TROMBONE-L Digest 1973 Topics covered in this issue include: 1) Re: Rochuts by sabutin 2) Home in the range by Dave Molter 3) RE: circus bands by "Richardson, Tim" 4) Yamaha 682B vs. 88H CL2000 by Dave Molter 5) FW: Ewazen Press Release by Steve Gamble 6) Re: Yet another lesson book thread by "Adrian Drover" 7) Rittenhouse Trombone Quartet in Texas by Posaune9@aol.com 8) Rittenhouse Quartet in Dallas Morning News by Posaune9@aol.com 9) Re: Yamaha 682B vs. 88H CL2000 by Andrew Michael 10) Re: Ewald Symphony for Brass by "Chuck De Paolo" 11) Re: Yamaha 682B vs. 88H CL2000 by Neobopr@aol.com 12) Re: Yamaha 682B vs. 88H CL2000 by "Rod Ellard" 13) Tombone stand etiquette by Craig Parmerlee 14) Re: Tombone stand etiquette by Candice & Eric Swanson 15) Re: Tombone stand etiquette by "Paul D. Kemp Jr." 16) Re: Tombone stand etiquette by James Scott 17) Re: Trombone stand etiquette by Douglas Yeo 18) Re: Tombone stand etiquette by David Burch 19) Re: Trombone stand etiquette by "Tom Izzo" 20) Re: Tombone stand etiquette by Craig Parmerlee 21) Re: Tombone stand etiquette by "Paul Hill" 22) Re: Tombone stand etiquette by "Gary D. Maxwell" 23) Re: Yamaha 682B vs. 88H CL2000 by "Jeff Albert" 24) Re: IGSOY.... by "Adrian Drover" 25) Re: Trombone stand etiquette by "Adrian Drover" ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 08:08:18 -0500 From: sabutin To: trombone-l@lists.missouri.edu Subject: Re: Rochuts Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" In a message dated 3/6/01 10:38:02 PM Central Standard Time, love_camaros@hotmail.com writes: << Gee. Sounds like you've got an axe to grind. Shaddup and go practice. JC Dear John Clark, Thank you for your advice. You are indeed very wise. Stan ======================================= WARNING !!!! TROLL ALERT !!! TROLL ALERT!!! Please folks, no matter HOW much you want to scratch that itch, don't do it. This guy...if not the same one who has trolled here before, certainly someone cut from the same cloth...can only be dealt with by an absolute refusal to get into it w/him. No amount of banishment from the list will do it...trolls just come back under different names. When people make combative and rude statements, just ignore them. Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 08:16:29 -0500 (EST) From: Dave Molter To: trombone-l@lists.missouri.edu Subject: Home in the range Message-ID: <381083395.984057389547.JavaMail.root@web313-wrb> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit OK, all I have to say about the range thing on bass trombone is this: when I hear a bass trombonists noodling around, 9 times out of 10 they're trying to prove how high they can play. Conversely, the tenor noodlers I know play below the staff about 75% of the time. Dave Molter Bass & Tenor: he's two, two, two players in one (Certs reference) ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 08:22:29 -0500 From: "Richardson, Tim" To: "'Chris Waage'" , Trombone-L Subject: RE: circus bands Message-ID: <21E592FA8BA7D311B5B100062B001FE206F12BBD@LEE2> Chris, You have no idea how encouraging that is. I was under the impression there is only one circus gig or so a year. Since I am not the best trombonist in the US, in fact I'm not really any good, there wouldn't seem to be any chance of playing it. Now i know all I have to do is join the union and there is some chance I'll actually get that call. Might be a small chance, but a real one. Now I have to figure out what exerpts to practice just in case. Any advice? Entry of the Gladiators for sure, but there must be some others. yours, Tim Richardson > -----Original Message----- > From: Chris Waage [SMTP:chris@trombone.org] > Sent: Wednesday, March 07, 2001 9:51 AM > To: Trombone-L > Subject: Re: circus bands > > Ringling Bros. usually hires local musicians throught the AF of M. > > Chris > > >On Wed, 7 Mar 2001, Richardson, Tim wrote: > > > >> However i confidently assert there is at most one circus in the US > with one > >> trombone layer. The rest use a scratch cassette tape, a karaoke box, > or > >> possibly one player (I can't say musican) on a fancy keyboard. > >> > > I saw the Ringling Brothers circus a few years ago here in New > >York and there was definitely one trombone player in the band--I couldn't > >actually see him but I saw the slide motions, especially for all the > >expected glissandos for the clown acts. :) > > I couldn't tell how many people were in the band, but I'm guessing > >less than 10. Their "stage" was packed with electronics--they needed > >serious amplification to be heard in the huge venue (Madison Square > >Garden) > > > >-Chris > > -- > ________________________________________________ > Chris Waage chris@trombone.org > Associate Webmaster The Online Trombone Journal > http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 08:25:06 -0500 (EST) From: Dave Molter To: trombone-l@lists.missouri.edu Subject: Yamaha 682B vs. 88H CL2000 Message-ID: <380958357.984057906319.JavaMail.root@web622-wrb.mail.com> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Has anyone played the Yamaha 682B side-by-sie witheth Conn 88HCL2000? Just wondering how they compare in tone and valve effectiveness, lack or noise, etc. I've been told by some that the CL2000 would not make a good symphonic horn because it is "too bright." How does the 682B tone compare? Dave Molter ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 21:18:43 -0700 From: Steve Gamble To: "Trombone List (E-mail)" Subject: FW: Ewazen Press Release Message-ID: <01C0A815.5BCB3EC0.orchpers@azstarnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello Everyone, I thought this press release might be interesting to you all, especially the part about the world premiere of the double concerto for trumpet and trombone. (It's about half-way down.) Steve Gamble -----Original Message----- From: Edward Reid [SMTP:ereid@u.arizona.edu] Sent: Thursday, March 08, 2001 8:02 AM To: jsander@azstarnet.com; chops@azstarnet.com; orchpers@azstarnet.com; mikefan@azstarnet.com Subject: Ewazen Press Release Trio Of Events Features Composer Eric Ewazen's Music Mar 6, 2001 Rich Amada, UA News Services ------------------------------------------------------------------------ Contact Information Media Contacts: Tom Cockrell, 520-621-7028; Daniel Asia, 621-7020; Ed Reid, 621-1348 Public Contact: MusiCall 621-2998 ------------------------------------------------------------------------ Related Links http://www.arts.arizona.edu/music ------------------------------------------------------------------------ The UA School of Music and Dance will host concerts and a master class featuring composer Eric Ewazen, who will be a composer-in-residence. Event: Trio of music events featuring Eric Ewazen, composer Presented by the School of Music and Dance in the College of Fine Arts at the University of Arizona in Tucson Tickets are available through the UA Fine Arts Box Office, 621-1162. ------------------------------------------------------------------------ The University of Arizona Symphony Orchestra Concert Additional funding provided by the Naomi Riddle Fund for the Advancement of the School and by Manfred and Nancy Albrecht Event Date/Time: Friday, March 30, and Saturday, March 31, at 7:30 p.m. Place: Crowder Hall, Music Building Tickets: $10 General, $8 UA Employee and Seniors (55+), $4 Students (with valid ID) ________________________________ Visiting Composer Series Discussion with Eric Ewazen The composer will discuss his work. Date/Time: Monday, April 2, at 4:30 p.m. Place: Music Building, Room 146 Admission: This event is free _________________________________ Concert of Chamber Music of Eric Ewazen Date/Time: Monday, April 2, at 7 p.m. Place: Holsclaw Recital Hall Tickets: $10 general, $8 UA employee and seniors (55+), $4 students with valid ID __________________________________ The concerts by the UA Symphony Orchestra feature the world premiere of Ewazen's "Double Concerto for Trumpet, Trombone and Orchestra" with Edward Reid, trumpet, and Thomas Ervin, trombone. The UA School of Music and Dance commissioned "Double Concerto" specifically for this performance. The Symphony Orchestra will also perform Sibelius' "Fifth Symphony" and Tchaikovsky's "Violin Concerto" with President's Concert winner Rachel Hawn, soloist. The chamber music concert on April 2 will include selections of his contemporary chamber music. "Trio for Violin, Trumpet and Piano" features Ewazen, piano, with Hannah Albrecht, violin, and Ed Reid, trumpet. Mezzo-soprano Wanda Brister joins Ewazen and Reid for ". . . to cast a shadow again." Ewazen's composition,"Roaring Fork," will be performed by the Arizona Wind Quintet, an ensemble comprised of Jean Louis Kashy, flute, Neil Tatman, oboe, Jerry Kirkbride, clarinet, William Dietz, bassoon and Keith Johnson, horn. Featured musicians in the performance of "Ballade, Pastorale and Dance" are Kathryn Kitzman, flute, Denise Root, horn, and Angeline Ng, piano. Additionally, a sextet of trumpet players will perform "Prelude and Fugue for Trumpet Choir." Born in 1954, Ewazen is recognized by brass players throughout the world as one of the most popular composers for their instruments. A faculty member of the Juilliard School and lecturer for the New York Philharmonic's Musical Encounters Series, he recently was composer-in-residence of the St. Luke's Chamber Ensemble in New York City. Ewazen has had his works performed by numerous ensembles and orchestras in the United States, overseas and at festivals such as Woodstock, Tanglewood, Aspen and Caramoor. His works have been commissioned and performed by such groups as the St. Luke's Chamber Ensemble, American Brass Quintet (three times), Chicago Chamber Players, Detroit Chamber Winds, L'Amore di Musica, New York State Council on the Arts, the Phillip-Morris Companies, Jerome Foundation, Music Academy of the West and many major soloists. ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 15:10:46 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Yet another lesson book thread Message-ID: <000001c0a7ec$1d7b1560$ec09fd3e@q9y6f8> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Earl Needham" To: "Trombones and related issues forum." Sent: Wednesday, March 07, 2001 11:30 PM Subject: Re: Yet another lesson book thread > Never tried that, but I can play from Arbans absolutely GORGEOUSLY > after about 4 G*******'s. Funny you should say that Earl. I've found that I can drink Guinness gorgeously after 4 pages of Arbans. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk www.adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 08 Mar 2001 11:42:58 EST From: Posaune9@aol.com To: Subject: Rittenhouse Trombone Quartet in Texas Message-ID: <74.869d91a.27d91093@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Hello listers: The Rittenhouse Trombone Quartet has two performances left in the Dallas/Ft. Worth area. Tonight(thurs. March 8) we are at the Tarrant County College - Northeast Campus in Hurst, Texas. The concert starts at 7:30PM and will be in the Northeast campus theater located in the fine arts building. We are expecting a large turnout(approx. 300 people) for this concert, and since the concert is free, you might want to be there a little early to get a seat. On Friday, we will be at Duncanville High School (4PM), however this setting will be a concert with a small masterclass at the end. Duncanville will have one or two of their chamber groups play for us. This program will be located in the high school band hall. The quartet would like to thank all of those in Texas who have been able to attend our concerts. We feel the the tour has been a huge success, and we have all of our audiences to thank for that. We hope to see you all at a performance soon! Sincerely, Ryan Johnstone Rittenhouse Trombone Quartet ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 08 Mar 2001 11:58:36 EST From: Posaune9@aol.com To: Subject: Rittenhouse Quartet in Dallas Morning News Message-ID: <83.7d256e8.27d9143c@aol.com> Mime-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit just thought you all might like to see this. http://www.dallasnews.com/metro/northeast_tarrant/305453_trombones_08no.html ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 09:10:12 -0800 From: Andrew Michael To: kingbone@earthlink.net, "Trombones and related issues forum." Subject: Re: Yamaha 682B vs. 88H CL2000 Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Dave Molter wrote: At 5:25 AM -0800 3/8/01, Dave Molter wrote: >Has anyone played the Yamaha 682B side-by-sie witheth Conn 88HCL2000? Just >wondering how they compare in tone and valve effectiveness, lack or noise, >etc. I've been told by some that the CL2000 would not make a good symphonic >horn because it is "too bright." How does the 682B tone compare? I haven't played the Yamaha, but yesterday I did play 3 CL2000's with the three different bells. The three bells are very different and if someone heard the horn with the yellow brass bell then they would likely think the horn is too bright by symphonic standards. The rose brass bell is much darker but retains a fairly flexible tone. Is it dark enough? That's hard for me to judge as it may depend on the group, section, conductor, .... The lightweight rose bell was hard for me (emphasis on me) to control. The CL2000 valve is very impressive. They had me try this test: play f in the staff and pull the valve very slowly. On the CL2000 you get a continuous tone even between open and closed positions. You can really keep the air moving and the valve legato was quite good. Andy ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 13:42:15 -0500 From: "Chuck De Paolo" To: "Trombones and related issues forum." Subject: Re: Ewald Symphony for Brass Message-ID: <00b901c0a7ff$7ef44290$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_00B6_01C0A7D5.95F35A00" BTW, I was once told that Ewald wrote this piece originally for string quartet or quintet, and it nicely made the transition to brass. Does anyone know if this is true? Ewald was a brass player himself - he played horn (and cello). He wrote all four Quintets for his own group to