TROMBONE-L Digest 1979 Topics covered in this issue include: 1) Lawrence Welk's trombonists by "Richard Zemry Johnson" 2) Re: Lawrence Welk's trombonists by "Paul D. Kemp Jr." 3) Slide stickiness & lubricants by Dave Molter 4) Re:Lawrence Welk's trombonists by "Denver D. Seifried" 5) FS: Bach 39 Alto by Chris Waage 6) Re: Arbans Book by Craig Parmerlee 7) RE: Placing the Responsibility by "Wessner, John" 8) Re: Placing the Responsibility by "Paul D. Kemp Jr." 9) Re: Placing the Responsibility by Beth Lewis 10) FS: Bach 50B2 by "Jeff Albert" 11) Clean that slide REAL GOOD! by Gabriel Langfur 12) Re: (no subject) by "Daniel Pliskin" 13) Re: audition ad nauseum by "Daniel Pliskin" 14) Re: Placing the Responsibility by Chris Waage 15) Re: (no subject)\Anticipation by "Gary D. Maxwell" 16) Re: Pledge Mixture for Slide by "J L Jensen" 17) Re: Slide stickiness & lubricants by Walter Barrett 18) Re: Placing the Responsibility by "Paul D. Kemp Jr." 19) Re: Pledge Mixture for Slide by "Gary D. Maxwell" 20) Stork Mouthpiece by yardlejw@uwec.edu 21) Re: Placing the Responsibility by Walter Barrett 22) B.B. McCulloh by Dave Molter 23) Re: Pledge Mixture for Slide by "Gary D. Maxwell" 24) Mouthpieces for sale by "Rod Ellard" 25) Yamaha Euphonium Leadpipe by Steve Gamble 26) Re: Stork Mouthpiece by Gabriel Langfur 27) Re: (no subject) by sabutin@mindspring.com 28) Re: Stork Mouthpiece by silversonic@att.net 29) RE: Slide stickiness & lubricants by "Gary Greenhoe" 30) Re: B.B. McCulloh by Ralph Bigelow 31) RE: Yamaha Euphonium Leadpipe by "Gary Greenhoe" 32) Re: Placing the Responsibility by jimandcat@juno.com 33) Stork MP Found by yardlejw@uwec.edu 34) Apartment Life (humor) by Chris Waage 35) BAM cases by Peter Collins & Sara Wilbur 36) Re: Lawrence Welk's trombonists by craig findley 37) test by Peter Collins & Sara Wilbur 38) Re: Stork Mouthpiece by "Dean McCarty" 39) Stork 1S mouthpiece for sale by Joestanko@aol.com 40) Re: Apartment Life (humor) by "E. P. LUKAS" 41) Brass repair in Spokane/CdA by GSande ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Tue, 13 Mar 2001 16:35:22 -0600 From: "Richard Zemry Johnson" To: "Trombones and related issues forum." Subject: Lawrence Welk's trombonists Message-ID: <000601c0ac0d$e854d580$18cf4fd8@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit At jazz band rehearsal Tuesday night, we were discussing the Lawrence Welk band. Mainly, how great the band would have been without Lawrence Welk! Now, Lawrence Welk had a pretty good trombone section. Does anyone know those guys or their names? We could not think of a single name of the trombonist. I also, personally, wonder how they enjoyed playing the "champagne" music. Oh, by the way, sometimes on Saturday nights, you can catch re-runs of the Lawrence Welk show on tv.......or so, I heard:) ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 07:46:50 -0500 From: "Paul D. Kemp Jr." To: "Trombones and related issues forum." Subject: Re: Lawrence Welk's trombonists Message-ID: <002801c0ad4e$01dd2b60$86c1b23f@pauljr> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The fellow who plays all of the dixie land stuff is Bob Havens, but I don't know who the other 3 fellows are. Paul ----- Original Message ----- From: "Richard Zemry Johnson" To: "Trombones and related issues forum." Sent: Tuesday, March 13, 2001 5:35 PM Subject: Lawrence Welk's trombonists > At jazz band rehearsal Tuesday night, we were discussing the Lawrence Welk > band. Mainly, how great the band would have been without Lawrence Welk! Now, > Lawrence Welk had a pretty good trombone section. Does anyone know those > guys or their names? We could not think of a single name of the trombonist. > I also, personally, wonder how they enjoyed playing the "champagne" music. > Oh, by the way, sometimes on Saturday nights, you can catch re-runs of the > Lawrence Welk show on tv.......or so, I heard:) > ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 08:20:26 -0500 (EST) From: Dave Molter To: jclutcher@psu.edu Cc: trombone-l@lists.missouri.edu Subject: Slide stickiness & lubricants Message-ID: <380537124.984662426679.JavaMail.root@web431-wrb> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit John Clutcher wrote about his experiences in trying to find the right slide lube only to have the slide on his year-old 88HO remain sluggish. In my experience, this is not unique and-- although your horn is only one year old -- it may turn out to need a good cleaning by your repairman. My teacher -- a pro who plays every day and also teaches, so the horn is in constant use -- bought a brand new CL2000 last year and had the same problem. He'd been using SOM and religiously making sure he applied it the same way he had done on his previous horn, a 50-year-old 8H. Nothing worked. Six montsh ago he took it to the shop, had it cleaned and it has been great ever since. I had the same experience with a new Blessong 88O I bought two years ago. The slide played fine out of the box for about two days. Then it started to hang up in 2nd position. I tried clenaing it myself and changed lubes several times. Then I too gave up and had it cleaned at the shop. No further problems and, aside from an alignment, the slide worked great until I sold the horn a year later. That power driven rotary brush repairmen use seems to make all the difference. I think many of the listers who have bought new horns will say the same. Not many come out of the factory with super fast slides. I have never had the pleasure of buying any of the new Edwards or Shires, so I don't know if this hold true for them. As a side note, I use SOM on all my horns now and I find that as long as I wipe it off completely at least once a week and reapply, it works pretty well. I have, however, noticed that almost all my horns eventually develop sluggishness in 2nd position -- which I think indicated that there's a sludge buildup in the outer slide where the stockings hit when the slide is in 2nd. If there's no repairman of note in State College, Rick at Volkweins in Pittsburgh does great work and, if you call in advance, can do the horn the same day. The guy at Volkwein's Latrobe store is even closer to you and also does great work, but I can't recall his name. Visit their website for phone numbers (www.volkweins.com). I'll also put a plug in for John Upchurch, the Slide Dr. (www.slidedr.com). $100 will get you a slide that's set up for life unless you smash it. Five day turnaround on mine although he is in Georgia. Dave Molter Pittsburgh, PA ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 08:53:07 -0500 From: "Denver D. Seifried" To: "trombone-l" Subject: Re:Lawrence Welk's trombonists Message-ID: <004f01c0ad57$44e39760$b1685acf@jay> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit One of the trombonists not mentioned so far, has been Kenny Trimble. Kenny also produced a fine trombone playing son, by the name of Jim Trimble. Some of you older list members will probably recognize Jim's name from some of the early Buddy Rich LP's. He might have been on the great recording of the LP with Channel One Suite. One of the early bass trombone players on the band was Pete Lofthouse, and I believe, one of the early tenor players eventually switched to bass, after Pete was no longer on the band, Barney Lidell. See, I guess it pays to be old, on this list, at times. I can't remember the names of anymore players. Let's see, where did I leave my false teeth? Denny Seifried Bass Trombone-Springfield (OH) Symphony & Dayton Jazz Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 07:53:40 -0600 From: Chris Waage To: Trombone-L Subject: FS: Bach 39 Alto Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" For sale: Bach 39 alto trombone Excellent condition, slide is nearly perfect. Finish is nearly perfect, with only a few minor dings in the bell and some wear at contact points. I don't have the serial number handy, but based on what I was told by the guy I bought it from, I'd guess late '70s to early '80s production. I admit to having limited experience on alto, but this one seems to center easily and has a very sweet, singing tone. Includes the standard Bach coffin-style case and a Bach 6-3/4C mouthpiece. $950 or best offer, I'll pay shipping via UPS ground anywhere in the US. Why am I selling it? Well, as of February 1, I am relocating back to the Kansas City area and I have stepped down from my Topeka Symphony position as principal trombone. With the move, I will be concentrating on my true love of bass trombone. Chris -- ________________________________________________ Chris Waage chris@trombone.org Associate Webmaster The Online Trombone Journal http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 09:05:43 -0500 From: Craig Parmerlee To: trombone-l@lists.missouri.edu Subject: Re: Arbans Book Message-ID: <4.3.2.7.2.20010315085952.0201e3c0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 06:13 AM 3/15/2001 +0000, Adrian Drover wrote: > Was curious...Tonight one of my students told me that Pepper's told him that > the Arbans book was out of print. Could this be true. What, after only 150 years? No way. I hear Arban has gone underground and is organizing forces with Blashevich to mount a ferocious attack on the brain cells of unsuspecting young students sometime in the near future. Hurry, get all the women and children into the storm cellar. If you can't find a new Arban's, just tear 5 pages at random out of any old Arban's book. That is more than enough of that stuff any student will need. And think of the pleasure you will have while ripping away at that thing. :) ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 09:04:11 -0500 From: "Wessner, John" To: "Trombones and related issues forum." Subject: RE: Placing the Responsibility Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" I can address this problem (issue?) in either of two phrases: "Why are you bashing the students?" "Why did you 'yell' at her?" I hope one of these resonates with the other curmudgeons on the list. See at the ETW Saturday afternoon. jw -----Original Message----- From: Craig Parmerlee [mailto:craig@acticalc.com] Sent: Wednesday, March 14, 2001 10:38 PM To: Trombones and related issues forum. Subject: Re: Placing the Responsibility At 08:32 PM 3/14/2001 -0600, Chris Waage wrote: >One of my students just had her college audition. She's a good kid, but >as with most high school