TROMBONE-L Digest 1969 Topics covered in this issue include: 1) Re: Brass Band Vacancies for March 2001 by "Ted Toulouse" 2) Re: Teagarden by "Dick Sleeman" 3) Re: Help Me Save Some Music! VERY LONG! by "Stacy A. Rasgon" 4) RE: Brass Band Vacancies for March 2001 by "=?iso-8859-1?B?U/hyZW4gQm9n+A==?=" 5) Re: Brass Band Vacancies for March 2001 by "Tom Izzo" 6) RE: Teagarden by Stan Brager 7) Re:Top ten trombone books by "Tony Collins" 8) My top 10 (bass trombone included) by "Dean McCarty" 9) Rochuts by sabutin@mindspring.com 10) Eastman/Remington '55 alumni reunion by Gordon Cherry 11) Re: My top 10 (bass trombone included) by "Dale J. Cruse" 12) Re:Top ten trombone books by James Scott 13) trombone literature by "Dale J. Cruse" 14) "Basta" - Folke Rabe by James Scott 15) RE: trombone literature by yardlejw@uwec.edu 16) Re: Preview Release of by MasterCoda@aol.com 17) good book by "David Pozos" 18) RE: trombone literature by Gabriel Langfur 19) Re: trombone literature by Gabriel Langfur 20) Re: "Basta" - Folke Rabe by Gabriel Langfur 21) Strauss 4 Last Songs Ballet by Gabriel Langfur 22) Re: Etudes by Auxbone@aol.com 23) Re: Rochuts by "Clingo (SBC)" 24) Re: Etudes by Chris Waage 25) Rochut, Vocalises, Paris, Adam and context by Douglas Yeo 26) Antique brass instruments for sale by Douglas Yeo 27) Re: Etudes by Auxbone@aol.com 28) etudes and morality by "Jeff Albert" 29) Re: Etudes by "Chris Waage" 30) Re: Rochuts by "Dean McCarty" 31) Basta, etc. by James Scott 32) Re: Etudes by alex iles 33) Re: Brass Band Vacancies for March 2001 by "Adrian Drover" ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 04 Mar 2001 10:39:16 -0500 From: "Ted Toulouse" To: njh@bandsman.co.uk, trombone-l@lists.missouri.edu Subject: Re: Brass Band Vacancies for March 2001 Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Does anyone know the average pay scale for brass bands in Europe/Australia/New Zealand. Considering the American idea of a Town Band (a group that meets twice a week during summer months and plays in a park band shell) , it doesn't seem like it would be worth playing for some of the "Town Bands" listed on the vacancies list. Ted Toulouse Naive American _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 17:24:48 +0100 From: "Dick Sleeman" To: "Trombones and related issues forum" Subject: Re: Teagarden Message-ID: <001701c0a4c7$a9a23140$3e70adc1@dick> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit ----- Original Message ----- From: John Hinchey To: Trombones and related issues forum. Sent: zaterdag 3 maart 2001 17:30 Subject: Teagarden John, you wrote: : Any thoughts on a favorite recording of trombonist Jack Teagarden? Yes! How much time do you have? OK - in short: my favorite records ARE Teagarden's. And among those (but I'm not sure) "THINK WELL OF ME", recorded in 1962, two years before his untimely death. Imagine, I am 60 already... Groeten uit Holland, Dick Sleeman < d.sleeman@hccnet.nl > ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 04 Mar 2001 11:40:43 -0500 From: "Stacy A. Rasgon" To: trombone-l@lists.missouri.edu Cc: ndrozdof@interaccess.com Subject: Re: Help Me Save Some Music! VERY LONG! Message-ID: <200103041641.LAA04405@melbourne-city-street.MIT.EDU> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Stacy A. Rasgon : Ph.D. Candidate, Chemical Engineering, Massachusetts Institute of Technology / Trombonist! Good luck ! Stacy ************************************************************ Stacy A. Rasgon MIT Department of Chemical Engineering 77 Massachusetts Avenue Bulding-Room 66-219 Cambridge, MA 02139 USA (617) 253-6586 srasgon@mit.edu ************************************************************ ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 18:36:07 +0100 From: "Sren Bog" To: "Trombones and related issues forum." Subject: RE: Brass Band Vacancies for March 2001 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Up to now I have always thought they did it for free ! Soren Bogoe Naive(r) Dane -----Original Message----- From: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of Ted Toulouse Sent: Sunday, March 04, 2001 4:39 PM To: Trombones and related issues forum. Subject: Re: Brass Band Vacancies for March 2001 Does anyone know the average pay scale for brass bands in Europe/Australia/New Zealand. ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 12:47:29 -0600 From: "Tom Izzo" To: , "Trombones and related issues forum." Subject: Re: Brass Band Vacancies for March 2001 Message-ID: <001a01c0a4db$91791ac0$2675dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Up to now I have always thought they did it for free ! Yes they do. > > > > Does anyone know the average pay scale for brass bands in > Europe/Australia/New Zealand. Yes it's 00 lbs. or $0.00 USD. Tom ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 11:13:24 -0800 From: Stan Brager To: "'John Hinchey'" , "trombone-l@lists.missouri.edu" Subject: RE: Teagarden Message-ID: <01C0A49C.2B3DD5A0.sbrager2@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit It would be easy for me to say "all of them", but among my favorites today are: Lover - with Charlie LaVere's Chicago Loopers Nobody's Sweetheart - with Paul Whiteman Diane - with his own group (mostly Eddie Condon guys) on Commodore That should start things well. Stan Stan Brager Trombonist-in-Training -----Original Message----- From: John Hinchey [SMTP:hinch@earthlink.net] Sent: Saturday, March 03, 2001 8:31 AM To: trombone-l@lists.missouri.edu Subject: Teagarden Hello all, Any thoughts on a favorite recording of trombonist Jack Teagarden? Regards, John Hinchey Nashville, TN ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 11:44:34 -0800 From: "Tony Collins" To: Subject: Re:Top ten trombone books Message-ID: <000a01c0a4e3$8e15d1e0$8693fea9@oemcomputer> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0007_01C0A4A0.7C1EF4A0" These are my top ten in no particular order. Bordogni all 3 Arban's Koprasch Bitcsh Boutry Lafosse sight reading series Blazevich Clef Studies Kleinhammer Pederson Advanced Remington Marsteller Sorry that is 11 I also want to address the criticism that I have noticed of the Bordogni. Although they can be performed with piano, they are meant as exercises in musicianship. That is why they are collected by Rochut into the 3 books. If you are talking about solo literature and other means of expanded your musical pallet, by all means that is the natural course that I hope all good players reach. If you are referringin your critique to the myriad of mediocrity that exists in the trombone universe then I agree that it is maddening but the same applies to all fields of endeavor. Please don't put down the beautiful