@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi folks, I just received a strange note from someone named Brian Rose (brose@lusoweb.pt) which, judging from the content, I do not think was intended for me but was instead intended to go to someone else on trombone-l or perhaps the list in general. The note is signed by someone other than Mr. Rose. OK, I'm confused! Thought I had better forward this to the list anyway. Mike Coyle ================================= The message reads: X-From_: browse@lusoweb.pt Mon Mar 13 14:48:50 2000 Sender: brose@lusoweb.pt (Brian Rose) Content-Type: text/plain; charset="iso-8859-1" Date: Mon, 13 Mar 2000 14:47:58 -0600 Subject: Trombone-l List Dear Sir, I most certainly am not interested in rejoining your list. I have already suffered enough abuse from your list. Apology not accepted. Denis Notey From ???@??? Wed Mar 15 06:38:36 2000 Date: Mon, 13 Mar 2000 14:12:14 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: RE: So much for Berlioz' "nobility and grandeur" Message-ID: <4.2.2.20000313141114.00a48100@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit At 02:45 PM 3/13/00 -0400, Craig Parmerlee wrote: > >If Microsoft made trombones, the bells would explode and the slides would >come off their sleeves with any warning whatsoever. Valves that misbehave >would be considered a badge of honor among trombonists, and the instrument >would be wholly incapable of executing a simple Bb scale without some >bizarre mishap. Gee, that describes mine, NOW! Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Wed Mar 15 06:38:36 2000 Date: Mon, 13 Mar 2000 19:31:36 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: The Doug Yeo Signature Mouthpiece & the price of fame Message-ID: <004b01bf8d34$8926cb20$096801d5@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Douglas Yeo To: Trombones and related issues forum. Sent: Sunday, March 12, 2000 11:16 PM Subject: Re: The Doug Yeo Signature Mouthpiece & the price of fame > > There is a Yeovil and River Yeo in County Wiltshire in England First of all, my apologies for the misspelling of Yeovil in my last mail. Secondly Doug, unless there is another town with the same name, Yeovil is in Somerset, the neighbouring county west of Wiltshire. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Wed Mar 15 06:38:36 2000 Date: Mon, 13 Mar 2000 14:06:00 -0800 (PST) From: chris@iris.washington.edu To: trombone-l@lists.missouri.edu Subject: we need a gizmo Message-ID: <200003132206.OAA02742@seiche.iris.washington.edu> We trombonists need yet another gizmo. Maybe one of you have such a thing. ---- While playing Mendelsohn's St. Paul Oratorio I found myself wishing I had a little hand held measure counter. While I'm not usually a complainer about counting rests, this piece seemed to be harder. Or maybe Im getting older and Im more easily distracted... was the 43 or 33! Like everybody, I would love to be able to listen to the music without having to count rests. I can visualize a hand held counter where I could click it on every measure. Although you still would be keeping track of the downbeat, it would at least offer the advantage of not having to concentrate on what the count is. Of course, while contemplating such a device, I lost the count.... Has anyone developed and used such a device? Maybe it is not practical. Chris L. From ???@??? Wed Mar 15 06:38:36 2000 Date: Mon, 13 Mar 2000 17:26:22 -0500 From: "Chuck De Paolo" To: Subject: Re: we need a gizmo Message-ID: <007901bf8d3b$2961ded0$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit These does exist such a thing. The ushers at concerts often use them to count the crowd (okay, so they're "patrons" - whatever) entering the hall. They're quiet too. ---Chuck ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Monday, March 13, 2000 5:06 PM Subject: we need a gizmo > > We trombonists need yet another gizmo. > > Maybe one of you have such a thing. > > ---- > > While playing Mendelsohn's St. Paul Oratorio I found myself wishing I > had a little hand held measure counter. While I'm not usually a > complainer about counting rests, this piece seemed to be harder. Or > maybe Im getting older and Im more easily distracted... was the 43 or 33! > > Like everybody, I would love to be able to listen to the music without > having to count rests. > > I can visualize a hand held counter where I could click it on every > measure. Although you still would be keeping track of the downbeat, > it would at least offer the advantage of not having to concentrate > on what the count is. > > Of course, while contemplating such a device, I lost the count.... > > Has anyone developed and used such a device? Maybe it is not > practical. > > Chris L. > From ???@??? Wed Mar 15 06:38:36 2000 Date: Mon, 13 Mar 2000 14:23:48 -0800 From: "Gary D. Maxwell" To: chris@iris.washington.edu Cc: "Trombones and related issues forum." Subject: Re: we need a gizmo Message-ID: <38CD6A74.1DAE695@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit chris@iris.washington.edu wrote: > > We trombonists need yet another gizmo. > > Maybe one of you have such a thing. > > ---- > > While playing Mendelsohn's St. Paul Oratorio I found myself wishing I > had a little hand held measure counter. Try your local Golf Pro Shop. There are stroke counters that could possibly be used as measure counters. They are little numbered disks that indicate how many strokes taken simply by pressing the thumb down on a plunger. Pretty cheap too, if I remember right, of course I have developed to the quality of golfer that I no longer need extra help counting my strokes. I just fill in 72 at the end of every 18 holes played. Works for me. (:>)) Gary Maxwell Bass Trombone Bakersfield Symphony Orchestra +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ While I'm not usually a > complainer about counting rests, this piece seemed to be harder. Or > maybe Im getting older and Im more easily distracted... was the 43 or 33! > I can visualize a hand held counter where I could click it on every > measure. Although you still would be keeping track of the downbeat, > it would at least offer the advantage of not having to concentrate > on what the count is. From ???@??? Wed Mar 15 06:38:37 2000 Date: Mon, 13 Mar 2000 14:39:57 -0800 From: "Jim O'Briant" To: , "Trombones and related issues forum." Subject: RE: misdirected mail from Brian Rose Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ORIGINAL MESSAGE: > X-From_: browse@lusoweb.pt Mon Mar 13 14:48:50 2000 > Sender: brose@lusoweb.pt (Brian Rose) > Content-Type: text/plain; charset="iso-8859-1" > Date: Mon, 13 Mar 2000 14:47:58 -0600 > Subject: Trombone-l List > > Dear Sir, > > I most certainly am not interested in rejoining your list. > I have already suffered enough > abuse from your list. Apology not accepted. > > Denis Notey It was bound to happen sooner or later! It appears that the Resident Troll has gotten confused -- he logged on to his "Brian Rose" free e-mail account in Portugal, but he signed the note with a different alias, "Dennis Notey." It's really surprising that he hasn't screwed up like this more often. With a dozen or more aliases, I've astounded at the amount of effort and planning that it must take in order to keep them all straight. Imagine what a great player this fellow could be -- if only he would devote this much time and energy to practicing instead of wasting it on his sociopathic hounding of various mailing lists! Jim O'Briant Bayside Music Press Gilroy, CA From ???@??? Wed Mar 15 06:38:37 2000 Date: Mon, 13 Mar 2000 16:02:33 -0700 From: Roger Karren To: "Trombones and related issues forum." Subject: RE: we need a gizmo Message-ID: <6E031E06378BD311AEF20090273CE1BA3E0B32@el-postino.s-vision.com> MIME-Version: 1.0 Content-Type: text/plain Why count rests if you know the music? Fire away! I got my bullet proof armor on... (and it's fire proof too) Besides, TRY and get through this firewall... I had an old Gunnery Sergeant, (USMC), tell me once that one of the most important things I could be doing while the conductor drilled the woodwinds, was to PAY ATTENTION to the music, listen ACROSS the band rather than through it, listen to the ensemble as a single instrument rather than a conglomeration of voices. If you think about those words of advice, you can find MANY benefits, one of which was being able to take cues from the band rather than counting those dad-burned rests. Which also aids in a better entrance based on blend and balance rather than, "Oh!! Here we go!! Wake UP!!!.... Aww... missed it again.." I sure heard some great music while I was in the Marine Corps, and most of it was from the best seat in the house/field/parade deck/shopping center/street/etc., etc. AND a little score study never hurt anyone. There's more to what he said than I could write here, but for the sake of brevity I'll leave it as it stands. Roger L. Karren FORMER Marine Musician From ???@??? Wed Mar 15 06:38:37 2000 Date: Mon, 13 Mar 2000 16:02:44 MST From: Dennis Clason To: trombone-l@lists.missouri.edu Subject: Re: we need a gizmo Message-ID: <200003132305.QAA183344@nestor.NMSU.Edu> Addressed to: chris@iris.washington.edu trombone-l@lists.missouri.edu ** Reply to note from chris@iris.washington.edu 03/13/00 2:06pm -0800 > While playing Mendelsohn's St. Paul Oratorio I found myself wishing I > had a little hand held measure counter. While I'm not usually a > complainer about counting rests, this piece seemed to be harder. Or > maybe Im getting older and Im more easily distracted... was the 43 or 33! > Like everybody, I would love to be able to listen to the music without > having to count rests. > I can visualize a hand held counter where I could click it on every > measure. Although you still would be keeping track of the downbeat, > it would at least offer the advantage of not having to concentrate > on what the count is. You already have one -- it's your right hand. Learn to count on your hand. TIMEP One .|... Two .||.. Three \||.. Four .|||| Five \|||| Six Thumb on pinky Seven Thumb on ring finger Eight Thumb on middle finger Nine Thumb on index finger Ten Thumb up alone (\....). You can count the decades with your left hand, same pattern, or go on using the standard ASL signs. FWIW, those are the ASL signs for the numbers, so any ASL speakers in the audience will know what you're doing. For some reason, I can count rests on my fingers and be able to pay attention to the music. If I count them in my head (One - 2-3-4 Two - 2-3-4, etc) I'll get lost if I listen to the music. I think that says something about the processing location for language versus numbers and music in MY head, but I'm not sure what. Richard Feynman wrote an essay on a related topic (included in Ralph Leighton's collection, Surely You're Joking, Mr. Feynman), the ability to measure time without physically counting. There are several nice things about fingers versus mechanical counters: * Fingers are standard equipment; * You can't forget them in your other goody bag; * You can puzzle the rest of the section by counting that way; * Mechanical counters break. So do fingers, but I've yet to see any fingers broken in a concert setting. Dennis -- Dennis L. Clason email: dclason@nmsu.edu Department of Economics / University Statistics Center New Mexico State University Las Cruces, New Mexico USA From ???@??? Wed Mar 15 06:38:37 2000 Date: Mon, 13 Mar 2000 19:08:25 -0500 From: sabutin@mindspring.com To: daniel_pliskin@hotmail.com Cc: trombone-l@lists.missouri.edu Subject: Re: Majors Message-ID: <200003140009.TAA04685@fb00.eng00.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 01:01 PM 3/10/00 -0800, you wrote: > >Thanks Dennis Clason. It still shocks me that trombone bozos, like myself, >can be in communication with people of your calibre, on this list-serve. > >I have another question that perhaps you can answer. West Side Story, by >Leonard Bernstein, is one of my favorite "jazz" CDs. But it does seem that >the drum section, used for the recording of the musical soundtrack, was >strictly orchestral. Why didn't they bring in a few Latin drummers from a >few blocks east of there? > >DanP ======================= Because it would have been too "authentic". Bernstein...and the whole orchestral establishment of his time (Broadway too)...seemed to want to admire the real jazz and latin players from afar. They took some of their mannerisms, their licks, but NEVER got close enough to really find out what it was about. It wasn't really racist, because very soon thereafter many of the same people had much the same relationship with white rockers. It was more classist or culturalist, as in "We're the inheritors of the Great Western European Tradition, but we'll condescend to check you out, see what we can take." It's not so much like that anymore...I see members of various symphony orchestras in jazz clubs all the time...but then...you betcha. You want to know where Bernstein and his ilk were really coming from about this, read Tom Wolfe's great short story/essay "Mau Mauing the Flak Catchers". He saw it all. Later... S. From ???@??? Wed Mar 15 06:38:38 2000 Date: Mon, 13 Mar 2000 19:11:49 -0500 From: sabutin@mindspring.com To: "Trombones and related issues forum." Subject: rBernstein and latin drummers (was:Re: Majors) Message-ID: <200003140013.TAA18835@fb00.eng00.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 07:08 PM 3/13/00 -0500, sabutin@mindspring.com wrote: At 01:01 PM 3/10/00 -0800, you wrote: > >Thanks Dennis Clason. It still shocks me that trombone bozos, like myself, >can be in communication with people of your calibre, on this list-serve. > >I have another question that perhaps you can answer. West Side Story, by >Leonard Bernstein, is one of my favorite "jazz" CDs. But it does seem that >the drum section, used for the recording of the musical soundtrack, was >strictly orchestral. Why didn't they bring in a few Latin drummers from a >few blocks east of there? > >DanP ======================= Because it would have been too "authentic". Bernstein...and the whole orchestral establishment of his time (Broadway too)...seemed to want to admire the real jazz and latin players from afar. They took some of their mannerisms, their licks, but NEVER got close enough to really find out what it was about. It wasn't really racist, because very soon thereafter many of the same people had much the same relationship with white rockers. It was more classist or culturalist, as in "We're the inheritors of the Great Western European Tradition, but we'll condescend to check you out, see what we can take." It's not so much like that anymore...I see members of various symphony >orchestras in jazz clubs all the time...but then...you betcha. You want to know where Bernstein and his ilk were really coming from about this, read Tom Wolfe's great short story/essay "Mau Mauing the Flak Catchers". He saw it all. Later... S. From ???@??? Wed Mar 15 06:38:38 2000 Date: Mon, 13 Mar 2000 22:05:54 -0300 From: Antonio Henrique Seixas To: trombone-l@lists.missouri.edu Subject: String Auditions Message-ID: <002d01bf8d51$733fed60$0f9dffc8@webhouse.psi.br> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Dear Sirs: I know that this is a Trombone List, but this a great way to send this information. Brazilian Symphony Orchestra - Rio de Janeiro - Brazil Auditions for all strings ( concert master, 1st violin, 2nd violin leader, 2nd violin, viola leader, viola, cello and double bass). Date: March 28th Salary: US$1500.00 per month ( Good salary for Brazilian Conditions) Information: ++55 (21) 508-9592 / 509-5842 (Fax) e-mail: osb@domain.com.br All the best, Antonio Henrique Seixas Bass Trombone - Brazilian Symphony Orchestra - www.osb.com.br Weril Musical Instruments Artist - www.weril.com.br Brazilian Trombone Association General Secretary seixas@whouse.com.br From ???@??? Wed Mar 15 06:38:38 2000 Date: Mon, 13 Mar 2000 19:50:00 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: troll: fact, fiction, personality profile (longish) Message-ID: <200003140150.TAA22177@newton.pconline.com> Mime-Version: 1.0 Content-Type: multipart/alternative; types="text/plain,text/html"; boundary="=====================_4095047==_.ALT" Hiya Kids  :)

