TROMBONE-L Digest 2278 Topics covered in this issue include: 1) Re: Army Blues Jazz Ensemble & P.A. Reinforcement by Craig Parmerlee 2) Re: Army Blues Jazz Ensemble & P.A. Reinforcement by BJMCHAFFIE@aol.com 3) Re: George Roberts? by "Adrian Drover" 4) Re: Army Blues Jazz Ensemble & P.A. Reinforcement by Walter Barrett 5) Re: Rimsky Korsakov Concerto by Randy Campora 6) RE: Alessi Masterclass; Rouse Concerto by "J. Mark Thompson" 7) David with Band by Scott Moore 8) Chowhound by Gabriel Langfur 9) Re: David with Band by "Chuck De Paolo" 10) Help with contacting Denis Wick for a student by "Bart Roberts" 11) Re: George Roberts? by Earl Needham 12) Re: Help with contacting Denis Wick for a student by Earl Needham 13) Bach Bass bone for sale. by rjacosta@juno.com 14) JJ and Kai music by Robert Elkjer 15) re: army blues concert and p.a. systems by Neobopr@aol.com 16) RE: JJ and Kai music by "Gary Greenhoe" 17) Prof. Alessi's privacy: This is MY Fault! by Bear Woodson 18) Horn angles by jimandcat@juno.com 19) UNSUBSCRIBE by Kevin Reed 20) NY Bach markings by James Scott 21) Re: NY Bach markings by sabutin 22) New Thread--A new Mozart by "Paul D. Kemp, Jr." 23) Recitals by "Richard Human, Jr." 24) Re: New Thread--A new Mozart by sabutin 25) Re: NY Bach markings by Gabriel Langfur 26) Re: NY Bach markings by sabutin 27) Re: New Thread--A new Mozart by "Daniel Pliskin" ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 14:21:58 -0400 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: Army Blues Jazz Ensemble & P.A. Reinforcement Message-ID: <4.3.2.7.2.20020122141003.01ba3f88@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 11:47 AM 01/22/2002 -0500, sabutin wrote: There you are; you've been traveling for 8 days averaging 4 hours of real bed sleep/night, the bus gets to the venue 1/2 an hour late; no warm up time before the sound check; new music to rehearse and the "sound guys"...usually Three Dog Night roadie rejects or failed recording engineers w/a bad substance abuse problem...are stumbling around setting up mikes, getting what we love to call "monitor balances"...trying to get the chairs in a good set up for sound lanes (ESPECIALLY w/cranky sax players and/or a band director who has no clue about what's really going on) is the last thing on anyone's mind. ======= Sam, I'll give you all that. I've been on some impossible stages too, so I am sympathetic. Finding a lane is hard in a pit orchestra. It should not be difficult on a large stage with 18 people. When I get to my seat in a hall, the first thing I do is visualize my sound hitting the back wall. That makes it easy. I can't possibly hit the back wall if my bell's pointing at the floor or into somebody's back. Works for me. But in my case, there's probably more than a few people in the audience who wish they couldn't hear me. :) Seriously if I am playing bass trombone, there are many times that people come up after a performance asking how big the bell is. It is only 9-1/2", but I guess people just aren't used to seeing people hold their horns up these days. That was one thing that always caught my attention with the Lawrence Welk orchestra. Those guys really had discipline. But I guess if you didn't, you didn't stay in the maestro's employ very long. Craig ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 13:40:04 EST From: BJMCHAFFIE@aol.com To: craig@acticalc.com, trombone-l@po.missouri.edu Subject: Re: Army Blues Jazz Ensemble & P.A. Reinforcement Message-ID: <118.b50590a.297f0c04@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Recently when the Jazz band at Lincoln Center played the guy with the big bore Tenor Trombone aimed his slide at the first balcony doing the Jazz opus with the Phil. le Grande Baille de la Rienne by Marsalis directed by Leonard Slatkin, he blew the bunting a bit. I did not see that he had to hold his head so high, but it was rather his aim. As a long time trombonist I tend to lower the bell because of embochure but heck lean the old bod back in the chair and launch. beldon wade ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 18:43:29 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: George Roberts? Message-ID: <013001c1a375$035f8fa0$e97e68d5@homedmpbgvaomg> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Earl Needham" > WOWSERS! I might get to "Meet Mr. Roberts"... You couldn't get to meet a nicer guy! Adrian ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 14:15:39 -0500 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: Army Blues Jazz Ensemble & P.A. Reinforcement Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 1/22/02 1:21 PM, Craig Parmerlee at craig@acticalc.com sent forth into the cosmos: > I guess people just > aren't used to seeing people hold their horns up these days. That was one > thing that always caught my attention with the Lawrence Welk > orchestra. Those guys really had discipline. But I guess if you didn't, > you didn't stay in the maestro's employ very long. > > Craig That reminds me of a quote from Lawrence Welk, talking to his musicians. (I may not have it exactly, but the gist is there...) "I want you to look like you're having fun, only don't have any fun!" Walter Barrett "That's Entertainment!" Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 14:31:23 -0500 From: Randy Campora To: wilong@singnet.com.sg, "Trombones and related issues forum." Subject: Re: Rimsky Korsakov Concerto Message-ID: <5.1.0.14.2.20020122142730.00a9d7a0@pop3.norton.antivirus> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed May I suggest listening to Eric Carlson's recording with the Temple University Wind Ensemble. The CD is available on the Hickey's website, I am pretty sure, probably other places. I can't remember the label right now, maybe Koch? Eric is the 2nd trombonist in the Philadelphia Orchestra. The other pieces on the disc are RK's concertos for Clarinet and Oboe, and Husa's Music for Prague and Prokofiev piece for wind ensemble (they sound great, by the way). I think it is a wonderful example of how a big, focused warm sound and unfussy musicality can be oh such a great combination. It would be a great CD for any developing trombonist to hear and just tell them "try to sound like this and everything will be fine." ~Randy Campora Baltimore Symphony Orchestra At 03:05 PM 1/22/2002 +0000, Wilson Ong wrote: HI all, I will be performing the Korsakov concerto with my community band next month. Does anyone have program notes available for the piece? Any playing tips on how to carry the thing off? And what are your views in re-writing the cadenza? Thanks very much in advance. Wilson Ong ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 14:03:48 -0600 From: "J. Mark Thompson" To: trombone-l@po.missouri.edu Subject: RE: Alessi Masterclass; Rouse Concerto Message-ID: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Tangentially related--does anyone know where I can find the Colorado Symphony recording of the Rouse Concerto with Alessi (BMG Music)? The Denver Music Association (DMA) Music Store doesn't have any more copies. JMT -- Dr. J. Mark Thompson, NCTM Associate Professor, Trombone and Low Brass Northwestern State University o(318)357-5791 f(318)357-5906 ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 14:22:19 -0600 From: Scott Moore To: Trombone List Subject: David with Band Message-ID: Mime-Version: 1.0 (Apple Message framework v480) Content-Type: text/plain; charset=US-ASCII; format=flowed Content-Transfer-Encoding: 7bit Is the Yeago arrangement or the David Concertino decent? Is it too difficult for an average high school band? Opinions? Scott Moore Music Department Gustavus Adolphus College Saint Peter, MN 56082 (507)933-6260 http://www.gustavus.edu/~dmoore ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 12:36:44 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Chowhound Message-ID: <20020122203644.9534.qmail@web10306.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I don't remember whether this has been mentioned on the list before... Check out this website: http://www.chowhound.com/ for a look into what an enterprising trombonist can do to supplement not only his income but also his general enjoyment! Bon Appetit, Gabe __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 15:58:30 -0500 From: "Chuck De Paolo" To: "Trombone List" Subject: Re: David with Band Message-ID: <047c01c1a387$8c049eb0$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Scott et al, Yeago's David for band is a traditional orchestral transcription. As such, he has to deal with all the fudda-fudda parts the celli and basses have in the orchestra, assigning them to the less capable saxes and baritones. At the same time, he duplicates the orchestral woodwind textures whenever possible (think of the opening for instance, the soaring oboe line). All in all it's a decent straight-ahead transcription that just about any competent high school band ought to be able to pull off. If they can play Poet & Peasant, then this ought to work out fine for them. (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: Scott Moore To: Trombones and related issues forum. Sent: Tuesday, January 22, 2002 3:22 PM Subject: David with Band Is the Yeago arrangement or the David Concertino decent? Is it too difficult for an average high school band? Opinions? Scott Moore Music Department Gustavus Adolphus College Saint Peter, MN 56082 (507)933-6260 http://www.gustavus.edu/~dmoore ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 17:49:53 -0500 From: "Bart Roberts" To: "Trombone List" Subject: Help with contacting Denis Wick for a student Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Hello Out there, I need help to get in touch with Denis Wick. I realize there has been a great deal of privacy issues being discussed recently and I am very intrigued by what all have said. Anyway point being.....I have a friend that is going to London to study for the semester who would like to take Lessons with Denis if it's available. If anybody could help me with an email or phone that would be great. If you could email me privately that would be terrific. Thanks Bart Roberts ___________________________________________ Bart Roberts Band/Trombone Graduate Assistant Ball State University Bands http://www.bsu.edu/cfa/music/bands Muncie, Indiana ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 18:28:27 -0700 From: Earl Needham To: trombone-l@po.missouri.edu Subject: Re: George Roberts? Message-ID: <4.2.2.20020122182727.00a9f5c0@pop3.norton.antivirus> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 11:12 PM 1/21/2002 -0800, Paul Hill wrote: Hi Earl, Yes...Coronado/North Island is where you want to be (so do I in the middle of winter!) Thanks, Paul, for the directions. Unfortunately, the last couple of days, there seems to be a problem brewing and I may not be able to go. Yet. 