students, has her fingers in far too many things >- soccer, swimming, concert band, jazz band, etc. > >How do YOU place the responsibility on the student? I'm not sure you can. Some students have an ethic of self-respect that drives them to take this responsibility. Some don't. I think the key element is the parents. Who was paying for the lessons, and who is going to shell out $30,000 or more for the kid to attend college? I know the answer to that one. If the kid were paying any part of it, she would have taken it a lot more seriously. If the parents aren't concerned about her progress and readiness for the next step, you cannot be expected to be a miracle worker. I don't teach privately, so I can't comment on specific techniques. But I do a team teaching thing with a program targeted at kids from families with limited means. I have never given any of the kids an assignment to practice at home. We put challenging music in front of them. They learn that the only way they can keep up with their peers is to practice. I continue to be blown away at how many of these kids are obviously practicing on their own initiative. Some of them even arrive early at our sessions to get a little extra time with the mentors. The message here is that initiative and self respect are not proportional to the family's financial means. In fact, I suspect quite the opposite is true in many cases. It sounds like you have tried to do the very best for her. Some day she will appreciate that. All the best, Craig ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 09:20:26 -0500 From: "Paul D. Kemp Jr." To: "Trombones and related issues forum." Subject: Re: Placing the Responsibility Message-ID: <004801c0ad5b$153507c0$86c1b23f@pauljr> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Chris and list, Chris, you sound like the kind of teacher that no matter what priority your students place on the trombone, you give them 100% of your efforts, and you can only hope that these students will follow your enthusiasm. I like that--I'm the same way. I've run into the same thing, where somewhere along the way students get the idea that it's OK to ba a jack-of-all-trades, master of none. I have a student whose parents bought him a brand new customized Bach (What I mean is that it was put together using all Bach parts at a custom brass shop--this is NOT a 42T from a standard retail retain store), and for his birthday, his mother bought him a Greg Black gold plated mouthpiece (circa $200). I personally think that there's a problem with too much being given to the kid, and he's never had to work hard to achieve anything. There's not a problem with his equipment. Before his all-state audition, I know he must have missed at least 6 lessons for various reasons. 1 or 2 of the reasons were actually warranted, but the rest of them, I contend, were a severe misplacement of priorities. I found out that he didn't make all-state, and he just happened to have the day off from school, so I called his mother at work to see if he would be home. He was, so I took the initiative to call him. I called him at 10AM, and little did I know that he had stayed up until 4AM the morning before. In any event, when he auditioned for all-state, he contended that the reason that he didn't make the band was because he didn't do well on his sightreading. I wasn't nice like Chris, however. I had him sit there and listen to me tell him that he needed to go back over the past 2 months and count the times that he had sent me an e-mail and told me that he wasn't going to be able to make his lessons. I then told him that the kids that make all-state band in the state of Georgia (and I'm sure this hold true in most other states as well) make a committment to practice the right things the right way, and most of them take private lessons, and unless there's an extreme emergency, THEY DON'T MISS. Chris, like your student, this kid has other hobbies such as go-carting, and there's not an intelligence problem either. Later he also told me that he dropped out of youth orchestra. When I talked to the conductor about it, and told him the reason why, he said that he should have known the schedule going in, and that he was showing up too early. Well, even before talking to the conductor, I asked my student how he handled the situation. He said that he just called the symphony office and let them know that he was quitting. My response was that I was disaapointed, because if he would have honored his committment to play out the rest of the year, the next year would be much better, as he stood a pretty good chance to get into the higher level orchestra the next year, where things were definitely better. I also told him that if he had made up him mind to quit, he should have spoken to the conductor after rehearsal, or called her at home. That would have been a much more professional way to have handled it. I also told him that it made me look bad as well, because I am his teacher and the director might get the idea that I condone such practice. So, I felt an obligation to explain to the conductor the situation and assured him that my student didn't consult with me before quitting, because if would have, I would have advised him to handle it differently. I suppose the reason that ramble on about this is because I realize the importance of kids having a balanced life, but if a person is going to succeed at ANYTHING, you must devote 200% of your efforts to that activity. Does that make you narrow? I don't think so. When I look at people like Jay Friedman, who at age 18 decided that he wanted to play trombone in a major symphony orchestra, I know that he had a plan, and that it was very simple--study with the best teachers, and practice 8 hours a day for 5 years. Being from Chicago, he had no problem finding the best teachers, but I can imagine that there were times that practicing 8 hours a day became rather tedious at times, but were the rewards worth it? Judge for yourself. At that time (1964) he became the youngest principal trombonist in a major symphony orchestra at age 25. He has been there now for 37 years. Jay has other hobbies (I believe he has a horse farm in Joliet, Ill.) but he has the opportunity to play in a world class orchestra with a legendary brass section, and he still has the time to pursue his hobbies. Since a large majoity of this list is college and high school folks, I'd like to offer some very simple advice. If you're going to play the trombone for a living, no matter what style of music you decide to pursue, devote yourself wholly to that study and be the best that you can be. Master the craft--don't settle for 2nd best. If trombone playing isn't your thing, it still makes a wonderful hobby, but then whatever you decide to do as your life's work, work smart & hard, and be the best you can be. Don't settle for jack-of-all trades, master of none. The world will be a much better place for your committment. Paul Kemp Chattanooga Symphony www.trbnplyr.com ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 09:50:05 -0500 (EST) From: Beth Lewis To: "Paul D. Kemp Jr." Cc: "Trombones and related issues forum." Subject: Re: Placing the Responsibility Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Why are you comparing this student with Jay Friedman? Not everyone who decides to take lessons (or whose parents decide they should take lessons) or has a fancy instrument wants to become a professional trombonist. Surely you don't have that expectation for each of your students... The motivation HAS to come from the student (not from the parents or teacher, however much that might help); all a teacher can do is guide and share his or her experiences. I see no point in "rubbing the kid's nose in it (his past failures)," besides getting him to quit playing altogethor, which I don't think is what you were trying to do. Sincerely, Beth Lewis On Thu, 15 Mar 2001, Paul D. Kemp Jr. wrote: > Chris and list, > Chris, you sound like the kind of teacher that no matter what priority > your students place on the trombone, you give them 100% of your efforts, and > you can only hope that these students will follow your enthusiasm. I like > that--I'm the same way. > I've run into the same thing, where somewhere along the way students get > the idea that it's OK to ba a jack-of-all-trades, master of none. I have a > student whose parents bought him a brand new customized Bach (What I mean is > that it was put together using all Bach parts at a custom brass shop--this > is NOT a 42T from a standard retail retain store), and for his birthday, his > mother bought him a Greg Black gold plated mouthpiece (circa $200). I > personally think that there's a problem with too much being given to the > kid, and he's never had to work hard to achieve anything. There's not a > problem with his equipment. Before his all-state audition, I know he must > have missed at least 6 lessons for various reasons. 