Let me tell you right off that if you are tired of hearing about the list troll, stop reading this now and delete it. 

Several people have suggested that the troll should be ignored and this will make him go away.  I for the most part ignore his stuff, it means building a ton of filters and just sending his stuff to the trash, but there are some times when I feel compelled to share my thoughts with him - frequently as a way of seeing if I can get him to respond in a way that I can predict - ok, ok, it's silly of me to do this and treat the poor guy like a stupid dog, making him do tricks, but I guess I have my weird side as well  :)

Anyway,  as I get about 7 letters a week (often more) from this guy and have become extremely interested in the phenomenon of "Internet troll behavior", I decided to forward his messages to a fellow I know who is a member of the faculty of the Psychology Department at a local University (he too is interested in the phenomenon of Internet harassment).  I'll share an excerpt of this Dr.'s "personality profile" at the end of this letter.

First, for those of you who are also receiving mail from this tortured soul, keep this in mind:  1.  he can no longer post to the list like he used to.  If he did that now, he'd give his list identity away;   2.   By being forced to harass people privately he no longer gets to create a real rise en masse.  In fact, if you choose not to divulge the fact that you are receiving mail from him, no one even knows! (this in itself must be highly frustrating to the unfortunate beast);   3.   After you have seen two or three of his rageful, nasty notes, you get an almost sympathetic feeling for the guy  -  imagine what it must be like to do these things in lieu of having meaningful relationships with other people or sharing substantive ideas.  One can readily see the pain and frustration that is revealed in almost every word of this guys writing.

I am no longer concerned with him harassing me.  Anyone who knows me knows that my self-esteem and ego are sufficiently intact as to not be terribly bothered by attacks on my intellect and creative achievement.  Also, it takes very little time and effort to hit delete!  He was absolutely outraged by my post last week where I shared some of his tortured cries for attention with you all.  I am positive that he will write to me after this LAST (I promise  :)  post on the matter of trolldom.  He will write to me as Brian Rose, Sandra Baker, Scott Johnson, Dennis Notey, Bill Johnson, Jon Wong, Gary Green, et al.  The notes will be the same, accusing me of being a "big shot", using "fancy college talk" to impress people (that's my favorite. I would, of course, prefer calling it erudite, scholarly discourse!),  and then he will offer up a plethora of sexual scenarios involving me in a variety of rather unimaginative behaviors - this is the part I find most interesting and revealing.    (Thank you Dr. Freud)

OK, as promised, here is an excerpt from Dr. (name deleted to protect his identity from you know who):

===========================================
"The individual who has been writing to you displays many of the typical characteristics displayed by whose with aberrant personality disorders who seem to need the constant gratification and attention that they can get safely via anonymous sources such as the Internet.  This type of person shows a marked predilection toward sexual dysfunction and aberration.  His/her regular use of anal and oral references clearly displays confusion of sexual orientation and most likely indicates the presence of sexual perversion and perhaps genital dysfunction"

"His/her regular references to your educational background and intellectual prowess is a strong indicator of a high level of frustration and dissatisfaction with his/her own intellectual background.  The general tone of the letters indicates someone who is probably a college graduate, or at least attended college, but does not have a particularly strong mental acumen.  This is clear not only from the limited knowledge of grammar and vocabulary, but also from the rather prosaic ideology and ideation.   He/she displays profound rage and envy of those he/she perceives as being superior. "