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_2278 Date: Tue, 22 Jan 2002 18:33:11 -0700 From: Earl Needham To: trombone-l@po.missouri.edu Subject: Re: Help with contacting Denis Wick for a student Message-ID: <4.2.2.20020122183244.00ac7c38@pop3.norton.antivirus> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 05:49 PM 1/22/2002 -0500, Bart Roberts wrote: Hello Out there, I need help to get in touch with Denis Wick. Forwarded to someone who I think might be a contact, now to sit back and see what happens. 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_2278 Date: Tue, 22 Jan 2002 18:13:56 -0800 From: rjacosta@juno.com To: TROMBONE-L@po.MISSOURI.EDU Subject: Bach Bass bone for sale. Message-ID: <20020122.181356.-403591.0.rjacosta@juno.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Bach 50 for sale $1500. I have this on ebay, but if you make me an offer I can pull it off there. take a look: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=1505664504 Richard ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 19:50:48 -0800 From: Robert Elkjer To: trombone list Subject: JJ and Kai music Message-ID: <3C4E3317.4BA9A25F@pacbell.net> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT Dear trombonists, Alessi Publications is considering publishing the complete sheet music to "The Great Kai and JJ Swinging Together Again", one of the great jazz/commercial trombone recordings of all time. To see a track listing of this CD and hear a clip of every tune, visit: http://www.pricegrabber.com/search_fullinfomu.php?music_id=067804&masterid=506780401&ut=40a95dc7bad3b5cb#tracklist Our published sheet music would include all of the tunes exactly as arranged on the record, plus all of JJ and Kai's improvised solos (both written out and with chord changes), plus all the rhythm section parts. Also, with this sheet music, it is possible to play an electronic duet with either JJ or Kai, because JJ and Kai are panned hard left and hard right. Just place your headphones on only one ear, and you will hear just JJ or just Kai, along with yourself. ( Plus, you have Bill Evans, Paul Chambers and Philly Jo Jones on rhythm.) We are doing market research before we proceed with this, to see if it is financially viable. We are asking folks like yourself to email us and say "Yes, I'm interested". If we get enough positive responses, we will proceed. Thanks! Alessi Publications ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 23:30:32 EST From: Neobopr@aol.com To: trombone-l@po.missouri.edu Subject: re: army blues concert and p.a. systems Message-ID: <109.c35f8d0.297f9668@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Wayne wrote: <> The head sound man for a number of years now has been our sound guy for the Army's top touring Big Band=SGM Tony Sturba. We're kind of proud of him! Jeff Adams Yamaha Artist/Clinician ALL ON ONE CD-R in 192k MP3 format!--buy Rochut Vol. #1 and Jeff Adams-2000, $20 includes shipping. Add $5 for international shipping. ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 22:41:41 -0600 From: "Gary Greenhoe" To: , "Trombones and related issues forum." Subject: RE: JJ and Kai music Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Gee, this is funny! I did this as a kid 40 some years ago....played all of J&K vinyl recordings so much , I had them all by memory...and used to transcribe them all on paper so I could play them with another trombonists while playing the records. Of course this was before I had a stereo record player...so perhaps there's something new. ;-) Gary -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Robert Elkjer Sent: Tuesday, January 22, 2002 9:51 PM To: Trombones and related issues forum. Subject: JJ and Kai music Dear trombonists, Alessi Publications is considering publishing the complete sheet music to "The Great Kai and JJ Swinging Together Again", one of the great jazz/commercial trombone recordings of all time. To see a track listing of this CD and hear a clip of every tune, visit: http://www.pricegrabber.com/search_fullinfomu.php?music_id=067804&masterid=5 06780401&ut=40a95dc7bad3b5cb#tracklist Our published sheet music would include all of the tunes exactly as arranged on the record, plus all of JJ and Kai's improvised solos (both written out and with chord changes), plus