TROMBONE-L Digest 2289 Topics covered in this issue include: 1) Re: Army Blues Jazz Ensemble & P.A. Reinforcement by "Adrian Drover" 2) Re: weather by "Richard Johnson" 3) Re: Physical size as related to big sound by "Richard Johnson" 4) Re: Physical size as related to big sound by "Richard Johnson" 5) Trombone related cds I'm currently listening to by "Richard Johnson" 6) Re: Physical size as related to big sound by Douglas Yeo 7) Re: Physical size as related to big sound by "Paul Hill" 8) Re: Physical size as related to big sound by Craig Parmerlee 9) Re: Physical size as related to big sound by "Joe L. Norcross" 10) RE: Physical size as related to big sound by richardt@LEE.ARMY.MIL 11) RE: Bass Trombone opening in Calgary (long) by richardt@LEE.ARMY.MIL 12) Re: Ending Notes by sabutin 13) Re: Physical size as related to big sound by "s76lewis" 14) Four Freshman w/Brass Pete Rugolo by "Elisabeth Frederick" 15) Re: Four Freshman w/Brass Pete Rugolo by "Hal Starkey" 16) Breath attacks by Craig Parmerlee 17) Trombone vacancies for January 2002 by Nigel Horne 18) Brass band events for Febuary 2002 by Nigel Horne 19) Re: weather by "Adrian Drover" 20) Hamilton Trombone Stand Parts by "Chris Waage" 21) Re:Four Freshmen w/Brass Pete Rugolo by "Denver D. Seifried" 22) Re: Physical size as related to big sound by Wayne Dyess 23) Re: weather by "Richard Johnson" 24) Re: Physical size as related to big sound by Craig Parmerlee 25) Re: Physical size as related to big sound by "Brian Frederiksen" 26) Re: Army Blues Jazz Ensemble & P.A. Reinforcement by Wayne Dyess 27) Four Freshman w/Brass Pete Rugolo (fwd) by "Dr. Carole Nowicke, Applied Health Science" ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 18:29:32 -0000 From: "Adrian Drover" To: "Steve Beck" , "Trombones and related issues forum." Subject: Re: Army Blues Jazz Ensemble & P.A. Reinforcement Message-ID: <003a01c1ac17$a3d89530$7c97fc3e@homedmpbgvaomg> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Steve Beck" > From: "TRBNTERRY" "The worst thing that ever happened to music was > electricity". > > You must have a tough time playing your CD collection. You can play CDs? Geez!, I've been using them as coffee mats. Adrian ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 12:46:12 -0600 From: "Richard Johnson" To: "Trombones and related issues forum." Subject: Re: weather Message-ID: <003601c1ac19$e38fda60$71e296ac@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hmmmm.......my wife is thinking hard about making a gumbo for Super Bowl tomorrow. Trombone content......perhaps if I promise not to practice today, she'll make it! **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----- Original Message ----- From: "s76lewis" To: "Trombones and related issues forum." Sent: Friday, February 01, 2002 1:41 PM Subject: weather > Wow! We might have frost tonight in Southwest Louisiana! Time to make > gumbo. > Trombone related statement: If you sit next to loud players, your hearing > will go and you won't be able to hear the doctor's tuning fork anyway. > Sandy Lewis > > > ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 12:50:16 -0600 From: "Richard Johnson" To: "Trombones and related issues forum." Subject: Re: Physical size as related to big sound Message-ID: <005801c1ac1a$74e3d520$71e296ac@zemry> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0055_01C1ABE8.29F578C0" I think that perhaps a larger lung capacity MAY be of benefit in playing. For example, Frank Sinantra spent hours swimming to increase his lung capacity. He also learned a great deal about phrasing from Tommy Dorsey, I think. However, at the risk of sounding simplistic, lots of practice and a smaller lung capacity will probably beat out little practice and a large lung capacity anyday. ****************************************************************************** Richard Zemry Johnson, Jr.ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, "There won't come a time when you won't have to practice anymore." J. J. Johnson ********************************************************************************* I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----- Original Message ----- From: Paul Hill To: Trombones and related issues forum. Sent: Saturday, February 02, 2002 1:47 PM Subject: Re: Physical size as related to big sound ...second atempt ----- Original Message ----- From: Paul Hill Sent: Friday, February 01, 2002 6:45 PM To: Tom.Shaddox@fnc.fujitsu.com; Trombones and related issues forum. Subject: Re: Physical size as related to big sound Hi Tom, In the book, "In Pursuit of a Dream: Proclamation", it is stated