TROMBONE-L Digest 2273 Topics covered in this issue include: 1) Wycliffe Gordon w/Eric Reed Septet by alex iles 2) Re: Music notation software by "Chuck De Paolo" 3) Piano Music for One Hand by Bear Woodson 4) Re: Civic Orchestra of Chicago by Brian French 5) RE: Teaching slide position to beginners by "Tom C. Shaddox" 6) from the NY Times by Gabriel Langfur 7) Cage's "Solo for Sliding trombone" by alex iles 8) Re: from the NY Times - Spin Doctors at Work by "Rod Ellard" 9) buzz visualizers by "Shaun Hillen" 10) Re: Cage's "Solo for Sliding trombone" by "Daniel Pliskin" 11) Re: Cage's "Solo for Sliding trombone" by Earl Needham 12) Re: Cage's "Solo for Sliding trombone" by "Aaron Roth" 13) solos for beginners by Jonathan A Szopinski 14) Re: solos for beginners by "Danielle Chollet" 15) Re: Teaching slide position to beginners by Walter Barrett 16) Slide FX by "Paul D. Kemp, Jr." 17) Looking for a Clinic teacher by "Billy Cordova" 18) Army Blues band by Craig Parmerlee 19) Re: Slide FX by Ralph Bigelow 20) Childrens' Prayer by Humperdinck/8 trombones by Gordon Cherry 21) Re: solos for beginners by Marti Kristine Rankin 22) Re: Teaching slide position to beginners by "Elisabeth Frederick" 23) Southpaws by David Bobroff 24) Moe Snyder's 80th! by Walter Barrett 25) RE: Teaching slide position to beginners by Steve Gamble 26) Re: Teaching slide position to beginners by "Paul D. Kemp, Jr." 27) Lefties - a retraction based on new evidence by richardt@LEE.ARMY.MIL 28) RE: Teaching slide position to beginners by "Marple, Richard L COL BAMC-Ft Sam Houston" 29) Re: Army Blues band by David Buckley 30) Re: solos for beginners by "Daniel Pliskin" 31) Re: from the NY Times by sabutin ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 11:07:28 -0800 From: alex iles To: "Trombones and related issues forum." Subject: Wycliffe Gordon w/Eric Reed Septet Message-ID: <3C4720B6.9D466E68@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Attention Southern California listers...[see below] Alex > The "New Yorker" calls him > "one of the brightest jewels in the Marsalis crown." > > Jazz composer and pianist ERIC REED > returns to his hometown of Los Angeles for a very special > Benefit Premiere Concert - > for Hamilton and Westchester High Schools > Featuring > The Eric Reed Septet "It's all right to swing" > Eric Reed (Piano) > Wycliffe Gordon (Trmb) > Jeff Clayton (Alto Sax) > Wayne Escoffery (Tenor Sax) > Michael Rodriguez (Trmpt) > Barak Mori (Bass) > Carl Allen (Drums) > > The concert will include the > Los Angeles Debut > of > "THE WORD OF GOD" > A Jazz Gospel Piece commissioned by > New York's Lincoln Center for their > "As of Now" Jazz Series > *************************************************** > January 25th and January 26th, 2002 > Showtime: 7:30pm > Ticket Prices: $25.00 - $50.00 > ************************************************** > Norman J. Pattiz Concert Hall > at Hamilton High School > 2955 South Robertson Blvd. > Los Angeles, CA 90034 > > For tickets & more information call > (310) 559-9468 or (310)836-1602 x 2288 (Box Office) > > > > > > > > > ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 16:15:25 -0500 From: "Chuck De Paolo" To: "Trombones and related issues forum." Subject: Re: Music notation software Message-ID: <052501c19f9c$15270d80$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0522_01C19F72.2C16E2B0" One thing to consider when purchasing not only music notation software, but software of any kind, is the "installed user base." Finale & Sibelius are the de facto standards in the world today. One or the other (or both) are used by many of the world's publishers, especially those with whom chamber music composersÊand arrangers might be interested in dealing with at some point in the future. What makes them standards is the type of output file they generate. Finale & Sibelius can be read in by publishers and edited at will. Programs that generate only MIDI or Postscript files cause the publisher to have to recreate all page formatting and textual entries such as dynamics, titles, etc. Although the up front cost may be less for aÊfreeware or shareware product, the long term cost make be greater if you (a) have to redo all your scores later when your program is no longer supported or (b) you plan toÊsubmit your score for publication and it is denied due to the foreign format. The exception of course is Finale's Notepad: http://www.codamusic.com/coda/np.asp Food for thought. (please quote this message if you reply) In Music, ---Charles De Paolo General Manager & Webmaster Hickey's Music Center 104 Adams Street Ithaca, NY 14850 607.272.8262 (Phone) 607.272.2203 (Fax) chuck@hickeys.com (E-Mail) http://www.hickeys.com (Website) http://www.weather.com/weather/us/zips/14850.html (Weather) ----- Original Message ----- From: Todd Jonz To: Trombones and related issues forum. Sent: Tuesday, January 15, 2002 8:02 PM Subject: Music notation software Erik Berggren <erik.berggren@state.ks.us> writes: > Sometime back someone passed along a web site where one > could find a free download of Finale Note Pad, a very > simple version, no doubt. Do any of you know whether > this is something that is still available and, if so, > what the site is? For those not familiar with it, I thought this might be a good time to put in a plug for the low-cost music notation software that I've been using for the last few months. MUP (short for "music publisher") is a shareware music notation system written by a pair of (presumably) starving musicians and software engineers. Unlike most of its commercial competitors, MUP is not a WYSIWYG system; rather, it is text-based, command line application that reads text input and generates PostScript output. Although many folks are initially put off by this, there are several testimonials on the MUP web site from converts who found that getting work done with MUP actually took less time than using the popular WYSIWYG systems. Another advantage of a text-based, command line application like MUP is that it runs on all major platforms (Windows, Mac, and UNIX), a factor which strongly influenced my decision as a Linux user. MUP is similar in concept to the older ABC system (although I found MUP's notational conventions easier to use and much more flexible than ABC) and the GNU Lilypond system (which I did not evaluate due to political differences I have with the GNU project and the FSF.) I've been using MUP for quartet arrangements, and can generate a full conductor's score or individual parts with a simple command line option. Transposition of parts and/or full scores is another powerful feature that I haven't used yet but expect to in the near future (e.g. transpose a trumpet part for horn, change the key for an entire piece, etc.) Another useful feature that may be of interest to some of you is support for guitar tablature and grids. MUP can can generate MIDI files, which I've found useful for "proofreading" scores. You'll find a full description of MUP's capabilities, including some sample MUP files and a fully functional version of MUP for Windows or UNIX that can be downloaded for free, at: http://www.arkkra.com/ There's also a pointer to the Mac version, which was developed by someone other than the original authors. The free version of the software puts a rather annoying watermark on all output, but this "feature" is disabled if you decide to register your copy for a mere $29. Registration also entitles you to download future versions at no additional charge. Disclaimer: my only relationship with MUP's creators, Arkkra Enterprises, is that of a satisfied customer. -- Todd Jonz When cryptography is outlawed, todd@tj.org bayl bhgynjf jvyy unir cevinpl. ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 14:31:35 -0700 From: Bear Woodson To: Trombone List Subject: Piano Music for One Hand Message-ID: <3C4742B6.3A2296D9@home.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hello, Trombone List. I started into music just before going to college, 30 years ago, when I started "hearing" whole symphonic works in my head, with NO important musical training before that. I began college towards a degree as a Com- poser and Music Theorist in the early 1970's at Arizona State University, finished my degree at Cal Arts (north of Los Angeles), and did a year's Fellowship in Munich from 1979 - 1980. But in the early 1980's I had nerve damage to the right arm, and had to switch to being left-handed for all handwriting ever since, not to mention having to abandon playing the piano. During the 1990's I regained most use of the right arm, but still write left-handed. In the process, I wrote the First 3 Movements of my own "Concerto for Piano, Left Hand Only, with Orches- tra", in Full Transposed Orchestral Score, and 2 Piano Score, for a total of 29 minutes, but I still have to finish the Fourth Movement. I had been in contact with Pro- fessors Gary Graffman and Leon Fleisher, both of whom have had damage to their right hands, and in the last 10 years have made a point to record ALL famous Left- Hand Piano Works in publication. Consequently I have researched One-Hand Piano Music, and found that my Concerto will be at least the 30th of such concertos! There is a book called "Piano Music for One Hand" by Dr. Theodore Edel (b. 1945), Bloomington: Indiana University Press, c1994, viii, 121 pages. I have made a point to buy many CD's of these works, including the Ravel, Prokofieff, Korngold, Rorem, etc., Concertos for Piano, Left Hand Only. I think you'll find that the Bolcom "Gaea" Con- certo was written for "2 Pianos, Left-Hand Only at each Piano", and was Premiered by Messrs. Graffman and Fleisher at Tanglewood, I think in the Summer of 1996. And, yes, there are works for Piano Right Hand Only. One unique one that comes to mind is the Malcolm Arnold "Concerto for Two Pianos, Three Hands"! There was a husband-wife duo-pianist team, that were old friends of Sir Malcolm, and he had written "2-Piano", and "1-Piano, 4-Hands" music for them in the past. But in their older years, the husband suffered a stroke, which crippled his left arm. Sir Malcolm responded by wanting to cheer him up by writing a Concerto for 2 Pianos, with one using both hands, while the other piano uses only the right hand. It even breaks into passages that sound like a corny Broadway Musical, with a Drummer playing a Dance-Band Drum Set, in the orchestra! By the way, getting back to my Left-Hand Concerto, I only use 7 brass instruments: 2 Bb Trumpets, 2 Horns in F, one Tenor and one Bass Trombone, with a Tuba. There are a number of passages where the Brass Septet gets to be featured in Contrapuntal spots, including some nice solos by each of the brasses. I am still making good progress to write chamber works, sonatas and concertos for each of the orchestral instruments. We are trying to arrange for the Premiere Live Performances of my Horn Concerto and Sonata for Horn and Piano, so that other people will then be free to perform the Trombone Transcriptions of each. (They have both been recorded by horn player, Dr. Karen McGale Fiehler, to whom I gave the Premiere Rights.) Since I already have sonatas for most strings and all the orchestral brasses, and flute, I am now writing Woodwind works. (In fact I'm being sieged by an all-out Quack Attack for ideas for works for double- reeds. You gotta be careful with an instrument that looks like a Wooden Bazooka!) Oh, well. Bear Woodson Fat Fuzz-Faced Theory Geek and Composer in Tucson, Arizona, USA ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 16:56:06 -0500 From: Brian French To: "Trombones and related issues forum." Subject: Re: Civic Orchestra of Chicago Message-ID: <3C474876.5020201@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit I figured financial troubles to be the case. After all, they've (CSO) lost their broadcast series for the remainder of the season, their educational center (ECHO) within the building, and their Teldec contract (not exactly sure whose fault that is). I played with Civic for two seasons (1996-98) and it was definitely a musical highlight to work with so many dedicated and talented people, not to mention the rep and the conductors. Hopefully these monetary woes will die out soon, and more young players can get this fabulous experience. --Brian Jay Heltzer wrote: Being a Chicago trombone lister, and a current (albeit associate) member of Civic, I thought I would chime in on the issues regarding the lack of low brass, and percussion auditions this year. The Chicago Symphony is the life source for Civic. Part of its budget goes towards the Civic program, in addition to private financial contributions. The CSO, like most orchestras has faced some financial trouble, and this effects everything, including Civic. Civic needs to cut $3-400,000 from their budget. Therefore, the decision was made to reduce Civic to a chamber orchestra. All the incoming guest conductors are informed of this for their programming decisions. If for whatever reason trombones are needed for a selected piece, members of the current roster, and recent alumni who live in the Chicago area will be contacted for the opportunity to play. This also includes the Musicorp program as well, which has a brass quintet, and individual members (such as me) doing programs like youth orchestra coachings, and a successful mentoring program. If you have already submitted an application with the $30 application fee, it will be refunded to you. However, be patient (I am told). The sudden change of plans has slowed things down immensely, and the refunding of audition fees will take some time. I received this information from one of the administrators of Civic herself two days ago. This is the word from the horses mouth. This has nothing to do with any decisions by the low brass coaches (Friedman, Vernon, and Pokorny). It is a financial situation. FYI Jay Heltzer ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 16:01:47 -0600 From: "Tom C. Shaddox" To: trombone-l@po.missouri.edu Subject: RE: Teaching slide position to beginners Message-ID: <3C4749CB.FE27C353@fnc.fujitsu.