(material deleted)

"More specifically he/she exhibits a clear evidence of the existence of Avoidant Personality Disorder (Cluster C Personality Disorders, DSM 301.82)

A pervasive pattern of social inhibition, feelings of inadequacy, and hypersensitivity to negative evaluation, beginning in early adulthood and present in a variety of contexts, as indicated by four (or more) of the following:
(1)     avoids occupational activities that involve significant interpersonal contact, because of fears of criticism,   disapproval, or rejection.
(2)     is unwilling to get involved with people unless certain of being liked
(3)     shows restraint within intimate relationships because of the fear of being shamed or ridiculed
(4)     is preoccupied with being criticized or rejected in social situations
(5)     is inhibited in new interpersonal situations because of feelings of inadequacy
(6)     views self as socially inept, personally unappealing, or inferior to others
(7)     is unusually reluctant to take personal risks or to engage in any new activities because they may prove         embarrassing



"In addition he/she most likely suffers from Antisocial Personality Disorder.  There is a pervasive pattern of disregard for and violation of the rights of others occurring since age 15 years, as indicated by three (or more) of the following:"
(1)     failure to conform to social norms with respect to lawful behaviors as indicated by repeatedly performing       acts that are grounds for arrest
(2)     deceitfulness, as indicated by repeated lying, use of aliases, or conning others for personal profit or pleasure
(3)     impulsivity or failure to plan ahead
(4)     irritability and aggressiveness, as indicated by repeated physical fights or assaults
(5)     reckless disregard for safety of self or others
(6)     consistent irresponsibility, as indicated by repeated failure to sustain consistent work behavior or honor      financial obligations
(7)     lack of remorse, as indicated by being indifferent to or rationalizing having hurt, mistreated, or stolen from  another

"I would assess this person as typical of the kind we see engaging in abusive behavior via the Internet.  The general tone of impotence and sexual frustration are typical of a person who would never reveal himself out of severe fear of disapproval and censure.  The use of a totally anonymous medium also clearly indicates the need for great safety before this person can act."

(material deleted)

=================================


There you have it!