perform. Ewald's quintet, an ensemble type which was rare to non-existant, was comprised of 2 cornets, altohorn, tenorhorn, and tuba. (please quote this message if you reply) 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) ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 15:56:03 EST From: Neobopr@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Yamaha 682B vs. 88H CL2000 Message-ID: <60.c42b3c6.27d94be3@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Hello all, I have tried them side by side. Haven't been impressed with any of the Conn 88's I've played since they came out with the semi-custom thing. The Yamaha has a very heavy bell. You can put a whole lot of energy into it and it won't break up on you. I also really love the core sound I get from my Yamaha. It is always really focused and meaty. I didn't realize how good the horn was until I found an appropriate mouthpiece match in the Schilke 51 series (51C4, 51, 51D). I use them for everything one would need to with a .547 bore horn. Interested in how the Yamaha stacks up against other manufacturers? I speak more about in on my website. Additionally, I haven't played a brand new Yamaha yet which didn't have a perfect slide. Artist/Clinician for Yamaha: Jeff Adams ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 13:30:02 -0800 From: "Rod Ellard" To: , "Trombones and related issues forum." Subject: Re: Yamaha 682B vs. 88H CL2000 Message-ID: <000501c0a816$f4bf52a0$527bfea9@Ellard> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I have played a 682B for about six years now. A few thoughts: 1. A friend who plays a 682B with a local semi-pro orchestra told me he preferred it to the 88H he had played previously. The section received unsolicited compliments from the oboist once when I was filling in for said friend. 2. The design objectives (acc. to Ian Bousefield) were to produce a horn that could be heard over the orchestra (specifically, the LSO) without breaking up. Hence, heavy bell, heavy leadpipe and heavy slide. Made loud to be played loud (to quote Joe Walsh.) 3. I have only played a Lindbergh 88H for a few minutes and won't attempt a comparison. 4. I'm finding my Bach 5GB a good match for the horn. Rod ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 08 Mar 2001 17:39:03 -0500 From: Craig Parmerlee To: trombone-l@lists.missouri.edu Subject: Tombone stand etiquette Message-ID: <4.3.2.7.2.20010308173424.01e9c1c0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Perhaps this has been discussed before here, but I am not aware of it. I use a trombone stand everywhere I play. The only time I'm without it is when the seating space is too limited. To me, it is an essential piece of equipment that reduces the physical stress of playing and also protects the instrument. It seems that stands are not popular in orchestra sections. Is there some unwritten rule against using stands during an orchestra concert? Is this considered unprofessional or untidy on the stage? Just wondering. Craig ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 08 Mar 2001 16:57:03 -0500 From: Candice & Eric Swanson Cc: "Trombones and related issues forum." Subject: Re: Tombone stand etiquette Message-ID: <3AA8002E.D0849500@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Craig Parmerlee wrote: > I use a trombone stand everywhere I play. .............. > It seems that stands are not popular in orchestra sections. Is there some > unwritten rule against using stands during an orchestra concert? Is this > considered unprofessional or untidy on the stage? > Craig. Not that I've ever heard of. I'm with you, I use one all the time and always have. In orchestral and opera music, the trombones rest way more than they play. It seems silly to sit there and hold the horn for three and a half hours (the length of most operas). There may be orchestra sections that don't use stands, but there's not a "rule" against them that I know of. Eric Swanson Dallas Opera Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 18:20:54 -0500 From: "Paul D. Kemp Jr." To: "Trombones and related issues forum." Subject: Re: Tombone stand etiquette Message-ID: <001001c0a826$6f917080$455efc9e@pauljr> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Craig, I'll second what Eric Swanson said below--as a matter of fact, I'd kinda gotten out of the habit of using mine, and as a result, I've had to have my favorite slide lined up by John Upchurch this week, and we're playing Prokofiev's Romeo & Juliette. It is actually working out great on my dual bore slide, but once you get used to something, you really don't want to have to adjust your equipment. But a trombone stand is something that I insist that all of my