and simple melodies of the Bordogni Vocalises just because they are over used. They are a God send in my opinion because Johannes Rochut had the foresight to transcribe and make them accessible to young but hard working trombonists. Lyrical playing is part of the back bone of great brass playing and in my opinion should always be worked through in a simple manner when learning it. Tony Collins bonissimo@prodigy.net ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 14:22:33 -0600 From: "Dean McCarty" To: "Trombones and related issues forum." Subject: My top 10 (bass trombone included) Message-ID: <002301c0a4e8$d99eba00$5a0960cc@compaqcomputer> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0020_01C0A4B6.8DBDC040" Here are my top ten trombone (and bass trombone) books that have improved my playing: The first four I put at the top of the list because they approach the basics. With the basics in check everything else should fall into place. The Art of Trombone Playing, Kleinhammer - This is a MUST for all trombonists, I put it at the top of my list. Remington Warm-Up Studies, Ed. Hunsberger - Also a must for the repertoire. The Hunsberger edition is great because it is not only great playing material, but also great reading material. A "Singing" Approach to the Trombone, Vernon - A great method for flexibility throughout the entire range of the instrument. Basic Routines, Marsteller - Another basic method chocked full of flexibility and range exercises. These next six are in no particular order, but have all expanded my playing. Bordogni/Rochut Vol. 1 - Despite the friction on the list with this choice, this book is a necessary staple for all trombonists. For me it is the best and most enjoyable collection for legato playing. Especially when played in tenor clef or tenor clef 8vb. That is my personal choice, it lies very well on bass trombone at tenor clef 8vb. New Method for the Modern Bass Trombone, Aharoni - A MUST for all bass trombonists. I had the original edition that was in manuscript back in the early 80's. I found it to be a great method that incorporates most valve combinations and tunings. This is a great one... Thanks Eliezer! Suites for Cello, Bach -These are great and challenging, everyone should have these. I have several editions, but I really like the Barbez ed. the best (for bass trombone). 20 Etudes for Bass Trombone, Gillis - This was one of my first introductions to bass trombone. After I heard George Roberts I knew that I had to play bass trombone. This book was one of the first methods that I got, and I still play out of it today. It has great etudes that are quite pleasing... more of a sentimental choice though. School of Sight-Reading, LaFosse - A great method written in manuscript (bad manuscript). This particular method helped me with my reading in the studio. Although the scribble in the studios is much worse. Technical Studies, Knaub - Another bass trombone method. This one is the newest on the list (only about 10 years old). This takes the bass trombone through various styles, ranges and incorporates the double rotor very well. ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 04 Mar 2001 15:20:29 -0500 From: sabutin@mindspring.com To: trombone-l@lists.missouri.edu Subject: Rochuts Message-ID: <200103042021.PAA04515@maynard.mail.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hi all... I did not mean to attack the Rochuts or say that they are worthless...they are far from that. However...there is an entire universe of music out there (accessible to trombonists w/a minimum of effort) that is at least as good as they are 9and in many case much more interesting, to my ears). I was only saying that once you have spent some time playing them, it is useful (if only to alleviate the inevitable boredom of overfamiliarity) to explore the many other options. Just because Johannes Rochut went to the trouble of editing the Bordogni Vocalises for trombone doesn't mean that they are the ONLY melodic option for us...yet that would seem to be the case if they come up in the top ten of the most useful trombone books in response after response to this poll. Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 12:25:20 -0800 From: Gordon Cherry To: gcherry@interchange.ubc.ca Subject: Eastman/Remington '55 alumni reunion Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi, I'm not sure if you know about the famous '55 Emory Remington Reunion web site posted by Ralph Bigelow last year. If not, then with the link below you will be directed to the site. Obviously, this will mainly be of interest to trombonists and other low brass interested in the Eastman/Remington legacy. http://web10.superb.net/thechief/ The set includes a fun shot of Fred Fennell playing the bass drum. Best wishes, Gordon Cherry ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 15:26:40 -0800 (Pacific Standard Time) From: "Dale J. Cruse" To: Subject: Re: My top 10 (bass trombone included) Message-ID: <3AA2CF30.00000A.00920@CC913542-A> MIME-Version: 1.0 Content-Type: Multipart/related; type="multipart/alternative"; boundary="------------Boundary-00=_G45PH890000000000000" Playing them down two octaves is quite a challenge as well. I clearly remember learning to do that under the tutelage of Edwin Anderson at Indiana University. It's a workout - give it a shot! Dale J. Cruse dale@dalecruse.com http://www.dalecruse.com -------Original Message------- From: Dean McCarty Date: Sunday, March 04, 2001 12:22:46 To: Trombones and related issues forum. Subject: My top 10 (bass trombone included) Bordogni/Rochut Vol. 1 - Despite the friction on the list with this choice, this book is a necessary staple for all trombonists. For me it is the best and most enjoyable collection for legato playing. Especially when played in tenor clef or tenor clef 8vb. That is my personal choice, it lies very well on bass trombone at tenor clef 8vb. _________________________________________________ IncrediMail - Email has finally evolved - Click Here ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 13:29:11 -0700 (MST) From: James Scott To: Tony Collins Cc: "Trombones and related issues forum." Subject: Re:Top ten trombone books Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Content-Transfer-Encoding: 8bit Tony- BRAVO! I couldn't have said it any better! Nice choice of standard materials too. These are some of the best materials for learning the craft of trombone playing - learning to be a great artist on the instrument comes from searching out great music and performing it well, and listening to great performers on every instrument (and esp. singers) and applying what you learn from them to your own instrument. But