Mike

 From ???@??? Wed Mar 15 06:38:41 2000 Date: Mon, 13 Mar 2000 21:55:24 -0500 From: "Thomas Sousa" To: "trombone & related issues forum" Subject: E.M.D.R. Message-ID: <20000314025225.RFRV14555.mtiwmhc26.worldnet.att.net@[12.79.45.38]> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Hello all: My wife is working with a therapist on anxiety/ stress related issues. The therapist has suggested that she investigate a process called Eye Movement Desensitization and Reprocessing (E.M.D.R.). I guess that this is a relatively new practice, and it is HIGHLY effective in treating post-traumatic stress disorder, anxiety, and more specifically, performance anxiety. The therapist has a bunch of documentation with regard to the success of this treatment for athletes and performers. I'm wondering if any of you have any experience with E.M.D.R., and if so, what your experience was. This could be a God-send for my wife, but I'm thinking about the possibilities for myself too. I don't suffer from serious performance anxiety, but any little bit of relaxation helps. Thanks in advance... Peace, Tom Sousa Sharon, PA -- There are but two means of refuge from the miseries of life: music, and cats. - Albert Schweitzer From ???@??? Wed Mar 15 06:38:43 2000 Date: Mon, 13 Mar 2000 22:35:43 EST From: Matmutt@aol.com To: trombone-l@lists.missouri.edu Subject: Re:gizmo this Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/13/00 6:04:08 PM EST, rkarren@s-vision.com writes: << Why count rests if you know the music? Nice little world you must live in, friend. How's that work? Two concerts a year with six months of rehearsals for the program?? How about when you get to see a two hundred chart book a half hour before showtime. And the leader sticks with the set list for maybe the first ten minutes. I count. Fire away! I got my bullet proof armor on... (and it's fire proof too) Besides, TRY and get through this firewall... Wouldn't dream of it. It's awful thick, especially near the top. I had an old Gunnery Sergeant, (USMC), tell me once that one of the most important things I could be doing while the conductor drilled the woodwinds, was to PAY ATTENTION to the music, listen ACROSS the band rather than through it, listen to the ensemble as a single instrument rather than a conglomeration of voices. Amen, and with nuthin to do but fire the cannons for "1812" once a year, old "Gunney" had plenty of time to listen. If you think about those words of advice, you can find MANY benefits, one of which was being able to take cues from the band rather than counting those dad-burned rests. Which also aids in a better entrance based on blend and balance rather than, "Oh!! Here we go!! Wake UP!!!.... Aww... missed it again.." Sure, I guess some folks find it hard to count and check ahead for articulation and dynamics all at the same time. kinda like walking and chewing gum. Dang tough Dad-burn it. I count. I sure heard some great music while I was in the Marine Corps, and most of it was from the best seat in the house/field/parade deck/shopping center/street/etc., etc. You mean YOU were the guy holding up the other end of the Regimental banner?? AND a little score study never hurt anyone. But a BiG score study can be quite painful. There's more to what he said than I could write here, but for the sake of brevity I'll leave it as it stands. I'm all for brevity, and sake' too for that matter, so let's hear it for "Gunney" But exactly where and when did he say "Don't count"? I hope you take this commentary in the somewhat jovial manner it was intended, but Is'nt that just the faintest whif of smoke I smell ? }:)> Larry Priori ( the passionate amateur) From ???@??? Wed Mar 15 06:38:44 2000 Date: Mon, 13 Mar 2000 23:05:33 -0500 From: Topper To: "Trombones and related issues forum." Subject: Student Horn???? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" http://helius.carroll.com/p/leo_g/kingtrmbngp.html This is an old King and it's gold-plated and I think around the 30's if my memory serves me right. You mean to say they gold-plated student horns? The serial number is 80270 Cheers, Leo Autions' Underway: http://members.ebay.com/aboutme/leo_g@carroll.com/ "You Take The High Notes" http://helius.carroll.com/p/leo_g/ Our musical instruments, parts, tools, classical LP, 1800's and 1900's piano music and with violin editions. A family collection for sale and auction. Items for sale date from before 1813 to 1987. Please bookmark or link page as new items are catalogued weekly. Links will be exchanged upon request. I am especially interested in Musical Instrument History and technical data. Please email me with interesting links. Thank you:-) Leo From ???@??? Wed Mar 15 06:38:44 2000 Date: Mon, 13 Mar 2000 23:13:08 -0600 From: "Tom Izzo" To: , "Trombones and related issues forum." Subject: Re: Student Horn???? Message-ID: <001301bf8d73$fd09da20$af75dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Topper To: Trombones and related issues forum. Sent: Monday, March 13, 2000 10:05 PM Subject: Student Horn???? > http://helius.carroll.com/p/leo_g/kingtrmbngp.html > > This is an old King and it's gold-plated and I think around the 30's if my > memory serves me right. You mean to say they gold-plated student horns? > > The serial number is 80270 The instrument doesn't appear to be gold plated! That's just standard yellow brass. What I find interesting tho, is, that appears to be a Conn slide with a King bell. Sam, did King ever make a "tuning in the slide" slide? Tom From ???@??? Wed Mar 15 06:38:45 2000 Date: Mon, 13 Mar 2000 23:29:30 -0500 From: Topper To: "Trombones and related issues forum." Subject: Re: Student Horn???? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 11:13 PM -0600 3/13/00, Tom Izzo wrote: >----- Original Message ----- >From: Topper >To: Trombones and related issues forum. >Sent: Monday, March 13, 2000 10:05 PM >Subject: Student Horn???? > > >> http://helius.carroll.com/p/leo_g/kingtrmbngp.html >> >> This is an old King and it's gold-plated and I think around the 30's if my >> memory serves me right. You mean to say they gold-plated student horns? >> >> The serial number is 80270 > >The instrument doesn't appear to be gold plated! That's just standard yellow >brass. >What I find interesting tho, is, that appears to be a Conn slide with a King >bell. >Sam, did King ever make a "tuning in the slide" slide? > >Tom Nope. GOLD PLATED over Nickel Plate. I'm also a jewler (when my eyes were better) But I've known it as gold plated as the horn here: http://helius.carroll.com/p/leo_g/selmer_monica_sax.html but the sax is heavier gold plate. Also the light but you can tell it's gold. Also is an original slide. Says King right on it and has the lions head and this slide was with the horn since before the war. You can cover your fingers over the slide and it won't fall off. It's tight anda tiny bit sprung but with some cream and alittle water it worked ok but I would want to send it to a good slide man to make it perfect. No that's gold plated alright. That's a King slide cause I had a silver bone just like this and had the same setup. You see the nickel plate under the gold where it's worn. Cheers, Leo Autions' Underway: http://members.ebay.com/aboutme/leo_g@carroll.com/ "You Take The High Notes" http://helius.carroll.com/p/leo_g/ Our musical instruments, parts, tools, classical LP, 1800's and 1900's piano music and with violin editions. A family collection for sale and auction. Items for sale date from before 1813 to 1987. Please bookmark or link page as new items are catalogued weekly. Links will be exchanged upon request. I am especially interested in Musical Instrument History and technical data. Please email me with interesting links. Thank you:-) Leo From ???@??? Wed Mar 15 06:38:45 2000 Date: Mon, 13 Mar 2000 23:34:30 -0500 From: Topper To: "Tom Izzo" , "Trombones and related issues forum." Subject: Wishner's Music Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" anybody here remember Jack Wishner of Wishner's music. Had a place in Brooklyn in the 30s- 50s? Cheers, Leo Autions' Underway: http://members.ebay.com/aboutme/leo_g@carroll.com/ "You Take The High Notes" http://helius.carroll.com/p/leo_g/ Our musical instruments, parts, tools, classical LP, 1800's and 1900's piano music and with violin editions. A family collection for sale and auction. Items for sale date from before 1813 to 1987. Please bookmark or link page as new items are catalogued weekly. Links will be exchanged upon request. I am especially interested in Musical Instrument History and technical data. Please email me with interesting links. Thank you:-) Leo From ???@??? Wed Mar 15 06:38:46 2000 Date: Mon, 13 Mar 2000 23:06:03 -0600 From: Douglas Kilen To: "TROMBONE-L@LISTS.MISSOURI.EDU" Subject: King 3B Message-ID: <38CDC8BA.5D2FAD63@pressenter.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hello everyone! I've been on this list for a couple of weeks now, and am really soaking up all the information that has come my way. I'm primarily a euphonium player, but have been playing trombone in a college jazz band (I'm a music ed major) and a church based trombone quartet for a couple years now. I've got an old Reynolds Medalist and an older Cleveland Superior, but this weekend I ran across a King 3B valve trombone that I got to take home for $150. It plays great! Of course, for me, the valves are a lot of fun to play, but I'd really like to find a slide for it. Being a full time student and a single father of two boys, cost is a factor, so a new one is out. Does anyone have a used one sitting around that they'd like to part with? What other slide sections would fit? Thanks in advance for your reply. Douglas Kilen Superior, WI From ???@??? Wed Mar 15 06:38:46 2000 Date: Tue, 14 Mar 2000 09:37:19 -0500 From: David Buckley To: chris@iris.washington.edu Cc: "Trombones and related issues forum." Subject: Re: we need a gizmo Message-ID: <38CE4E9F.D2171DBE@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Aren't 2nd trombone players hired for their ability to count rests? Dave. chris@iris.washington.edu wrote: > We trombonists need yet another gizmo. > > Maybe one of you have such a thing. > > ---- > > While playing Mendelsohn's St. Paul Oratorio I found myself wishing I > had a little hand held measure counter. While I'm not usually a > complainer about counting rests, this piece seemed to be harder. Or > maybe Im getting older and Im more easily distracted... was the 43 or 33! > > Like everybody, I would love to be able to listen to the music without > having to count rests. > > I can visualize a hand held counter where I could click it on every > measure. Although you still would be keeping track of the downbeat, > it would at least offer the advantage of not having to concentrate > on what the count is. > > Of course, while contemplating such a device, I lost the count.... > > Has anyone developed and used such a device? Maybe it is not > practical. > > Chris L. From ???@??? Wed Mar 15 06:38:47 2000 Date: Tue, 14 Mar 2000 08:48:48 EST From: JBA49@aol.com To: community-music@onelist.com, trombone-l@lists.missouri.edu (Trombones and Subject: LumberJazz Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I used to play with a group called LumberJazz (a division of the "Yukon County Lumberjacks Marching Band") based in Torrance, California in the late 70's. I am trying to connect wth former members of this band and in particular Gregg Kellogg, who owned the book, I think. Other assocuiations to this group are the El Camino College night community band and the El Camino College night Jazz band. Anybody out there have any connections to this group? I'd like to hear from you. PS - I did not name the group. Jon Anderson Tenor/Bass Trombone Chicago, Illinois From ???@??? Wed Mar 15 06:38:47 2000 Date: Tue, 14 Mar 2000 08:52:53 -0800 From: "MARK LEWIS" To: Subject: Microphone Help? Message-ID: <0003149530.AA953052377@ccgate.songs.sce.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: "cc:Mail Note Part" My son needs to make some audition tapes, and our old microphone bit the dust. Need recommendation for high quality, moderate cost microphone which plugs straight into my boombox, please. And where do I buy it? thanks, Mark From ???