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hmmm - how do they teach finger/note positions to beginning cellists and string bass players: by pitch or by position? Tom Shaddox, 9th chair tenor ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 14:21:50 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: from the NY Times Message-ID: <20020117222150.82767.qmail@web10302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii January 17, 2002 New Director at Carnegie Eliminates Its Jazz Band By ROBIN POGREBIN When Carnegie Hall announced its 2002-3 season yesterday, the hall's jazz band was nowhere on the schedule. That is because Carnegie Hall's new executive and artistic director, Robert J. Harth, decided to discontinue the 16-member ensemble. "It's really a question of using our resources in that area in a different manner," Mr. Harth said at a new conference yesterday. "Supporting our own jazz ensemble limits our ability in terms of the varied programming to respond to changing audience tastes and provide for a wider variety of artists." The elimination of the jazz band does not mean there will be no jazz at Carnegie Hall. The JVC Jazz Festival will return in June, and the Verizon Music Festival will hold three concerts there in September. "Our commitment to jazz remains very, very strong," Mr. Harth said. Carnegie Hall's move comes as Lincoln Center is building a $115 million home for its jazz program at Columbus Circle. And some jazz afficionados suggest that the power and glitz of Jazz at Lincoln Center, which has Wynton Marsalis as its artistic director, was no match for Carnegie Hall's jazz band, led by the trumpeter Jon Faddis. "The public needs icons," said George Wein, who helped found the band and produced its concerts. "It's celebrities that fill halls. It's the same with classical music. If you have Yo-Yo Ma, you fill the house." The band, which last performed at Carnegie Hall in December, has a number of dates around the country through August, including appearances at home in February and June. The group's quality does not seem to be an issue. Ben Ratliff, the jazz critic for The New York Times, has called its arrangers "among the best in the field." Mr. Marsalis said he and Mr. Faddis were not competitors. "We have two different programs," Mr. Marsalis said. "Our only desire was to see them succeed." Mr. Faddis said he was sad about the decision, that he and Mr. Wein have talked about trying to keep the band alive, and that he expected to continue his relationship in some other form with the hall, where he has played since 1972. "The disbanding of the jazz band is not going to prevent me from playing in Carnegie Hall in other concerts," he said. Mr. Wein, a leading jazz presenter, said the band's performances were running at a deficit and that Mr. Harth needed to find places to cut costs. The jazz band was expensive, Mr. Wein said, because every concert used original arrangements. "It's sad because the band had built up a constituency," Mr. Wein said. Apparently the constituency was not large enough. While Mr. Wein said he believed the audiences of 1,800 to 2,000 were healthy, he said Carnegie Hall needed attendance in the area of 2,300 to 2,500 for its main 2,800-seat auditorium, named for Isaac Stern. Like other cultural institutions, Carnegie Hall has been affected by a drop-off in ticket sales after the Sept. 11 attacks, a reduction of 5 percent over all compared to last year. But Mr. Harth said after the news conference that his move to eliminate the band had nothing to do with money. "Almost everything we do loses money," he said. Instead, he said, the decision grew out of a desire to reach a wider audience with more varied jazz programming. "We're reallocating the resources to a different part of jazz programming," he said. Noting that "there are a lot of different jazz groups out there," he said that if Carnegie Hall had to support one jazz band, it would be "unable to present other artists." Rather than continue to pay for the jazz band's original arrangements, Mr. Harth said he was more interested in putting that money "into performing artists rather than creating a catalog of music." As to whether the competition with Mr. Marsalis's program was too much, Mr. Harth said, "Of course we're aware of what's going on at Lincoln Center." But Mr. Wein, who is also on the board of Jazz at Lincoln Center, said Carnegie Hall could not compete with the resources Lincoln Center was able to put behind its jazz program. He said Carnegie Hall's new 650-seat underground concert space, Judy and Arthur Zankel Hall — the opening of which has been delayed till September 2003 — would be more appropriate for jazz than the main auditorium. "The future of jazz at Carnegie Hall relates to Zankel Hall with smaller audiences," Mr. Wein said. Jazz at Lincoln Center's new home will have a 1,100-seat main theater as well as a hall that can accommodate 300 to 600 and a jazz cafe that seats 150. The Carnegie Hall Jazz Band, which had its first concert in the fall of 1992, grew out of Carnegie Hall's 100th anniversary celebrations. Mr. Wein, whose company Festival Productions has been producing music events since 1954 beginning with the Newport Jazz Festival, said he could have used his influence as a member of the Carnegie Hall board but decided against it. "I was not going to do anything to create an atmosphere of dissent when a new man is coming into a job," Mr. Wein said, referring to Mr. Harth, who started in September. "He made the decision. I wasn't happy with it, but I went along with it. I could have fought it but I didn't. "This is the Carnegie Hall institution. I can't fight that." __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 15:56:54 -0800 From: alex iles To: "Trombones and related issues forum." Subject: Cage's "Solo for Sliding trombone" Message-ID: <3C476477.12956C51@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Hi all, Can anyone steer me to a/some recordings of Cage's solo piece? I have searched a little, but would like to hear some specific recommendations. Email me privately if you prefer. Thanks, Alex ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 15:56:46 -0800 From: "Rod Ellard" To: , "Trombones and related issues forum." Subject: Re: from the NY Times - Spin Doctors at Work Message-ID: <001501c19fb2$a07ee3b0$61cffea9@rodcomp> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Does this make any logical sense: > "It's really a question of using our resources in that area > in a different manner," Mr. Harth said at a new conference > yesterday. "Supporting our own jazz ensemble limits our > ability in terms of the varied programming to respond to > changing audience tastes and provide for a wider variety of > artists." Maybe they could have D. Frishberg perform "Blizzard of Lies" as part of the "varied programming." Rod ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 18:24:07 -0600 From: "Shaun Hillen" To: Subject: buzz visualizers Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear List, Can anyone direct me to the best places to find buzz visualizers? You know, the mouthpiece (rim only) attached to a handle. Are there such places that make them or do I have to build my own? --Shaun ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 01:05:42 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: Cage's "Solo for Sliding trombone" Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Alex, Can anyone steer me to a/some recordings of Cage's solo piece? I have searched a little, but would like to hear some specific recommendations. Email me privately if you prefer. I was given a Christian Lindberg CD, which has a John Cage solo piece on it. I think itâs called Solitary Trombone or something like that. Itâs rather painful to listen to, at least for my ear. On the other hand, it would be a great piece for performance, in that no one would be able to tell if you made a mistake. I canât recommend the CD, either, unless you specifically want to use it to torture someone. I rate it on par with the punk LP; I wanted to come out with·a sanding disk. It sounds dreadful AND it wrecks your needle· You canât get more punk than that. DanP _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 18:17:18 -0700 From: Earl Needham To: trombone-l@po.missouri.edu Subject: Re: Cage's "Solo for Sliding trombone" Message-ID: <4.2.2.20020117181655.00a9fba0@pop3.norton.antivirus> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 01:05 AM 1/18/2002 +0000, Daniel Pliskin wrote: Alex, Can anyone steer me to a/some recordings of Cage's solo piece? I have searched a little, but would like to hear some specific recommendations. Email me privately if you prefer. I was given a Christian Lindberg CD, which has a John Cage solo piece on it. I think it's called Solitary Trombone or something like that. It's rather painful to listen to, at least for my ear. On the other hand, it would be a great piece for performance, in that no one would be able to tell if you made a mistake. Or when the piece was done! Earl ********************************************************* Earl Needham, KD5XB mailto:needhame@yucca.net Clovis, New Mexico KD5XB-2>APU24L,WA5IHL-11,K5BEN-15,WA5IHL-7,W5SF-1,K5CQH-15,WB5EKP-1*,TRACE7- 1:=3425.84N/10313.56W-[DM84] Pet peeve #1: You look at a "SITE" with your "SIGHT". Pet peeve #2: "Congratulations" does NOT have a "d" in it. Old pet peeve: People who get themselves on a mailing list and then can't figure out how to get OFF the list, then repeatedly sending "unsubscribe" or "remove" as one-word messages to the list. ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 20:43:15 -0500 From: "Aaron Roth" To: trombone-l@po.missouri.edu Subject: Re: Cage's "Solo for Sliding trombone" Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Well, for those non-fans of aleatoric music (although I find the Solo to be meditative and peaceful in quality), there's also the Eliasson "Disegno" and Stockhausen "In Freundschaft", both of which are more connective in terms of musical structure. They're both pretty tough to play, but lots of music is challenging, so it's nothing to complain about. Also, my favorite trombone solo (Keren) is on there, although there are a couple of note discrepancies between Lindberg's performance and the published version (as performed by Benny Sluchin). James Fulkerson, on his Music for Trombone cd, plays the Solo along with Fontana Mix. It's a cool sound, and his notes are closer together than Lindberg's. In my opinion (as a virtual fanatic of new and contemporary music), both the Fulkerson and the Solitary Trombone cds are worth getting for their musical value as well as their presentation of the extremes of trombone versatility. Ryoanji has possibly the lowest notes ever recorded commercially on bass trombone. Regards, Aaron Roth _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 19:51:33 -0600 (CST) From: Jonathan A Szopinski Cc: "Trombones and related issues forum." Subject: solos for beginners Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Hello- I teach a fifth grade student and he is progressing very well. He is looking for something other than elementary method books to play from. Are there solos or anything other than method books that are out there to give to a fifth grade trombone student? Thanks Jon Szopinski ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 19:18:50 -0700 From: "Danielle Chollet" To: , "Trombones and related issues forum." Subject: Re: solos for beginners Message-ID: <002301c19fc6$78cc9920$0200a8c0@lifeson> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Easy Jazz Conceptions by Jimmy Snidero Comes with Playalong CD featuring Slide Hampton playing each song and an extra track for each song with plain rhythm section. The simplest of these are doable by 1st year students who are already through book one of their band method. ----- Original Message ----- From: "Jonathan A Szopinski" > I teach a fifth grade student and he is progressing very well. He is > looking for something other than elementary method books to play from. > Are there solos or anything other than method books that are out > there to give to a fifth grade trombone student? > Thanks > Jon Szopinski ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 21:59:24 -0500 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: Teaching slide position to beginners Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 1/17/02 5:01 PM, Tom C. Shaddox at Tom.Shaddox@fnc.fujitsu.com sent forth into the cosmos: > Hmmm - how do they teach finger/note positions to beginning cellists and > string bass players: by pitch or by position? > > Tom Shaddox, 9th chair tenor > > > Colored masking tape on the fingerboard. Walter Barrett Q- How can you tell when a violinist is out of tune? A- The bow is moving. Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 22:00:24 -0500 From: "Paul D. Kemp, Jr." To: "Trombones and related issues forum." Subject: Slide FX Message-ID: <007701c19fcc$46f3c490$a85a4d0c@trbnplyr> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear listers: I just talked to my high school band director this evening, and he mentioned hearing a 5-trombone & rhythm group at the IJAE convention called SlideFX. He said that was the finest thing at the convention, and coming from him, that means they were very fine. Has anyone heard of this group? Paul D. Kemp Jr. Chattanooga Symphony www.trbnplyr.com ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 21:13:30 -0600 From: "Billy Cordova" To: "Trombone-L" Subject: Looking for a Clinic teacher Message-ID: <000801c19fce$1c45cb60$34294c42@coxinternet.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="----=_NextPart_000_0005_01C19F9B.D0E99200" This was posted in the OTJ Forum by Paul Hanson, and I thought I'd place it here to see if anyone could help. hey.... this is the most desperate favor im ever going to ask over 1000 trombonists. our high school jazz band is in desperate need of a jazz clinic.. im serious. if anyone is around maybe the sacramento area and you teach jazz clinics, this school needs you. i think im the only one in there that actually has a full respect for jazz and knows how to play it, i feel like quitting its so bad. you hear anyone of them take a solo and they dont know what theyre doing..... i just want to get up there myself and give the band a fresh new start, but our band director wouldnt allow that, but he would allow a clinic. we had a clinic about 4 years ago by the brecker bros. actually, but those who were there are now graduated... this band needs another good one. i swear im about to quit and live in new york or something on my own and play with those cats,... its THAT bad, a friend and i have even contacted branford marsalis actually and asked if he could... but he couldnt unless he was in town or something. if you can help.... please feel free to email me at blitzzen85@hotmail.com. Billy Cordova OTJ Forum Administrator I may not agree with what you say, but I will defend to the death your right to say it - Voltaire St. Cecelia, pray for us. Attachment converted: Macintosh HD:Billy Cordova.vcf (TEXT/R*ch) (000229CD) ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 23:19:09 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Army Blues band Message-ID: <4.3.2.7.2.20020117230220.01ee1aa8@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed I interrupt this lefty-fest to rave about the Army Blues Band. They played in Indianapolis this evening. The ensemble and soloists were strong as usual. I was particularly impressed with the arranging, most of which was done by players on the stage. Some of the charts were exceptional. All were enjoyable. As others have mentioned about the various military ensembles, the sound system was a notch below the calibre of the music. That's a shame. The band sounded superb when playing at the MP level, where the sound system wasn't very involved. At the louder levels, the balance was lost. The trombone section is Matt Neiss, Harry Watters, Bill Holmes, and Jeff Contazzo. The improv work was solid, at times stunning. Unfortunately the section playing wasn't very audible because the top three players pointed their horns right into the backs of sax players. The bass player found