TROMBONE-L Digest 1913 Topics covered in this issue include: 1) Re: Ernst Sachse? by Douglas Yeo 2) Required audition solo (was: Sachse) by Douglas Yeo 3) Re: Required audition solo (was: Sachse) by Tbcwes@aol.com 4) RE: Titles by "Marple, Richard L COL BAMC-Ft Sam Houston" 5) Re: Ernst Sachse? by Gabriel Langfur 6) Re: Required audition solo (was: Sachse) by Gabriel Langfur 7) Re: Titles by "Dennis Clason" 8) A trombone Tom Izzo doesn't have? by Peter Soukup 9) Re: Ernst Sachse? by "Jen and Andy Walls" 10) FW: Required audition solo (was: Sachse) by "Ben van Dijk" 11) Berlin Phil question by Peter Ellefson 12) FW: Berlin Phil question by "Ben van Dijk" 13) RE: Ernst Sachse? by "Guion, David" <8guion@jmls.edu> 14) crescendo-decrescendo exercises by Gabriel Langfur 15) looking for listmember David Pozos by SFTrombone@aol.com 16) RE: crescendo-decrescendo exercises by Steve Gamble 17) Trombone story - another variant by Jgicking@aol.com 18) Re: crescendo-decrescendo exercises by sabutin@mindspring.com 19) Greenhoe valve maintenance by John and Robin Renegar 20) RE: Greenhoe valve maintenance by "Kevin Saunders" 21) Re: crescendo-decrescendo exercises by Douglas Yeo 22) Re: Required audition solo (was: Sachse) by Michael Mclemore 23) Legacy of a Master by TboneGib@aol.com 24) Re: Legacy of a Master by "Brian Frederiksen" 25) oops by TboneGib@aol.com 26) Great Quotes Deux! by "Marple, Richard L COL BAMC-Ft Sam Houston" 27) Die Schuldigkeit das ersten Geboten by eanogmus@netvision.net.il (Eliezer Aharoni) 28) Re: Legacy of a Master by Galen Zinn 29) Re: Legacy of a Master (Portrait of an Artist) by "Chuck De Paolo" 30) Re: crescendo-decrescendo exercises by alex iles 31) Olds 3 by "Tom Pfingsten" 32) Re: Olds 3 by Harykoz@aol.com 33) Finding Forrester by Tbcwes@aol.com 34) Re: Tuning by "Michael Towe" 35) Re: Where & what did you play New Year's Eve? by "Michael Towe" 36) Re: oops by "Brian Frederiksen" 37) Re: Tuning by "Daniel Pliskin" 38) Re: A trombone Tom Izzo doesn't have? by "Tom Izzo" 39) Re: Die Schuldigkeit das ersten Geboten by Douglas Yeo 40) F tubas for sale by TonyC789@aol.com 41) Open Horn Sounds by MasterCoda@aol.com 42) Re: Olds 3 by chardy@totcon.com 43) Re: Required audition solo (was: Sachse) by Jay Heltzer Date: Thu, 4 Jan 2001 07:43:18 -0500 From: Douglas Yeo To: trombone-l@lists.missouri.edu Subject: Re: Ernst Sachse? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: 8bit At 6:55 AM -0500 1/3/01, Benedikt J. Dietrich wrote: P.S.: From your comments I noticed that you don't particularly like this piece. Why? Is it just not challenging enough for you pro's? Not musically enough? (Again: What do I know?!) There are many things, among which the fact that it just isn't very interesting musically. Tim was right, I think, perhaps the reason it's asked is that the piece is so dull and pedantic that you have to work very hard to make it interesting (well...actually, I doubt it). The choice of the piece for bass trombone auditions is particularly silly in my mind as it contains only a handful of bars which involve the valve register (in the F major transposition). The form of the piece is a curiosity as well and the two variations (the theme comes in half way through the piece) are just very pedantic. Finally, it just isn't very difficult, and doesn't pose much of a challenge in any particular area. Again, as Tim said, I suppose the main challenge for the player is to try to make something out of the little which is there, but I doubt that's really the reason why it is a required solo - tradition, as Tim mentioned, would seem to be the main reason. (And, by the way, Tim, there IS a bass trombone version of the David, in B flat, edited by Martin Gšss, published by Zimmermann/Frankfurt). For bass trombone, which has precious few significant pieces in the repertoire, it would be nice to see a required solo be something which is both musically satisfying AND can be used by a player on recital. Sadly, there are a great many pieces like the Sachse which students have to spend time on but then are put back into the cabinet after the audition, likely to never again see the light of day. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 07:44:27 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Required audition solo (was: Sachse) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" OK, so, here's a question for the list: If YOU were making up an audition list for bass trombone and needed to have a required solo on it, what would YOU put on it? -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 08:40:20 EST From: Tbcwes@aol.com To: yeo@yeodoug.com, trombone-l@lists.missouri.edu Subject: Re: Required audition solo (was: Sachse) Message-ID: <6b.e0a0011.2785d744@aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_6b.e0a0011.2785d744_boundary" Content-Disposition: Inline I would probably ask for a selection from Bach's Cello Suites - no flames please. -Wes ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 07:52:28 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'MasterCoda@aol.com'" , "Trombones and related issues forum." Subject: RE: Titles Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Well, the Italians would then title you "La principale" or maybe "La principessa". :-). Rick Marple San Antonio TX For free translation http://ets.freetranslation.com:5081/ -----Original Message----- From: MasterCoda@aol.com [mailto:MasterCoda@aol.com] Sent: Wednesday, January 03, 2001 6:09 PM To: Trombones and related issues forum. Subject: Re: Titles Well, what would it be if I'm both? The principal principle trombonist? Pete ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 07:10:44 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: Ernst Sachse? Message-ID: <20010104151044.24235.qmail@web10304.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- "Benedikt J. Dietrich" wrote: > P.S.: From your comments I noticed that you don't > particularly like this > piece. Why? Is it just not challenging enough for > you pro's? Not musically > enough? (Again: What do I know?!) Yeah...I have to admit I don't entirely hate the piece. I learned it for a couple of European festival auditions several years ago and programmed it on a half-recital around that time. I enjoyed it, in kind of a campy way. Light, fun, a little bit flashy but not difficult. Gabe __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 07:15:29 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: Required audition solo (was: Sachse) Message-ID: <20010104151529.68817.qmail@web10302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Douglas Yeo wrote: > If YOU were making up an audition list for bass > trombone and needed > to have a required solo on it, what would YOU put on > it? How about the Casterede Fantasie Concertante? Gabe __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 08:24:19 -0800 From: "Dennis Clason" To: , "Trombones and related issues forum." Subject: Re: Titles Message-ID: <043101c0766a$c9fd3740$0d2b7b80@nmsu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Talking Head #1: "What do you do for a living?" Talking Head #2: "I'm a principled trombonist?" TH #1: "Principal trombonist? That means you play first?" TH #2: "No, I said 'principlED'. That means I don't play at all." BA-DUM-BUMP ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 09:44:18 -0600 From: Peter Soukup To: Trombone-L List Subject: A trombone Tom Izzo doesn't have? Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I haven't asked Tom if he has any of these, but take a look at these links, if you are curious about the cross between the Australian Didgeridoo and the trombone... It seems these allow for compact storage and the changing of the key of the Didg. Novel concept. You can have one for only US$58 plus shipping! http://www.laoutback.com/Didjbone.html http://www.heartlanddidgeridoos.com.au/catSD1.htm Pete Soukup psoukup@mindspring.com Grand Avenue Big Band The Moonlighters The Houndz St. Andrew's Brass Naperville Area Trombone Ensemble DuPage Symphony Orchestra (alternate) West Suburban Symphony (alternate) ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 10:47:10 -0500 From: "Jen and Andy Walls" To: "Trombone-L List" , "Douglas Yeo" Subject: Re: Ernst Sachse? Message-ID: <00e101c07665$9ac12ea0$4543e4ce@0016344132> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Doug & List, I have a recording of Jurgen Heinel playing with the Berlin Ensemble of the Sachse "Concertino for Trombone and Orchestra in B flat major." It's published by Curb-Edel Entertainment and distributed by Curb Records, Inc., Nashville, TN 37203. I'll fill in possible answers to some of your questions from the liner notes. I'll just copy the applicable information verbatim. There's not much information in the jewel box. > Question: Who in the world was Sachse? And to what do we owe the > popularity of his "Concertino?" > What key > is the tenor trombone version in? Does it seem to be as popular in > Europe as a tenor trombone piece as it does in its bass trombone > incarnation? "The Concertino for Trombone and Orchestra in B major (I think it's a typo as the recording is in Bb major - maybe we should send them our thread on the use of a spell checker!) by the military trumpeter Ernst Sachse does not try to disguise its origin: light music for competent military orchestras in the wake of Offenbach. While the first movement imitates the tone of a lyrical heroic opera, to which the second movement forms a contrast with its stately folk song motives, does the third movement get down to brisk and brassy business with unvarnished bluntness." As far as popularity in Europe, I can only speak for Scotland. I studied tenor trombone at the RSAMD in Glasgow and we had the piece in our library. My teachers never asked me to work on it though and after looking at it briefly I wasn't inclined to take it upon myself. I did have to work on a couple of other pieces found on this recording, the David and the Grafe. The liner notes suggest a link between these three and the other piece on the CD (Reiche's 2nd trombone concerto). "At the beginning of the last century, a middle-class audience started to take over the concert halls. Orchestras were growing visibly and the tonal range and technical perfection of all the groups of instruments were increasing correspondingly. It was at that time that the trombone got its present shape and found its first important players and composers. It stands to reason that at a time of generally high esteem for the military an increased demand for brass music develops in garrisons and parade grounds. Since soon every regiment had a brass band of their own which was expected to play light music this section of the musical production was thriving best. Almost all the pieces composed for the trombone in the past 150 years belong to this category." The liner notes were authored by Wolfgang Hiller and translated by Danny Antonelli. I feel compelled to make a disclaimer after copying that information for you. The opinions expressed by the author are not necessarily those held by Andy Walls or his trombone. Hope this helps a little Doug. I'm sure some others will have more scholarly information than me pulling something out of my CD collection. Musically yours, Andy Walls Substitute Trombone (no permanent job yet) ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 17:03:22 +0100 From: "Ben van Dijk" To: "Trblist" Subject: FW: Required audition solo (was: Sachse) Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I think the New Orleans by Bozza and the Lebedev Concerto in One movement are good audition pieces. The Bozza will give the candidate some musical freedom and he can show his virtuosity. The Lebedev is for me less interessany but it shows many sides of basstrombone playing you need in the orchestra. Also the Sonata Breve by W.S Hartley is a nice audition piece for basstrombone. In my opinion the solo pieces are there for showing your musical fantasy besides sound, technical and range possibilities. In Germany they mostly ask Sachse in F and Bozza. Sachse isn't a great musical piece but it will show the candidats musicianship in a minute and besides this the piece has moments in which you can show a good orchestral sound. Again, for me Bozza and Lebedev are just fine Ben van Dijk Bass trombone Roterrdam Philharmonic Orchestra Professor Rotterdam Conservatory www.basstrombone.nl mailto:ben@basstrombone.nl -----Oorspronkelijk bericht----- Van: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]Namens Douglas Yeo Verzonden: donderdag 4 januari 2001 13:44 Aan: Trombones and related issues forum. Onderwerp: Required audition solo (was: Sachse) OK, so, here's a question for the list: If YOU were making up an audition list for bass trombone and needed to have a required solo on it, what would YOU put on it? -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 08:12:21 -0800 From: Peter Ellefson To: Trombone List Subject: Berlin Phil question Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I notice that trombonist Wolfram Arndt is no longer with the Berlin Philharmonic. Does anyone know where he went? And why? If it is sensitive information, please email me privately. Thanks. Peter Ellefson ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 17:18:21 +0100 From: "Ben van Dijk" To: "Trblist" Subject: FW: Berlin Phil question Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I don't think it is sensitive information. Wolfram is now Professor at one of the Hochschule's in Germany. I think it is in Hamburg. Olav Ott is the new solo trombone. He was second in Berlin and also plays in the Triton Trombone Quartett. Ben van Dijk Bass trombone Roterrdam Philharmonic Orchestra Professor Rotterdam Conservatory www.basstrombone.nl mailto:ben@basstrombone.nl -----Oorspronkelijk bericht----- Van: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]Namens Peter Ellefson Verzonden: donderdag 4 januari 2001 17:12 Aan: Trombones and related issues forum. Onderwerp: Berlin Phil question I notice that trombonist Wolfram Arndt is no longer with the Berlin Philharmonic. Does anyone know where he went? And why? If it is sensitive information, please email me privately. Thanks. Peter Ellefson ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 10:54:31 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Ernst Sachse? Message-ID: MIME-Version: 1.0 Content-Type: text/plain > "The Concertino for Trombone and Orchestra in B major (I think it's a > typo as the recording is in Bb major - maybe we should send them our > thread > on the use of a spell checker!) > No. Actually, in German Bb is B and B is H. Someone just forgot to translate. As far as the piece itself is concerned, I have Rosin's recording of it. I suspect that it might be successful if the player tries to make it sound like a spectacular display vehicle. It may also be necessary to add some exaggerated rubatos in slower more "expressive" sections, but it has been years since I listened to the recording. Needless to say, I did not find it inviting enough to purchase the music. It appears to have been a popular and successful piece in its day, but it is far inferior to the David--which is itself a rather mediocre piece. ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloger John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 Should part-time band directors be called semi-conductors? ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 09:07:35 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: crescendo-decrescendo exercises Message-ID: <20010104170735.89389.qmail@web10307.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hello list, I've never been able to successfully incorporate cresc.-dec. exercises into my daily routine. I've read the recommendations in books (Ed Kleinhammer's, etc.), and I've experimented with doing them in a couple of different ways, but I've never had a teacher stress them enough or demonstrate a method that really worked for me. It seems to me that I always end up feeling like I've either wasted my time doing something unproductive, or I've spread my aperture out too far and have to find focus again. Any suggestions? Anybody else have this experience? Anybody have an exercise that really seems to work for them? Gabe __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 13:10:04 EST From: SFTrombone@aol.com To: Trombone-l@lists.missouri.edu Subject: looking for listmember David Pozos Message-ID: <10.6fec1e6.2786167c@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit David Pozos, your email isn't working, please send me a working address. Steve Ferguson ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 11:22:47 -0700 From: Steve Gamble To: "'glangfur@yahoo.com'" , "Trombone List (E-mail)" Subject: RE: crescendo-decrescendo exercises Message-ID: <01C07640.AB09BAE0.orchpers@azstarnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Gabe, The way I see it is that the whole point of this exercise (you are talking about long tones here?) is maintaining absolute CONSISTENCY in pitch and tone color as you change register and go from full lungs to needing a breath. Make sure you always do long tones with your tuner and oscilloscope set on stun. The most common problem I see people having with long tones is kind of like what you're describing and it usually results from, well, being impatient. The trick is to only push yourself ever so slightly past your limits at the extremes of loud and soft while at the same time being your most attentive to your very best sound (I was just kidding about the oscilloscope) and let the process take how ever many months and years it takes for your skills to develop so that your chops don't spread. It is also very important to keep in mind that ones limits can change from day to day and moment to moment and to not ever let the sound deteriorate even if it means not pushing as far as you could yesterday or a couple of minutes ago. After a while ones average fff is much less crass and ones average ppp is much less fuzzy. I think long tones are great for this. A few other things that seem to help: Do long tones after being suitably warmed up. Do them for just a few minutes. Do them a little every warm-up time through the day (this really helps the player understand his/her changing limits). Think of them as something that you are going to perform. Steve Gamble -----Original Message----- From: Gabriel Langfur [SMTP:glangfur@yahoo.com] Sent: Thursday, January 04, 2001 10:08 AM To: Trombones and related issues forum. Subject: crescendo-decrescendo exercises Hello list, I've never been able to successfully incorporate cresc.-dec. exercises into my daily routine. I've read the recommendations in books (Ed Kleinhammer's, etc.), and I've experimented with doing them in a couple of different ways, but I've never had a teacher stress them enough or demonstrate a method that really worked for me. It seems to me that I always end up feeling like I've either wasted my time doing something unproductive, or I've spread my aperture out too far and have to find focus again. Any suggestions? Anybody else have this experience? Anybody have an exercise that really seems to work for them? Gabe __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 13:29:44 EST From: Jgicking@aol.com To: Subject: Trombone story - another variant Message-ID: <3b.ea2b6c4.27861b19@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit I had asked a trombonist friend and non-list member, Jim Zoller, who told me this amusing tale to do a little fact-checking before I passed it along to all of you. Jim's version was more elaborate, and hilarious than what THE SOURCE reveals. Jim worked the story into the course of a live act following a relative novice's trombone solo. Here's the unedited email from Bobby Mercer, more or less of Reading PA, who I understand has led show bands, in Reno/Vegas and around the country, for the past 30 or more years. HEY ---- I HEARD THE STORY IN 1964 -----WAS TOLD TO ME BY A T BONE PLAYER FROM THE HARRY JAMES BAND . THE STORY I GOT WAS THAT PETE BARBUTI WAS WORKIN IN RENO NEV. I KNOW HE DID THIS DURING THIS TIME FRAME. HE WAS WORKING A LOUNGE BACKED BY A RYM. SECTION AND 3 BONES ----A LOT OF GROUPS USED T-BONES AS BACKUP ---ANYWAY ---- THEY WERE HAVIN A DRINK IN SOME LOUNGE IN THE AFTERNOON AND A BONE PLAYER WAS PRACTICING ON STAGE. I WAS TOLD PETE - DICK NASH - CARL FONTANA AND ANOTHER BONE PLAYER WERE IN ON THIS .PETE CALLED THE GUY OVER TO THE TABLE AND ASKED HIM WHAT THAT INSTRUMENT WAS CALLED AND WAS IT HARD TO PLAY.THE GUY SAID YA -- SO PETE SAYS --MY FRIEND HERE SAYS HE USED TO PLAY IN HIGH SCHOOL --CAN HE TRY IT-----THEY THEN PASSED THE BONE AROUND THE TABLE --RIPPING OF LICKS AND MAKING COMMENTS LIKE -----THAT WAS EASY. THE GUY IS STANDING THERE WATCHING THIS - SO PETE GIVES HIM BACK HIS HORN AND THEY GO BACK TO DRINKING-- AND JUST LET THE GUY STAND THERE.