@??? Wed Mar 15 06:38:47 2000 Date: Tue, 14 Mar 2000 11:04:15 -0600 From: Mike Coyle To: lewismm@songs.sce.com Cc: trombone-l@lists.missouri.edu Subject: Re: Microphone Help? Message-ID: <200003141705.LAA16062@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Mark, There are some wonderful mics made by Oktava, a Russian firm dedicated to high quality audio products, that are available in the US for ASTOUNDINGLY low prices (due to the devaluation of the ruble ). You can get MC 012's for about $159.00 (were $600.00) and you can get MC 219, 319's for about $199.00 (were about $700.00). Oktava has an exclusive contract with Guitar Center in the US for sales. The MC012 is a multi-purpose small diaphragm condenser that records piano and upper winds and brass brilliantly. The MC 219 and 319 are large diaphragm condensers that are unreal for recording low brass. I use these mics almost exclusively now. hey have a huge dynamic range and have a very realistic sound - and the price cannot be beat. I have used many condensers costing between $700.00 - $1,600.00 that have not come close to the quality of Oktavas. See if you have a Guitar Center near you or look up one you can order from on the web. Good luck, MiCoyle :) At 10:52 AM 3/14/00 , you wrote: > > My son needs to make some audition tapes, and our old microphone bit > the dust. Need recommendation for high quality, moderate cost > microphone which plugs straight into my boombox, please. And where do > I buy it? > > thanks, > > Mark > From ???@??? Wed Mar 15 06:38:48 2000 Date: Tue, 14 Mar 2000 12:11:41 EST From: BMcCh@aol.com To: TROMBONE-L@lists.missouri.edu Subject: Bob McChesney CD - shameless plug Message-ID: <64.100960b.25ffcccd@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi all, Just wanted to let everyone know that my debut CD "No Laughing Matter - The Bob McChesney Quartet Plays Steve Allen" is in stores as of today, March 14th, 2000. It's my quartet's modern tribute to Steve and his music. The CD is being released on Summit Records (release number is DCD - 261). Please read the review on all about jazz .com. CD Review - No Laughing Matter - (All About Jazz Site) Thanks very much, Bob McChesney P.S. Doodle Studies and Etudes now comes with a CD instead of cassettes. The website is http://members.aol.com /chesapeak3 From ???@??? Wed Mar 15 06:38:48 2000 Date: Tue, 14 Mar 2000 11:12:36 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: tbone-l archives / Tony Brusseau Message-ID: <200003141713.LAA16951@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hey folks, I'm trying to find Tony Brusseau's (sp) page which features a working search engine for the trombone-l archives. Anyone know the URL? Thanks, Mike From ???@??? Wed Mar 15 06:38:49 2000 Date: Tue, 14 Mar 2000 12:19:18 -0500 From: "Chuck De Paolo" To: Subject: Re: Microphone Help? Message-ID: <007401bf8dd9$6e6dea20$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Mark, Finding a high quality mic that plugs directly into your boombox may be a little difficult, as better quality mics are usually "XLR" types. That is, the have a different impedance or resistance than basic mics. You can tell an XLR by looking at the plug - it has a 3-prong arrangement rather than a regular headphone style jack. There are transformers available (don't use a straight adapter without the transformer section - it will give poor results). Best bet for an inexpensive do-it-yourself job is a pair of standard XLR mics (Shure SM-57s for instance) using a small mixer dumping to a tape deck with manual level controls. Your boombox probably has "ALC" - Automatic Level Control. ALC will flatten out all the dynamics, making quiet passages louder (while adding some hiss) and softening the loud passages. Not a good way to impress the judges. I hope Wayne Dyess sees your post, he does alot with recording and hopefully he'll share some ideas too. Best bet is to use the services of a local studio if you really want a primo tape. Hope this helps! In Music, ---Chuck 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: MARK LEWIS To: Trombones and related issues forum. Sent: Tuesday, March 14, 2000 11:52 AM Subject: Microphone Help? > > My son needs to make some audition tapes, and our old microphone bit > the dust. Need recommendation for high quality, moderate cost > microphone which plugs straight into my boombox, please. And where do > I buy it? > > thanks, > > Mark > > From ???@??? Wed Mar 15 06:38:49 2000 Date: Tue, 14 Mar 2000 11:19:56 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'astro@pconline.com'" , "Trombones and related issues forum." Subject: RE: tbone-l archives / Tony Brusseau Message-ID: MIME-Version: 1.0 Content-Type: text/plain This comes up frequntly. Here is the URL. http://brusseau.com/TromboneL/ Rick Marple San Antonio TX -----Original Message----- From: Mike Coyle [mailto:astro@pconline.com] Sent: Tuesday, March 14, 2000 11:13 AM To: Trombones and related issues forum. Subject: tbone-l archives / Tony Brusseau Hey folks, I'm trying to find Tony Brusseau's (sp) page which features a working search engine for the trombone-l archives. Anyone know the URL? Thanks, Mike From ???@??? Wed Mar 15 06:38:49 2000 Date: Tue, 14 Mar 2000 11:25:07 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: King 3B Message-ID: MIME-Version: 1.0 Content-Type: text/plain > -----Original Message----- > From: Douglas Kilen [SMTP:dkilen@pressenter.com] > Sent: Monday, March 13, 2000 11:06 PM > To: Trombones and related issues forum. > Subject: King 3B > > Hello everyone! I've been on this list for a couple of weeks now, and > am really soaking up all the information that has come my way. I'm > primarily a euphonium player, but have been playing trombone in a > college jazz band (I'm a music ed major) and a church based trombone > quartet for a couple years now. I've got an old Reynolds Medalist and > an older Cleveland Superior, but this weekend I ran across a King 3B > valve trombone that I got to take home for $150. > I hope you gave the person that you stole that horn from a kiss !!! :-) > It plays great! Of > course, for me, the valves are a lot of fun to play, but I'd really like > to find a slide for it. Being a full time student and a single father > of two boys, cost is a factor, so a new one is out. Does anyone have a > used one sitting around that they'd like to part with? What other slide > sections would fit? Thanks in advance for your reply. > I got lucky with mine. The fellow that I purchased my 3B valve bone from happened to have a wrecked 3B Silversonic in the shop. I ended up with that slide after forking over $200.00 (which included cleaning, aligning and refinishing the slide). Recently I have been looking for a new slide since mine is rather old (1957 or so) and have found out a few things. First, 3B slides are expensive!! UMI wants $900.00 and even a reputable dealer in the Chicago area could only discount it to $750.00. Edwards would have been happy to build me the slide I wanted for around $600.00, but it would not fit the 3B bell without modifying the bell. That would have rendered the valves useless. I checked with Blessing to see if the slide from a B5 would fit, and the answer was no. I did find out that I could buy a whole B5 for less than the slide on a King 3B costs, however. It seems that the King 3B fits the bell and slide together backwards from anyone else. Don't know about Lawler, since the phone rings and rings and my e-mail was not answered. Anyway, since you only paid $150 for the bell and valves, even $750 for a new slide is a good deal. Last I checked, the 3B valve bone alone retails at around $1900. Ken Dowdy From ???@??? Wed Mar 15 06:38:51 2000 Date: Tue, 14 Mar 2000 12:43:11 EST From: Bear0Bones@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Bob McChesney CD - shameless plug Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi, I've heard Bob's album and it is amazing. Go get it-you'll like it! Bill Reichenbach From ???@??? Wed Mar 15 06:38:51 2000 Date: Tue, 14 Mar 2000 18:50:39 +0100 From: "Peter Jarnebrant" To: Subject: conn elkhart era Message-ID: <003601bf8ddd$d0b9f580$ac9dc6c3@telia.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit hi all, sorry if this has been answered already, but what years was conn in the different locations, elkhart and so on? peter jarnebrant sweden From ???@??? Wed Mar 15 06:38:52 2000 Date: Tue, 14 Mar 2000 13:06:45 -0500 From: Walter Barrett To: "Trombones and related issues forum." Subject: Gizmo followup Message-ID: <38CE7F92.6F22F8E0@bestweb.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Matmutt, or Larry (the passionate amateur) I'm not saying you shouldn't be passionate about your beliefs, but I didn't find your remarks to be all that tongue-in-cheek! Who can say that their way is the only/best/preferred way? Perhaps when you realize that others are entitled to their opinions, AND you don't flame them for theirs, MAYBE you'll go from amateur to professional. Walter Barrett Yamaha Artist/Clinician From ???@??? Wed Mar 15 06:38:52 2000 Date: Tue, 14 Mar 2000 13:13:01 -0400 From: Craig Parmerlee To: Subject: RE: King 3B Message-ID: <4.3.0.20000314130224.00ac0d60@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 11:25 AM 03/14/2000 -0600, DOWDY, KENNETH S wrote: > Recently I have been looking for a new slide since >mine is rather old (1957 or so) and have found out a few things. First, 3B >slides are expensive!! UMI wants $900.00 and even a reputable dealer in the >Chicago area could only discount it to $750.00. Edwards would have been >happy to build me the slide I wanted for around $600.00, but it would not >fit the 3B bell without modifying the bell. That would have rendered the >valves useless. I checked with Blessing to see if the slide from a B5 would fit, and the answer was no. Well, you really can't compare a Blessing slide with an Edwards slide. The Edwards slides are top notch. I had the same issue and put an Edwards .500/.508 slide on a King SilverTone bell. The slide is better than anything UMI makes and a few hundred dollars less to boot. I did modify the receiver on the bell to accept Edwards/Bach slides, but you could go the other way just as easily. You can modify the Edwards slide to fit a King bell, which would allow you to interchange valve and slide sections. This is a simple job for any capable repair shop. I think this is a worthwhile investment for a sterling bell. That much investment in a slide may be out of proportion for a brass bell section, considering you can buy a pretty decent brass 2B/3B used for about the price of a new Edwards slide. From ???@??? Wed Mar 15 06:38:53 2000 Date: Tue, 14 Mar 2000 12:10:18 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: Re: Gizmo followup Message-ID: <200003141811.MAA22672@newton.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Walter, thank you for this response. I was going to do the same but decided I had my hands full with abusive mail already :) Mike At 12:06 PM 3/14/00 , you wrote: >Matmutt, or Larry (the passionate amateur) > >I'm not saying you shouldn't be passionate about your beliefs, but I >didn't find your remarks to be all that tongue-in-cheek! Who can say >that their way is the only/best/preferred way? Perhaps when you realize >that others are entitled to their opinions, AND you don't flame them for > >theirs, MAYBE you'll go from amateur to professional. > >Walter Barrett >Yamaha Artist/Clinician > From ???@??? Wed Mar 15 06:38:53 2000 Date: Tue, 14 Mar 2000 13:23:47 EST From: MikeSuter@aol.com To: wbarrett@bestweb.net, trombone-l@lists.missouri.edu Subject: Re: Gizmo followup Message-ID: <73.1a292bd.25ffddb3@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit << . . . MAYBE you'll go from amateur to professional.>> Ouch. From ???@??? Wed Mar 15 06:38:53 2000 Date: Tue, 14 Mar 2000 07:31:30 -0600 From: "DANIEL COOPER" To: Subject: help Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Disposition: inline Someone please tell me how to get off the list, I never get a chance to check this address and the mail just piles up... thanks! From ???@??? Wed Mar 15 06:38:53 2000 Date: Tue, 14 Mar 2000 12:38:07 -0600 From: Mike Coyle To: coopd@mail.wawm.k12.wi.us Cc: trombone-l@lists.missouri.edu Subject: Re: help Message-ID: <200003141839.MAA25196@newton.pconline.com> Mime-Version: 1.0 Content-Type: multipart/alternative; types="text/plain,text/html"; boundary="=====================_10468539==_.ALT" At 07:31 AM 3/14/00 , you wrote:
>Someone please tell me how to get off the list, I never get a chance to
>check this address and the mail just piles up... thanks!
>