that Doug has a Forced Vital Capacity (FVC) of 6.2 liters. Although I have never met Doug, I recall that he is somewhere just under 6' tall and from his photos, he is on the thin side (good for you, Doug!). That is an incredible amount of air for *ANY* size person! I believe that the "foundation" of most physical activities is genetic (although much can be accomplished by sheer force of will andÊdetermination). Another factor is "development". For example, I ran the 400m from 7th grade through college and (through testing) know that I have frequently stressed my lungs close to "capacity" which has been measured at 6.5 liters (I'm 6' 2"/235 lbs). In other words, my lungs have been developed and utilized to their maximum capacity. I recall that Doug likes to ride his bicycle but don't know what else he might do for exercise. "Song and Wind" has made a profound impact on my wind "awareness".ÊI strive for "efficiency" over simple capacity - this is where Doug really shines! Another good use for those Long Tones! While I believe that this activity (plus genetics) is largely responsible for my lung capacity, Doug is still the more efficient "breather".ÊÊUnless one has lungs down to their kneecaps, I have found that simply playing my horn does not maintain my lung capacity optimally...I try to run every day but during the winter months, I do not use my lungs to capacity.ÊÊHowever, during the "warmer" months when I can run at full throttle, my lungpower is greatly enhanced - directly relating to increased FVC. It is interesting to read what several "vertically challenged" folks have done to overcome physical limitations and still push BIG horns...good stuff! Best Regards, Paul Paul Hill Bass Tbn Newport, RI ----- Original Message ----- From: Tom C. Shaddox Sent: Friday, February 01, 2002 11:00 AM To: Trombones and related issues forum. Subject: Re: Physical size as related to big sound Doug can speak directly to this, but I recall he mentioned a few years ago that his lung capacity is quite large. I've always wondered if this was strictly genetic or if thousands of hours in the practice room expanded his air sacks and/or trained his body to fill and expel deeper. Tom Shaddox, 9th chair tenor ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 12:57:04 -0600 From: "Richard Johnson" To: , "Trombones and related issues forum." Subject: Re: Physical size as related to big sound Message-ID: <00fb01c1ac1b$683b5d60$71e296ac@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Number 2 is a real problem of mine Craig! I tend to expend a lot of my air at my initial release. How do I prevent that? **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----- Original Message ----- From: "Craig Parmerlee" To: "Trombones and related issues forum." Sent: Thursday, January 31, 2002 10:05 PM Subject: Re: Physical size as related to big sound > At 08:48 PM 1/31/2002 -0600, zemry@bellsouth.net wrote: > >As an aside, does size matter when playing a trombone? > > Sure, lung capacity helps. If all the other 1000 variables are equal, then > the player with the greater lung capacity will be superior. But > fortunately those other 1000 variables aren't equal. I am a tenor > trombonist who has more dates on bass than tenor these days. I've only > been playing the bass for 2-1/2 years. For the first 18 months, I felt > extremely inadequate. I felt like I could never complete a musical phrase > for lack of air. > > Then I started watching others more closely. I observed that a large > percentage of bass trombonists don't really try to make complete musical > phrases. The approach is often "poot poot poot", breathing whenever to > make notes loud enough to be heard. > > That didn't really help my outlook because I wanted to be able to make > musical phrases just like the rest of the instruments. So I have kept > observing. Here are four things that I have found helpful. > > > 2) Don't spend all the air on the first 1/10 second. Most passages aren't > marked FFFF with accent marks. Putting the bell up where the sound can get > through and playing in a more reserved manner does wonders. > > > IMHO, all other things being equal (there's that impossible condition > again), a person who can do these techniques will outperform a player who > has 40% more lung capacity. But that's true of everything on the > trombone. It isn't the person with the biggest face muscles who has the > best range and it isn't the person with the strongest arms who has the > fastest slide technique. > > Just my opinion, > Craig > ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 13:05:32 -0600 From: "Richard Johnson" To: "Trombones and related issues forum." Subject: Trombone related cds I'm currently listening to Message-ID: <016e01c1ac1c$96908540$71e296ac@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 1. Amalgamation......by Fred Wesley, the trombonist who played extensively with James Brown and Funkadelics/Parliament......an outstanding example of how to play trombone in the funk/pop genre. It has a nive version of "Careless Whisper" on it. 2. TNT............by Steve Turre. It features him with with three different saxophone players.....James Carter, Dewey Redman and David Sanchez. I like his previous cds better, but this is still a VERY solid effort by Downbeat's #1 ranked jazz trombonist. In addition, Steve Turre is a very nice person! I got to meet him once. **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 14:31:02 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: Physical size as related to big sound Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I've stayed out of this thread because, frankly, I don't really have much to add. At 11:47 AM -0800 2/2/02, Paul Hill wrote: In the book, "In Pursuit of a Dream: Proclamation", it is stated that Doug has a Forced Vital Capacity (FVC) of 6.2 liters. Although I have never met Doug, I recall that he is somewhere just under 6' tall and from his photos, he is on the thin side (good for you, Doug!). That is an incredible amount of air for *ANY* size person! I believe that the "foundation" of most physical activities is genetic (although much can be accomplished by sheer force of will and determination). Another factor is "development". A few years ago, while undergoing a pulmonary workup because I wanted to begin a new exercise regimen, I had my various lung capacities measured. It was part of the test, and they gave me the results. But all the numbers give you is something to brag about and that's quite pointless since it's what you DO with your tools which is more important than what you HAVE. I used to be 6' tall but now am a little shorter - I'm coming up to age 50 in a few years and the body is changing. I'm 170 pounds and I worked hard for that - when I graduated from high school I was 130! I have, by comparison to a number of well known bass trombone players, a "slight" frame - when I look down, I can still see my belt buckle. But I also eat a very low fat diet, and apart from a periodic Guinness, drink no alcohol. I love ice cream but always eat low-fat ice cream or frozen yogurt. I keep to a 50-70 gram of fat diet a day. I eat everything - I love all vegetables except beets (I think they taste like dirt) - and that includes brussel sprouts, broccoli, cabbage, cauliflower - and I eat a lot of carbohydrate and protein. I have a metabolism that burns fuel - people who know me know that I keep going pretty strong. But when I rest, I rest, and I sleep well, trying to get between 7-8 hours of sleep a night. My wife tells me that when I am asleep in bed, I could power a windmill with the deep and slow breathing I do without knowing about it. All of these things work together to make me who I am, and to converge to help give me the abilities I have on the trombone. I exercise 30 minutes a day, every day - usually on my Nordic Trak or Nordic Fit machines (they are not motorized). That way I get some upper body loosening as well as cardio-vascular benefit. I've never lifted weights (don't plan to) and while I jogged seriously when I lived in Baltimore many years ago (I used to run 10k races), I find the work on the Nordic Trak to be convenient and beneficial. I am not obsessive about exercise, it's just part of the day like eating breakfast. As to genetics, my father is just under 6 foot, my mother was 5 foot 4 ", and my two younger brothers are both a little taller than me, although one weighs about 20 pounds more than me and the other about 20 pounds less. The point of all this is that I've developed my lung capacity to be useful, not to create a number I can brag about. I don't use a breathing bag or an incentive spirometer, or ping pong balls in a tube. While those things can be helpful to some people, I don't use them in my teaching because I don't use them myself. I work on breathing naturally, conversationally, and easily, like you do when talking and as can be easily analyzed when you're lying down on your back in bed. Lungs fill from the bottom to the top, the tongue is down low (as in "yawning"). There is no "mechanism" involved in breathing for the trombone beyond what God has given me for "normal" breathing. I find that many players get tied up in knots by trying to "do something" when it comes to breathing for trombone playing. I see that as counterintuitive and problematic. My playing has developed to be a very relaxed, "easy" thing (not that playing is easy, but my approach is "easy"). I have no real problems with tension, have a comfortable left hand grip, a very relaxed right hand and arm slide motion, and a positive body attitude. It's hard to describe, you really have to see it to understand it. I've learned to circular breathe and "sniff" breathe which are additional tools in my trombone tool box. What tool I pull out for each situation varies from time to time and day to day. As I've gotten older, some things are harder, others are easier. But I would just like to encourage people to perhaps do a little less "thinking" about breathing and to do a lot more "natural process" playing. For those who find the external aids are helpful in helping visualize the process, then I say, "go ahead and use them." But it really is amazing how magnificent the breathing process is - it's something we do hundreds of times a day and never give it a thought. My goal is to make playing the trombone a natural thing which I don't have to think about. I like to think I succeed with that much or most of the time. I'm going to sign off for a few days with this post - I'm heading to New Orleans for the Super Bowl late this evening. I'll keep updating my Super Bowl Diary (http://www.yeodoug.com/pops_patriots.html) over the weekend - I'll be taking my iBook notebook computer with me - but I'm taking a break from email. I don't want to spend time on the computer when I can be enjoying the fun of the Super Bowl. Talk to you all next week. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 15:03:43 -0800 From: "Paul Hill" To: , "Trombones and related issues forum." Subject: Re: Physical size as related to big sound Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_001_0001_01C1ABFA.CE9F3AC0" Absolutely! As statedÊin "Song and Wind"...better to be a smaller person who can effectively utilize 80% lung capacity than a larger person who only utilizes 50%! It's all about efficiency (and I believe that I said so in my post). The type of physical activity that I described is applicable to physiques of every size...could be running, bicycling, swimming, etc. Genetics need to be assisted if we are to maximize our performance! Lots of practice will serve to strengthen the embouchure, resulting in a more efficient use of available wind but "time" in the practice room has never solved anything..."productive time"Êwill. If the goal is to maintain (or recover/develop) lung capacity, then aerobic activity is more productive than time in the practice room. However, this goes hand-in-glove with time spent in the practice room strengthening the embouchure - you need BOTH! (Lung capacity cannot be "grown"...we are born with a finite amount. It can, however, be developed, maintained and recovered through exercise. Playing a wind instrument probably maintainsÊcapacity from 60 - 80%Ê(depending upon age) but only the rigors of exercise will yieldÊ80 - 100%). I'm no lung surgeon andÊI did not stay at a Holiday Inn Express last night! (just aÊhas-been athlete who has studied this a bit!). Best Regards, Paul Paul Hill Bass Tbn Newport, RI ----- Original Message ----- From: Richard Johnson Sent: Saturday, February 02, 2002 10:53 AM To: Trombones and related issues forum. Subject: Re: Physical size as related to big sound I think that perhaps a larger lung capacity MAY be of benefit in playing. For example, Frank Sinantra spent hours swimming to increase his lung capacity. He also learned a great deal about phrasing from Tommy Dorsey, I think. However, at the risk of sounding simplistic, lots of practice and a smaller lung capacity will probably beat out little practice and a large lung capacity anyday. ****************************************************************************** Richard Zemry Johnson, Jr.ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, "There won't come a time when you won't have to practice anymore." J. J. Johnson ********************************************************************************* I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----- Original Message ----- From: Paul Hill To: Trombones and related issues forum. Sent: Saturday, February 02, 2002 1:47 PM Subject: Re: Physical size as related to big sound ...second atempt ----- Original Message ----- From: Paul Hill Sent: Friday, February 01, 2002 6:45 PM To: Tom.Shaddox@fnc.fujitsu.com; Trombones and related issues forum. Subject: Re: Physical size as related to big sound Hi Tom, In the book, "In Pursuit of a Dream: Proclamation", it is stated that Doug has a Forced Vital Capacity (FVC) of 6.2 liters. Although I have never met Doug, I recall that he is somewhere just under 6' tall and from his photos, he is on the thin side (good for you, Doug!). That is an incredible amount of air for *ANY* size person! I believe that the "foundation" of most physical activities is genetic (although much can be accomplished by sheer force of will andÊdetermination). Another factor is "development". For example, I ran the 400m from 7th grade through college and (through testing) know that I have frequently stressed my lungs close to "capacity" which has been measured at 6.5 liters (I'm 6' 2"/235 lbs). In other words, my lungs have been developed and utilized to their maximum capacity. I recall that Doug likes to ride his bicycle but don't know what else he might do for exercise. "Song and Wind" has made a profound impact on my wind "awareness".ÊI strive for "efficiency" over simple capacity - this is where Doug really shines! Another good use for those Long Tones! While I believe that this activity (plus genetics) is largely responsible for my lung capacity, Doug is still the more efficient "breather".ÊÊUnless one has lungs down to their kneecaps, I have found that simply playing my horn does not maintain my lung capacity optimally...I try to run every day but during the winter months, I do not use my lungs to capacity.ÊÊHowever, during the "warmer" months when I can run at full throttle, my lungpower is greatly enhanced - directly relating to increased FVC. It is interesting to read what several "vertically challenged" folks have done to overcome physical limitations and still push BIG horns...good stuff! Best Regards, Paul Paul Hill Bass Tbn Newport, RI ----- Original Message ----- From: Tom C. Shaddox Sent: Friday, February 01, 2002 11:00 AM To: Trombones and related issues forum. Subject: Re: Physical size as related to big sound Doug can speak directly to this, but I recall he mentioned a few years ago that his lung capacity is quite large. I've always wondered if this was strictly genetic or if thousands of hours in the practice room expanded his air sacks and/or trained his body to fill and expel deeper. Tom Shaddox, 9th chair tenor ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 02 Feb 2002 15:58:59 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: Physical size as related to big sound Message-ID: <4.3.2.7.2.20020202154951.01e6c3d0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 12:57 PM 2/2/2002 -0600, zemry@bellsouth.netwrote: Number 2 is a real problem of mine Craig! I tend to expend a lot of my air at my initial release. How do I prevent that? --snip-- > 2) Don't spend all the air on the first 1/10 second. Most passages aren't > marked FFFF with accent marks. Putting the bell up where the sound can get > through and playing in a more reserved manner does wonders. > One of the less discussed elements of the long tone regimen is the breath attack. To me, it is the very most important part of the long tone exercise. The breath attack forces you to begin the note with a very pliable embouchure. If you have to start notes with a hard tongue, it is bound to take more air. If the embouchure can be trained to vibrate as soon as you pass air across it, you will use less air when starting notes. Breath attacks are difficult, so I suspect people often leave out this element of the long tone practice. So 200 breath attacks a day (long tones or short tones, I don't care). For extra practice, you can sneak in a lot of breath attacks when you are rehearsing in ensembles. ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 14:58:20 -0800 From: "Joe L. Norcross" To: , "Trombones and related issues forum." Subject: Re: Physical size as related to big sound Message-ID: <006001c1ac3d$1d56e0e0$e2e3f7a5@computer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit One does not incease lung capasity, one deverlopes and better utalizes what he or she has Joe L. Norcross Tuba: Visalia CA Sequoia Winds Bass Trombone: Clovis CA Community Band Tuba and Announcer: Kingsburg CA City Band joetuba@lightspeed.net ----- Original Message ----- From: Richard Johnson To: Trombones and related issues forum. Sent: Saturday, February 02, 2002 10:50 AM Subject: Re: Physical size as related to big sound I think that perhaps a larger lung capacity MAY be of benefit in playing. For example, Frank Sinantra spent hours swimming to increase his lung capacity. He also learned a great deal about phrasing from Tommy Dorsey, I think. However, at