a nice alley over the bari player's shoulder and had his bell up high all night. He could be heard clearly, and played masterfully. I'm not sure which names go with which horn. Get those bells up guys. If the bass player can do it, the rest of you can manage it. All the players could squeeze a hundred notes into a bar, but for my taste, the soloist I enjoyed most was a red-haired trumpeter. He wasn't overly technical and his improvisation seemed to carry a lot of musical thought. I don't know which one he was. The three guys in the trumpet section were Roger Rossi, Craig Fraedrich, and Graham Breedlove. The Section also included Leisl Whitaker, a girl screech player , which you don't see every day. Nice section. Catch this band when they are in your area. You can't beat the ticket price: free. See www.army.mil/armyband. I now return you to the scholarly discussion of left handed trombones, which is already in progress. Craig ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 20:15:33 -0800 From: Ralph Bigelow To: "Trombones and related issues forum." , paul@trbnplyr.com Subject: Re: Slide FX Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Slide f/x, led by John Campanella, was the Kai Winding competition winner at the ITF in Las Vegas a few years ago. All original arrangements by John and others, mostly for 5 parts, some 6, plus rhythm. All top players from the southern California area. Ralph Bigelow BonesWest 01/17/2002 7:00:24 PM, "Paul D. Kemp, Jr." wrote: >Dear listers: >I just talked to my high school band director this evening, and he mentioned >hearing a 5-trombone & rhythm group at the IJAE convention called SlideFX. >He said that was the finest thing at the convention, and coming from him, >that means they were very fine. Has anyone heard of this group? > >Paul D. Kemp Jr. >Chattanooga Symphony >www.trbnplyr.com > > ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 20:30:49 -0800 From: Gordon Cherry To: trombone-l@po.missouri.edu, brass@lists.fsu.edu Subject: Childrens' Prayer by Humperdinck/8 trombones Message-ID: Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1200794239==_ma============" Dear colleagues, Please note that I have just completed a transcription of the Childrens' Prayer from Hansel and Gretel by Humperdinck for 8 trombones. This 4-5 minute work is choral writing at its best. Parts and score are laser printed on 24 lb. brilliant white paper and look great. The highest note is Bb and the lowest note for bass is pedal Bb. The difficulty is moderate. The work is for sale on eBay or you can order from me. Price is $12.00 plus $2.00 shipping. Payment can be made by check, money order, Billpoint or PayPal. Below is a complete listing of my works for brass. Please contact me privately if you are interested in any of them. Thank you, Gordon Cherry Principal Trombone, Vancouver Symphony ================== Trombone & piano Bach 1st mvt. from Concerto for Two Violins 2 tenor trombones trans. G. Cherry $12.50 Schubert 9 songs from Die Schoene MullerinÊ trans. G. Cherry $12.50 Mahler Songs of a Wayfarer for Tenor or Bass trombone $12.50 trans. B. Kerekes Mahler Songs of a Wayfarer for Trumpet trans. B. Kerekes $12.50 Mahler Songs of a Wayfarer for Horn trans. B. Kerekes $12.50 Brahms Four Serious Songs for Tenor or Bass trombone $12.50 trans. B. Kerekes Trombone Ensemble Beethoven 3 Equali for 4 trombones in original key alto, 2 tenors and bass trombone trans. G. Cherry $10.00 Humperdinck Childrens' Prayer from Hansel & Gretel for 8 trombones $12.00 edited G. Cherry Mussorgsky Promenade from Pictures at an Exhibition for 5 trombones trans. K. Gehrs $6.00 edited G. Cherry Wagner Elsa's Procession to the Cathedral for 10 trombones 2 altos, 6 tenors, 2 bass trans. G. Cherry $15.00 Brass Trio (trumpet, horn, trombone) Bach Sleepers Awake (Wachut Auf!) trans. G. Cherry $10.00 Brass Quintet Gliere Russian Sailors' Dance trans. G. Cherry $12.50 Filmore Lassus Trombone (trombone solo) trans. G. Cherry $12.50 Jalisco Mexican Folk Fantasy trans. T. Parriott $12.50 Silent Night a short jazz chord version (very calming) trans. G. Cherry $6.00 Brass Quintet with Organ Bach Jesu Joy of Man's Desiring trans. G. Cherry $15.00 Christmas In Killarney trans. G. Cherry $15.00 Handel Worthy Is The Lamb / Amen Chorus (Messiah) trans. G. Cherry $15.00 CD of Live Recital $12.50 Blazevitch Concert Sketch #5 Sulek Sonata "Vox Gabrieli" Ewazen Sonata Performed by Gordon Cherry, trombone and Joyce Cherry, piano, 10/00 ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 22:47:10 -0600 (CST) From: Marti Kristine Rankin To: Jonathan A Szopinski Cc: "Trombones and related issues forum." Subject: Re: solos for beginners Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII The Gem series is good. I swear Ruby is a right of passage ;) Sometimes it is fun to try playing easy duets with beginners once they start to get bored with the book. Harmony adds a whole new dimension to playing and even very simple duets can be a new challenge for them. Have fun teaching! Marti "I drank what?" - Socrates On Thu, 17 Jan 2002, Jonathan A Szopinski wrote: > Hello- > I teach a fifth grade student and he is progressing very well. He is > looking for something other than elementary method books to play from. > Are there solos or anything other than method books that are out > there to give to a fifth grade trombone student? > > Thanks > Jon Szopinski > > ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Thu, 17 Jan 2002 23:19:47 -0800 From: "Elisabeth Frederick" To: "Trombones and related issues forum." Subject: Re: Teaching slide position to beginners Message-ID: <002401c19ff0$86fa42c0$1c72fb3f@d9h2z9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit One of my mom's friends daughter's was learning cello, and I recall her having tape on the cello where various positions were. ----- Original Message ----- From: "Tom C. Shaddox" To: "Trombones and related issues forum." Sent: Thursday, January 17, 2002 2:01 PM Subject: RE: Teaching slide position to beginners > Hmmm - how do they teach finger/note positions to beginning cellists and > string bass players: by pitch or by position? > > Tom Shaddox, 9th chair tenor > > > ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 09:38:43 +0000 From: David Bobroff To: trombone-l@po.missouri.edu Subject: Southpaws Message-ID: <3.0.6.32.20020118093843.007bca80@centrum.is> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" First off, I'm amazed that there has been so much support for the idea that beginners should be allowed to play the trombone left-handed without some compelling physical reason (e.g. withered right arm). I'm with Paul Kemp on this topic. Consider how many right-handed hornists there are out there who play with their left hands operating the valves. Also consder the extra costs of having a left-handed F-attachment or bass trombone built and the problems one would have trying to pick out a new one. I have seen exactly one left-handed bass trombone (the valves and levers had been custom built). I know one left-handed trumpet player who plays with his left hand on the valves. All the other lefty trumpeters I know play it right-handed. I have also seen exactly one left-handed bowed string instrument. It was a 'cello being played in the Danish National Radio Orchestra. Indeed, the instrument was set up reversed. The player's bow was mirroring everyone else in the section. richardt@LEE.ARMY.MIL wrote in part: >For all practical purposes you don't see any left handed trombones, even playing right handed. Lefties are a pretty good chunk of the general