---MAYBE THIS BIT HAS BEEN DONE A FEW TIMES --- BUT IT SURE SOUNDS LIKE SOMTHING PETE BARBUTI WOULD DO. So there you have it. And there's Dick Nash, again. I, for one, never ask, nor do I really care if a GOOD story is true. Jim ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 13:27:09 -0500 From: sabutin@mindspring.com To: glangfur@yahoo.com Cc: trombone-l@lists.missouri.edu Subject: Re: crescendo-decrescendo exercises Message-ID: <200101041828.NAA26877@tisch.mail.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 09:07 AM 1/4/01 -0800, you wrote: >Hello list, > >I've never been able to successfully incorporate >cresc.-dec. exercises into my daily routine. I've read >the recommendations in books (Ed Kleinhammer's, etc.), >and I've experimented with doing them in a couple of >different ways, but I've never had a teacher stress >them enough or demonstrate a method that really worked >for me. It seems to me that I always end up feeling >like I've either wasted my time doing something >unproductive, or I've spread my aperture out too far >and have to find focus again. > >Any suggestions? Anybody else have this experience? >Anybody have an exercise that really seems to work for >them? > >Gabe =================== Gabe et al... Carmine Caruso used crescendo-decrescendo exercises, as did all the great Bel Canto singing teachers, and they are an integral part of the approach I use in my method book. However, w/out a good knowledge of just HOW they work, they are almost useless, and if overused can be counter productive. Here's an excerpt from my book that at least will give you an overview on the subject, at least from my own personal point of view: ++++++++++++++++++++++++++++++++++++ Volume Variations One of the Italian Bel Canto style singing teachers' basic exercises, one that was both a primary early exercise and also the test of any really great singer, was to hold a single note through the greatest crescendo and/or decrescendo the singer could possibly perform without having that note waver or change its sound or basic timbre. We often consider our instrumental technique in terms of range, facility, and timbre, but rarely in terms of the various volumes we must play. Greg Gisbert, a wonderful jazz trumpet player in New York City, once said to me "I was almost thirty years old before it even occurred to me that a trumpet could be played softer than mezzo forte", and he only meant it as half a joke. Many musicians, especially brass players involved in American idioms, never really learn how to play really softly, and many others never explore the loudest end of the volume spectrum. I believe the reason for this is that the embouchure changes as much from soft to loud as it does from high to low, and I mean that in a very physical sense. We haven't yet gotten to the chapter where I deal with mouthpiece buzzing and free buzzing (Sections I-j through I-m, pp. 70 through 85 ) but if you are at all adept at free buzzing (buzzing without the mouthpiece), stand in front of a mirror (you can use a cutoff rim, sometimes known as an embouchure visualizer, for this experiment as well) and buzz an easy note at about MF volume. (An F below middle C would be a good choice for most of us.) Look at your aperture (the hole in the middle of your embouchure) and gauge its size as well as you can. Now crescendo and/or decrescendo that note as far as you are able, and WATCH THAT APERTURE. It will grow larger as you get louder, shrink as you get smaller. Now play the same note, again at MF, and instead of changing volumes, play higher or lower notes. Again, the aperture gets larger as you go lower, smaller as you go higher. If you get really good at this, you can simultaneously crescendo while going higher or decrescendo while going lower, and the aperture will remain roughly constant in size. In itself, this is nothing much more than a parlor trick, but it stands as evidence of a fact of which most of us are barely aware. It is as much a physical embouchure adjustment to change volumes as it is to change registers. These Volume variations address this problem. I use five main Volume variations. Each one can be applied to any of the previous approaches to the five basic exercises, and I will illustrate them with examples utilizing previously covered exercises and variations. I call them: 1-Mezzo forte (Playing at a natural, moderate volume.) 2-Pianissimo (Playing very softly...perhaps somewhat less than a true pianissimo, at the softest volume you can play before the note stops sounding.) 3-Fortissimo (Again, perhaps louder than a true fortissimo...as loud as you can play without breaking up.) 4-Soft-Loud-Soft (Starting at the softest volume you can play, crescendoing to the loudest you can play, and then returning once again to the original soft volume.) 5-Loud-Soft-Loud (The reverse of the previous example...starting at the loudest volume you can play, decrescendoing to the softest you can play, and then returning once again to your original loud volume.) Mezzo forte needs no illustration; it is the volume at which you have been playing the previous exercises. If you are generally a loud player, playing in loud musical situations, it will be somewhat louder than if you are naturally a softer player. Wherever you really live on the spectrum from loud to soft, that is your mezzo forte, for the purposes of these exercises. The same goes for Pianissimo and Fortissimo. Whatever your Mezzoforte sounds like, play the Pianissimo variations as softly as you can and the Fortissimo variations as loudly as you can. Be aware that neither extreme should be allowed to go so far as to cause you to lose the core of your sound, either in soft situations, where the lips will simply stop vibrating, or in loud ones, where the sound if pushed far enough will tend to break up into a rough, multiphonic snarl or growl. It's OK if the soft approach results in a certain woofiness, a change in your natural timbre toward a place where your tone lacks some center or edge, and equally OK if in the louder variations the tone tends to become somewhat overbright, even nasty to some degree, as long as it doesn't totally break up. A great deal of this depends on equipment. A .485 bore horn played on a 12C mouthpiece is going to sound substantially "brighter" at volume than a .547 bore instrument played with a large symphony style tenor mouthpiece, and the reverse is also liable to be true. Larger equipment can be substantially harder to control at very low volumes than smaller equipment. ++++++++++++++++++++++++++++++++++++++ This goes on into specific exercises and approaches that will make no sense out of context. Best thing to do...experiment (GENTLY !!!) w/doing certain of your simplest mid-range exercises while varying volumes. Whatever works, expand on it. Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 10:32:39 -0800 From: John and Robin Renegar To: trombone-l@lists.missouri.edu Subject: Greenhoe valve maintenance Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" How frequently have those of you with Greenhoes found it necessary to disassemble and clean/reoil the valve? Is it something can do on their own are a job for a pro? Any favorite types of oil? John Renegar ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 12:51:53 -0600 From: "Kevin Saunders" To: , "Trombones and related issues forum." Subject: RE: Greenhoe valve maintenance Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit John, The Greenhoe valve is based on the tried and true rotary valve design. It has true ports, but the spindles and casings are like regular rotaries. This means the best bet is to use something like Al Cass on through the handslide receiver, and a spindle oil on the spindles. They should not need regular disassembly. Gary is developing a line of synthetic oils designed for each part of the valve and they will be released this year. In the mean time, just oil when it gets sluggish, and don't worry about it! This type of valve has proven to be the easiest to maintain over the years, and will last a long, long time. If you have more specific questions, Gary is very responsive and can be reached at gary@greenhoe.com Have a good one, Kevin Saunders -----Original Message----- From: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of John and Robin Renegar Sent: Thursday, January 04, 2001 12:33 PM To: Trombones and related issues forum. Subject: Greenhoe valve maintenance How frequently have those of you with Greenhoes found it necessary to disassemble and clean/reoil the valve? Is it something can do on their own are a job for a pro? Any favorite types of oil? John Renegar ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 14:16:27 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: crescendo-decrescendo exercises Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 9:07 AM -0800 1/4/01, Gabriel Langfur wrote: Hello list, I've never been able to successfully incorporate cresc.-dec. exercises into my daily routine. The best book of warm up exercises I've seen, with sensible commentary and myriad ways of making them be useful is Roger Bobo's book, "Mastering the Tuba, Volume 1" published by Editions BIM. The book is in treble clef, hence useful for all brasses. He spends several pages on crescendo/decresc exercises, modifications of Stamp exercises, and much more. His written commentary is excellent. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 13:07:15 -0600 From: Michael Mclemore To: yeo@yeodoug.com Cc: "Trombones and related issues forum." Subject: Re: Required audition solo (was: Sachse) Message-ID: <3A54C9E3.E32187E3@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Douglas Yeo wrote: > OK, so, here's a question for the list: > > If YOU were making up an audition list for bass trombone and needed > to have a required solo on it, what would YOU put on it? > > -Doug Yeo > I think that the Gregson Tuba Concerto or the Seikmann Concerto would be good choices for an audition piece. Mike McLemore ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 17:03:39 EST From: TboneGib@aol.com To: trombone-l@lists.missouri.edu Subject: Legacy of a Master Message-ID: <14.deb7413.27864d3b@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I must admit that I haven't fully kept abreast of recent threads, so if this subject has been covered in depth, I apologize. Every aspiring trombonist should own the following three things: 1) A metronome 2) A tuner 3) "Arnold Jacobs, Legacy of a Master" CD. A friend mailed me this CD for Christmas and...oh golly! This is so incredibly RICH with such valuable stuff it should be sent in a time capsule throughout the music-making universe. The excerpts will make you cry and the dialog will make you THINK (or perhaps NOT think, but FEEL and SING, right Jake?) Start the New Year off with a resolution that will reward you immensely..buy this and listen to it over and over and over...... Tom Gibson Brass Dept. Coordinator Georgia State University TboneGib@aol.com (404) 651-1740 trombonelessons.com ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 16:30:18 -0600 From: "Brian Frederiksen" To: , "Trombones and related issues forum." Subject: Re: Legacy of a Master Message-ID: <007801c0769d$f67ffd60$9a90fea9@hp500> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > 3) "Arnold Jacobs, Legacy of a Master" CD. > A friend mailed me this CD for Christmas and...oh golly! This is so > incredibly RICH with such valuable stuff it should be sent in a time capsule > throughout the music-making universe. The excerpts will make you cry and the > dialog will make you THINK (or perhaps NOT think, but FEEL and SING, right > Jake?) Sorry, ARNOLD JACOBS, THE LEGACY OF A MASTER was the first book about Mr. Jacobs. The CD you are refering to is PORTRAIT OF AN ARTIST, ARNOLD JACOBS. Definatly worth a listen! > Brian Frederiksen WindSong Press PO Box 146 Gurnee, Illinois 60031 Phone 847 223-4586 Fax 847 223-4580 brianf@windsongpress.com www.windsongpress.com ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 17:44:26 EST From: TboneGib@aol.com To: trombone-l@lists.missouri.edu Subject: oops Message-ID: <90.e6b601a.278656ca@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Right you are,my mistake..but that reminds me: There are FOUR things a trombonist should own: metronome, tuner, Legacy of a Master AND Portrait of an Artist:-) Tom Gibson Brass Dept. Coordinator Georgia State University TboneGib@aol.com (404) 651-1740 trombonelessons.com ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 16:56:16 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'Trombone-L (List)'" Subject: Great Quotes Deux! Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Friends: Thank you for another great year on Trombone-L ! I really can't thank Eric, the Listmonitor and many of you teachers enough. As a formal student of the trombone late(r) in life than my college years, you all have given me more than you will ever know. I can't return the favor in terms of erudite banter on the trombone, but would like to share with you some of a collection of quotes many of which relate to topics over this last year. Opportunity is missed by most people because it is dressed in overalls and looks like work. -Thomas A. Edison There is always some kid who may be seeing me for the first or last time. I owe him my best. -Joe DiMaggio People who fly into a rage always make a bad landing. -Will Rogers You become a champion by fighting one more round. When things are tough, you fight one more round. -Boxer James J. Corbett Failure is only an opportunity to begin again more intelligently. -Henry Ford Beware of little expenses; a small leak will sink a great ship. -Benjamin Franklin Men do not desire to be rich, but to be richer than other men. -John Stuart Mill Even if you are on the right track, you'll get run over if you just sit there. -Will Rogers I'm a great believer