students get and use. I'm convinced that it will save you money in the long run. Slide alignments are somewhat costly, and besides that, brass slides, in particular, are much softer than the nickel silver slides and it doesn't take much pressure to knock one out of alignment just enough to drive you bonkers. I preach NEVER rest your horn on the slide, because over time it will bow your slide tubes like a banana--especially bass trombonists, with the additional weight in the bell section. Incidentally, if you have a heavy case (like the Bach coffin cases) and the slide compartment is in the rear of the case, it's a good idea not to sit your case down so that the entire weight of the horn and case is on the slide. Either stand it on the end or set it down like you're going to open the case. To get back to Craig's question, if there's any flack about using a trombone stand, (and there shouldn't be, as it's a part of your equipment, just like a mouthpiece or an F-attachment) kindly mention to the orchestra management that if your slide is damaged because of not being able to use a trombone stand, you'll be happy to send them the repair bill. I'm sure that it won't be such a big deal after that. Paul Kemp Chattanooga Symphony www.trbnplyr.com ----- Original Message ----- From: "Candice & Eric Swanson" To: "Trombones and related issues forum." Sent: Thursday, March 08, 2001 4:57 PM Subject: Re: Tombone stand etiquette > > > Craig Parmerlee wrote: > > > I use a trombone stand everywhere I play. .............. > > > It seems that stands are not popular in orchestra sections. Is there some > > unwritten rule against using stands during an orchestra concert? Is this > > considered unprofessional or untidy on the stage? > > > > Craig. > > Not that I've ever heard of. I'm with you, I use one all the time and always > have. In orchestral and opera music, the trombones rest way more than they > play. It seems silly to sit there and hold the horn for three and a half > hours (the length of most operas). There may be orchestra sections that don't > use stands, but there's not a "rule" against them that I know of. > > Eric Swanson > Dallas Opera Orchestra > > ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 16:37:22 -0700 (MST) From: James Scott To: Craig Parmerlee Cc: "Trombones and related issues forum." Subject: Re: Tombone stand etiquette Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Craig- I use mine all the time in the orchestra - besides saving the slide it also saves your shoulder, back and arm from having repetive stress problems. I think some orchestral players don't use them because it's another thing to carry (I keep one in my locker at work). There are a few orchestras where the stands are even put out on stage by the stagehands (Montreal and New Jersey the ones where I've seen this done). The only thing I can think of that would preclude using a trombone stand on an orchestra gig, is if your stand looked really bad, ie: a ratty old sweat sock on the top portion! Jim Scott On Thu, 8 Mar 2001, Craig Parmerlee wrote: > > Perhaps this has been discussed before here, but I am not aware of it. I > use a trombone stand everywhere I play. The only time I'm without it is > when the seating space is too limited. To me, it is an essential piece of > equipment that reduces the physical stress of playing and also protects the > instrument. > > It seems that stands are not popular in orchestra sections. Is there some > unwritten rule against using stands during an orchestra concert? Is this > considered unprofessional or untidy on the stage? > > Just wondering. > Craig > > ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 19:01:12 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: Trombone stand etiquette Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I use my trombone stand whenever I have tacet movements in orchestral works. Simple reason - get the trombone out of my hand. Tension is a devil, and anytime we can get the trombone out of our hands, we're going to be better off. Percussion players get to put down their sticks and cymbals, keyboard players don't keep their hands on the ivories when they're not playing, trumpet players use stands all the time. Count me in with the trombone stand. My colleague, Ron Barron does the same thing as well, for whatever it's worth. -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_1973 Date: Thu, 08 Mar 2001 19:24:20 -0500 From: David Burch To: jscot@ucalgary.ca Cc: "Trombones and related issues forum." Subject: Re: Tombone stand etiquette Message-ID: <3AA822B4.E6C00BCD@fuse.