1 or 2 of the reasons > were actually warranted, but the rest of them, I contend, were a severe > misplacement of priorities. I found out that he didn't make all-state, and > he just happened to have the day off from school, so I called his mother at > work to see if he would be home. He was, so I took the initiative to call > him. I called him at 10AM, and little did I know that he had stayed up until > 4AM the morning before. In any event, when he auditioned for all-state, he > contended that the reason that he didn't make the band was because he didn't > do well on his sightreading. I wasn't nice like Chris, however. I had him > sit there and listen to me tell him that he needed to go back over the past > 2 months and count the times that he had sent me an e-mail and told me that > he wasn't going to be able to make his lessons. I then told him that the > kids that make all-state band in the state of Georgia (and I'm sure this > hold true in most other states as well) make a committment to practice the > right things the right way, and most of them take private lessons, and > unless there's an extreme emergency, THEY DON'T MISS. Chris, like your > student, this kid has other hobbies such as go-carting, and there's not an > intelligence problem either. > Later he also told me that he dropped out of youth orchestra. When I > talked to the conductor about it, and told him the reason why, he said that > he should have known the schedule going in, and that he was showing up too > early. Well, even before talking to the conductor, I asked my student how he > handled the situation. He said that he just called the symphony office and > let them know that he was quitting. My response was that I was disaapointed, > because if he would have honored his committment to play out the rest of the > year, the next year would be much better, as he stood a pretty good chance > to get into the higher level orchestra the next year, where things were > definitely better. I also told him that if he had made up him mind to quit, > he should have spoken to the conductor after rehearsal, or called her at > home. That would have been a much more professional way to have handled it. > I also told him that it made me look bad as well, because I am his teacher > and the director might get the idea that I condone such practice. So, I felt > an obligation to explain to the conductor the situation and assured him that > my student didn't consult with me before quitting, because if would have, I > would have advised him to handle it differently. > I suppose the reason that ramble on about this is because I realize the > importance of kids having a balanced life, but if a person is going to > succeed at ANYTHING, you must devote 200% of your efforts to that activity. > Does that make you narrow? I don't think so. When I look at people like Jay > Friedman, who at age 18 decided that he wanted to play trombone in a major > symphony orchestra, I know that he had a plan, and that it was very > simple--study with the best teachers, and practice 8 hours a day for 5 > years. Being from Chicago, he had no problem finding the best teachers, but > I can imagine that there were times that practicing 8 hours a day became > rather tedious at times, but were the rewards worth it? Judge for yourself. > At that time (1964) he became the youngest principal trombonist in a major > symphony orchestra at age 25. He has been there now for 37 years. Jay has > other hobbies (I believe he has a horse farm in Joliet, Ill.) but he has the > opportunity to play in a world class orchestra with a legendary brass > section, and he still has the time to pursue his hobbies. > Since a large majoity of this list is college and high school folks, I'd > like to offer some very simple advice. If you're going to play the trombone > for a living, no matter what style of music you decide to pursue, devote > yourself wholly to that study and be the best that you can be. Master the > craft--don't settle for 2nd best. If trombone playing isn't your thing, it > still makes a wonderful hobby, but then whatever you decide to do as your > life's work, work smart & hard, and be the best you can be. Don't settle for > jack-of-all trades, master of none. The world will be a much better place > for your committment. > > Paul Kemp > Chattanooga Symphony > www.trbnplyr.com > > ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 09:59:37 -0600 From: "Jeff Albert" To: "Trombones and related issues forum." Subject: FS: Bach 50B2 Message-ID: <004f01c0ad68$f0648f20$5ed81542@default> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Old low tech Bach 50B2 for sale. Plays great, looks ugly. I am selling it because I just got a newer bass. Go to http://personal.msy.bellsouth.net/~jalbert to see pics. There is a price listed on that page, but it is "retail" :). I am sure there could be a trombone-l member discount. Jeff Albert www.jeffalbert.com ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 08:15:06 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Clean that slide REAL GOOD! Message-ID: <20010315161506.85583.qmail@web10309.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Since this has come up, I'll take on reposting it...credit to Paul Kemp. I followed these instructions a few weeks ago, and my slide is better than it's ever been. That hangup in second position most people experience at some time is due to the build-up of oxidation near the bottom of the slide where the moisture collects. This takes care of it. Thanks Paul! Dear Listers: I have been very busy, but I do read the trombone-l messages daily, and I can usually glean something from them. Someone mentioned something about my slide maintenance formula, and it is true that I posted a quite lengthy regimen several years ago. I can simplify it some here, and if this regimen is followed faithfully, it will enhance your playing technique, as well as keeping your slide out of the shop. I have posted quite a few of these things on my website, but periodically, they bear repeating here for the new members who join our ranks. First of all, if you haven't done so, I would highly recommend that you visit John Upchurch's website at www.slidedr.com . Most of what I have learned about slides I have learned from this extremely generous man, and he gives all of the essentials to having a great slide in this concise website. Most of the problems that I have encountered with students' slides (and some professionals, I might add) has to do with keeping the slide clean. When I say clean, I mean REALLY CLEAN. When a slide comes from the factory, it is not clean. Clean, in my book, means that the inside of the outer tubes are polished. If you're still in the dark about what I'm talking about, take some Brasso and polish the part of your tuning slide that fits into the bell. (Incidentally, don't use Brasso on lacquered surfaces, as it will take the lacquer off. If you do get some on a laquered surface, be sure to wipe it off immediately. ) You will notice that the brass will turn very, very black. After you wipe the Brasso off, you will begin to notice an extremely beautiful luster. This is what you want the inside of the slide tubes to be like. 1) Pour a small amount of Brasso in each tube. A tablespoon full will do. 2) With a straight cleaning rod threaded with a paper towel (if you have .547 bore or .562 slide) or a paper napkin for the .525 bore or smaller instruments, insert the cleaning rod into one of the slide tubes and work each tube about 100-150 times, and really concentrate on the lower 8" of the tube, as it seems this is where most of the oxidation occurs. The metal should get warm or hot to the touch. Be sure to hold on to the tube that you are working on so that you do not bend the tubes out of alignment. 3) After you've really Brassoed out each tube, use Dawn Dishwashing Detergent & water or Go-Jo Hand Cleaner & water to remove the residue left by the Brasso. Wash the slide out with a snake, and notice the color of the water as you dump the water out of the outer slide. It should be gray to black. 4) Take a clean paper towel or napkin threaded through the cleaning rod and dry out the outer tubes. If this paper towel comes out black, that's OK. You probably won't be able to get all of it out right away. 5) Now is a good time to check your alignment. Work the slide dry, inserting the top tube (the one the mouthpiece goes in) in the top outer slide tube (the one with the slide lock). It should work very freely, with no hesitation. If it binds up, then you have bowed tubes, and you need to have them straightened. Repeat the same with the other pair of tubes. Then try both sets of tubes together. If they work freely, you're good to go. If not, then you have a distance problem somewhere between the U-bend and the hand brace. It's time to have this problem remedied, because if you don't it will wear the chrome plating off the inner tubes in short order, depending on how severe the problem is. 6) Use a small amount of cream (Superslik or Conn). Here's where a lot of people go wrong. Usually, you can get enough on the end of your index finger, and this will be enough for BOTH tubes. Apply the cream to the stockings (the lower 3" of the inner slide tubes). There should not be any of the white of the cream showing as you rub the cream into the tubes. 7) Transfer the cream from the inner tubes to the inside of the outer tubes by working them together. 40-50 times should do it. 8) Wipe the remaining cream off the inner slides. It might come out black, but that's OK. The cream acts as a cleaning agent, and if you repeat this 2-3 a week, eventually you will get more and more of the black out, and consequently your slide will become faster with each cleaning. 9) Use 1 drop of the Superslik silicone or Conn Formula 3 and rub it over the entire inner slide suface until it is warm to the touch. 10) Spray with water, insert the inner tubes into the outer tubes, and it should FLY out of 1st position. It should also be very quiet. Even if you have had your slide chemically cleaned, you need to polish the outer tubes so that they are very shiny. If any of you have ever stripped the laquer off a bell, then polished it with Brasso, you know just how shiny brass can get. That's what you want on the inside of the outer slide tubes. ABOUT THE TEFLON TREATMENTS. John Upchurch feels that his Superslide treatment helps to retard the oxidation process. I have the upmost respect for John, but in my experience, if you would Brasso out your outer tubes every 6 months, this teflon treatment isn't necessary. Quick story: Mike Carver, our bass trombonist in the Chattanooga Symphony, came to me Sunday afternoon and said that he was going to have to send his slide to John. I felt the slide, and recommended that he use Brasso the inside of the outer tubes very well and use Dawn Dishwashing Detergent to wash out the residue. He did it and he saved himself $65 for a slide setup. The slide was REMARKABLY better Monday night at rehearsal. Here's something else. About 10 years ago, I bought a brass Bach 42 slide from someone. I took a look at the inside of the outer tubes, and they were COMPLETELY BLACK. I cut a piece of a worn out 3M scrubbie pad 1" x 3" and threaded into a cleaning rod, and using just Dawn Dishwashing Detergent, I scrubbed the inside of the outer tubes. The black started ROLLING out of them. In fact, I had to scrub each tube 3 different times in order to get all of the black out. Now mind you--this was an EXTREME case of OXIDATION. I then sent the slide to John Upchurch, and he straightened the tubes, and he said that I had done a FANTASTIC job of cleaning them out. That slide was the envy of all of the trombone players in this town. Moral--if you've never polished the inside of the outer tubes, they will eventually turn BLACK, and you will have to remove this oxidation before your slide will be quick and smooth. Drastic measures for drastic situations. Don't worry about removing the metal off the inside of the slide with Brasso. It will take a very long time (many, many years) before you increase the tolerances between the inner and outer slides even a little bit. Also, Brass also works very well on nickel silver slides. OTHER THINGS TO CONSIDER If your tubes are bent, or if there is a distance problem between the U-bend and the hand brace, there's a good possibility that they came from the factory that way, and you just learned to live with it. However, here's what you can do to eradicate warping your slide after you've had it straightened. 