in luck, and I find the harder I work the more I have of it. -Thomas Jefferson Rick Marple San Antonio TX ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Fri, 5 Jan 2001 02:23:45 +0200 From: eanogmus@netvision.net.il (Eliezer Aharoni) To: trombone-l@lists.missouri.edu Subject: Die Schuldigkeit das ersten Geboten Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Does anybody have a recording of Mozart's "Die Schuldigkeit das Ersten Geboten" (sp?) Its a piece with an alto trombone+singer Aria. Eliezer Aharoni, Bass Trombonist, Jerusalem Symphony POB 1066 Mevaseret Zion ISRAEL 90805 Phone 972-2-5341333 ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 15:16:28 -0800 From: Galen Zinn To: Cc: Trombone List Subject: Re: Legacy of a Master Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 1/4/01 2:03 PM, TboneGib@aol.com at TboneGib@aol.com wrote: > I must admit that I haven't fully kept abreast of recent threads, so if this > subject has been covered in depth, I apologize. Every aspiring trombonist > should own the following three things: > 1) A metronome > 2) A tuner > 3) "Arnold Jacobs, Legacy of a Master" CD. Do you have a website where I can order the CD? I have his book but I didn't order the CD and I've lost the information. > A friend mailed me this CD for Christmas and...oh golly! This is so > incredibly RICH with such valuable stuff it should be sent in a time capsule > throughout the music-making universe. The excerpts will make you cry and the > dialog will make you THINK (or perhaps NOT think, but FEEL and SING, right > Jake?) > Start the New Year off with a resolution that will reward you immensely..buy > this and listen to it over and over and over...... > > Tom Gibson > Brass Dept. Coordinator > Georgia State University > TboneGib@aol.com > (404) 651-1740 > trombonelessons.com Thanks, Galen Zinn E-mail: zinger@musician.org ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 18:36:59 -0500 From: "Chuck De Paolo" To: , "Trombones and related issues forum." Subject: Re: Legacy of a Master (Portrait of an Artist) Message-ID: <00dd01c076a7$3b932950$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hey guys, We've got this CD. It's catalog 35609. Big seller! Go to this page: http://www.hickeys.com/pages/search.htm and enter 35609 in the Search By Catalog Number box. In Music, ---Chuck General Manager & Webmaster 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://www.weather.com/weather/us/zips/14850.html (Weather) ----- Original Message ----- From: "Galen Zinn" To: "Trombones and related issues forum." Sent: Thursday, January 04, 2001 6:16 PM Subject: Re: Legacy of a Master > on 1/4/01 2:03 PM, TboneGib@aol.com at TboneGib@aol.com wrote: > > > I must admit that I haven't fully kept abreast of recent threads, so if this > > subject has been covered in depth, I apologize. Every aspiring trombonist > > should own the following three things: > > 1) A metronome > > 2) A tuner > > 3) "Arnold Jacobs, Legacy of a Master" CD. > > Do you have a website where I can order the CD? I have his book but I didn't > order the CD and I've lost the information. > > > A friend mailed me this CD for Christmas and...oh golly! This is so > > incredibly RICH with such valuable stuff it should be sent in a time capsule > > throughout the music-making universe. The excerpts will make you cry and the > > dialog will make you THINK (or perhaps NOT think, but FEEL and SING, right > > Jake?) > > Start the New Year off with a resolution that will reward you immensely..buy > > this and listen to it over and over and over...... > > > > Tom Gibson > > Brass Dept. Coordinator > > Georgia State University > > TboneGib@aol.com > > (404) 651-1740 > > trombonelessons.com > > Thanks, > > Galen Zinn > E-mail: zinger@musician.org > > > > > ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 15:37:54 +0000 From: alex iles To: glangfur@yahoo.com, "Trombones and related issues forum." Subject: Re: crescendo-decrescendo exercises Message-ID: <3A5498BA.50052EEB@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hey Gabe, Based on what you have said in this post and in the past, you sound like you are diligent about addressing many important technical issues. As with any specific technique, however, it is easy to obssess over it! Maybe your teachers have not stressed this concept with you because you have not demonstrated a significant problem with dynamics to them. It is a good idea, however, to cover a range of dynamics in a daily routine. Dynamic flexibility is as important as lip flexibility. Too many players hover around one or two dynamic levels [We all know some players who have two dynamics; off and on!!]. As has it has already been said, it is best to work on maintaining an even timbre and, most importantly, even PITCH through changes in dynamics. I think Sam's concept of how the aperture works as you cresc/dim makes sense too. You might try the following cresc/dim/cresc pattern with whole or half notes at mm=60 [basically this is an altered version of one of Schlossberg's "Daily Drills" [Section 1,"Long Tone Exercises", exercise #7]]: Bb[crescendo from p to mf]-A[continue cresc from mf to f]-A[diminuendo from f to mf]-Bb[continue dim from mf to p]. Rest four counts...Continue from A-Ab-Ab-A, to Ab-G-G-A, etc. or in whatever register you wish. REST frequently and depending on your endurance level, don't spend more than about five productive minutes at a time doing this exercise at first. Strive to keep the dynamic changes, the sound [airflow] and the pitch all even and/or in sync. You may want to play this exercise again later in your practice day, this time stretching the dynamic levels from ppp to fff as you wish. You can alter the half step progression to another interval like a third or maybe play a slow descending scale. You may also consider incorporating various dynamic shapes into other segments of your regular long tone practice, flexibility practice, scales and/or various etudes; if for no other reason than to add variety to the routine. Try giving an exercise you usually do a certain way a couple of new dynamic shapes for variety. Maybe start or work up to a little louder or softer dynamic level than your "usual". Record your experiments or play them for your teacher. Our sense of pitch is tested in dynamic extremes. I like the story Doug related recently about Ed Kleinhammer setting up both a tuner and a decibel meter on his music stand. He would strive to keep the tuner at A/440 while increasing and decreasing his playing volume evenly. This is a great story and a very good practice exercise. Keep in mind though that dynamic markings are also more than just a decibel level of the music's volume. For example, due to its tessitura, you may have to play a phrase marked "p" a little louder in order for it to be heard. The goal here would be to maintain the basic "feeling" of "p" to the phrase even though you might be the same volume level [as measured in decibels] as the "mp" lick from 43 measures ago. Dynamics also indicate how your part balances to the ensemble as a whole. In context, how loud you play a certain solo passage marked "mp" might actually need to be played louder [again, as measured in decibels] than a certain second trombone ensemble unison part marked "mf". Also it is important to consider the rates at which you crescendo and diminuendo in a given passage. In big band brass section playing, for example, it is common to crescendo very quickly and dramatically nearer the end of a held note in a way that you might probably never do in a Brahms symphony. Dynamics mean different things in different situations. Developing your awareness of what level/s of dynamics is/are appropriate to a given piece of music is as important as developing the technical ability to play dynamic extremes. Hope this helps. Happy New Year, Alex Gabriel Langfur wrote: > Hello list, > > I've never been able to successfully incorporate > cresc.