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit James, Thanks for the reminder that I need to change my sock before Monday! Dave Burch Hamilton, Ohio James Scott wrote: > The only > thing I can think of that would preclude using a trombone stand on an > orchestra gig, is if your stand looked really bad, ie: a ratty old sweat > sock on the top portion! ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 20:00:50 -0600 From: "Tom Izzo" To: "Trombones and related issues forum." Subject: Re: Trombone stand etiquette Message-ID: <000a01c0a83c$c47240a0$ad75dfd0@oemcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit As Doug Yeo said: > Percussion players get to put down their sticks and cymbals, keyboard > players don't keep their hands on the ivories when they're not > playing, trumpet players use stands all the time. Count me in with > the trombone stand The use of the Trombone stand in any performing ensemble is an absolute neccessity for doubling/tripling purposes, etc. For those of us where doubling on the job is the rule, rather than the exception, we CAN'T live without a stand (or two :-)! There is only one safe way to change between Trombone & Tuba, for example, quicky; and that's with the use of the Trombone stand. Tom > > -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_1973 Date: Thu, 08 Mar 2001 20:19:01 -0500 From: Craig Parmerlee To: Subject: Re: Tombone stand etiquette Message-ID: <4.3.2.7.2.20010308201657.01ec0b80@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 06:20 PM 3/8/2001 -0500, Paul D. Kemp Jr. wrote: To get back to Craig's question, if there's any flack about using a trombone stand, (and there shouldn't be, as it's a part of your equipment, just like a mouthpiece or an F-attachment) kindly mention to the orchestra management that if your slide is damaged because of not being able to use a trombone stand, you'll be happy to send them the repair bill. I'm sure that it won't be such a big deal after that. I've never heard anyone complain about it. It just seems like such a no-brainer to use one that when I see professional symphony players not using one, I think maybe I don't know the secret handshake. Thanks, Craig ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 17:35:02 -0900 From: "Paul Hill" To: "Trombones and related issues forum." Subject: Re: Tombone stand etiquette Message-ID: <001801c0a841$8c2a58e0$1daafea9@navak-n01n> I ALWAYS use mine...Orchestra, Big Band and Tbn Quartet plus every other practice, performance or rehearsal. I even purchased a "car" Tbn stand which STAYS in my car (I used to get quite "bent" on the rare occasion when I would forget it!). In fact, when rehearsing of performing on stage, I carry my horn out ON the stand. I always ensure that the slide is locked, gripping the stand tube with my arm *btwn* the slide tubes (just in case the slide lock were to fail). My other hand is free to help steady the horn but is normally employed pushing "obstacles" out of the way. I am never more than "leaping" distance from my horn, while it is on the stand. During extended breaks, the horn goes back in the case - I NEVER leave it unattended! My stand normally "wears" a black sock, especially for Symphony but I also have a red AND green Christmas sock for the Holidays and my Tbn Quartet got matching orange/black striped socks for a Halloween gig! Another thing...I TRY to arrive at Symphony rehearsal early so I can "stake out territory" (in addition to warming up)! It is so easy to become wedged btwn the Trumpets and Basses with the Percussion pushing me into the Violas! I like a lot of room for my slide and hate being closer than about 4 feet to my music stand (I frequently slither back in early from break to re-claim "my" territory!). Using a Tbn stand has never been an issue. Best Regards, Paul ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 19:48:45 -0800 From: "Gary D. Maxwell" To: , "Trombones and related issues forum." Subject: Re: Tombone stand etiquette Message-ID: <001201c0a84b$d87da3a0$37525d3f@garymaxwell> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi all, I too, always have and use my inst. stand. I wouldn't know how to act without it, but on those rare times that I am forced, whatever the reason, to get along without the stand, I hold the trbn in that old tried- and -true position of the bell on my left knee, or diagonally across my lap. When my inst. is on the stand, however, the outer slide does rest on the floor, but that is only because I have no slide lock at all. One was not even installed when the horn was built. The total weight of the horn, however is resting in the bell section. I do use a white tube sock over the end of the stand. I also use a small plunger that I have cut out the center diameter of the stand tube, for more cushion and a better fit inside the