1) NEVER stand your trombone on the slide. The weight of the horn will eventually bow the tubes something like a banana. 2) NEVER sit on your case. Your weight will quickly bow the slide out of alignment. 3) Make sure your case, particularly the slide compartment, is good and sturdy, and if you can avoid it, do not set your trombone on the ground in the case with the weight of the case on the slide. Stand your case on the end if possible. 4) If your trombone is out of the case, and you must set it down, set it down so that the bell, tuning slide & mouthpiece touch the table of floor simultaneously. 5) ALWAYS use a trombone stand. Never take your trombone anywhere without it. I trust that this will be helpful to all of you, both young and old, student and professional. If your slide is in the shop, then you can't play, and the fewer times that your slide has to be straightened, the longer it will last. Brass is very soft, and it only has so much metal memory, and after a while the tubes can become very soft, where you can almost look at them crosseyed and they will bend. Nickel silver is much better, as it tempers harder than brass: therfore it's harder to knock a nickel silver slide out of alignment, but it's also harder to put it back once it has been knocked out. Sincerely, Paul Kemp Chattanooga Symphony www.trbnplyr.com __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 16:30:58 From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: (no subject) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hear Hear!! It is always irritating when the people sitting around you in a group play consistently behind or ahead of the beat. (Unfortunately, in my experience, trombone players seem to be constantly at fault in this department). Why is that?? The attack of a note can take a long time, especially if you use large equipment. It you don?t anticipate the beat, that note will be late. Do a little test. Try to play a bunch of fast notes, either double-tonguing or doodle-tonguing. At some point those notes stop sounding all together. That?s a pretty good indication of how long notes take to start to resonate, on your equipment. That?s why jazzers tend to stick with smaller bores and mouthpieces. Otherwise, they can?t play bebop. DanP _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 16:42:16 From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: audition ad nauseum Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed We?ve forgotten to include the show-biz aspect of hiring someone so young. We?ve all mentioned that that young player, who just got the job at ?he/she must be really good. I?ve never heard him/her, but I?d love to? We?re not talking like that about older players with considerable resumes. DanP _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 11:00:16 -0600 From: Chris Waage To: Trombone-L Subject: Re: Placing the Responsibility Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I can't speak for Paul, but I know that 99.8% of the students who pass through my studio will not be pursuing music as their full-time career. God knows I would prefer to have done that, but my life choices took me in a different direction as well (what's the difference between a bass trombonist and two large pepperoni pizzas? The pizza can feed a wife and four kids . . . ). I approach private teaching with a certain mindset, which is that my job is to provide them with the tools to learn, the materials from which to learn, and an atmosphere which lends itself to the learning process. I look at private lessons for junior high and high school students as a skills-training program to help them enjoy their school band programs, not to prepare them for life as a gigging musician. As they progress and show a desire, I may use them on easy gigs so they can gain some early exposure and learn how to handle themselves on a gig. I agree that the motiviation has to come from the student, and that dwelling on past failures and mistakes is fruitless. However, letting a mistake or failure go without analyzing it so as to LEARN from it is an even greater mistake. "Those who do not learn from history are doomed to repeat it." Chris Beth Lewis wrote: Why are you comparing this student with Jay Friedman? Not everyone who decides to take lessons (or whose parents decide they should take lessons) or has a fancy instrument wants to become a professional trombonist. Surely you don't have that expectation for each of your students... The motivation HAS to come from the student (not from the parents or teacher, however much that might help); all a teacher can do is guide and share his or her experiences. I see no point in "rubbing the kid's nose in it (his past failures)," besides getting him to quit playing altogethor, which I don't think is what you were trying to do. Sincerely, Beth Lewis On Thu, 15 Mar 2001, Paul D. Kemp Jr. wrote: Chris and list, Chris, you sound like the kind of teacher that no matter what priority your students place on the trombone, you give them 100% of your efforts, and you can only hope that these students will follow your enthusiasm. I like that--I'm the same way. I've run into the same thing, where somewhere along the way students get the idea that it's OK to ba a jack-of-all-trades, master of none. I have a student whose parents bought him a brand new customized Bach (What I mean is that it was put together using all Bach parts at a custom brass shop--this is NOT a 42T from a standard retail retain store), and for his birthday, his mother bought him a Greg Black gold plated mouthpiece (circa $200). I personally think that there's a problem with too much being given to the kid, and he's never had to work hard to achieve anything. There's not a problem with his equipment. Before his all-state audition, I know he must have missed at least 6 lessons for various reasons. 1 or 2 of the reasons were actually warranted, but the rest of them, I contend, were a severe misplacement of priorities. I found out that he didn't make all-state, and he just happened to have the day off from school, so I called his mother at work to see if he would be home. He was, so I took the initiative to call him. I called him at 10AM, and little did I know that he had stayed up until 4AM the morning before. In any event, when he auditioned for all-state, he contended that the reason that he didn't make the band was because he didn't do well on his sightreading. I wasn't nice like Chris, however. I had him sit there and listen to me tell him that he needed to go back over the past 2 months and count the times that he had sent me an e-mail and told me that he wasn't going to be able to make his lessons. I then told him that the kids that make all-state band in the state of Georgia (and I'm sure this hold true in most other states as well) make a committment to practice the > right things the right way, and most of them take private lessons, and unless there's an extreme emergency, THEY DON'T MISS. Chris, like your student, this kid has other hobbies such as go-carting, and there's not an intelligence problem either. Later he also told me that he dropped out of youth orchestra. When I talked to the conductor about it, and told him the reason why, he said that he should have known the schedule going in, and that he was showing up too early. Well, even before talking to the conductor, I asked my student how he handled the situation. He said that he just called the symphony office and let them know that he was quitting. My response was that I was disaapointed, because if he would have honored his committment to play out the rest of the year, the next year would be much better, as he stood a pretty good chance to get into the higher level orchestra the next year, where things were definitely better. I also told him that if he had made up him mind to quit, he should have spoken to the conductor after rehearsal, or called her at home. That would have been a much more professional way to have handled it. I also told him that it made me look bad as well, because I am his teacher and the director might get the idea that I condone such practice. So, I felt an obligation to explain to the conductor the situation and assured him that my student didn't consult with me before quitting, because if would have, I would have advised him to handle it differently. I suppose the reason that ramble on about this is because I realize the importance of kids having a balanced life, but if a person is going to succeed at ANYTHING, you must devote 200% of your efforts to that activity. > Does that make you narrow? I don't think so. When I look at people like Jay Friedman, who at age 18 decided that he wanted to play trombone in a major symphony orchestra, I know that he had a plan, and that it was very simple--study with the best teachers, and practice 8 hours a day for 5 years. Being from Chicago, he had no problem finding the best teachers, but I can imagine that there were times that practicing 8 hours a day became rather tedious at times, but were the rewards worth it? Judge for yourself. At that time (1964) he became the youngest principal trombonist in a major symphony orchestra at age 25. He has been there now for 37 years. Jay has other hobbies (I believe he has a horse farm in Joliet, Ill.) but he has the opportunity to play in a world class orchestra with a legendary brass section, and he still has the time to pursue his hobbies. Since a large majoity of this list is college and high school folks, I'd like to offer some very simple advice. If you're going to play the trombone for a living, no matter what style of music you decide to pursue, devote yourself wholly to that study and be the best