let's not forget that you have to learn to play at a high level first, before you can really be an artist. The Rochut books are a fantastic first step in that process. Jim Scott On Sun, 4 Mar 2001, Tony Collins wrote: > These are my top ten in no particular order. > > Bordogni all 3 > Arban's > Koprasch > Bitcsh > Boutry > Lafosse sight reading series > Blazevich Clef Studies > Kleinhammer > Pederson Advanced > Remington > Marsteller > > Sorry that is 11 > > I also want to address the criticism that I have noticed of the Bordogni. Although they can be performed with piano, they are meant as exercises in musicianship. That is why they are collected by Rochut into the 3 books. If you are talking about solo literature and other means of expanded your musical pallet, by all means that is the natural course that I hope all good players reach. If you are referring in your critique to the myriad of mediocrity that exists in the trombone universe then I agree that it is maddening but the same applies to all fields of endeavor. Please don't put down the beautiful and simple melodies of the Bordogni Vocalises just because they are over used. They are a God send in my opinion because Johannes Rochut had the foresight to transcribe and make them accessible to young but hard working trombonists. Lyrical playing is part of the back bone of great brass playing and in my opinion should always be worked through in a simple manner when le! arning it. > > Tony Collins > bonissimo@prodigy.net > > ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 15:39:06 -0800 (Pacific Standard Time) From: "Dale J. Cruse" To: Subject: trombone literature Message-ID: <3AA2D21A.00000F.00920@CC913542-A> MIME-Version: 1.0 Content-Type: Multipart/related; type="multipart/alternative"; boundary="------------Boundary-00=_6P5PSPT1VA4000000000" All this recent talk of trombone literature has been very interesting to me. As trombonists, we're always stealing method books and solos from other instruments - cello suites, double bass material, trumpet, French horn, voice, and many more. Here's my question: who steals method books and/or solos from us? I have heard a few trumpeters playing from the Rochut book, but since those were originally vocal pieces, they aren't really stealing them from US. If any of our studies/solos are commonly studied on other instruments, I'm not aware of them. If it is true that we don't have anything worth stealing, that is a sad commentary on the state of literature for the trombone. Just my $.02 worth. Dale J. Cruse dale@dalecruse.com http://www.dalecruse.com _________________________________________________ IncrediMail - Email has finally evolved - Click Here ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 14:22:42 -0700 (MST) From: James Scott To: trombone-l@lists.missouri.edu Subject: "Basta" - Folke Rabe Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hi everyone- I have a recital next month and am putting program notes together, and don't have any info on Folke Rabe (except birthdate), the composer of "Basta". If anyone could point me towards a source where I could find some information on him, I'd greatly appreciate it - Also, while I'm at it, if you have info on Juraj Filas also, that would be helpful. And while I'm asking questions, I'm looking for a piece that I ran across in my search for music for this recital - "Suite for Trumpet, Saxophone and Trombone" - Ernst Pepping (1901-1981). It's probably too late for this recital, but the instrumentation sounds interesting for a future event. Unfortunately, when I came across this piece, I wrote down everything but the publisher, and now I can't find it listed anywhere (it may have gone out of print). If anyone either knows the work, or has any ideas of someplace to search for it, please e-mail me off-list with that info. Thanks! Jim Scott ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 15:31:00 -0600 From: yardlejw@uwec.edu To: dale@dalecruse.com, trombone-l@lists.missouri.edu Subject: RE: trombone literature Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Dale & list, I believe that a lot of brass players use the remington excersises. My lack of (but expanding) knowledge in the literature field is preventing me from thinking of more, but I'm sure other things have been "stolen" from the trombone literature. Or maybe they don't steal from us because we're so elite, and they couldn't possibly play at the high difficutly level that we do! Probably not... I agree though, that the amount of literature written specifically for trombone (and even worse...bass trombone), is kinda pathetic. I think it's more fun to steal from other instruments though. It opens up our ears and other people's ears. I guarantee you'll see heads turn when a trombonist is playing flight of the bumblebee (i want to hear a bass trombonist do this in the lower range!). It's fun being the "black sheep." We should feel lucky in that sense. Just some random thoughts... James Yardley Bass Trombone -----Original Message----- From: Dale J. Cruse [mailto:dale@dalecruse.com] Sent: Sunday, March 04, 2001 5:39 PM To: Trombones and related issues forum. Subject: trombone literature All this recent talk of trombone literature has been very interesting to me. As trombonists, we're always stealing method books and solos from other instruments - cello suites, double bass material, trumpet, French horn, voice, and many more. Here's my question: who steals method books and/or solos from us? I have heard a few trumpeters playing from the Rochut book, but since those were originally vocal pieces, they aren't really stealing them from US. If any of our studies/solos are commonly studied on other instruments, I'm not aware of them. If it is true that we don't have anything worth stealing, that is a sad commentary on the state of literature for the trombone. Just my $.02 worth. Dale J. Cruse dale@dalecruse.com http://www.dalecruse.com _________________________________________________ IncrediMail - Email has finally evolved - Click Here ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 16:29:26 EST From: MasterCoda@aol.com To: briar@chicagonet.net, trombone-l@lists.missouri.edu Subject: Re: Preview Release of Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/1/01 9:47:22 PM, briar@chicagonet.net writes: << When the first message of this sort came up last week, I ignored it. Please don't tell me that, beyond the occasional and harmless shameless plug that people post, the list is going to become yet another advertising medium. Those of us with things to sell have been modestly silent about them, which I believe is appreciated over wading through needless hype. Robert Holland