the risk of sounding simplistic, lots of practice and a smaller lung capacity will probably beat out little practice and a large lung capacity anyday. **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----- Original Message ----- From: Paul Hill To: Trombones and related issues forum. Sent: Saturday, February 02, 2002 1:47 PM Subject: Re: Physical size as related to big sound ...second atempt ----- Original Message ----- From: Paul Hill Sent: Friday, February 01, 2002 6:45 PM To: Tom.Shaddox@fnc.fujitsu.com; Trombones and related issues forum. Subject: Re: Physical size as related to big sound Hi Tom, In the book, "In Pursuit of a Dream: Proclamation", it is stated that Doug has a Forced Vital Capacity (FVC) of 6.2 liters. Although I have never met Doug, I recall that he is somewhere just under 6' tall and from his photos, he is on the thin side (good for you, Doug!). That is an incredible amount of air for *ANY* size person! I believe that the "foundation" of most physical activities is genetic (although much can be accomplished by sheer force of will and determination). Another factor is "development". For example, I ran the 400m from 7th grade through college and (through testing) know that I have frequently stressed my lungs close to "capacity" which has been measured at 6.5 liters (I'm 6' 2"/235 lbs). In other words, my lungs have been developed and utilized to their maximum capacity. I recall that Doug likes to ride his bicycle but don't know what else he might do for exercise. "Song and Wind" has made a profound impact on my wind "awareness". I strive for "efficiency" over simple capacity - this is where Doug really shines! Another good use for those Long Tones! While I believe that this activity (plus genetics) is largely responsible for my lung capacity, Doug is still the more efficient "breather". Unless one has lungs down to their kneecaps, I have found that simply playing my horn does not maintain my lung capacity optimally...I try to run every day but during the winter months, I do not use my lungs to capacity. However, during the "warmer" months when I can run at full throttle, my lungpower is greatly enhanced - directly relating to increased FVC. It is interesting to read what several "vertically challenged" folks have done to overcome physical limitations and still push BIG horns...good stuff! Best Regards, Paul Paul Hill Bass Tbn Newport, RI ----- Original Message ----- From: Tom C. Shaddox Sent: Friday, February 01, 2002 11:00 AM To: Trombones and related issues forum. Subject: Re: Physical size as related to big sound Doug can speak directly to this, but I recall he mentioned a few years ago that his lung capacity is quite large. I've always wondered if this was strictly genetic or if thousands of hours in the practice room expanded his air sacks and/or trained his body to fill and expel deeper. Tom Shaddox, 9th chair tenor ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 18:06:00 -0500 From: richardt@LEE.ARMY.MIL To: Tom.Shaddox@fnc.fujitsu.com, trombone-l@po.missouri.edu Subject: RE: Physical size as related to big sound Message-ID: <81F62454EA21B94EA95517180D7303730243F813@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1AC3E.2DE88ED0" At some point lung capacity must be limiting, but I've always felt that people who played longer and louder phrases than I simply used air more efficiently. Fink says much the same thing in his book. I've noticed, too, thankfully some years ago, that a little baby with a lung the size of your thumb can crack bricks and crumble concrete with their cry. "Mommy, wake up, the baby's crying again!" Bless you, whoever invented breastfeeding, one thing I DIDN't have to do at 3:00 am.Ê However, the real question I have is when the lungs are as big as they'll get. Did Doug have his 6.2 liters only as a 20 year old, or was it in sixth grade, or maybe even earlier? There might be some implications for when you start a kid on bass trombone (though they start kids on tuba pretty early). I know I'm on the downhill slide, fortunately I haven't abused my lungs with smoking and maybe with regular running I too can slow the effects of aging somewhat, but they come to us all.