population but not the trombone population. Curious. I'm not sure what your definition of "pretty good chunk" is, but lefties make up about 10% of the general population. What portion of the trombone-playing population is left-handed? I don't know. I do know that lefties make up a third of the section I play in and two-thirds of one of the sections I played in in graduate school and 25% of the section I was in on a road gig. Everyone played with the slide in the right hand. Yes, I know that samples of three or four are statistically insignificant. Instruments are built the way they are because about 90% of the population is right-handed. Just play them that way. By the way, I'm left-handed and am quite happy playing right-handed especially considering that I own several trombones of various makes with factory installed valves. I am so glad that I haven't had to go to the extra cost in time and money to have them converted for left-handed playing (this would also reduce their re-sale potential). Cheers, David Bobroff ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 09:39:02 -0500 From: Walter Barrett To: "Trombones and related issues forum." , TubaEuph List Subject: Moe Snyder's 80th! Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Well, January 26 is fast approaching! That's the date of Fred "Moe" Snyder's 80th birthday. I had originally planned to throw a shindig for him and former students, but in the meantime, his family has planned a surprise party for him, and space is at a premium. I may still try to host a get-together where we can play trombone, drink beer, and talk baseball; which are 3 of Moe's favorite subjects. Anyway, if you have been invited to the party, see you there! If you can't be there, if you'd like to send some birthday greetings to Moe, send them to this address I've set up to honor Moe... HeyMoe@bestweb.net If you get them to me by Friday, Jan 25th, I'll print them out and give them to Moe at the party. Thanks! -- Walter Barrett "Be nice to your kids, they're the ones that pick out the nursing home!" Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 08:03:46 -0700 From: Steve Gamble To: "'Tom.Shaddox@fnc.fujitsu.com'" , "Trombones and related issues forum." Subject: RE: Teaching slide position to beginners Message-ID: <01C19FF6.A91CE960.sgamble@tucsonsymphony.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit If it's Suzuki, the lessons are primarily about listening, if I'm not mistaken. "All Japanese children speak Japanese." What a concept. Steve Gamble Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax sgamble@tucsonsymphony.org -----Original Message----- From: Tom C. Shaddox [SMTP:Tom.Shaddox@fnc.fujitsu.com] Sent: Thursday, January 17, 2002 3:02 PM To: Trombones and related issues forum. Subject: RE: Teaching slide position to beginners Hmmm - how do they teach finger/note positions to beginning cellists and string bass players: by pitch or by position? Tom Shaddox, 9th chair tenor ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 10:32:32 -0500 From: "Paul D. Kemp, Jr." To: "Trombones and related issues forum." Subject: Re: Teaching slide position to beginners Message-ID: <00ef01c1a035$597fc0a0$a85a4d0c@trbnplyr> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I detect an air of facetiousness here. BTW, along these lines, that's the primary reason why I strongly recommend that youngsters that play the trombone take private lessons as soon as possible--within 6 months after studying the trombone in band. A good private teacher will get the young student to develop a good concept of sound more quickly, and also insist that they learn to match the teacher's pitch EXACTLY. Charts are helpful in helping the student's aim, but the final adjustment must be made by really listening, No shortcuts. In fact, how many teachers out there have had to re-educate students where 2nd, 3rd, and 4th positions (areas which are the most commonly used) are? I know I have. My old high school band director used to say something like "3rd position is not somewhere between 2nd and 6th." What's really amazing to most students is to demonstrate how much of a difference a quarter of an inch can make. Like John Upchurch says, "Close only counts in horseshoes and atomic bombs". Now, he's talking about getting the distance between the U-bend and the right hand brace on the outer slide and the left hand brace on the inner slide exactly the same distance apart, but the same is true when playing the trombone too. Paul D. Kemp Jr. Chattanooga Symphony www.trbnplyr.com ----- Original Message ----- From: "Steve Gamble" To: "Trombones and related issues forum." Sent: Friday, January 18, 2002 10:03 AM Subject: RE: Teaching slide position to beginners > If it's Suzuki, the lessons are primarily about listening, if I'm not mistaken. "All Japanese children speak Japanese." What a concept. > > Steve Gamble > Librarian > Tucson Symphony Orchestra > 2175 N. 6th Ave. > Tucson, AZ 85705 > (520) 792-9155 x118 > (520) 792-9314 fax > sgamble@tucsonsymphony.org > > > -----Original Message----- > From: Tom C. Shaddox [SMTP:Tom.Shaddox@fnc.fujitsu.com] > Sent: Thursday, January 17, 2002 3:02 PM > To: Trombones and related issues forum. > Subject: RE: Teaching slide position to beginners > > Hmmm - how do they teach finger/note positions to beginning cellists and > string bass players: by pitch or by position? > > Tom Shaddox, 9th chair tenor > > > ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 10:41:56 -0500 From: richardt@LEE.ARMY.MIL To: trombone-l@po.missouri.edu Cc: paul@trbnplyr.com Subject: Lefties - a retraction based on new evidence Message-ID: <81F62454EA21B94EA95517180D7303730243F7B8@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1A036.A8FEBEF0" I have argued in favor of not switching lefties to right handed trombone. However, new data has forced me to change my position. Hardly ever do we explicitly state our assumptions in discussions like this, often not even our logic . If I could summarize the argument, it goes something like this: We all know there are a fair number of advantages to playing right handed, particularly if we will ever use a trigger trombone, which most people who advance eventually will need to do. We all know there is some difficulty involved in learning anything with the nondominant hand. The pro righty contingent makes two assumptions: 1) this difficulty is small, and 2) this difficulty is less at an early age than a later. The pro lefty contingent, mainly me, believes this difficulty is large and represents an unwarranted cruel, unusual, and frustrating burden for a child. (there are a few other assumptions, like whether a trombone is "designed" right handed, etc., but they are mostly irrelevant to the main question)Ê Neither side supported their version of assumption 1) with data. I believe that a reasonably valid statistic would be whether the percentage of current left handed trombones is somewhere near the percentage in the general population. If it is, that is suggestive that the difficulty may not be extreme. If it is not, it may indicate changing to right hand is so frustrating that most children give up - which would tell a responsible teacher which way to go. In my personal experience, left handed people playing right handed trombone are non-existent, which supports my version of assumption 1), and logically one must agree with my position. However my personal experience is not data, nor are the opinions of the opposite contingent. Here is data. A poll on the online trombone journal lists 25 left handed players, or 12.08%; 166 right handed players, or 80.19%, and 16 ambidextrous players, or 7.73%. The poll did not ask what hand they played trombone with, just which hand they considered themselves, but it doesn't matter. The general population is thought to be around 10% left, with the better surveys (though smaller) at about 12%, so the trombone population mirrors the general population. That being the case, I have to admit there is no evidence to support my opinion, so I'm changing it. I now have to agree that in most cases the logical thing to do is to have new trombone players start right handed regardless of their dominant hand. I certainly hope that a good teacher is alert to those individual cases where this isn't going to work and tries another approach. I agree with challenging a child but never with frustrating a child.