all the rhythm section parts. Also, with this sheet music, it is possible to play an electronic duet with either JJ or Kai, because JJ and Kai are panned hard left and hard right. Just place your headphones on only one ear, and you will hear just JJ or just Kai, along with yourself. ( Plus, you have Bill Evans, Paul Chambers and Philly Jo Jones on rhythm.) We are doing market research before we proceed with this, to see if it is financially viable. We are asking folks like yourself to email us and say "Yes, I'm interested". If we get enough positive responses, we will proceed. Thanks! Alessi Publications ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 21:45:47 -0700 From: Bear Woodson To: Trombone List Subject: Prof. Alessi's privacy: This is MY Fault! Message-ID: <3C4E3FFB.EA420EF3@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 am days behind on answering my E-Mails because I have been busy Editing the Page Layouts of my new Woodwind Trio, and some new bassoon music. (Yep, I'm still trapped in the Quackatorium! And now I have Duck Feathers all over my apartment!) I just got done writing to Mr. Larry J. White, and I will say the same thing to you, as a group. I was raised in a military family, so I trained to do things by the book, to be scientific and polite in all matters. To state a fact is not a matter of ego, but instead promotes learning, no matter if it is a success or a failure. To lie about a fact holds you back from learning. I was also raised to think in terms of Security, since we were raised around military security. Secrecy about everything was the rule! I make a point to NEVER divulge any private information, for ANY reason. Some people think I'm arrogant at first, until they see that the claims about my music are facts, and that I just as freely admit to all the millions of stupid mis- takes and blunders in my life. (Ask my ex's. Then again DON'T. I'd rather not have to deal with them again!) The point is, I feel that it is merely stating a fact, and not an act of egotism, to say that this work of mine has a Stretto or Double Fugue in it. Likewise, I can only learn from my many stupid mistakes, when I just as readily admit them. (And believe me, with all of my millions of stupid blunders, I should be a genius by now, but somehow it just doesn't work that way!) I had intended to send out 2 Sets of E-Mails. One would quote Professor Alessi's E-Mail Address to the 2 people who had sent it to me; while the other would omit that one fact, and be sent to the List. But I had been in and out of the kitchen, and it was about 3 or 5 a.m. Arizona Time, so in between the interruptions, I came back to the computer and sent off the Composite Message, from which I was going to derive the 2 dif- ferent Messages. Usually, in the last few years, I do that kind of group message correctly, to various musicians, playing different works of mine. When I make a blunder with that kind of message, I end up talking about some of my wood- wind works to brass players, or vice versa. But in this case, a piece of Private Information was released to the world, and that is NOT how I was raised, NOR is it a habit that I make. No, I agree with those who say that this was wrong. I had never intended to release Professor Alessi's E- Mail Address, and it was a stupid, groggy mistake, nevertheless I am responsible! This is MY Fault, and I don't sweep such blunders under the rug. (I won't tolerate it from others, and won't lie about it for my- self, either.) My apologies to all of you, but the real problem is that the damage has already been done. Maybe Professor Alessi will actually read-through some of my trombone pieces. My "Arioso for Unac- companied Tenor Trombone" (Jan. 1999, 4 sections, 7 min.) turned out to be a virtuoso work, that has so far, caused every trombonist to dodge giving it a public performance. (The same can be said for many other virtuoso unaccompanied works of mine for other instruments, so I'm no longer surprised.) There are also the longer works of my "Horn Con- certo" (Dec. 1999, 3 mvts., 16:35), and my "Sonata No. 1 for Horn and Piano" (March 2001, 4 mvts., 28 min.), each of which are transcribed for Tenor Trom- bone and the Sonata also has a Bass Trombone Ver- sion. Professor Yeo has them now, and is waiting for the dedicatee, Dr. Karen McGale Fiehler to give Live Premieres on Horn of each, so that others can. I may have a lot of music to show Professor Alessi, but this was a stupid mistake, and it is my fault, and no one else's! Bear Woodson Composer, Tucson, Arizona, USA ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 21:58:31 -0800 From: jimandcat@juno.com To: trombone-l@po.missouri.edu Subject: Horn angles Message-ID: <20020122.215833.-374093.9.Jimandcat@juno.