-dec. exercises into my daily routine. I've read > the recommendations in books (Ed Kleinhammer's, etc.), > and I've experimented with doing them in a couple of > different ways, but I've never had a teacher stress > them enough or demonstrate a method that really worked > for me. It seems to me that I always end up feeling > like I've either wasted my time doing something > unproductive, or I've spread my aperture out too far > and have to find focus again. > > Any suggestions? Anybody else have this experience? > Anybody have an exercise that really seems to work for > them? > > Gabe > > __________________________________________________ > Do You Yahoo!? > Yahoo! Photos - Share your holiday photos online! > http://photos.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 16:52:44 PST From: "Tom Pfingsten" To: trombone-l@lists.missouri.edu Subject: Olds 3 Message-ID: <36AA9266E8@godzilla.lib.pdx.edu> MIME-Version: 1.0 Content-type: text/plain; charset=US-ASCII Content-transfer-encoding: 7BIT The Olds 3 mp, drilled out 1/4 inch, used to be popular w/ the big band players. Buddy Morrow and his entire section used 'em w/ 2-Bs in the 50s. Styles change. Tom Pfingsten Portland, Oregon ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 19:57:18 EST From: Harykoz@aol.com To: tom@lib.pdx.edu, trombone-l@lists.missouri.edu Subject: Re: Olds 3 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 1/4/01 6:54:25 PM Central Standard Time, tom@lib.pdx.edu writes: << The Olds 3 mp, drilled out 1/4 inch, used to be popular w/ the big band players. Buddy Morrow and his entire section used 'em w/ 2-Bs in the 50s. Styles change. >> Hmmmm.... I don't think so! Hary ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 20:38:23 EST From: Tbcwes@aol.com To: trombone-l@lists.missouri.edu Subject: Finding Forrester Message-ID: <44.a283fb2.27867f8f@aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_44.a283fb2.27867f8f_boundary" Content-Disposition: Inline Hello gang, I just wanted to report on a nice evening I had with my teacher a few nights ago. Granted I am very close to my teacher and outside of lessons we are great friends, but I am sure his will apply to lots of you guys/gals. Go see Finding Forrester! If you can, take your teacher. It is a lovely story with social issues on many levels -- one of which is the student/mentor relationship. It was a great honor for me to sit next to my mentor and watch the realistic story unfold on screen. The movie is really not ground breaking stuff, but it was handled well and though slightly predictable it was fun loving and pleasant start to stop. It is 2.5 hours in length but does not seem so. I do not want to give to many details out so those of you who are able to see it can enjoy it for yourselves. I must say it was quite a bonding experience and contains underlying themes that only those of us who are in this student/mentor relationship will understand. That is all, Wes ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 18:12:57 -0800 From: "Michael Towe" To: "Trombones and related issues forum." Subject: Re: Tuning Message-ID: <002b01c076bd$22928ca0$03000004@oemcomputer> Lip Transplants!!!!!! Now that is something I could have used last night. After skiing all day Tuesday I had the usual Wednesday night practice with the Big Band I play in and.....well the chapped lips was a bit on the painfull side. Net time I will try the transplants. Or maybe I will just get a big pair of those wax lips that were so fashionable when I was just a wee lad. Happy New Year all, Mike -----Original Message----- From: Dave Molter To: Trombones and related issues forum. Date: Wednesday, January 03, 2001 6:17 AM Subject: Tuning >Looks like my questions about tuning on bass have prompted a discussion >about tuning in general. This reminds me that about a year ago, I >mentioned that when I play my Bach 36 or my King 3B, I routinely have my >tuning slide out farther than the rest of the section. Many listers >replied that they, too, pull their slides out farther with these horns. >>From the comments on today's list, it appears that one thing is certain: > no two horns are the same; no two players are the same. OK, so TWO >things are certain. > >I guess the bottom line for me is that as long as I can get the horn in >tune, I'm happy. Not being able to pull the tuning slide out or push it >in far enough is obviously a bad problem, but as long as I play in tune >with the band, I'm not going to lose sleep over 1/2". I have yet to have >anyone come up to me and say, "You know, the resonance of your horn is >just destroyed because you have the tuning slide out farther than the >factory intended." > >One further update on my tuning experiments with the Duo Gravis: after I >have played for about 30 minutes, my pitch comes up to the point that >the horn is in tune and maybe even slightly sharp in first position, but >the larger the mouthpiece, the flatter I stay. I played most of >yesterday switching between the Schilke 58 and the Doug Yeo Replica and, >at the end of each session, the Yeo was consistently more flat than the >Schilke. But I expect that because it's a bigger, deeper piece. > >Next topic: lip transplants -- are they for you?. > >Dave Molter ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 18:25:33 -0800 From: "Michael Towe" To: "Trombones and related issues forum." Subject: Re: Where & what did you play New Year's Eve? Message-ID: <003a01c076be$c824e9a0$03000004@oemcomputer> Played with The Moonlight Serenade Orchestra (25 piece big band) at the United Portuguese Hall here in San Diego. Played everything from In The Mood to Tennesse Waltz to The Chicken Dance. Since I have only been playing bone for about a year now I blew my share of clams as well as sitting there moving the slide back and forth looking intently at charts as if I knew what I was doing. I also played drums for 2 sets so the regular drummer could dance a bit with his wife, faired much better there as I have been a drummer for to