Here ya go, Daniel:

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From ???@??? Wed Mar 15 06:38:55 2000 Date: Tue, 14 Mar 2000 13:49:53 -0500 From: Randy Campora To: bonewerx@worldnet.att.net, "Trombones and related issues forum." Subject: Performance Anxiety Therapies (was E.M.D.R.) Message-ID: <4.2.0.58.20000314134124.0098b7c0@mail.telephonet.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:55 PM 3/13/00 , Thomas Sousa wrote: >Hello all: > >My wife is working with a therapist on anxiety/ stress related issues. The >therapist has suggested that she investigate a process called Eye Movement >Desensitization and Reprocessing (E.M.D.R.). I guess that this is a >relatively new practice, and it is HIGHLY effective in treating >post-traumatic stress disorder, anxiety, and more specifically, performance >anxiety. The therapist has a bunch of documentation with regard to the >success of this treatment for athletes and performers. > >I'm wondering if any of you have any experience with E.M.D.R., and if so, >what your experience was. This could be a God-send for my wife, but I'm >thinking about the possibilities for myself too. I don't suffer from >serious performance anxiety, but any little bit of relaxation helps. I forwarded this info to Dr. Paul Harris, who sent the following and has allowed me to post it on the list. Incidentally, Paul is really a wonderful bass trombonist and euphonium player. When he moved to NYC to start his optometry training, he took an audition for one of the semi-pro orchestras in the city--he won and his subs were two players now in top-five orchestras! Randy Campora ------------------------------------- Tom, Randy Campora passed your e-mail on to me as my area of expertise is behavioral optometry. I am also a bass trombonist, went to Interlochen for high school, Northwestern, where I trained with Crisafuli, Kleinhammer and Freidman and then went into optometry but still play the horn. I have published an article on "Visual Conditions of Symphony Musicians" which showed a very high correlation between posture and astigmatism which used members of the Baltimore Symphony as subjects. The work was recently replicated with the Oslo Philharmonic and verified my observations. This is all by way of introduction to let you know a bit about my field. A significant number of BSO members are patients of mine and a number have undergone vision therapy with me. As a result many have learned a number of very significant skills which they use to cope with performance anxiety as well as audition anxiety. I also do a lot of work with athletes of all levels. The key things I work on for dealing with performance and audition anxiety are skills of visualization and visual imagery. The first step is to work on the basics of these skills. Many people can talk about them but don't know how to harness these skills. We begin by making sure that they have these skills and abilities and can use them. Then we work in one of two directions and sometimes both simultaneously. This is also done in association with general relaxation activities. I have several different biofeedback devices that my patients work with to master general relaxation as well as visual relaxation. Of course anything that can help get the stress out of the neck, back, and face can help the person breath more efficiently and control their stress levels. Then I begin on the application work of visualization and visual imagery. We work either in the direction of during practice pretending to be in the usually anxiety producing situation and using relaxation procedures to help desensitize the person to the situation. Or, we work the other way. We want the person while on stage to spend time visualizing themselves in the safety of their normal practice room where, of course, that have nailed that passage over and over. Sometimes I have to mix the two approaches with the same person. I must stress that this is a very personal type of training and cannot be done over the phone and directions cannot be given over the internet. I am located in Baltimore but I have many colleagues all over the US and abroad that do similar work. Let me know where you are located and I will be glad to make recommendations as to whom to go see. Paul Harris, OD, FCOVD, FACBO, FAAO Behavioral Optometrist e-mail address: 110117.2726@compuserve.com From ???@??? Wed Mar 15 06:38:56 2000 Date: Tue, 14 Mar 2000 12:40:15 -0800 From: "Maria R. Tekle-Wolde" To: "Trombones and related issues forum." Subject: Hard Cases.. Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Listers, Just arrived in town again after our Concert Band tour.. which went very well.. anyhow... I had been carrying my Edwards (for obvious reasons) with me everywhere and wouldn't let anyone put it under the bus.. so last night, our last concert on the road I take my horn outta the case and etc.. only to find a FOLD in the metal... what away to blow someone's concentration instantaneously... well anyhow.. I have yet to tell my mom cause I think she will blow her lid.. which she has the right to do, remember earlier this year I had a BRAND NEW small bore Edwards Tenor bell flair destroyed by the "unknown".. so I think I am going to invest in some really really good hard cases.. and carry my horns home with my every day and etc.. no more mrs nice tenor trombone player.. when it deals with my horns.. if anyone has any suggestions on where I should look or what they've had luck with.. yes I will be checking the back posts and etc.. it's just that I've been home for only 30 minutes and didn't want to forget to post this.. Maria R. Tekle-Wolde PS.. Anyone else out there get to play Charles Youngs "Tempered Steel".. it's definitely a blow for the brass but we opened our tour with it.. its a great piece.. check this address and the mail just piles up... thanks! __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com From ???@??? Wed Mar 15 06:38:57 2000 Date: Tue, 14 Mar 2000 14:17:46 -0500 From: "Chuck De Paolo" To: Subject: Re: Hard Cases.. Message-ID: <00c201bf8de9$fb23d870$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit To Maria & All, If you do a lot of travelling, or just want to really protect your horn for the few trips you have to make, then you might want to check out the SKB professional hard case. Many stores carry them, including us of course. I've got a write-up on our site at http://www.hickeys.com/newsite/cgi/store.cgi?cart_id=&page=features/sku31243 .htm. This case is our top recommendation for "trains, planes, and automobiles". It isn't for every horn out there, but it will certainly work with all small bore tenors. --Chuck ----- Original Message ----- From: Maria R. Tekle-Wolde To: Trombones and related issues forum. Sent: Tuesday, March 14, 2000 3:40 PM Subject: Hard Cases.. > Listers, > > Just arrived in town again after our Concert Band tour.. > ...only to find a FOLD in the metal... From ???@??? Wed Mar 15 06:38:58 2000 Date: Tue, 14 Mar 2000 14:17:03 -0500 From: David Buckley To: campora@peabody.jhu.edu Cc: "Trombones and related issues forum." Subject: Re: Performance Anxiety Therapies (was E.M.D.R.) Message-ID: <38CE902F.1BF994B7@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Sounds loke a good topic for a future ITF. Dave. Randy Campora wrote: > At 09:55 PM 3/13/00 , Thomas Sousa wrote: > >Hello all: > > > >My wife is working with a therapist on anxiety/ stress related issues. The > >therapist has suggested that she investigate a process called Eye Movement > >Desensitization and Reprocessing (E.M.D.R.). I guess that this is a > >relatively new practice, and it is HIGHLY effective in treating > >post-traumatic stress disorder, anxiety, and more specifically, performance > >anxiety. The therapist has a bunch of documentation with regard to the > >success of this treatment for athletes and performers. > > > >I'm wondering if any of you have any experience with E.M.D.R., and if so, > >what your experience was. This could be a God-send for my wife, but I'm > >thinking about the possibilities for myself too. I don't suffer from > >serious performance anxiety, but any little bit of relaxation helps. > > I forwarded this info to Dr. Paul Harris, who sent the following and has > allowed me to post it on the list. Incidentally, Paul is really a > wonderful bass trombonist and euphonium player. When he moved to NYC to > start his optometry training, he took an audition for one of the semi-pro > orchestras in the city--he won and his subs were two players now in > top-five orchestras! > > Randy Campora > ------------------------------------- > Tom, > > Randy Campora passed your e-mail on to me as my area of expertise is > behavioral optometry. I am also a bass trombonist, went to Interlochen for > high school, Northwestern, where I trained with Crisafuli, Kleinhammer and > Freidman and then went into optometry but still play the horn. I have > published an article on "Visual Conditions of Symphony Musicians" which > showed a very high correlation between posture and astigmatism which used > members of the Baltimore Symphony as subjects. The work was recently > replicated with the Oslo Philharmonic and verified my observations. This > is all by way of introduction to let you know a bit about my field. A > significant number of BSO members are patients of mine and a number have > undergone vision therapy with me. As a result many have learned a number > of very significant skills which they use to cope with performance anxiety > as well as audition anxiety. > > I also do a lot of work with athletes of all levels. The key things I work > on for dealing with performance and audition anxiety are skills of > visualization and visual imagery. The first step is to work on the basics > of these skills. Many people can talk about them but don't know how to > harness these skills. We begin by making sure that they have these skills > and abilities and can use them. > > Then we work in one of two directions and sometimes both simultaneously. > This is also done in association with general relaxation activities. I > have several different biofeedback devices that my patients work with to > master general relaxation as well as visual relaxation. Of course anything > that can help get the stress out of the neck, back, and face can help the > person breath more efficiently and control their stress levels. > > Then I begin on the application work of visualization and visual imagery. > We work either in the direction of during practice pretending to be in the > usually anxiety producing situation and using relaxation procedures to help > desensitize the person to the situation. Or, we work the other way. We > want the person while on stage to spend time visualizing themselves in the > safety of their normal practice room where, of course, that have nailed > that passage over and over. Sometimes I have to mix the two approaches > with the same person. > > I must stress that this is a very personal type of training and cannot be > done over the phone and directions cannot be given over the internet. I am > located in Baltimore but I have many colleagues all over the US and abroad > that do similar work. Let me know where you are located and I will be glad > to make recommendations as to whom to go see. > > Paul Harris, OD, FCOVD, FACBO, FAAO Behavioral Optometrist > e-mail address: 110117.2726@compuserve.com From ???