Ê -----Original Message----- From: Tom C. Shaddox [mailto:Tom.Shaddox@fnc.fujitsu.com] Sent: Friday, February 01, 2002 1:56 PM To: trombone-l@po.missouri.edu Subject: Re: Physical size as related to big sound Doug can speak directly to this, but I recall he mentioned a few years ago that his lung capacity is quite large. I've always wondered if this was strictly genetic or if thousands of hours in the practice room expanded his air sacks and/or trained his body to fill and expel deeper. Tom Shaddox, 9th chair tenor ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 18:08:16 -0500 From: richardt@LEE.ARMY.MIL Cc: trombone-l@po.missouri.edu Subject: RE: Bass Trombone opening in Calgary (long) Message-ID: <81F62454EA21B94EA95517180D7303730243F814@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1AC3E.7EEA2AF0" Also be aware, Canada has some screwy rules on airguns, and if they are one of your hobbies you won't be able to take them with, nor buy most types there. (musicians who shoot should probably have airguns so as to preserve hearing; also they are cheap to shoot and hardly any musicians make the big bucks!)Ê -----Original Message----- From: James Scott [mailto:jscot@ucalgary.ca] Sent: Friday, February 01, 2002 7:03 PM To: Lisa & Patrick Bates Cc: Trombones and related issues forum. Subject: Re: Bass Trombone opening in Calgary (long) Patrick - I'm not sure that this is the forum for going into all of the problems that seem to be plaguing Canadian Orchestras, but I'll try to give a quick answer. 1. Type of support - the government has turned over support of the arts to the private sector, after years of supporting them through tax revenue. The old system was more like Europe - now more like USA. Unfortunately, they didn't change the tax code to give a big enough deduction to contributors, and they did it almost overnight, with no chance to change giving habits of the public. 2. Old managements are without fundraising skills, since they used to raise money by siting down with government officials over scotch and cigars. They aren't experienced at true fundraising. 3. Boards have changed from entrepreneurs and "money people" to middle management money crunchers who are used to trying to get more from less rather than having a long range vision. (ie: "Why do we need all those violins - couldn't we amplify a few less? - instead of "How can we expand our string section?") Our situation is very similar to Edmonton, except they may have found some bargaining power around it. Winnipeg was also locked out (over Christmas!), and Vancouver and Toronto have also taken drastic cuts this year. Anyway, that's my best assesment of the situation - sorry it's not as short as I promised! If you're a Canadian list member, write your goverment officials, asking for changes to the tax code to encourage giving to the arts! Jim Scott Lisa & Patrick Bates wrote: > Just curious, since you're closer than the rest of us to Edmonton, are the > problems similar to what I've been hearing on CBC about Edmonton? What's > the scoop on both situations? > > Patrick Bates > Bass bone > Chatham Concert Band & > Primitive Roots Jazz Band > > From: James Scott > Subject: Bass Trombone opening in Calgary (long) > > . We were locked out by our management/board this season, and to be honest > with everyone, > > there is still some tension and some resentment from the players towards > > the office. They have a long way to go in rebuilding the organization, > > but this has been, in the recent past, one of the most promising > > orchestral situations in Canada, and just may become that again with the > > right leadership. I tell you all of this, so that anyone applying will > > have an accurate assesment of the situation here (at least as I see it!) > > so they can factor this into the decision to come or not. We are, of > > course, hoping for a large turnout of quality players. Should a suitable > > candidate not be found at those auditions, international auditions may > > be scheduled at a later date. > > > > I am going to attach the list to this message - please don't take > > details of dates or repertoire from this source to be absolute - > > whatever is communicated from the front office will be the "Gold > > Standard". > > > > Jim Scott > > Principal Trombone > > Calgary Philharmonic Orchestra > > ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 22:34:35 -0500 From: sabutin To: trombone-l@po.missouri.edu Subject: Re: Ending Notes Message-ID: Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1199415214==_ma============" Hi all... A few thoughts about ending notes: First of all, this is the LEAST generally examined facet of trombone playing. (Except maybe slide technique and tongue position in altissimo ranges.) Here is part of an article I wrote for the Online Trombone Journal regarding the basic Carmine Caruso exercise, The Six Notes. To set the excerpt up...Carmine's Six Notes , although he gave them in many forms to many students, were basically long toners played as a half note, another