Ê There is another implication, by the way, if we want to carry the logic further.Ê For most activities we would never consider forcing a child to learn with the nondominant hand - making a child bat, throw, really do any sport, write, even cut with scissors when very young - all are considered abuse now because of how difficult they are. Yet we have some evidence that learning to move the slide is not so hard. Learning trombone is ACTUALLY EASIER than we all think. I think I see some humor there!Ê << >> ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 10:07:17 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'eliztbone@nctimes.net'" , "Trombones and related issues forum." Subject: RE: Teaching slide position to beginners Message-ID: <587F49FABBEDD411A68F00A0C9EA313B5FD02F@dasmthkhn561.amedd.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1A03A.336C56D0" Subject: Re: Teaching slide position to beginners One of my mom's friends daughter's was learning cello, and I recall her having tape on the cello where various positions were. > Hmmm - how do they teach finger/note positions to beginning cellists and > string bass players: by pitch or by position? ============================== OK, I put the colored tape on my student's outer slide but it had the gall to keep changing positions as they changed slide positions, then I realized that the inner slides don't move! Ha, another satisfied student! But why don't I get any call backs and follow up lessons? :-). Seriously, I did see one middle schooler with magic marker on his inner slide marking all of the positions. I'm sure this slowed down his learning to read music. Rick Marple San Antonio TX "Science is just another belief system" ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 11:36:47 -0500 From: David Buckley To: craig@acticalc.com Cc: "Trombones and related issues forum." Subject: Re: Army Blues band Message-ID: <3C484F1F.3039C9CD@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Craig Parmerlee wrote: > I interrupt this lefty-fest to rave about the Army Blues Band. They played > in Indianapolis this evening. The ensemble and soloists were strong as > usual. I was particularly impressed with the arranging, most of which was > done by players on the stage. Some of the charts were exceptional. All > were enjoyable. > > As others have mentioned about the various military ensembles, the sound > system was a notch below the calibre of the music. A notch below? Anytime I have heard this group the sound was thoroughly disgusting. Dave. > That's a shame. The > band sounded superb when playing at the MP level, where the sound system > wasn't very involved. At the louder levels, the balance was lost. > > The trombone section is Matt Neiss, Harry Watters, Bill Holmes, and Jeff > Contazzo. The improv work was solid, at times stunning. Unfortunately the > section playing wasn't very audible because the top three players pointed > their horns right into the backs of sax players. The bass player found a > nice alley over the bari player's shoulder and had his bell up high all > night. He could be heard clearly, and played masterfully. I'm not sure > which names go with which horn. Get those bells up guys. If the bass > player can do it, the rest of you can manage it. > > All the players could squeeze a hundred notes into a bar, but for my taste, > the soloist I enjoyed most was a red-haired trumpeter. He wasn't overly > technical and his improvisation seemed to carry a lot of musical > thought. I don't know which one he was. The three guys in the trumpet > section were Roger Rossi, Craig Fraedrich, and Graham Breedlove. The > Section also included Leisl Whitaker, a girl screech player , which you > don't see every day. Nice section. > > Catch this band when they are in your area. You can't beat the ticket > price: free. See www.army.mil/armyband. > > I now return you to the scholarly discussion of left handed trombones, > which is already in progress. > Craig ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 17:15:09 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: solos for beginners Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed I teach a fifth grade student and he is progressing very well. He is looking for something other than elementary method books to play from. Are there solos or anything other than method books that are out there to give to a fifth grade trombone student? Jon, I read jazz standards out of The Real Book series. I believe that they've got books in bass clef. I read mine in treble clef, because I already had the books. I also play guitar, oboe and English horn. One would hope that your student doesn't expect that what comes out of his trombone to sound like the latest pop music but, instead, understands that the majority of the music he reads is going to sound like music of yesteryear. But also realize that you're going to have to go through the book looking for appropriate pieces. DanP _________________________________________________________________ Join the worldâs largest e-mail service with MSN Hotmail. http://www.hotmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2273 Date: Fri, 18 Jan 2002 12:30:12 -0500 From: sabutin To: glangfur@yahoo.com Cc: trombone-l@po.missouri.edu Subject: Re: from the NY Times Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: 8bit January 17, 2002 New Director at Carnegie Eliminates Its Jazz Band By ROBIN POGREBIN When Carnegie Hall announced its 2002-3 season yesterday, the hall's jazz band was nowhere on the schedule. That is because Carnegie Hall's new executive and artistic director, Robert J. Harth, decided to discontinue the 16-member ensemble. "It's really a question of using our resources in that area in a different manner," Mr. Harth said at a new conference yesterday. "Supporting our own jazz ensemble limits our ability in terms of the varied programming to respond to changing audience tastes and provide for a wider variety of artists." ==================== I think a translation is in order here: "It's really a question of using our resources in that area in a different manner," = Lincoln Center has cornered all the money available for this area of music. We've been outhustled. BIG TIME outhustled. "Supporting our own jazz ensemble limits our ability in terms of the varied programming to respond to changing audience tastes and provide for a wider variety of artists." = The jazz ensemble never made enough money on its own (and this is at least as much the fault of its musical leadership as it is Carnegie Hall, in your humble translator's opinion); our audiences "taste" is changing to one that likes to go o Lincoln Center to hear jazz, and we are going to see if other people can attract the audience BACK from Lincoln Center, because