@??? Wed Mar 15 06:38:59 2000 Date: Tue, 14 Mar 2000 13:19:11 -0600 From: "DOWDY, KENNETH S" To: "Trombones and related issues forum." Subject: RE: King 3B Message-ID: MIME-Version: 1.0 Content-Type: text/plain > Well, you really can't compare a Blessing slide with an Edwards slide. > Perhaps true. I checked with Blessing since I had been told (evidently incorrectly) that the Blessing B5 was a King 3B clone. Anyway, one of the best "out of the box" slides that I ever tried was attached to a Blessing B7. I was also pretty impressed with a Blessing B88 that I tried. I don't know if this was a fluke, or the way Blessing slides are built. > The Edwards slides are top notch. I had the same issue and put an Edwards > > .500/.508 slide on a King SilverTone bell. > Exactly the one I was looking at. > The slide is better than anything UMI makes and a few hundred dollars less > to boot. > I must say that after getting "sticker shock" from pricing replacement King slides, I was really impressed with Edwards. Since they are a "custom" builder, I expected the price of their slides to be higher than King, not significantly lower. I would have to consider the comment that an Edwards slide is better than "anything" UMI makes to be rather subjective. I have always been happy with my King and Conn slides. I was entertaining the possibility of replacing the 3B slide because of its age and the fact that some of the plating on the stockings was getting worn. I can't really complain since the slide is 40+ years old and, judging from the condition of the horn that it came off of, not very well cared for during at last years before I got it. > I did modify the receiver on the bell to accept Edwards/Bach slides, but > you could go > the other way just as easily. You can modify the Edwards slide to fit a > King bell, which would allow you to interchange valve and slide > sections. This is a simple job for any capable repair shop. > I may give it a try. I was rather disappointed that Edwards would not make this modification while they were building a "custom" slide for me. I would have even been willing to pay a bit extra. I was not at all happy about having a custom slide built by a company such as Edwards, and then having it further modified. Anyway, things worked out in the end. Someone recommended that I send my slide to the "Slide Doctor". He was able to get my old slide to work rather decently, and for a LOT less than a new one. I am still interested in getting a dual bore, or at least a smaller bore slide for my horn, but the issue is no longer as pressing as it was a month ago. Thanks to Dr. Upchurch, I now only "want" another slide. I no longer "need" another slide. > I think this is a worthwhile investment for a sterling bell. That much > investment in a slide may be out of proportion for a brass bell section, > considering you can buy a pretty decent brass 2B/3B used for about the > price of a new Edwards slide. > True, but I really like the sound of my bell. There aren't a lot of $600 King 3Bs hanging around in shops in my area, and you don't always know what you are getting when you order one from e-bay. However, scrapping my slide and selling off the 3B as a valve trombone to raise cash for a new 2B or 3B was an option that I was entertaining for a while. Thankfully, I did not have to resort to that option. Ken Dowdy From ???@??? Wed Mar 15 06:38:59 2000 Date: Tue, 14 Mar 2000 14:29:54 -0500 From: sabutin@mindspring.com To: maria_t_w@yahoo.com Cc: trombone-l@lists.missouri.edu Subject: Re: Hard Cases.. Message-ID: <200003141931.OAA11979@smtp10.atl.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 12:40 PM 3/14/00 -0800, you wrote: >Listers, > >Just arrived in town again after our Concert Band tour.. >which went very well.. anyhow... I had been carrying my >Edwards (for obvious reasons) with me everywhere and >wouldn't let anyone put it under the bus.. so last night, >our last concert on the road I take my horn outta the case >and etc.. only to find a FOLD in the metal... what away >to blow someone's concentration instantaneously... well anyhow.. > >I have yet to tell my mom cause I think she will blow her lid.. >which she has the right to do, remember earlier this year >I had a BRAND NEW small bore Edwards Tenor bell flair destroyed by >the "unknown".. so I think I am going to invest in some >really really good hard cases.. and carry my horns home >with my every day and etc.. no more mrs nice tenor trombone >player.. when it deals with my horns.. > >if anyone has any suggestions on where I should look or what >they've had luck with.. yes I will be checking the back posts >and etc.. it's just that I've been home for only 30 minutes >and didn't want to forget to post this.. > >Maria R. Tekle-Wolde ================ Maria... Often when the case itself is not harmed it's a result of the horn bouncing around inside, impacting on the inside or the case. The solution...??? Twofold (or maybe three..) One...get a case that you are SURE will not cave in (or even bend) under heavy stresses the way some lightweight plastic cases will. If a 200 pounder can stand on it w/out any bending at all, it's a good case for this type of use. Otherwise forget it. Two...pack the horn so it has zero room to shift. Not even an 1/8th of an inch. Anywhere. I use packing bubble wrap. You don't need much to snug the horn up nicely...around the bell particularly. Three...If you can manage it, use an SKB golf case and a good, compact soft case like Reunion Blues. Put the horn in the soft case, then put it in the golf case surrounded by LOTS of bubble wrap. (Also good...clothes that can be wrinkled, sweaters, etc.) I've been traveling under the roughest conditions (Turkey, Mexico, La Guardia and Newark airports, buses, cars...you name it) for three years now using the SKB golf cases, and NOTHING has happened to my horns. As long as the case doesn't cave in or bend and the horn doesn't slam up against the inside, you should be alright. The drawbacks...only that they're large. (As in going through oversized baggage in some airports, not fitting in compact cars, etc...) I also recently saw an SKB trombone case that looked to be made out of the same material...didn't get to test it, though. (If the horn fits TOO snugly in a dedicated case, there's no room for bubble wrap, which is a drawback, I think.) Good luck... S. From ???@??? Wed Mar 15 06:39:00 2000 Date: Tue, 14 Mar 2000 15:20:39 EST From: Neobopr@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Bob McChesney CD - shameless plug Message-ID: <6b.26089e5.25fff917@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/14/00 1:44:12 PM, Bear0Bones@aol.com writes: >Hi, > >I've heard Bob's album and it is amazing. Go get it-you'll like it! > >Bill Reichenbach You can also check out an MP3 or streaming Real Audio sampler from the CD. I listened to it last week. Bob, you are a monster! Artist/Clinician for Yamaha-Jeff Adams From ???@??? Wed Mar 15 06:39:00 2000 Date: Tue, 14 Mar 2000 15:56:10 EST From: JennWhaa@aol.com To: trombone-l@lists.missouri.edu Subject: Tongue Message-ID: <62.1b109db.2600016a@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Again, I bring this problem to you because there seems to be no improvement with my tonguing. I am at a complete loss and I do not know what to do. I feel like it is physically impossible for me to tongue any faster. I work with a metronome every day and every day I lose what I gained the day before. I can't play through fast sixteenth note runs any faster than quarter note = 112. From ???@??? Wed Mar 15 06:39:01 2000 Date: Tue, 14 Mar 2000 16:48:04 -0500 From: sabutin@mindspring.com To: JennWhaa@aol.com Cc: trombone-l@lists.missouri.edu Subject: Re: Tongue Message-ID: <200003142149.QAA09236@smtp10.atl.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 03:56 PM 3/14/00 -0500, you wrote: > >Again, I bring this problem to you because there seems to be no improvement with my tonguing. I am at a complete loss and I do not know what to do. I feel like it is physically impossible for me to tongue any faster. I work with a metronome every day and every day I lose what I gained the day before. I can't play through fast sixteenth note runs any faster than quarter note = 112. ================== A question...can you tongue faster than that WITHOUT moving on the horn? S. ======================== > From ???@??? Wed Mar 15 06:39:01 2000 Date: Tue, 14 Mar 2000 17:02:42 EST From: BMcCh@aol.com To: TROMBONE-L@lists.missouri.edu Subject: Tongue Message-ID: <3e.1b41def.26001102@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit JennWhaa, The key to getting faster at single tonguing is to play much shorter note groupings at tempos above your limit of 112. You can try playing fast sixteenths for only 4 beats, or maybe for only 1 beat. On the extreme end I've heard of some players setting the metronome extremely fast and just tonguing only two sixteeths at at time. It works because it is far easier to tongue fast on short groupings than on longer ones. After a short time the body gets used to playing the faster speed - then you will be able to play more sixteenths in a row at a faster speed. Bob McChesney >Again, I bring this problem to you because there seems to be no improvement with my tonguing. I am at a complete loss and I do not know what to do. I feel like it is physically impossible for me to tongue any faster. I work with a metronome every day and every day I lose what I gained the day before. I can't play through fast sixteenth note runs any faster than quarter note = 112. From ???@??? Wed Mar 15 06:39:02 2000 Date: Tue, 14 Mar 2000 16:26:13 +0000 From: Eric and Candice Swanson Cc: "Trombones and related issues forum." Subject: Re: conn elkhart era Message-ID: <38CE6824.17AFC564@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 Peter Jarnebrant wrote: > hi all, > > sorry if this has been answered already, but what years was conn in the > different locations, elkhart and so on? > Peter, Conn was in Elkhart, Indiana from the beginning (late 1800s) until about 1972. There's not a definite date they stopped making horns in Elkhart, it was phased out gradually. The factory moved to Abilene, Texas where they stayed until 1987 I believe. Then Conn production was moved to the King factory in Eastlake Ohio. Eric Swanson From ???@??? Wed Mar 15 06:39:02 2000 Date: Tue, 14 Mar 2000 17:29:15 -0500 (EST) From: Beth Lewis To: JennWhaa@aol.com Cc: "Trombones and related issues forum." Subject: Re: Tonguing Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Jen, Sometimes focusing on other things such as air flow, sound, or __being relaxed__ can have more dramatic effects than merely focusing on the obvious (in this case getting the tongue to move faster). Those not-too-distantly related details (and others) may even be what's holding you back at this point. practice creatively... Beth Lewis On Tue, 14 Mar 2000 JennWhaa@aol.com wrote: > > Again, I bring this problem to you because there seems to be no improvement with my tonguing. I am at a complete loss and I do not know what to do. I feel like it is physically impossible for me to tongue any faster. I work with a metronome every day and every day I lose what I gained the day before. I can't play through fast sixteenth note runs any faster than quarter note = 112. > > From ???