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Following up the many posts about the Army band amp issue. Some have talked about "alleyways" etc. Thought I would throw this out. In my college years at Cal State U. Northridge, we had a great 5 person trombone section in the jazz ensemble. We used the basic mannhassets in rehearsal and low dance band stands in concert and we (in mutual agreement and experimentation) choreographed our horn angles with every chart. We had variations like 'tight in stand', a 'foot or two away' from stand, 'partially out', 'full out', 'bells up' etc. We wrote some of them into the charts. Sometimes a cresc. (like a 32 bar cresc in a Basie chart) was one slow bell raise in the whole section. Sometimes a fast dynamic change was a quick horn shift. We understood what we heard on the risers, was not what the audience heard (bells in stand sound loud to the players not to the audience, bells out sound soft to the players but loud to the audience). We worked on the idea in sectionals. The feedback from the audience musicians was very positive, "When you guys hit that FF with all bells up we jumped out of our skins", "that covered-sound the section got behind the piano solo was like warm chocolate". It was a great section, 2 friendly (not competitive) bass bones, 3 jazz chairs, shared leads, and lots of smiles and warm times. We admired each other's playing and worked as a section to enhance the music of the rest of the band. We understood we were not the "icing" (that be the lead players), nor were we the plate that it all sat on (that be the rhythm), but we were one hunk of solid cake, the weight on the plate underneath the icing. Mics on each of us would have destroyed that whole thing. Dang, them were good times. Jim Prindle ________________________________________________________________ GET INTERNET ACCESS FROM JUNO! Juno offers FREE or PREMIUM Internet access for less! Join Juno today! For your FREE software, visit: http://dl.www.juno.com/get/web/. ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 21:47:50 -0800 From: Kevin Reed To: "'trombone-l@po.missouri.edu'" Subject: UNSUBSCRIBE Message-ID: <3794245A6903D51184AF00B0D0B07C07411ABF@mail.lbsfcu.org> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Tue, 22 Jan 2002 23:34:19 -0700 From: James Scott To: trombone-l@po.missouri.edu Subject: NY Bach markings Message-ID: <3C4E596B.E4A76F7D@ucalgary.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi Everybody - My latest toy is a NY Bach 12 that I had overhauled and have been using in the big band that I play with. It has a Roman Numeral II after the Model 12 on the bell. I've seen some other NY Bach instruments with Roman Numerals after their model numbers, and am wondering if anyone knows what that # refers to? Also, the bell is smaller than the new Bach 12 that one of my section mates plays - anyone know when they changed the size of their bell on the model 12? Just curious - thanks for the help in advance! Jim Scott ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Wed, 23 Jan 2002 02:05:02 -0500 From: sabutin To: jscot@ucalgary.ca Cc: trombone-l@po.missouri.edu Subject: Re: NY Bach markings Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi Everybody - My latest toy is a NY Bach 12 that I had overhauled and have been using in the big band that I play with. It has a Roman Numeral II after the Model 12 on the bell. I've seen some other NY Bach instruments with Roman Numerals after their model numbers, and am wondering if anyone knows what that # refers to? Also, the bell is smaller than the new Bach 12 that one of my section mates plays - anyone know when they changed the size of their bell on the model 12? Just curious - thanks for the help in advance! Jim Scott ================ Think of Vincent Bach in the early years as an analogue of the smaller contemporary manufacturers like Steve Shires...Vincent Bach was a great designer and craftsman who paid attention to the individual needs of his customers and who in turn used some of their input in the ongoing design of his horns. Ditto Steve. Different sized bells, different leadpipes and goosenecks, different bell materials...Edwards + Shires didn't INVENT these things... As with any small shop...even Conn at the same time, a much bigger operation...the markings got confused in the day by day operations of the shop. Trombonist X wanted a 7 in. red brass bell on a .500 slide, they made it and marked it in some way so they could remember just which bell it was, then he changed his mind and Trombonist Y bought the bell to use on a .485. Hundreds, maybe thousands of horns were made, and the markings were not completely consistent. Add to that the use of the same bells on different slide sizes...6, 8, 12, and 16 horns all used basically the same series of bells, for instance...and no computers, just paper records...a logistical nightmare. Bottom line...if it plays good, enjoy it. Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Wed, 23 Jan 2002 08:59:00 -0500 From: "Paul D. Kemp, Jr." To: "Trombones and related issues forum." Subject: New Thread--A new Mozart Message-ID: <004901c1a416$1c44a0e0$855b4d0c@trbnplyr> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Dear Listers, I think that most of us would agree that even though his writing for the trombone was very sparse (yet very good), Mozart was probably the epitome of musical genius. I have heard it said that there's only one Mozart, and of course that's true, and the fact that he composed so much great music in such a short amount of time (35 years) is quite staggering indeed, but has there been another Mozart in terms of that level of genius? I thought about this somewhat off-handedly last night while speaking with a colleague of mine in the orchestra after we were finished with rehearsal last night, and he mentioned Leonard Bernstein in terms of pure unadulterated talent. He mentioned how Bernstein had gone to a premiere of Broadway show, and after the show, there was a party. Bernstein went to the party, and he knew every song that was done in that musical after hearing them just once, and sat down at the piano and just started playing them. In addition, he was a top flight classical pianist, composer, and conductor. Musically speaking, it seems that everything that the man touched turned to gold. Actually, how we got on this topic was that we were having a conversation about how people will come up to us and tell us that we are so talented, and we usually accept their compliment with graciousness, but we both know how much work went into making that particular musical moment happen. We were talking about my best student, and this colleague asked me if my best student had any knack at all for improvisation, and I had to say no--not belittling my student, but this student has really never explored that aspect of music making that much. He reads well, has a great sound, plays in tune, and is very sensitive to what's going on around him, but to play even a simple F-blues chorus off the cuff, this kid just can't do it. He's not interested in that, and I don't push the ability to improvise that much--I figure that if he really wants to do it, he can explore that later on his own like I did, but it's up to me to make him into a very reliable ensemble musician. Can anyone think of anyone else that they would like to add to this list of present day "Mozarts"? Warm Regards, Paul D. Kemp Jr. Chattanooga Symphony www.trbnplyr.com ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Wed, 23 Jan 2002 07:59:52 -0600 From: "Richard Human, Jr." To: Trombone List Subject: Recitals Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Greetings all, If you live around Starkville, Mississippi or Alamosa, Colorado, consider coming to a a trombone recital! Myself, pianist Jim Lesniak, along with two faculty members at MSU will be performing on the MSU campus this Thursday at 7:30pm. On February 5, Jim and I will be playing the same recital (minus the trio) at Adams State College, also at 7:30. The program consists of the "Cavatine" (Saint-SŠens), "The Joy in Being Able" (Bolter), Hindemith's "Sonata," "Life Cycles" by Jeff Beal (who most recently wrote the score to Ed Harris' "Pollock," "Trio Italiano" for trumpet, trombone and piano by Mary Jean van Appledorn (member of the faculty at the Texas Tech University), and finally "Sonata vox Gabriel" by Sulek. I chose the music to fit the theme of "Life Cycles" in a broad sense. If you can come please stop by afterwards and say hello. For more info call me at 662-325-2871 or drop me an email at richard@trombone.org. Finally - I have some pretty good program notes for the above pieces, if you would like to read I made them available as a PDF: http://www.trombone.org/misc/RHuman-recital-notes.pdf Take care, Richard -- Dr. Richard Human Jr. richard@trombone.org Assistant Professor of Music Trombone and Music Theory Mississippi State University Office: (662) 325-2871 Founder, Webmaster and Publisher trombone.org: A web site for trombonists. http://www.trombone.org/ ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Wed, 23 Jan 2002 09:39:19 -0500 From: sabutin To: paul@trbnplyr.com Cc: trombone-l@po.missouri.edu Subject: Re: New Thread--A new Mozart Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" ---snip--- Can anyone think of anyone else that they would like to add to this list of present day "Mozarts"? Warm Regards, Paul D. Kemp Jr. ====================== Art Tatum. Charlie Parker...who by the way ALSO died at 35. Louis Armstrong. Stan Getz. There are others... This kind of musical memory...instant apprehension of the totality of a piece of music and the ability to play it and actually IMPROVE upon it...is really not that rare. I mean, it doesn't exactly grow on trees, but I have known any number of jazz players whose powers of concentration and recall were nothing short of phenomenal. However...most of 'em were too crazy to DO much w/the gift. Really. When we celebrate and marvel at the genius of Mozart, of Beethoven and J. S. Bach, of Bird and 'Trane and Ellington, one of the components of that celebration and marvel is astonishment at the fact that they managed to keep themselves together in the face of that kind of truly monstrous talent and actually FUNCTION. One theory (a metaphor, really) of how the human brain works...R. D. Laing is probably the