Briar Music Press briar@chicagonet.net http://members.aol.com/EnsPub/briar.htm >> Right...you see, when I first mentioned this, there was no set release date for the windows version, and I had many people email me asking me to let them know when the Windows version came out, and it just happened it was about a week after i first mentioned the program. Second, I'm not quite advertising, as there is absolutely nothing in it for me. I've just found great possibilities and options with this program, and was merely trying to kindly pass on the information of a great notation program for those interested. So if you're not interested, dont read it. Peter ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 16:04:24 -0600 From: "David Pozos" To: "Trombones and related issues forum." Subject: good book Message-ID: <002101c0a4f7$12f509e0$8fc2180a@davidpoz.xal.megared.net.mx> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit My favourite book of all time is the trumpet method of Don Jakoby (with testimonials by Doc Severensen and Vincent Chikowitz (sp). It is not full of lots of technical exercises but concentrates on blowing. How to breath, how to tongue and most important, what is a good attitude in ensembles. The last page is the best part of the book for me. I studied with him for a while and he changed my life. His outlook on being a musician is IT! Get the book. Nuff said. David Pozos Primer Trombn Orquesta Sinfnica de Xalapa www.osx.org.mx ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 14:22:20 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: RE: trombone literature Message-ID: <20010304222220.2293.qmail@web10303.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I've had a lot of fun playing bassoon etudes. Milde and Weissenborn are the two sets I've spent the most time with. Good, melodic, with a lot of variation of articulation and range. Often, the trombone & bass trombone etudes that do that have more difficult pitch material, and sometimes I want to exercise my chops throughout a large part of my range without particularly difficult pitch & sight-reading material. Gabe __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 14:26:27 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: trombone literature Message-ID: <20010304222627.5464.qmail@web10304.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii > I have heard a few trumpeters > playing from the Rochut book, but since those were originally vocal > pieces, they aren't really stealing them from US. In fact they're not stealing from us at all. Trumpet players have a book of transposition studies that uses the Bordogni vocalises as material. I don't know who collected & arranged them, but they use them that way because the pitch material is so easy it makes a good basis for transposition studies. Gabe __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 14:28:31 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: "Basta" - Folke Rabe Message-ID: <20010304222831.93757.qmail@web10307.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Try getting the free 24-hour subscription to New Groves online. I think the address is www.grovemusic.com Gabe --- James Scott wrote: > Hi everyone- > > I have a recital next month and am putting program notes together, > and > don't have any info on Folke Rabe (except birthdate), the composer of > "Basta". If anyone could point me towards a source where I could find > some > information on him, I'd greatly appreciate it - Also, while I'm at > it, if > you have info on Juraj Filas also, that would be helpful. > > And while I'm asking questions, I'm looking for a piece that I ran > across > in my search for music for this recital - "Suite for Trumpet, > Saxophone > and Trombone" - Ernst Pepping (1901-1981). It's probably too late for > this > recital, but the instrumentation sounds interesting for a future > event. > Unfortunately, when I came across this piece, I wrote down everything > but > the publisher, and now I can't find it listed anywhere (it may have > gone > out of print). If anyone either knows the work, or has any ideas of > someplace to search for it, please e-mail me off-list with that info. > > Thanks! > > Jim Scott > __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 14:42:22 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Strauss 4 Last Songs Ballet Message-ID: <20010304224222.67209.qmail@web10315.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Listers near Boston: I've just gotten home from my 5th show at the Boston Ballet, and I want to let you know what's happening over there. This program, "Celebration of the Dance," includes a spectacular choreography to Strauss' Four Last Songs. First of all, this is some of the most beautiful music ever written. Very little for the low brass to play, but it's the most satisfying sitting-waiting-never-playing-above-mf you'll ever do. Secondly, the choreography (which I can see some of from my seat), by Fritz(?) von Dantzig, is beautiful, capturing and expressing the beauty and humanity of the music without overstatement, in my opinion. I would urge you to come see it if you can. The rest of the show is really good too, but I think the Strauss is something very special. Gabe __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 17:52:17 EST From: Auxbone@aol.com To: alexiles@earthlink.net, trombone-l@lists.missouri.edu Subject: Re: Etudes Message-ID: <73.b8209fd.27d42121@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/3/01 2:11:19 PM Central Standard Time, alexiles@earthlink.net writes: << In general, most of the etude books I have seen can be useful. It all depends on how you [either as a player or teacher] use them. Many "simple" or "dated" books can be used to illustrate fundamental and musical ideas. Some people respond to a given book some don't. [The best players I know find something useful in almost ANY set of exercises. They may, however, sometimes diverge from what is solely "on the page"]. Just because Arbans and Bordogni have been around for a long time does not make THE BOOKS or the inherent lessons dispensable. Unfortunately, many teachers and students use and assign etude books and methods by rote and use them as proxies for good trombone playing ["I played through 'the-such-an-such' books by the time I was 18, so I must be 'happening'"]. No. Just because you do or don't use the "standard" books, does not make you a better or worse for it necessarily. How you play depends on so many more things than that. Some great players swear by certain books, while some others have never OWNED an etude book. A book or method is just one person's attempt to organize some important concepts and make