bell. I have never had any complaints about the white sock, although some of the "biddies" in the orchestra have registered complaints about the chamois that I keep on my knee, but after surviving for 35 years in the orchestra, I don't take them much to heart. I, also like to be at all rehearsals at least 1/2 hr early. To stake out my own territory like Paul Hill states below, and to better "scope-out" the youngins, as they appear. . Another part of personal property I like to bring to rehearsals and concerts, is my Manhasset that I have moved the desk from centered on the stand tube to approximately 3" from the right side. I did not like banging the slide crook on the regular stand, and saw an old picture of the GREAT CSO trombone section where they had also moved the table to the right of the stand tube. It works beautifully for symphony work, but would be quite tipsy in a Big Band situation, with some of the books I've seen and have used. There's my .02 for this thread. All the best, Gary Maxwell Bass Trombone Bakersfield Symphony Orchestra ======================================================== > I ALWAYS use mine...Orchestra, Big Band and Tbn Quartet plus every other > practice, performance or rehearsal. I even purchased a "car" Tbn stand > which STAYS in my car (I used to get quite "bent" on the rare occasion when > I would forget it!). > > In fact, when rehearsing of performing on stage, I carry my horn out ON the > stand. I always ensure that the slide is locked, gripping the stand tube > with my arm *btwn* the slide tubes (just in case the slide lock were to > fail). My other hand is free to help steady the horn but is normally > employed pushing "obstacles" out of the way. I am never more than "leaping" > distance from my horn, while it is on the stand. During extended breaks, > the horn goes back in the case - I NEVER leave it unattended! > > My stand normally "wears" a black sock, especially for Symphony but I also > have a red AND green Christmas sock for the Holidays and my Tbn Quartet got > matching orange/black striped socks for a Halloween gig! > > Another thing...I TRY to arrive at Symphony rehearsal early so I can "stake > out territory" (in addition to warming up)! It is so easy to become wedged > btwn the Trumpets and Basses with the Percussion pushing me into the Violas! > I like a lot of room for my slide and hate being closer than about 4 feet to > my music stand (I frequently slither back in early from break to re-claim > "my" territory!). > > Using a Tbn stand has never been an issue. > > Best Regards, > Paul > > > > > ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Thu, 8 Mar 2001 22:46:33 -0600 From: "Jeff Albert" To: "Trombones and related issues forum." Subject: Re: Yamaha 682B vs. 88H CL2000 Message-ID: <008e01c0a853$f02b5ee0$2fda1542@default> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I haven't played the Yamaha, but I did play a Lindberg 88H at the IAJE in January. It's hard to say from a conference show room playing what it sounded like, but it was quite easy to play. Seemed very even and responsive, and the valve section felt great. If I were in the market for a .547 I would give it a closer look. Jeff Albert www.jeffalbert.com ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Fri, 9 Mar 2001 08:32:04 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: IGSOY.... Message-ID: <008e01c0a873$94786f00$409afc3e@q9y6f8> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: To: "Trombones and related issues forum." Sent: Wednesday, March 07, 2001 7:54 PM Subject: Re: IGSOY.... > Ok so you figured out what they were. What are they??? IGSOY = "I'm Getting Senile, 'Owzabout You?" A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk www.adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_1973 Date: Fri, 9 Mar 2001 08:32:23 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Trombone stand etiquette Message-ID: <008f01c0a873$97e8dda0$409afc3e@q9y6f8> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Douglas Yeo" To: "Trombones and related issues forum." Sent: Friday, March 09, 2001 12:01 AM Subject: Re: Trombone stand etiquette > I use my trombone stand whenever I have tacet movements in orchestral > works. Simple reason - get the trombone out of my hand. Tension is > a devil, and anytime we can get the trombone out of our hands, we're > going to be better off. Yeah, I quite often turn up to gigs without my trombone. It's so much more relaxing than having to pull that slide thing in and out with my right arm and twiddle that other gizmo with my left thumb all night. A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk www.adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_1973--