that you can be. Master the craft--don't settle for 2nd best. If trombone playing isn't your thing, it still makes a wonderful hobby, but then whatever you decide to do as your life's work, work smart & hard, and be the best you can be. Don't settle for jack-of-all trades, master of none. The world will be a much better place for your committment. Paul Kemp Chattanooga Symphony www.trbnplyr.com -- ________________________________________________ Chris Waage chris@trombone.org Associate Webmaster The Online Trombone Journal http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 09:10:09 -0800 From: "Gary D. Maxwell" To: daniel_pliskin@hotmail.com Cc: "Trombones and related issues forum." Subject: Re: (no subject)\Anticipation Message-ID: <3AB0F771.8F5CE3FF@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Daniel Pliskin wrote: > The attack of a note can take a long time, especially if you use large > equipment. It you don?t anticipate the beat, that note will be late. > > Do a little test. Try to play a bunch of fast notes, either double-tonguing > or doodle-tonguing. At some point those notes stop sounding all together. > That?s a pretty good indication of how long notes take to start to resonate, > on your equipment. ============================================================================ Or try going one-on-one with a violin. If you do not anticipate the violin will ALWAYS get off the line before any wind instrument. It only takes one note to show the need of anticipation when playing a wind instrument. All the best, Gary Maxwell Bass Trombone Bakersfield Symphony Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 12:25:24 -0500 From: "J L Jensen" To: "John Clutcher" , Subject: Re: Pledge Mixture for Slide Message-ID: <005a01c0ad74$eca323e0$5e432c42@jljbone> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit John, try the the pump-spray version of Pledge, squirt it directly into the outer slide tubes, spray water on the inner tubes. As time passes it keeps getting better. Just like the slide creams you don't want to use too much. Works better for me than anything else I've used. Good luck, John Jensen jljbone@erols.com http://www.dcjazz.com/johnjensen ----- Original Message ----- From: John Clutcher To: Sent: Wednesday, March 14, 2001 1:56 PM Subject: Pledge Mixture for Slide > I've been dissatisfied with some slide lubricant options I've been using for my 1 year old CONN 88H-O. I've tried trombonetine, slide-o-mix and CONN super slick. Sometimes they work great, but other times my slide is sluggish. I've been sensitive to keeping the slide clean and experimenting with trying to fine the best mixture of cream, etc. I'm basically frustrated at this point in time. I shouldn't have to worry about my slide every time I play. > > This brings me to my question. > > What the exact mixture for those of you who use the combination of Pledge, silicon and distilled water? Some people refer to it as the Michigan Pledge Mixture. It's my understanding that it works great with minimum maintenance. > > Any comments? > > I have a 1 quart bottle of Pledge (spray bottle), distilled water and a small bottle of CONN silicon ready to mix. > > Thanks > > John F. Clutcher > Information Resources and Technology (IRT) > Penn State Milton S. Hershey Medical Center > Academic Support Building - A310 > PO Box 855, Hershey, PA 17033-2903 > (717) 531-8682, Fax: (717) 531-5441 > EMail: JClutcher@psu.edu > > ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 12:31:55 -0500 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: Slide stickiness & lubricants Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 3/15/01 8:20 AM, Dave Molter at kingbone@earthlink.net sent forth into the cosmos: > No > further problems and, aside from an alignment, the slide worked great until > I sold the horn a year later. That power driven rotary brush repairmen use > seems to make all the difference. So Dave, does that mean that the slide stopped working well AFTER you sold the horn??? ;-) I personally would tend to be a little leery of those brush thingies some repairmen use. The ones that I've seen have these little ball-shaped globs at the end of each "bristle", and these are made with an abrasive similar to that used on grinding wheels. I used to use a similar brush for smoothing the inside of bicycle seattubes, back in my former life as a bicycle mechanic. I would guess it's ok for sparsely occasional use, or for really gunked up slides, but I think I'll stick with an abrasive that's a LOT finer, like Wrights or Brasso. -- Walter Barrett "When trombones are outlawed, only outlaws will have trombones!" Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 12:44:40 -0500 From: "Paul D. Kemp Jr." To: "Trombones and related issues forum." Subject: Re: Placing the Responsibility Message-ID: <004c01c0ad77$9d7248c0$45efb23f@pauljr> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Chris, You're absolutely right--most kids that come through my studio aren't going to become professional musicians. However, I do insist on a high standard of excellence. This will benefit the student no matter what they decide to pursue. In a conversation with my dad last night, who has recently retired, and is now making a nice supplemental income substitute teaching, he has observed that biggest problems in education today are 1) lack of discipline, 2) lack of a goal 3) lack of a plan to achieve that goal. You can't hit a target that you can't see, so you can't achieve a goal that you haven't set. The neat thing about music is that even though you may not achieve your goal, your playing will improve in the process. There's always a next time, provided that you're not a quitter. I don't apologize for my approach, and I do honestly believe that my students have fun. I've never dogged a student out for failing to win an audition--in fact, if my students don't want to try for the special music groups because of lack of preparation time, that's perfectly fine. The special groups do require a special committment, and my students know that going in. There's a parable in the Bible that talks about counting the cost, with one of the questions being, " Does a king attempt to conquer a nation without first assessing whether or not he has the forces with which to do it?" My contention is that many students start studying music, and at first the student may show a certain amount of natural ability, but then at some point in time the student is going to hit a brick wall because he/she has "gone about as fer as she can go" without really having to work. Then the next question is, "Knowing how much work is involved to achieve the next level, am I willing to make the sacrifice and do the work?" Then you've placed the responsibility on the student, and only he can make that decision. You can encourage him, even showing him different ways of practicing in order to achieve that level, but if the student isn't willing to do the work, then there's not much you can do. As a teacher, you have fulfilled your responsibility, and you haven't cheated the student. I've also had students that have very little natural ability, but they absolutely love playing, and they work as hard as is necessary in order to achieve the standard. These students have also counted the cost, and decided that it was worth. Tenaciousness wins out over talent many, many times, but the point of all of this discussion is this: Count the cost. In order to be first-rate, are you willing to do whatever it takes in order to get there? If not, then by all means FIND SOMETHING THAT YOU ARE WILLING TO WORK HARD AT IN ORDER TO BE FIRST-RATE. QUITTERS NEVER WIN, AND WINNERS NEVER QUIT. Sincerely, Paul Kemp Chattanooga Symphony www.trbnplyr.com ----- Original Message ----- From: "Chris Waage" To: "Trombones and related issues forum." Sent: Thursday, March 15, 2001 12:00 PM Subject: Re: Placing the Responsibility > I can't speak for Paul, but I know that 99.8% of the students who > pass through my studio will not be pursuing music as their full-time > career. God knows I would prefer to have done that, but my life > choices took me in a different direction as well (what's the > difference between a bass trombonist and two large pepperoni pizzas? > The pizza can feed a wife and four kids . . . ). > > I approach private teaching with a certain mindset, which is that my > job is to provide them with the tools to learn, the materials from > which to learn, and an atmosphere which lends itself to the learning > process. I look at private lessons for junior high and high school > students as a skills-training program to help them enjoy their school > band programs, not to prepare them for life as a gigging musician. > > As they progress and show a desire, I may use them on easy gigs so > they can gain some early exposure and learn how to handle themselves > on a gig. > > I agree that the motiviation has to come from the student, and that > dwelling on past failures and mistakes is fruitless. > > However, letting a mistake or failure go without analyzing it so as > to LEARN from it is an even greater mistake. > > "Those who do not learn from history are doomed to repeat it." > > Chris > > Beth Lewis wrote: > >Why are you comparing this student with Jay Friedman? Not everyone who > >decides to take lessons (or whose parents decide they should take lessons) > >or has a fancy instrument wants to become a professional trombonist. > >Surely you don't have that expectation for each of your students... The > >motivation HAS to come from the student (not from the parents or teacher, > >however much that might help); all a teacher can do is guide and share his > >or her experiences. I see no point in "rubbing the kid's nose in it (his > >past failures)," besides getting him to quit playing altogethor, which I > >don't think is what you were trying to do. > > > >Sincerely, > >Beth Lewis > >On Thu, 15 Mar 2001, Paul D. Kemp Jr. wrote: > > > >> Chris and list, > >> Chris, you sound like the kind of teacher that no matter what priority > >> your students place on the trombone, you give them 100% of your efforts, and > >> you can only hope that these students will follow your enthusiasm. I like > >> that--I'm the same way. > >> I've run into the same thing, where somewhere along the way students get > >> the idea that it's OK to ba a jack-of-all-trades, master of none. I have a > >> student whose parents bought him a brand new customized Bach (What I mean is > >> that it was put together using all Bach parts at a custom brass shop--this > >> is NOT a 42T from a standard retail retain store), and for his birthday, his > >> mother bought him a Greg Black gold plated mouthpiece (circa $200). I > >> personally think that there's a problem with too much being given to the > >> kid, and he's never had to work hard to achieve anything. There's not a > >> problem with his equipment. Before his all-state audition, I know he must > >> have missed at least 6 lessons for various reasons. 