them teachable. We should all do the same thing on your own too, but you don't have to reinvent the wheel everytime! When you "burn out" on a book of etudes, don't just throw it away. File it. One day, you, a friend or a student might find it helpful. I have burned out and returned to Arban's MANY times over the 25 or so years I have been practicing out of it. Musically it IS pretty old fashioned, but when I have a certain register or intervals giving my trouble, it is one of the first sources I turn to for help. >> Dear Sir: Thank you for your very insightful post. I could not believe my eyes when someone wrote that the Arbans and the Rochut were old and no longer useful. What a disservice to all students that this person has done. Thank you. Stan ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 04 Mar 2001 18:02:59 -0600 From: "Clingo (SBC)" To: trombone-l@lists.missouri.edu Subject: Re: Rochuts Message-ID: <3AA2D7B3.881F5C06@swbell.net> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit I can't help but wonder if the Rochuts are on many folks' top 10 lists because that is what they were given by their teachers to use; i.e., the old "we've always done it that way" syndrome. I only had Rochut 1 and Arban; these were what my only private teacher (of about 6 months way back when) gave me to use. If it weren't for the Internet, these would still be the only two method books I own. Really needing to expand my method book collection, Corey ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 18:39:02 -0600 From: Chris Waage To: Trombone-L Subject: Re: Etudes Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" If you re-read what Sam originally wrote, I believe his comment wasn't that they were not useful, but that there were many OTHER etudes which might be better suited to the trombone. Personally, I love the Rochut etudes for several reasons: 1. They're melodic (duh!). However, the importance of melodic edutes cannot be underestimated. To a developing student who has yet to learn to follow the line based upon looking at the notes, the Rochut/Bordogni serve as an excellent introduction to hearing the line. 2. They're flexible. Played at half-speed, they provide a wonderful air, support and phrasing workout. Played at tempo, most still challenge the phrasing. 3. They do bring me back to the teacher who first introduced them to me. Nostalgia is a good thing, plus it reminds me of one of the things he taught me: "Practice NOW, because the things you put off practicing now will be the things that kick your butt in the future." This brings out something much more important than the strengths or weaknesses of any one etude book. It's the importance of quality teaching. The best books in the world are useless without the skilled guidance of a competent teacher. Chris In a message dated 3/3/01 2:11:19 PM Central Standard Time, alexiles@earthlink.net writes: << In general, most of the etude books I have seen can be useful. It all depends on how you [either as a player or teacher] use them. Many "simple" or "dated" books can be used to illustrate fundamental and musical ideas. Some people respond to a given book some don't. [The best players I know find something useful in almost ANY set of exercises. They may, however, sometimes diverge from what is solely "on the page"]. Just because Arbans and Bordogni have been around for a long time does not make THE BOOKS or the inherent lessons dispensable. Unfortunately, many teachers and students use and assign etude books and methods by rote and use them as proxies for good trombone playing ["I played through 'the-such-an-such' books by the time I was 18, so I must be 'happening'"]. No. Just because you do or don't use the "standard" books, does not make you a better or worse for it necessarily. How you play depends on so many more things than that. Some great players swear by certain books, while some others have never OWNED an etude book. A book or method is just one person's attempt to organize some important concepts and make them teachable. We should all do the same thing on your own too, but you don't have to reinvent the wheel everytime! When you "burn out" on a book of etudes, don't just throw it away. File it. One day, you, a friend or a student might find it helpful. I have burned out and returned to Arban's MANY times over the 25 or so years I have been practicing out of it. Musically it IS pretty old fashioned, but when I have a certain register or intervals giving my trouble, it is one of the first sources I turn to for help. >> auxbone@aol.com wrote: Dear Sir: Thank you for your very insightful post. I could not believe my eyes when someone wrote that the Arbans and the Rochut were old and no longer useful. What a disservice to all students that this person has done. Thank you. Stan -- ________________________________________________ Chris Waage chris@trombone.org Associate Webmaster The Online Trombone Journal http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 19:54:01 -0500 From: Douglas Yeo To: trombone-l@lists.missouri.edu Subject: Rochut, Vocalises, Paris, Adam and context Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: 8bit You can find the materials for bass trombone - method books, etudes and solos - I find to be most useful (and use in my daily practice and when working with students) on my website at: http://www.yeodoug.com/repert.html As to Msr. Rochut, whose "Melodious Etudes" are occupying a fair amount of bandwidth in part because Sam's original comment about the "Melodious Etudes" has been taken a bit out of context, I think we would do well to put the man and the etudes into context. Joanns Rochut edited and published his 3 volumes of the Bordogni Vocalises (which Rochut, not Bordogni, titled "Melodious Etudes") in 1928, at the time he was living in the USA as principal trombonist of the Boston Symphony (1925-1929). Rochut, like many French players, knew the value of melodic playing, and I presume he was aware of the host of technical exercises available in the (relatively) few trombone books which were around and the paucity of a concentrated source of melodic material for trombone (as I will mention later on, many French trombonists utilized method books for other instruments, such as ophicleide and even serpent which were in great abundance). I don't believe there is any evidence that Rochut taught at New England Conservatory of Music while living in Boston, but likely he had ample opportunity to utilize his new transcriptions with students - unless his English was not good enough at the time to make conversation comfortable (one needs to remember that the Boston Symphony was very much considered to be