@??? Wed Mar 15 06:39:03 2000 Date: Tue, 14 Mar 2000 18:44:01 EST From: AlRobnett@aol.com To: trombone-l@lists.missouri.edu Subject: Re: tbone-l archives / Tony Brusseau Message-ID: <1a.13ab449.260028c1@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/14/00 11:22:56 AM Central Standard Time, Richard.Marple@CEN.AMEDD.ARMY.MIL writes: << This comes up frequntly. Here is the URL. http://brusseau.com/TromboneL/ >> Unfortunately, my searches indicate that the archive does not include dates after April 1999. Allen From ???@??? Wed Mar 15 06:39:03 2000 Date: Tue, 14 Mar 2000 14:38:57 -0800 From: "MARK LEWIS" To: Subject: Microphone Advice Message-ID: <0003149530.AA953073138@ccgate.songs.sce.com> MIME-Version: 1.0 Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Content-Description: "cc:Mail Note Part" I should clarify my earlier note. I need to buy equipment capable of making good quality audition tapes from home. I guess that means, at a minimum a microphone, recorder, and perhaps some other device. Want high quality, moderate cost (few hundred $?). I play trombone, my son trumpet. Advice, including lowest cost vendor, is much appreciated. thanks, Mark From ???@??? Wed Mar 15 06:39:03 2000 Date: Tue, 14 Mar 2000 19:23:05 EST From: Matmutt@aol.com To: trombone-l@lists.missouri.edu Subject: a humble apology Message-ID: <86.177c045.260031e9@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit How can I possibly atone for my thoughtless and cruel attempt at humor last night? I can only say that I could not possibly bow as low as I feel. I mocked a person's perfectly legitimate point of view. I disregarded all the standards of this list which I have observed, maintained and championed for at least four years. Worst of all I have betrayed the faith and suffered the loss of esteem of many good friends. I sit here with tears on my face and a deeper understanding that humor at another's expense is never humorous. Larry Priori ( the passionate amateur) From ???@??? Wed Mar 15 06:39:03 2000 Date: Tue, 14 Mar 2000 20:16:18 -0500 From: gonzalo To: trombone-l@lists.missouri.edu Subject: Paris Trombone Quartet Recording?? Message-ID: <3877206225.953064978@CONSONANCE.CFA.ANDREW.CMU.EDU> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Content-Disposition: inline Hello I just want to know if somebody knows where I can find a recording of Paris Trombone Quartet. I have been looking for it in diferents CD stores but I couldn't find it. Could you help me please??? Thanks Gonzalo From ???@??? Wed Mar 15 06:39:03 2000 Date: Tue, 14 Mar 2000 19:16:33 -0700 From: Earl Needham To: trombone-l@lists.missouri.edu Subject: Re: Microphone Help? Message-ID: <4.2.2.20000314191523.00b40100@127.0.0.1> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Content-Transfer-Encoding: 8bit At 11:04 AM 3/14/00 -0600, Mike Coyle wrote: >Mark, > >There are some wonderful mics made by Oktava, a Russian firm dedicated to >high quality audio products, that are available in the US for ASTOUNDINGLY >low prices (due to the devaluation of the ruble ). You can get MC 012's >for about $159.00 (were $600.00) and you can get MC 219, 319's for about >$199.00 (were about $700.00). Oktava has an exclusive contract with Guitar >Center in the US for sales. > I don't want to get TOO commercial here, but the music store I work at has the Shure SM-58 for $99.00. If interested, email tarpley@yucca.net. Earl Earl Needham, KD5XB mailto:KD5XB@AMSAT.ORG Clovis, New Mexico DM84jk N34¼25.446' W103¼12.700' (or so) Pet peeve: breath is a noun, breathe is a verb (When you take a breath, you breathe...) From ???@??? Wed Mar 15 06:39:03 2000 Date: Tue, 14 Mar 2000 21:24:44 -0600 From: Wayne Dyess To: "Chuck De Paolo" Cc: "Trombones and related issues forum." Subject: Re: Microphone Help? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Chuck is right on the money with his recommendations for a mic as needed for this application. I read a few other good recommendations, but they wouldn't work in this scenario. The SM-57 is a better choice for general purpose instrumental work than the SM-58 (primarily a vocal mic). And both are geared more for the live sound reinforcement situation rather than recording -- though both have been used in many a studio, as well. Radio Shack, believe it or not, made a really good mic for these kinds of applications just a few years ago... and it sold for the amazing price of $39.95. If you are serious about getting a decent recording, but don't want to spend a LOT of money -- visit your local Radio Shack. But try to find a salesman who can actually HELP you. The mic that I bought there (yes I did) was a lavalier type, condenser (had it's own battery), and worked GREAT on trombone! But the "ALC" that Chuck speaks of is EVIL. I'd definitely try to avoid the boombox recording if at all possible! Havin' fun! --Wayne Dyess At 12:19 PM -0500 3/14/00, Chuck De Paolo wrote: >Mark, > >Finding a high quality mic that plugs directly into your boombox may be a >little difficult, as better quality mics are usually "XLR" types. That is, >the have a different impedance or resistance than basic mics. You can tell >an XLR by looking at the plug - it has a 3-prong arrangement rather than a >regular headphone style jack. There are transformers available (don't use a >straight adapter without the transformer section - it will give poor >results). Best bet for an inexpensive do-it-yourself job is a pair of >standard XLR mics (Shure SM-57s for instance) using a small mixer dumping to >a tape deck with manual level controls. Your boombox probably has "ALC" - >Automatic Level Control. ALC will flatten out all the dynamics, making >quiet passages louder (while adding some hiss) and softening the loud >passages. Not a good way to impress the judges. I hope Wayne Dyess sees >your post, he does alot with recording and hopefully he'll share some ideas >too. Best bet is to use the services of a local studio if you really want a >primo tape. Hope this helps! > >In Music, >---Chuck >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: MARK LEWIS >To: Trombones and related issues forum. >Sent: Tuesday, March 14, 2000 11:52 AM >Subject: Microphone Help? > > >> >> My son needs to make some audition tapes, and our old microphone bit >> the dust. Need recommendation for high quality, moderate cost >> microphone which plugs straight into my boombox, please. And where >do >> I buy it? >> >> thanks, >> >> Mark >> >> > From ???@??? Wed Mar 15 06:39:04 2000 Date: Tue, 14 Mar 2000 21:56:39 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: Manipulations Message-ID: <000901bf8e32$7ae4fec0$a2e1490c@default> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit On the 25th of this month I'm going to play Manipulations for unaccompanied trombone by Allen Molineux. I was looking for some type of background on the piece, but I can't find it. I need some background for the program notes. All I know is that the composer is Allen Molineux and he studied composition with Warren Benson at the Eastman School of Music. If anyone knows something about this piece or knows how I can contact the composer, I would greatly appreciate it. Weston Sprott From ???@??? Wed Mar 15 06:39:04 2000 Date: Tue, 14 Mar 2000 23:31:00 EST From: Neobopr@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Tongue Message-ID: <72.219be92.26006c04@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Jenn, Play at piano dynamic. Concentrate on moving the back only 1mm from where you attack the note. Think full value 16th notes. Do the exercises every other day-you are probably not getting enough recovery time if you are spending over a half-hour doing exercises. Good luck! Artist/Clinician for Yamaha-Jeff Adams From ???@??? Wed Mar 15 06:39:04 2000 Date: Tue, 14 Mar 2000 23:00:48 -0600 From: Mike Coyle To: trombone-l@lists.missouri.edu Subject: TPIN list info Message-ID: <4.0.1.20000314200901.00e02c80@mail.pconline.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi guys, Favor to ask - if any of you are also on the TPIN trumpet listserve, please let them know that the troll (yes, our troll - he also trolls the JJ Johnson list and several other brass lists) is posting using my name from this account: mikecoyle@england.com - or you can send me the address for subscribing to that list and I'll take care of it, but I'dust as soon not have to join. They should delete this "england.com" address from their directory. Not that I am concerned because I couldn't care less what trumpets players or people from another list think of mikecoyle@england.com :) Obviously this is not me and I am sure those guys are as familiar with the troll as we are. Please let me know the TPIN owners name and address and/or list monitor's address so I can write to him/her as well. Actually, what the troll has posted there so far I quite agree with and might have actually written myself :) I'd prefer saying it myself though (I'm a far better writer!) Beware, I, and several others who have been harassed by the troll, know it is someone actually on our list under another name, using a legit IP address. I trust only a handful of people as it could literally be anyone - even someone you correspond with regularly! Apparently my last post about trolly has pushed him over the edge! I know *I"M* concerned, how 'bout you guys Thanks Mike Coyle (the REAL Mike Coyle :) From ???@??? Wed Mar 15 06:39:04 2000 Date: Wed, 15 Mar 2000 00:07:16 EST From: BASSBENGE@aol.com To: trombone-l@lists.missouri.edu Subject: Travel Hard Cases Message-ID: <6f.24afcc4.26007484@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I just bought an SKB travel golf case from the SKB site. It is on sale for $89 plus shipping. It is a close out model. It measures 48" high, 20" wide and 11.5" front to back. The guy at the office said that that price would be good until they are all sold. They had about 50 of them as of last Saturday. It should work really well for a bass trombone. Jon Bohls From ???@??? Wed Mar 15 06:39:04 2000 Date: Wed, 15 Mar 2000 02:01:04 -0500 (EST) From: Beth Lewis To: trombone-l@lists.missouri.edu Subject: Re: Travel Hard Cases Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Another option for a travel-proof hardcase would be the Walt Johnson cases. They're not cheap ($320 for a trombone case last time I checked), but they're custom-made according to measurements you provide and get the job done. They're made from fiberglass and use anvil-type hinges and are the best hardcases I've seen for trombones (weigh less than wood cases too). Plus, they fit into nearly any overhead, except those annoying turboprops, but I can usually get the steward(ess) to put mine in an empty seat anyway... Beth Lewis