1 or 2 of the reasons > >> were actually warranted, but the rest of them, I contend, were a severe > >> misplacement of priorities. I found out that he didn't make all-state, and > >> he just happened to have the day off from school, so I called his mother at > >> work to see if he would be home. He was, so I took the initiative to call > >> him. I called him at 10AM, and little did I know that he had stayed up until > >> 4AM the morning before. In any event, when he auditioned for all-state, he > >> contended that the reason that he didn't make the band was because he didn't > >> do well on his sightreading. I wasn't nice like Chris, however. I had him > >> sit there and listen to me tell him that he needed to go back over the past > >> 2 months and count the times that he had sent me an e-mail and told me that > >> he wasn't going to be able to make his lessons. I then told him that the > >> kids that make all-state band in the state of Georgia (and I'm sure this > >> hold true in most other states as well) make a committment to practice the > > > right things the right way, and most of them take private lessons, and > >> unless there's an extreme emergency, THEY DON'T MISS. Chris, like your > >> student, this kid has other hobbies such as go-carting, and there's not an > >> intelligence problem either. > >> Later he also told me that he dropped out of youth orchestra. When I > >> talked to the conductor about it, and told him the reason why, he said that > >> he should have known the schedule going in, and that he was showing up too > >> early. Well, even before talking to the conductor, I asked my student how he > >> handled the situation. He said that he just called the symphony office and > >> let them know that he was quitting. My response was that I was disaapointed, > >> because if he would have honored his committment to play out the rest of the > >> year, the next year would be much better, as he stood a pretty good chance > >> to get into the higher level orchestra the next year, where things were > >> definitely better. I also told him that if he had made up him mind to quit, > >> he should have spoken to the conductor after rehearsal, or called her at > >> home. That would have been a much more professional way to have handled it. > >> I also told him that it made me look bad as well, because I am his teacher > >> and the director might get the idea that I condone such practice. So, I felt > >> an obligation to explain to the conductor the situation and assured him that > >> my student didn't consult with me before quitting, because if would have, I > >> would have advised him to handle it differently. > >> I suppose the reason that ramble on about this is because I realize the > >> importance of kids having a balanced life, but if a person is going to > >> succeed at ANYTHING, you must devote 200% of your efforts to that activity. > > > Does that make you narrow? I don't think so. When I look at people like Jay > >> Friedman, who at age 18 decided that he wanted to play trombone in a major > >> symphony orchestra, I know that he had a plan, and that it was very > >> simple--study with the best teachers, and practice 8 hours a day for 5 > >> years. Being from Chicago, he had no problem finding the best teachers, but > >> I can imagine that there were times that practicing 8 hours a day became > >> rather tedious at times, but were the rewards worth it? Judge for yourself. > >> At that time (1964) he became the youngest principal trombonist in a major > >> symphony orchestra at age 25. He has been there now for 37 years. Jay has > >> other hobbies (I believe he has a horse farm in Joliet, Ill.) but he has the > >> opportunity to play in a world class orchestra with a legendary brass > >> section, and he still has the time to pursue his hobbies. > >> Since a large majoity of this list is college and high school folks, I'd > >> like to offer some very simple advice. If you're going to play the trombone > >> for a living, no matter what style of music you decide to pursue, devote > >> yourself wholly to that study and be the best that you can be. Master the > >> craft--don't settle for 2nd best. If trombone playing isn't your thing, it > >> still makes a wonderful hobby, but then whatever you decide to do as your > >> life's work, work smart & hard, and be the best you can be. Don't settle for > >> jack-of-all trades, master of none. The world will be a much better place > >> for your committment. > >> > >> Paul Kemp > >> Chattanooga Symphony > >> www.trbnplyr.com > >> > >> > > -- > ________________________________________________ > Chris Waage chris@trombone.org > Associate Webmaster The Online Trombone Journal > http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 10:15:51 -0800 From: "Gary D. Maxwell" To: jljbone@erols.com Cc: "Trombones and related issues forum." Subject: Re: Pledge Mixture for Slide Message-ID: <3AB106D7.B273C0B8@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit J L Jensen wrote: > > John, try the the pump-spray version of Pledge, squirt it directly into the > outer slide tubes, spray water on the inner tubes. As time passes it keeps > getting better. ============================================================================= Normally, I would agree, but I think they just may have changed there formula recently. Last I purchased says "cleanser" on the label. Has not work at all well on my slides. I'm back to "Ponds" and/or "Trombontine". FWIW Gary Maxwell Bass Trombone Bakersfield Symphony Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 12:18:07 -0600 From: yardlejw@uwec.edu To: trombone-l@lists.missouri.edu Subject: Stork Mouthpiece Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" List, Does anyone know of a store that might have a Stork 1.5S mouthpiece in stock? I have ordered one from a catalog and it's been on backorder for a long time. I understand that it's a two man operation and that it takes them a long time to make their mouthpieces. Any leads are appreciated. James Yardley Bass Trombone ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 13:20:22 -0500 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: Placing the Responsibility Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 3/14/01 9:32 PM, Chris Waage at chris@trombone.org sent forth into the cosmos: > One of my students just had her college audition. She's a good kid, > but as with most high school students, has her fingers in far too > many things - soccer, swimming, concert band, jazz band, etc. > > A common refrain in lessons is, "I was so tied up...." Chris- I've had my share of students like that, too. On the other hand, I have this one student who is totally in LOVE with the trombone and playing music on it. I just heard from his HS band director that Jeff arranged his senior year schedule so that he'll have the time to practice 3 hours a day! Jeff got the Hindemith Sonata from Hickey's a few months ago, saw that it had some tenor clef in it, and ON HIS OWN taught himself how to read it fluently in about 2 weeks! He only started playing trombone in 8th grade, took his first lesson with me in 9th grade, and played the David Concertino for his level 6 All- State audition that spring, scoring a 98 out of 100! Last year he did the Schubert Arpeggione Sonata, and got a perfect 100! He just got back from All-State festival, where he was 1st chair in symphonic band and jazz band. These are the kind of students that teachers get into teaching for! For the HS and college players out there reading this... I think that Jeff is very lucky to have figured out this early in life what his greatest passion is. Some folks never do. Whatever the great passion in your life is, tromboning, or whatever, it demands the highest level of commitment. Otherwise, you'll never be truly happy with your choice, and you set yourself up for failure. Whatever you choose to do, do it the best that you can. If you're not willing to put in that effort, it's because you don't really feel deep down that the goal is worth achieving. Be sure that the goal is worthy of the effort. Don't try out for All-state because your director signed you up, or your folks won't get you that new horn unless you get at least a 90 on your audition. Do it because you want to play in a group of the finest musicians in the state, with a great conductor, and to play music that your HS band can't even approach playing. OK, enough sounding like a self-help book! Time to get back to my usual level of cynicism, and go practice! -- Walter Barrett "When trombones are outlawed, only outlaws will have trombones!" Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 13:29:17 -0500 (EST) From: Dave Molter To: trombone-l@lists.missouri.edu Cc: ks5d@andrew.cmu.edu, doug@yeodoug.com Subject: B.B. McCulloh Message-ID: <384081746.984680957512.JavaMail.root@web313-wrb> Mime-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Listers: I was asked by a friend post the sad news that follows about the passing of B.B. McCulloh. Byron "B.B." McCulloh, former bass trombonist with the Pittsburgh Symphony, passed away this morning. He was surrounded by his family, and passed peacefully. A memorial service will be held in about a month, at the First Unitarian Church in Pittsburgh. Details will be forthcoming. B.B. is survived by his wife Natalie, his son Craig and daughter-in-law Linda, as well as his daughter Margaret (Meg). Arrangements regarding memorials have not yet been made. B.B. was a remarkable person, extraordinary musician and composer, and a truly dedicated teacher in the spirit of Emory Remington, "The Chief." He leaves a wonderful legacy in his pedagogy, and his innumerable friends and colleagues. I will post details as I receive them. Dave Molter Pitsburgh, PA ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 10:36:17 -0800 From: "Gary D. Maxwell" To: "Trombones and related issues forum." Subject: Re: Pledge Mixture for Slide Message-ID: <3AB10BA1.2ED0A494@bcsd.k12.ca.us> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Whoops! Of course, I meant to say: ...changed (that) there formula...