best known proponent of this...is that much of it actually works as a FILTER, eliminating useless (read: non-survival oriented) information and allowing the "important" stuff to come through. A faulty filter produces sensory overload on one level or another, and we get the "hallucinating" schizophrenic, the absent minded professor (he's not absent minded, he just has too much going on to find his glasses), the desperate junkie genius who can't get it together enough to show up to perform... I mean, when you get right down to it, there are so called idiot savants all over the world who can "do" this. They just can't tie their shoelaces as well. The Mozarts are the ones gifted w/a combination of constitution, will, societal position and probably upbringing that enables them to deal successfully w/all this at least to some degree. THERE is the REAL miracle. The derelict wandering around the Lower East Side w/a handwritten 1000 page novel written in an apparently consistent language that HE INVENTED HIMSELF (I knew this guy) is maybe just two steps away from being James Joyce or Shakespeare...but those two steps are the difference, He's insane and James Joyce is a transcendent genius. Roll them dice... Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Wed, 23 Jan 2002 06:53:01 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: NY Bach markings Message-ID: <20020123145301.7464.qmail@web10306.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- sabutin wrote: > > Think of Vincent Bach in the early years as an > analogue of the > smaller contemporary manufacturers like Steve > Shires... Having spent a lot of time at the Shires factory, I can tell you that Steve can just about always tell what variety a bell is by looking at it and handling it a little - the only reason any of the bells are marked clearly is that the other guys in the shop yelled at him until he started doing it, so they wouldn't have to stop and ask him every time they were shipping something out... Gabe __________________________________________________ Do You Yahoo!? Send FREE video emails in Yahoo! Mail! http://promo.yahoo.com/videomail/ ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Wed, 23 Jan 2002 10:24:44 -0500 From: sabutin To: trombone-l@po.missouri.edu Subject: Re: NY Bach markings Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" --- sabutin wrote: Think of Vincent Bach in the early years as an analogue of the smaller contemporary manufacturers like Steve Shires... Having spent a lot of time at the Shires factory, I can tell you that Steve can just about always tell what variety a bell is by looking at it and handling it a little - the only reason any of the bells are marked clearly is that the other guys in the shop yelled at him until he started doing it, so they wouldn't have to stop and ask him every time they were shipping something out... Gabe ======== I'm sure old man Bach knew too. S. ----__ListProc__NextPart____TROMBONE-L__digest_2278 Date: Wed, 23 Jan 2002 17:35:14 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: New Thread--A new Mozart Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed ====================== Art Tatum. Charlie Parker...who by the way ALSO died at 35. Louis Armstrong. Stan Getz. There are others... For the most part, classical composers wrote music for the church/state and there were definite rules for what was legit and what was ãmusica fictaä, fictitious music, music of the devil. Iâve heard that Bach would write out chords with figured bass and, basically, adlib from there. If, instead, he were to give that same notation to a group, to have them fake their parts, would they have strayed into fictitious music, or was church/state music all they ãheardä and thereby all they could think of playing. I have the hardest time thinking of things to play that are outside of the box, so to speak. As such, Iâd be willing to guess that musicians, able to adlib, night actually have had a hard time straying from the rules, imposed by the church. But for lack of other recording media, all we have to show for that period is the written music. All those great ãgarageä string quartets, are gone forever. In contrast, we have a wealth of great adlib composers, whose works are ãwrittenä on recording media. But also, there will never be another Mozart, not because composers that have followed have not heard the call, but because the pioneer Mozart moved us forward, defining that genre. Subsequent Mozarts would only be accused of plagiarism. Perhaps the only exception to that would be music written as soundtracks for movies. Just as mock-Stravinsky, has been used in soundtracks for years, now, so has mock-Mozart, Iâm sure. I continue to marvel at what the likes of Parker and Armstrong ãwroteä, but itâs not Mozart. Those that long for more Mozart are kind of out of luck. DanP _________________________________________________________________ Join the worldâs largest e-mail service with MSN Hotmail. http://www.hotmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2278--