a "French" orchestra at the time, and that Koussevitzky hired Rochut because they knew each other in Paris before Koussevitzky came to Boston). Borgodni was not the only composer whose lyrical studies were used by Rochut. David Fetter, who is probably the person most well versed on the life and musical exploits of Rochut (David has had contact with surviving Rochut family members, access to correspondence and music relating to Rochut, etc), discovered that while a student at the Paris Conservatoire, Rochut transcribed solfege etudes by Lucien Grandjany which Rochut called "Lectures pout Trombone." David has published these; see information on his website at: http://gigue.peabody.jhu.edu/~davidf/compositions.html I would not be surprised if Rochut had done the main work on the "Melodious Etudes" while living in Paris and, after coming to the USA, found a willing publisher in Carl Fischer who took the risk of publishing the 3 volumes we still use today. Little did they probably dream that they would have a best seller on their hands. It is significant, though, that Fischer did not publish the pedantic piano accompaniments to the Bordogni "Vocalises." The music, as originally conceived, was designed for singers to use to develop their technique, not to perform in public. The accompaniments are simple enough that the singer could play themselves (Benny Sluchin published an edition of the Vocalises with the original piano accompaniment; they were/are published by Tezak, I have Volume 1 which is catalog number MT 1036). They are very useful etudes, but like all such material, they are only useful. Given what we know about Rochut and other materials he used and the training he had, I am certain Rochut would have himself not considered the Bordogni "Vocalises" to be the end all of trombone melodic study (and in fact, nobody on the list, including Sam, has said that). In my music collection, I have a number of manuscript folios which were at one time owned by Eugene Adam, who attended the Paris Conservatoire 1901-1903 (he won the first prize in trombone in 1903) and who also played both trombone (principal and asst. principal for a time) and tuba in the Boston Symphony (1919-1947); after retiring from Boston he played in the St. Louis Symphony from 1947-1954. Adam gave this music to Kauko Kahila who played bass trombone in the BSO from the 1950's to the 1970's and Kahila gave it to me. What I have from Adam is quite an interesting collection of solo and etude and duet material which he HAND COPIED. This is a treasure. Some of the music is copied from other sources, such as transcriptions by Adam of duets for French horn by D. Urbin (1809-1857), duos by Bleger transcribed for cornet and trombone by Adam, as well as selected works of Beethoven, Mozart, Haydn, Ambroise Thomas, Labro, etc arranged for trombone duo by Adam. There is also an entire book of duos by Vobaron (who taught at the Paris Conservatoire) written out in Adam's hand. In addition, there are reams and sheaves of hand written solo arias, vocalises and the like by myriad composers. I have never made a careful study of this material - that is for another time - but what it represents is a snapshot into the life of a trombonist who was trained at the turn of the century, a time where published music was not always easy to obtain or afford, and the photocopier was not even a dream, even in Jules Verne's fertile imagination. Adam probably knew Rochut in Paris, and they worked together in Boston (Adam playing assistant to Rochut as principal). The similarity of the material Adam has and the vocalises Rochut published tells me how important this kind of repertoire was to them, this at a time when many other players and pedagogues were focusing particular attention on technique. But the most significant thing is the fact that Adam's music contains MOSTLY arias and other vocal works by well known composers, transcribed for trombone. While he has many vocalises and such related material, the lion's share of the music he wrote out (in an exquisite PEN with elegant handwriting - and with very few crossings out and other mistakes) was music which was more developed musically than the Bordogni "Vocalises." I would guess Rochut, being a product of the same Conservatorie as Adam, felt the same way, but that he is primarily remembered for the transcriptions of the Bordogni "Vocalises" which in all likelihood was only a small part of his pedagogy. The point of all of this is to simply put a little context into Rochut's important contribution to the trombone repertoire. While we know him primarily for the legacy he left us with the "Melodious Etudes," that is only a small measure of the man, the player and the teacher. Likewise, we know Remington in large part because of his "warm-ups" but anyone who studied with him knows that the warm-ups were only a part of the whole picture. As has been said on the list by a number of people, the "Melodious Etudes" are quite useful for players and will likely remain so for some time. But they are not the last word in legato playing or melodic expression. Following the model of Rochut and Adam and many others, it is the mixed palate with many colors which provides the most beautiful result. Now that I've gotten out this box of music of Adam's, I have a nice night in front of me. The first thing I pulled out of the box was a leather bound, original copy of the "Methode d' ophycleide alto et basse" by D.F.E. Auber and V. Cornette, published in the late 1800's (there is an inscription on the final page by a player other than Adam dated 1901). A quick look through it shows pencil markings on nearly every page, and some lovely characteristic duets, technical exercises and melodic studies. This will give me something do to tomorrow when Boston is shut down with a blizzard, and give me an excuse ("Honey, I'm doing something IMPORTANT...") when I should be out shoveling the promised 1-3 feet (yes, FEET) of promised white stuff. -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_1969 Date: Sun, 4 Mar 2001 20:39:12 -0500 From: Douglas Yeo To: trombone-l@lists.missouri.edu Subject: Antique brass instruments for sale Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I've come across an interesting website with many antique brass instruments for sale, many with photos. Go to: http://www.vintage-instruments.com Click on the link to the "Brasswinds" catalog. A fine ophicleide by one of the best known makers, known as Halary (or Hilary) is #69. -Doug Yeo (no commission in this for me!) ********************************************** * 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_1969 Date: Sun, 4 Mar 2001 21:10:05 EST From: Auxbone@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Etudes Message-ID: <9f.1203f6a2.27d44f7d@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/4/01 6:43:32 PM Central Standard Time, chris@trombone.org writes: << If you re-read what Sam originally wrote, I believe his comment wasn't that they were not useful, but that there were many OTHER etudes which might be better suited to the trombone. >> SAM WROTE: << The predominance of the Rochut books is a sad commentary on the paucity of trombone literature and/or the generally unimaginative/lazy mindset of trombonists. There is nothing WRONG w/the Bordogni/Rochut etudes...they're just Bb versions of a style of playing that was extant for a few years in the 1800s.