(:>)) Gary ============================================================================ "Gary D. Maxwell" wrote: > > Normally, I would agree, but I think they just may have changed there > formula recently. Last I purchased says "cleanser" on the label. Has > not work at all well on my slides. I'm back to "Ponds" and/or > "Trombontine". > > FWIW > Gary Maxwell > Bass Trombone > Bakersfield Symphony Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 10:50:01 -0800 From: "Rod Ellard" To: "Trombones and related issues forum." Subject: Mouthpieces for sale Message-ID: <002901c0ad80$be3a8820$527bfea9@Ellard> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I am selling a pair of Stork T-1's, one large shank and one regular tenor shank. Storks are heavy-weight 'pieces, similar to Bach mega-tones or Greg Blacks. More information is available on the Stork website http://www.bypass.com/~stork/ The T-1's are similar in size to a Bach 6 1/2 AL. Both are silver-plated, are in excellent "as-new" condition. I purchased both of them last year. Price: $30 each + $3.50 for shipping. Buy them both, and I'll pay the shipping. Rod ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 12:31:58 -0700 From: Steve Gamble To: "Trombone List (E-mail)" Subject: Yamaha Euphonium Leadpipe Message-ID: <01C0AD4B.EE801DE0.orchpers@azstarnet.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hello List, I finally tracked down a large shank leadpipe with the same bore size as my Yamaha 321. Both a lacquered version and silver plated version are available. I need some advice. What might I expect to be the differences in playing characteristics between these two finishes. My horn is lacquered. I'd like to thank everyone (especially Jim Scott) who helped me out with suggestions the last time I brought up the subject of converting a small shank horn to accept a large shank mouthpiece. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 (520) 792-9314 fax orchpers@azstarnet.com ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 11:58:07 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: Stork Mouthpiece Message-ID: <20010315195807.68351.qmail@web10308.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Try Osmun, Hickeys, Woodwind/Brasswind. Or call Stork directly - they might have one sitting on a shelf. Gabe --- yardlejw@uwec.edu wrote: > List, > > Does anyone know of a store that might have a Stork 1.5S mouthpiece > in > stock? I have ordered one from a catalog and it's been on backorder > for a > long time. I understand that it's a two man operation and that it > takes > them a long time to make their mouthpieces. Any leads are > appreciated. > > James Yardley > Bass Trombone > __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices. http://auctions.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 15:00:26 -0500 From: sabutin@mindspring.com To: daniel_pliskin@hotmail.com Cc: trombone-l@lists.missouri.edu Subject: Re: (no subject) Message-ID: <200103152002.PAA12528@blount.mail.mindspring.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 04:30 PM 3/15/01 +0000, you wrote: > >>Hear Hear!! It is always irritating when the people sitting around you in >>a >>group play consistently behind or ahead of the beat. (Unfortunately, in >>my >>experience, trombone players seem to be constantly at fault in this >>department). Why is that?? > >The attack of a note can take a long time, especially if you use large >equipment. It you don?t anticipate the beat, that note will be late. =================== No. The attack takes essentially the same time on small tenor, large tenor, bass, tuba...high, low, middle. The DIFFERENCE, if there is one, is due to a badly balanced embouchure. Once the lips start vibrating, the note starts sounding. ============================== > >Do a little test. Try to play a bunch of fast notes, either double-tonguing >or doodle-tonguing. At some point those notes stop sounding all together. ================== Only because the system...tongue, embouchure...is not in balance and/or some part of it (usually the tongue) has reached either its endurance limit or its top speed. =================== . >That?s a pretty good indication of how long notes take to start to resonate, >on your equipment. That?s why jazzers tend to stick with smaller bores and >mouthpieces. Otherwise, they can?t play bebop. > >DanP \ ============== No. I only have to say Slide Hampton (.547 horns, huge m'pces) to disprove THAT one. Also myself, Jimmy Knepper, Robin Eubanks, Steve Turre, John Mosca, Jason Jackson, Julian Priester, Tim Sessions...the list goes on and on. In fact, "jazzers" who want to play fast above a steady MP TEND to use larger equipment, because the air doesn't back up under repeated tonguing. Your premise is logical, but your conclusion is wrong. S. ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 20:07:02 +0000 From: silversonic@att.net To: glangfur@yahoo.com Cc: trombone-l@lists.missouri.edu (Trombone List) Subject: Re: Stork Mouthpiece Message-ID: <20010315200702.OLAV7163.mtiwmhc22.worldnet.att.net@webmail.worldnet.att.net> Hello all: I'm currently waiting for a STORK custom piece, and talked to John the last week of Feb about it. They are in Europe until 3/30, so you'll have no luck trying to contact them before then. After that, their number is (888) 287-8675 Peace, Tom Sousa Rochester, NY > Try Osmun, Hickeys, Woodwind/Brasswind. Or call Stork directly - they > might have one sitting on a shelf. > > Gabe > > --- yardlejw@uwec.edu wrote: > > List, > > > > Does anyone know of a store that might have a Stork 1.5S mouthpiece > > in > > stock? I have ordered one from a catalog and it's been on backorder > > for a > > long time. I understand that it's a two man operation and that it > > takes > > them a long time to make their mouthpieces. Any leads are > > appreciated. > > > > James Yardley > > Bass Trombone > > > > > __________________________________________________ > Do You Yahoo!? > Yahoo! Auctions - Buy the things you want at great prices. > http://auctions.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 14:38:51 -0600 From: "Gary Greenhoe" To: , "Trombones and related issues forum." Subject: RE: Slide stickiness & lubricants Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Yes, Walter, My thoughts exactly! If they are using a flex-hone.....watch out! These things will grind several thousands out of an outer slide tube in a few healthy passes. These flex hones are used in industry for putting a cross hatch finishes on Cylinder bores, etc. The use of these products is a great, quick way to "fix" a wavy slide....however, you loose all compression. The choice is yours! Fair Warning, huh..Walter? Regards, Gary -----Original Message----- From: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of Walter Barrett Sent: Thursday, March 15, 2001 11:32 AM To: Trombones and related issues forum. Subject: Re: Slide stickiness & lubricants on 3/15/01 8:20 AM, Dave Molter at kingbone@earthlink.net sent forth into the cosmos: > No > further problems and, aside from an alignment, the slide worked great until > I sold the horn a year later. That power driven rotary brush repairmen use > seems to make all the difference. So Dave, does that mean that the slide stopped working well AFTER you sold the horn??? ;-) I personally would tend to be a little leery of those brush thingies some repairmen use. The ones that I've seen have these little ball-shaped globs at the end of each "bristle", and these are made with an abrasive similar to that used on grinding wheels. I used to use a similar brush for smoothing the inside of bicycle seattubes, back in my former life as a bicycle mechanic. I would guess it's ok for sparsely occasional use, or for really gunked up slides, but I think I'll stick with an abrasive that's a LOT finer, like Wrights or Brasso. -- Walter Barrett "When trombones are outlawed, only outlaws will have trombones!" Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 12:42:00 -0800 From: Ralph Bigelow To: kingbone@earthlink.net, "Trombones and related issues forum." Subject: Re: B.B. McCulloh Message-ID: <200103151940.MAA05549@shaft.95net.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" 03/15/2001 8:29:17 AM, Dave Molter wrote: >Listers: > >I was asked by a friend post the sad news that follows about the passing of >B.B. McCulloh. [snip] Sad news about our friend, Byron McCulloh. In tribute, let me quote the opening poem from his book, The Brass Larynx: ------------ Viewing decades of vocal vicissitudes It's aurally obvious I appeard on this planet Equipped with a brass larynx. Not even a shower with its surrounding ceramics Can dulcify its decibels. Fortunately My aural apparatus is extended By a surrogate larynx Also of brass but expertly executed To exploit the zephyrs expelled Through my persistent puckerings Extracting me from a fate worse than life. A man without a song. -------------------- Following his graduation recital, I asked B.B. how he did it--how did he display such confidence. His reply: "They're lucky to hear me." Indeed we were. Ralph Bigelow ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 14:43:12 -0600 From: "Gary Greenhoe" To: , "Trombones and related issues forum." Subject: RE: Yamaha Euphonium Leadpipe Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Steve, If you go with the lacquered one, the soldering can be buffed and it can be lacquered to look like the rest of the horn. If you are worried about response....just don't lacquer it and use polish once in awhile. If you are worried about brass poisoning....well, I've had it for over 50 years...and I'm still crazy. ;-) Regards, Gary -----Original Message----- From: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of Steve Gamble Sent: Thursday, March 15, 2001 1:32 PM To: Trombones and related issues forum. Subject: Yamaha Euphonium Leadpipe Hello List, I finally tracked down a large shank leadpipe with the same bore size as my Yamaha 321. Both a lacquered version and silver plated version are available. I need some advice. What might I expect to be the differences in playing characteristics between these two finishes. My horn is lacquered. I'd like to thank everyone (especially Jim Scott) who helped me out with suggestions the last time I brought up the subject of converting a small shank horn to accept a large shank mouthpiece. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 (520) 792-9314 fax orchpers@azstarnet.com ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 12:41:05 -0800 From: jimandcat@juno.com To: trombone-l@lists.missouri.edu Cc: chris@trombone.org Subject: Re: Placing the Responsibility Message-ID: <20010315.124446.-30445.2.Jimandcat@juno.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary=--__JNP_000_2bff.59df.3b6e On Wed, 14 Mar 2001 20:32:26 -0600 Chris Waage wrote: >>>.....As a teacher, I tell my students that, "All I can do is show you the way through the forest. If you want to go where I lead, you won't hit as many trees, since I've already hit them. A good teacher teaches from experience, and experience comes from mistakes. I'm a highly experienced teacher (with a big grin)." From the start, I work at making the student understand that lessons aren't a magic wand that will put them 1st Chair All-State. How do YOU place the responsibility on the student?<<<< ***************************************** Many younger students do think that lessons are "magic wands", that somehow just showing up for the appointment turns you into a better player. When I see that happening, I work their tails off for the entire time, then tell them, "That wasÊONE good practice session, if you only have one of those once a week it will make you better, BUT it will take years! If you want it to only take weeks or months, you have to do the same as close to daily as possible." I also give them ideas how to structure their time to fit in practice a minimum of 3 days in a row before 1 day off. You can only tell them, you can't do it for them. Which brings me to my main teaching philosophy. The lecture goes something like this: "I amÊNOT your teacher. I am your INSTRUCTOR. You come to me for instructions about making your instrument work, learning about the reading and interpretation of music, and how to perform music. Once a week I am teaching you by giving you instructions of how and what to play. The rest of the week YOU ARE THE TEACHER! If you follow my instructions and put them to work, you will be a successful teacher. If you don't follow them, you have only yourself to blame for being a bad teacher. I do the best I can during the time I see you to tell you what you need to do to teach yourself, it is up to you to follow the instructions and teach yourself from them. Weekly, I check your progress and give you new instructions. If we are both working hard this way, you will succeed and be prepared for your musical life, if you don't put in the effort to follow my instructions, I take no credit for your unpreparedness." That's a little more formal than I say it one-on-one, but that is the gist of it. You can lead a trombonist to water, but you can't MAKE him spray his slide. Jim Prindle ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 15:48:58 -0600 From: yardlejw@uwec.edu To: trombone-l@lists.missouri.edu Subject: Stork MP Found Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Thanks to all those who responded to my question regarding the Stork mouthpiece. I found the 1.5S I was looking for at www.mouthpieceexpress.com for less that I was going to pay for the one I had on backorder! Thanks for your help. James Yardley Bass Trombone ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 16:31:38 -0600 From: Chris Waage To: Trombone-L Subject: Apartment Life (humor) Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" (from Wayne Dyess....) A man mentioned to his landlord about the tenants in the apartment over his. "Many a night they stamp on the floor and make a huge racket almost until midnight." When the landlord asked if it bothered him, he replied, "Not really, I'm usually up practicing my trombone till about that time most every night anyway." -- ________________________________________________ Chris Waage chris@trombone.org Associate Webmaster The Online Trombone Journal http://www.trombone.org ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 17:59:36 -0500 From: Peter Collins & Sara Wilbur To: "Trombones and related issues forum." Subject: BAM cases Message-ID: <3AB14958.57AFE049@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all, I know this was discussed on the list a few weeks ago but I couldn't find it in the digest archives and nothing came up on the brusseau archive search. I am interested in hearing from anyone who has purchased one of the "French-style" BAM cases and is using it for their bass trombone. I have a double valve thayer Edwards bass and may be interested in buying one. If you could just tell me how you like it, wieght of the case and instrument, where you bought, approximate price you paid, approx dimensions. Whatever you can provide. If you have time please reply privately, like I say this was just discussed recently on the list so I don't wish to clog the list with repeat traffic. Thanks for your time. Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 19:55:54 -0600 From: craig findley To: zemry@bellsouth.net Cc: "Trombones and related issues forum." Subject: Re: Lawrence Welk's trombonists Message-ID: <3AB172AA.5BD6ECBC@csj.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Bob Havens was Welk's trombone soloist on all of the television programs. A former Pete Fountain sideman, Bob told me that he learned a few years ago that Louis Armstrong liked his playing and had considered him as a replacement for Trummy Young in the All-Stars. Havens is a remarkable and accessible guy. He plays jazz festivals around the world, yet will gladly sit third chair in the Quincy (Illinois) Municipal Band and annually joins me and other guys with day jobs in a memorial jam session commemorating a local trumpet player from Beardstown, Illinois. He's a fine trombonist much in the style of Jack T. He plays a 1970ish 2B with a 12C mp.Several years ago he asked to try my pre-war 2B ( which has a MUCH better slide than his- thanks to the slide doc). Soooooo, I am pleased to offer for a mere $5,000 a King 2B--soiled by an amateur, yet touched by greatness. Or you can come to Jacksonville next year and play it for free. Craig Findley Bob lived for many years in California and now has returned to his hometown of Quincy, Illinois along the Mississippi River. Richard Zemry Johnson wrote: > At jazz band rehearsal Tuesday night, we were discussing the Lawrence Welk > band. Mainly, how great the band would have been without Lawrence Welk! Now, > Lawrence Welk had a pretty good trombone section. Does anyone know those > guys or their names? We could not think of a single name of the trombonist. > I also, personally, wonder how they enjoyed playing the "champagne" music. > Oh, by the way, sometimes on Saturday nights, you can catch re-runs of the > Lawrence Welk show on tv.......or so, I heard:) ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 22:35:49 -0500 From: Peter Collins & Sara Wilbur To: "Trombones and related issues forum." Subject: test Message-ID: <3AB18A15.E4171BC3@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit test ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 21:44:54 -0600 From: "Dean McCarty" To: "Trombones and related issues forum" , Subject: Re: Stork Mouthpiece Message-ID: <003201c0adcb$77c2df00$b90960cc@compaqcomputer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Try Doc's Music Shoppe. The owner is Rob Smith and his email is: docsmusic@usunwired.net ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Thursday, March 15, 2001 12:18 PM Subject: Stork Mouthpiece > List, > > Does anyone know of a store that might have a Stork 1.5S mouthpiece in > stock? I have ordered one from a catalog and it's been on backorder for a > long time. I understand that it's a two man operation and that it takes > them a long time to make their mouthpieces. Any leads are appreciated. > > James Yardley > Bass Trombone > ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Fri, 16 Mar 2001 00:03:37 EST From: Joestanko@aol.com To: trombone-l@lists.missouri.edu Subject: Stork 1S mouthpiece for sale Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_bd.c892478.27e2f8a9_boundary" Content-Disposition: Inline For sale: Stork 1S bass trombone mouthpiece. Condition is excellent with the usual wear on the shank. No nicks or cuts. Asking $35 delivered. Please respond privately. Joe Stanko ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Fri, 16 Mar 2001 01:08:24 -0600 From: "E. P. LUKAS" To: chris@trombone.org Cc: "Trombones and related issues forum." Subject: Re: Apartment Life (humor) Message-ID: <3AB1BBE8.584CC7F4@bigfoot.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Chris Waage wrote: > > (from Wayne Dyess....) > > A man mentioned to his landlord about the tenants in the apartment over > his. "Many a night they stamp on the floor and make a huge racket almost > until midnight." > Sounds like my apartment. > When the landlord asked if it bothered him, he replied, "Not really, I'm > usually up practicing my trombone till about that time most every night > anyway." > -- > ________________________________________________ > Chris Waage chris@trombone.org > Associate Webmaster The Online Trombone Journal > http://www.trombone.org -- Ernie Paul Lukas Trombonist, Publicist Bartlett Community Concert Band Memphis,TN USA ----__ListProc__NextPart____TROMBONE-L__digest_1979 Date: Thu, 15 Mar 2001 23:20:10 -0800 (PST) From: GSande To: TROMBONE-L@LISTS.MISSOURI.EDU Subject: Brass repair in Spokane/CdA Message-ID: <200103160720.f2G7K9Q55079@wind.imbris.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Hello, folks - Are there any listers out there who could recommend a quality brass repair shop in the Spokane WA or Coeur d'Alene ID area? Right now I'm just looking for a simple cleaning and perhaps some minor cosmetic repair on my King 8B, but I'd like to make contact with a good shop. There are quite a few listed in the phone book, and I don't doubt all would do a fine job for what I currently need - just looking ahead to future work. Thanks for the assistance, Guy Sande gsande@imbris.com ----__ListProc__NextPart____TROMBONE-L__digest_1979--