Jon Faddis has not been able to do so =============== The elimination of the jazz band does not mean there will be no jazz at Carnegie Hall. The JVC Jazz Festival will return in June, and the Verizon Music Festival will hold three concerts there in September. "Our commitment to jazz remains very, very strong," Mr. Harth said. ============ More translation. "Money talks, NOBODY walks." or "Nothin' personal...it's just business." Outside "jazz" festivals and organizers CAN make a profit...mostly by not presenting much "jazz" and promoting the hell out of whatever it is they DO present. ============ Carnegie Hall's move comes as Lincoln Center is building a $115 million home for its jazz program at Columbus Circle. And some jazz afficionados suggest that the power and glitz of Jazz at Lincoln Center, which has Wynton Marsalis as its artistic director, was no match for Carnegie Hall's jazz band, led by the trumpeter Jon Faddis. ================ Yup...in the glitz contest, there WAS no contest, and musically, although Jon assembled a MUCH better band than Wynton, his own lack of daring and flair as far as programming was concerned ultimately did him in. SO much of the music he presented, although VERY "good" and in some cases very original...Slide Hampton, Jim McNeely, for example...is nearly unlistenable for the average civilian listener. It's sad but true, but I'll bet you the average Carnegie Hall listener can't tell much difference between the stuff Benny Goodman played and Slide Hampton's deliciously inside writing. They could feel Mingus's energy...they responded to Miles Davis's stylistic daring, his changing attempts to do something "new" w/in the barest framework of his jazz roots; they snapped crackled and popped when Tito Puente's band laid down a strong montuno...but a big band playing variations on "Sing Sing Sing" or "Shiny Stockings" no matter HOW well played + written? Uh uh...immediate sleep ensued in the blue hair sections, and much of the rest of the joint as well. ================== "The public needs icons," said George Wein, who helped found the band and produced its concerts. "It's celebrities that fill halls. It's the same with classical music. If you have Yo-Yo Ma, you fill the house." ================ George Wein...now THERE'S a real jazz guy...(I could tell you stories...) ======================== The band, which last performed at Carnegie Hall in December, has a number of dates around the country through August, including appearances at home in February and June. The group's quality does not seem to be an issue. Ben Ratliff, the jazz critic for The New York Times, has called its arrangers "among the best in the field." ============= He's right. But "the field" was WAY too narrow. ============== Mr. Marsalis said he and Mr. Faddis were not competitors. "We have two different programs," Mr. Marsalis said. "Our only desire was to see them succeed." ============= Bullshit. ================= Mr. Faddis said he was sad about the decision, that he and Mr. Wein have talked about trying to keep the band alive, and that he expected to continue his relationship in some other form with the hall, where he has played since 1972. "The disbanding of the jazz band is not going to prevent me from playing in Carnegie Hall in other concerts," he said. Mr. Wein, a leading jazz presenter, said the band's performances were running at a deficit and that Mr. Harth needed to find places to cut costs. The jazz band was expensive, Mr. Wein said, because every concert used original arrangements. "It's sad because the band had built up a constituency," Mr. Wein said. Apparently the constituency was not large enough. While Mr. Wein said he believed the audiences of 1,800 to 2,000 were healthy, he said Carnegie Hall needed attendance in the area of 2,300 to 2,500 for its main 2,800-seat auditorium, named for Isaac Stern. Like other cultural institutions, Carnegie Hall has been affected by a drop-off in ticket sales after the Sept. 11 attacks, a reduction of 5 percent over all compared to last year. But Mr. Harth said after the news conference that his move to eliminate the band had nothing to do with money. "Almost everything we do loses money," he said. Instead, he said, the decision grew out of a desire to reach a wider audience with more varied jazz programming. "We're reallocating the resources to a different part of jazz programming," he said. Noting that "there are a lot of different jazz groups out there," he said that if Carnegie Hall had to support one jazz band, it would be "unable to present other artists." ================== Might be a good decision...we'll see. If he means Kenny G...business as usual. ================= Rather than continue to pay for the jazz band's original arrangements, Mr. Harth said he was more interested in putting that money "into performing artists rather than creating a catalog of music." As to whether the competition with Mr. Marsalis's program was too much, Mr. Harth said, "Of course we're aware of what's going on at Lincoln Center. But Mr. Wein, who is also on the board of Jazz at Lincoln Center, ============ This is what is known as "covering all the bases. A corollary...Enron contributing money to BOTH parties. The parallels between big business and big culture are overwhelming. ================ said Carnegie Hall could not compete with the resources Lincoln Center was able to put behind its jazz program. He said Carnegie Hall's new 650-seat underground concert space, Judy and Arthur Zankel Hall — the opening of which has been delayed till September 2003 — would be more appropriate for jazz than the main auditorium. "The future of jazz at Carnegie Hall relates to Zankel Hall with smaller audiences," Mr. Wein said. Jazz at Lincoln Center's new home will have a 1,100-seat main theater as well as a hall that can accommodate 300 to 600 and a jazz cafe that seats 150. The Carnegie Hall Jazz Band, which had its first concert in the fall of 1992, grew out of Carnegie Hall's 100th anniversary celebrations. Mr. Wein, whose company Festival Productions has been producing music events since 1954 beginning with the Newport Jazz Festival, said he could have used his influence as a member of the Carnegie Hall board but decided against it. "I was not going to do anything to create an atmosphere of dissent when a new man is coming into a job," Mr. Wein said, referring to Mr. Harth, who started in September. "He made the decision. I wasn't happy with it, but I went along with it. I could have fought it but I didn't. "This is the Carnegie Hall institution. I can't fight that." ============= Further translation is unnecessary. This is a tragic failure due to an overabundance of artistic conservatism and the shortsighted conservatism of the big money/big hype/multinational/industrial/cultural/governmental/media complex. I wish I had a practical solution, but I don't. If big culture would spend the money to produce a band or series that reflects what is REALLY going on here...the Pan-American idioms that pack people in across the country, the really new music in the downtown clubs, the fusion, the world music hybrids, the serious attempts to play old music authentically and well, the amazing stuff that goes on at the Musician's Union rehearsal halls almost every day of the week...as WELL as the great mainstream jazz players and styles...but noooooo, the chances of that happening are less than nil. Wish they could be reached. My only "practical" take on it...keep on keepin' on. As in...gotta go practice some more. Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_2273--