>> Sam seems to speak his views very clearly. This is not a very positive message for the many young trombonists who are members of this discussion group. Stan ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 20:23:44 -0600 From: "Jeff Albert" To: "Trombones and related issues forum." Subject: etudes and morality Message-ID: <005b01c0a51b$4e07adc0$55d91542@default> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit This is not a very positive > message for the many young trombonists who are members of this discussion > group. > Was written in reference to a discussion of etudes. We must remember that we are talking about TROMBONE ETUDES, and choice of such probably has little effect on the moral turpitude of young trombonists. We must remember that Rochut/Remington, et al is just standard practice, it's not religion, and while failure to practice transcriptions of Bordogni vocalises may get you poor marks from some trombone professors, it will not, in all likelihood, land you in eternal damnation. Jeff Albert www.jeffalbert.com ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 21:32:05 -0500 From: "Chris Waage" To: Subject: Re: Etudes Message-ID: <200103042132.AA344195380@trombone.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii What's not positive about it? The statement which you quoted just says that there are many books which may be better than the "status quo." Sam's indictment against the Bordogni/Rochut is very true - why rely on the way things have always been done? I use the Rochut extensively with students, but I am always on the lookout for additional material. I don't see where you can say it's a "not very positive" statement. The snippit comes from a much larger post, detailing the methodology he used to arrive at this statement. Snipping a small statement from a large post and using it to indict the entire comment seems a bit narrow. Chris ---------- Original Message ---------------------------------- From: Auxbone@aol.com Reply-To: Auxbone@aol.com Date: Sun, 4 Mar 2001 21:10:05 EST >In a message dated 3/4/01 6:43:32 PM Central Standard Time, >chris@trombone.org writes: > ><< If you re-read what Sam originally wrote, I believe his comment wasn't >that they were not useful, but that there were many OTHER etudes which might >be better suited to the trombone. >> > >SAM WROTE: > ><< The predominance of the Rochut books is a sad commentary on the paucity >of trombone literature and/or the generally unimaginative/lazy mindset of >trombonists. There is nothing WRONG w/the Bordogni/Rochut etudes...they're >just Bb versions of a style of playing that was extant for a few years in the >1800s.>> > >Sam seems to speak his views very clearly. This is not a very positive >message for the many young trombonists who are members of this discussion >group. > >Stan > > > -- _________________________________________ Chris Waage chris@trombone.org Associate Webmaster The Online Trombone Journal http://www.trombone.org -- ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 20:59:44 -0600 From: "Dean McCarty" To: "Trombones and related issues forum." Subject: Re: Rochuts Message-ID: <003b01c0a520$56bc6e60$220960cc@compaqcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Clingo (SBC) > I can't help but wonder if the Rochuts are on many folks' top 10 lists > because that is what they were given by their teachers to use; i.e., the > old "we've always done it that way" syndrome. Corey, I have to say that there is a good reason why trombone teachers use the Rochut/Bordogni books... they are tried and true. Why is it these days that if it isn't "new and improved" then it is outdated and of no use. The Rochuts are great tools... no they are not the "end-all" books. I personally have over 100 different method and etude books in my library, spanning from tenor trombone, bass trombone, tuba and trumpet. I also have several vocal collections that work great. And I am continually expanding that library. But I will have to say, that I still enjoy going back to the Rochuts, especially vol. 1. The name of the game is versatility, but we cannot forget the basics. To me, what worked for players like George Roberts, Ed Kleinhammer, and even as recently as Doug Yeo, David Taylor and Charlie Vernon, should still work today... Yes, use the new tools of today, but don't forget the foundations of the instrument. I actually cringe when I hear of trombone teachers who don't use the proven tools. They think that they know better than the masters... how dare them. Just my .02 Dean McCarty freelance trombonist, Houston area ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 4 Mar 2001 23:59:16 -0700 (MST) From: James Scott To: trombone-l@lists.missouri.edu Subject: Basta, etc. Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII To everyone who replied to my message about finding details on the composers Folke Rabe and Juraj Filas - thanks! One person suggested the web-sites of the publishers, and I found everything I needed there. Just goes to show that my "analog" brain still thinks in terms of searching out obscure books in musty parts of a library, and can't think of looking in the most obvious place in our www.world! Anyway, thanks again, and I'm still trying to locate the "Sonata for Trumpet, Horn and Trombone" by Ernst Pepping. This one, I don't know the publisher for, and have drawn a blank at the usual sources (R. King, Hickeys, J.W. Pepper, etc.). If anyone knows the publisher, or has a good sheet music source for me to try, let me know. Thanks for the help! Jim Scott ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Sun, 04 Mar 2001 23:55:46 -0800 From: alex iles To: chris@trombone.org Cc: "Trombones and related issues forum." Subject: Re: Etudes Message-ID: <3AA34642.8AADAAD@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 Hi all, Chris Waage wrote: > If you re-read what Sam originally wrote, I believe his comment > wasn't that they were not useful, but that there were many OTHER > etudes which might be better suited to the trombone. I do not think Sam EVER meant to say that "Arban's and Rochut were no longer useful". He has clarified any confusion there. Actually, I was not really responding directly to what Sam wrote at all. I was addressing several folks' posts which seem to fall into the following two categories... 