many years to count. All in all it was an exceptionaly fun night, and I didn't even get razzed about the clams. Looking forward to next year when I will know the charts a bit better. Mike -----Original Message----- From: BassBonist@aol.com To: Trombones and related issues forum. Date: Tuesday, January 02, 2001 3:26 PM Subject: Where & what did you play New Year's Eve? >I did not work this NYE since it was birthday number 40 for me. My family >celebrated by taking me to a fancy-schmancy restaurant and we all stayed up >until midnight to watch Disneyland fireworks live from my front yard. > >I realize that I'm still a "kid" to some on the list (Adrian, Mike S.), but I >may seem like an old geezer to the college kids.... > >FWIW, I stuck to my LAST years' "challenge" to spend less time on the >computer and more time practicing. Although, I just got "The Sims" for my >birthday so ignoring the computer is going to be difficult for a while. > >Have a healthy and prosperous New Year, EVERYONE! > >Matt Varho ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 20:34:07 -0600 From: "Brian Frederiksen" To: "Trombones and related issues forum." Subject: Re: oops Message-ID: <006101c076c0$36b05ca0$9a90fea9@hp500> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Right you are,my mistake..but that reminds me: There are FOUR things a > trombonist should own: metronome, tuner, Legacy of a Master AND Portrait of > an Artist:-) > Sorry can't resist - what about a trombone? It is under the Summit label and available a number of places, www.summitrecords.com , www.hickeys.com , www.brassbow.com , www.dillonmusic.com , www.windsongpress.com to name a few! If you are going to Florida MEA, come see me at booth #1047. I'll have it along with some of the breathing toys Mr Jacobs used. Please do not bring snow! While on the subject of PORTRAIT OF AN ARTIST, it was produced by Frank Byrne who is leaving the Marine Band and coming to the Kansas City Symphony! Brian Frederiksen WindSong Press PO Box 146 Gurnee, Illinois 60031 Phone 847 223-4586 Fax 847 223-4580 brianf@windsongpress.com www.windsongpress.com ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Fri, 05 Jan 2001 02:43:25 From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: Tuning Message-ID: Mime-Version: 1.0 Content-Type: text/html Perhaps transplants would be better, but if youâre desperately trying to get your lips back into shape, spread the tiniest amount of Myrrh gum on them. It can be gotten in any good health food store. Believe me, I know. I also play doublereeds. But donât use too much or youâll stick your lips together. DanP Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 21:44:30 -0600 From: "Tom Izzo" To: , "Trombones and related issues forum." Subject: Re: A trombone Tom Izzo doesn't have? Message-ID: <012701c076c9$d08a4300$9f75dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Pete, Subject: A trombone Tom Izzo doesn't have? > I haven't asked Tom if he has any of these, but take a look at these links, > if you are curious about the cross between the Australian Didgeridoo and the > trombone... > hahahahahahahahah Thanks! After I get a Slide Saxophone I'll look into one of these. hmmmmmmmmmm (rubbing goatee). I migtht have to win a few more BB games, first! > It seems these allow for compact storage and the changing of the key of the > Didg. Novel concept. You can have one for only US$58 plus shipping! Now I wonder if there's a Quadro version? :-) Tom ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 22:56:41 -0500 From: Douglas Yeo To: trombone-l@lists.missouri.edu Subject: Re: Die Schuldigkeit das ersten Geboten Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Does anybody have a recording of Mozart's "Die Schuldigkeit das Ersten Geboten" (sp?) Its a piece with an alto trombone+singer Aria. Go to: http://www.towerrecords.com/product.asp?pfid=1177193 or http://www.towerrecords.com/product.asp?pfid=1075402 -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 23:07:56 EST From: TonyC789@aol.com To: ioana.v.bazavan@accenture.com, dhboykin@sirius.com, Cbudisch@ups.edu, pcalentine@sjmercury.com, randallchase@yahoo.com, Subject: F tubas for sale Message-ID: <76.69259d3.2786a29c@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Yamaha 822S - with hard case and RB gig bag $6500 Yamaha 641S - with hard case and Altieri gig bag $4500 Dehmal Vienese style 6 valve (3+3) (email for info) 2 - Mirafones Model 180-5U with hard cases $3,000 each ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 4 Jan 2001 23:24:56 EST From: MasterCoda@aol.com To: trombone-l@lists.missouri.edu Subject: Open Horn Sounds Message-ID: <62.ab4a5b8.2786a698@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hi list, a while ago I asked about new horn suggestions because of my Bach 42 BOG's failing rotor. And many thanks for all the advice. I'd like to pose another question now: Out of all stock horns on the market, not considering valve sound at all, which horn has the best, purest open sound? Do any horns minimize the slight bend of air at the rotor section that most horns have? I've seen that the Greenhoe valve does this, but overall (w/ or w/out a Greenhoe valve) which horn, in your opinion (or another's if you must), has the 'best' open sound? One final factor, no valve is NOT an option, though it may be the best, there will be many times between now and after college that I'll be playing third parts etc., so for the time being, let's stick w/ f attachment horns. Many thanks, Peter Strenkowski Principal Principle Trombonist, Taylor High School Wind Ensemble and Symphony Orchestra. ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 22:50:05 -0500 From: chardy@totcon.com To: trombone-l@lists.missouri.edu Subject: Re: Olds 3 Message-ID: <1.5.4.32.20010105035005.006cb334@totcon.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 07:57 PM 1/4/01 EST, you wrote: >In a message dated 1/4/01 6:54:25 PM Central Standard Time, tom@lib.pdx.edu >writes: > ><< The Olds 3 mp, drilled out 1/4 inch, used to be popular w/ the big > band players. Buddy Morrow and his entire section used 'em w/ 2-Bs > in the 50s. Styles change. >> > >Hmmmm.... > >I don't think so! > >Hary > >You don't think that's true? or you don't think styles change? Charlie ----__ListProc__NextPart____TROMBONE-L__digest_1913 Date: Thu, 04 Jan 2001 23:07:53 -0600 From: Jay Heltzer To: "Trombones and related issues forum." Subject: Re: Required audition solo (was: Sachse) Message-ID: <3A5556A8.B98A3624@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit John Williams Tuba Concerto (any movement) Vaughn Williams Tuba concerto (any) Gregson Tuba concerto hey wait a sec... any bass trombone solos? Sure, the unaccompanied bass trombone suites by JS Bach ummm... Sonata Breve by Hartley Wilder Sonata I prefer to play non bass trombone music. They tend to have MORE music Jay Heltzer an Ewazenly challenged bass trombonist ----__ListProc__NextPart____TROMBONE-L__digest_1913--