1.Those who seem to consider the Bordogni and Arban's books THEMSELVES as THE answer/standard to most/all issues regarding trombone playing. [to whom Sam appeared to be addressing] 2. Those who think that Bordogni and Arban's are not as worthwhile studying as those in group #1. Someone [forgive me, I forget who] mentioned having a teacher throw them into the hallway or something. I believe the majority of us have found a worthwhile "middle path". > Personally, I love the Rochut etudes for several reasons: > 1. They're melodic (duh!). However, the importance of melodic > edutes cannot be underestimated. To a developing student who has yet > to learn to follow the line based upon looking at the notes, the > Rochut/Bordogni serve as an excellent introduction to hearing the > line. > > 2. They're flexible. Played at half-speed, they provide a wonderful > air, support and phrasing workout. Played at tempo, most still > challenge the phrasing. Totally agree here on these two points. I like how you played "off the page" [at half speed] to expand what these etudes have to offer explicitly. Same goes for transposition. When I studied with Roy Main, he made us play them [as so many good teachers do]: as written, in tenor clef [occasionally to develop Dorsey-like slide vibrato!!], and 8vb. Sometimes Roy would play along in octaves or unison for intonation practice. Sure, you can do this kind of stuff with any song or etude [as we subsequently did!], but for some reason, the Bordogni's provide one of the most logical lay outs for developing these kinds of skills. Jumping into this kind of creative practice with an "old stand by" like Bordogni showed me ways to do experiment with OTHER songs, etudes, and exercises. > > > 3. They do bring me back to the teacher who first introduced them to > me. Nostalgia is a good thing, plus it reminds me of one of the > things he taught me: > > "Practice NOW, because the things you put off practicing now will be > the things that kick your butt in the future." Absolutely great advice. Nothing like a little healthy injection of fear to make you want to practice. > > > This brings out something much more important than the strengths or > weaknesses of any one etude book. It's the importance of quality > teaching. The best books in the world are useless without the > skilled guidance of a competent teacher. You eloquently summarize what I meant all along. The student, though, has to "take the bull by the horns" at some point and learn how to absorb a vast number of musical choices for themselves. Alex > > > Chris > > >In a message dated 3/3/01 2:11:19 PM Central Standard Time, > >alexiles@earthlink.net writes: > > > ><< In general, most of the etude books I have seen can be useful. It all > >depends on how you [either as a player or teacher] use them. Many "simple" or > >"dated" books can be used to illustrate fundamental and musical ideas. Some > >people respond to a given book some don't. [The best players I know find > >something useful in almost ANY set of exercises. They may, however, sometimes > >diverge from what is solely "on the page"]. Just because Arbans and Bordogni > >have been around for a long time does not make THE BOOKS or the inherent > >lessons dispensable. Unfortunately, > > many teachers and students use and assign etude books and methods by rote > >and use them as proxies for good trombone playing ["I played through > >'the-such-an-such' books by the time I was 18, so I must be 'happening'"]. > >No. Just because you do or don't use the "standard" books, does not make you > >a better or worse for it necessarily. How you play depends on so many more > >things than that. Some great players swear by certain books, while some > >others have never OWNED an etude book. A book or method is just one person's > >attempt to organize some important > >concepts and make them teachable. We should all do the same thing on your own > >too, but you don't have to reinvent the wheel everytime! When you "burn out" > >on a book of etudes, don't just throw it away. File it. One day, you, a > >friend or a student might find it helpful. I have burned out and returned to > >Arban's MANY times over the 25 or so years I have been practicing out of it. > >Musically it IS pretty old fashioned, > >but when I have a certain register or intervals giving my trouble, it is one > >of the first sources I turn to for help. >> > > > >auxbone@aol.com wrote: > >Dear Sir: > > > >Thank you for your very insightful post. I could not believe my eyes when > >someone wrote that the Arbans and the Rochut were old and no longer useful. > >What a disservice to all students that this person has done. > > > >Thank you. > > > >Stan > > -- > ________________________________________________ > Chris Waage chris@trombone.org > Associate Webmaster The Online Trombone Journal > http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1969 Date: Mon, 5 Mar 2001 09:35:58 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Brass Band Vacancies for March 2001 Message-ID: <007501c0a557$ce6a88c0$4b81fc3e@q9y6f8> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Tom Izzo" To: "Trombones and related issues forum." Sent: Sunday, March 04, 2001 6:47 PM Subject: Re: Brass Band Vacancies for March 2001 > > Does anyone know the average pay scale for brass bands in > > Europe/Australia/New Zealand. > > Yes it's 00 lbs. > or $0.00 USD. or A$0.00 or NZ$0.00 or CHF0.00 or NK0.00 or........ .....unless you are a key player kept on retainer, or professional MD. Only bands that are well sponsored, or paid for social engagements are able to pay for these services. Most British bandsmen do it for the love, and probably have to pay a subscription towards the cost of music, new band instruments, rent & tax on rehearsal premises etc. Of late however, many British bands have been successful in receiving monetary awards from the state lottery to cover some of this expense. British banding is for devoted amateur musicians and students. They are in it for the competition and prestige, a medium that I find rather alien, but cannot deny that it creates a very high standard of musicianship. I presume it is a similar deal in Oz, NZ and the continent of Europe. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk www.adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_1969--