half note, and a whole note. The first half note was attacked w/a "T" attack, the second with a "D" attack, and the whole note was started w/a breath attack. He sometimes referred to them as "Tah Dah Haaaah". here's the excerpt: ________________________________________________________________________________ The "Hah" attack is the key to this whole exercise, in my opinion. There are many possible ways to stop a note: slamming the tongue up on the roof of the mouth; cutting off the breath somewhere in the throat; pressing the lips together so they will no longer vibrate; but the simplest and best is to just stop blowing. When you do so, the lips (if they are in good balance) will simply stop vibrating and come to rest in the perfect position to begin the next note. Therefore, just stop blowing at the end of the second half note. If you do so, and if you have achieved a proper balance between your lips, you will feel a very subtle closing. It will not feel exactly like the sound of the letter "P" at the end of a word, but more like the beginning of that sound. Whisper the word "pop" as quietly as you can. Now do it again, and this time make sure you don't open your lips and let air escape after you sound the second "p." That's an approximation of the feeling you should be looking for when you end the second half note of this exercise and prepare to execute the "Hah" attack. When the lips are perfectly balanced, the slightest hint of air will set them in motion. That same non-percussive "p" feeling should occur when you end the last whole note of each pitch. ______________________________________________________________________________ I have found that when I achieve this balance at the end of notes during performance as well as practice, I am playing at my absolute best. I have had martial arts teachers tell me the exact same thing regarding the feet...when you finish a motion you should land in perfect balance to begin the next motion. Look for it in practice; then look for it in performance. When you find it, you are in balance. (Coincidentally, it is very musical.) Now a story from my method book, and then I'm through w/this topic. __________________________________________________________________________ Ê The great jazz saxophonist John Coltrane was infamous for taking very long solos. He would sometimes explore one facet of his horn or the music for 5, 10, or even 15 minutes. Miles Davis, with whose great sextet Coltrane worked for a long time, was equally famous for the sparseness and economy of his playing, and for the way he expressed himself verbally as well. One day Coltrane was complaining, saying "I don't know; once I get started playing, I just can't seem to stop" and Miles growlingly replied (Miles had a very rough and gravelly voice) "Just take the damn horn outta your mouth !!!" ____________________________________________________________________________ Corollary...just stop blowing. Later... S. ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 21:44:47 -0600 From: "s76lewis" To: , "Trombones and related issues forum." Subject: Re: Physical size as related to big sound Message-ID: <004701c1ac65$22701650$6501a8c0@sandy> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Craig, For the benefit of weekend warriors, would you please give an example of breath attacks. I assume you mean play at soft volume. I have a part with 8 counts of low a-flats, soft volume and it's hard. Kind of John Williams/Planets bass line. The tubas are having a hard time too. ----- Original Message ----- From: "Craig Parmerlee" To: "Trombones and related issues forum." Sent: Saturday, February 02, 2002 2:58 PM Subject: Re: Physical size as related to big sound > At 12:57 PM 2/2/2002 -0600, zemry@bellsouth.netwrote: > >Number 2 is a real problem of mine Craig! I tend to expend a lot of my air > >at my initial release. How do I prevent that? > >--snip-- > > > 2) Don't spend all the air on the first 1/10 second. Most passages aren't > > > marked FFFF with accent marks. Putting the bell up where the sound can > >get > > > through and playing in a more reserved manner does wonders. > > > > > One of the less discussed elements of the long tone regimen is the breath > attack. To me, it is the very most important part of the long tone > exercise. The breath attack forces you to begin the note with a very > pliable embouchure. If you have to start notes with a hard tongue, it is > bound to take more air. If the embouchure can be trained to vibrate as > soon as you pass air across it, you will use less air when starting > notes. Breath attacks are difficult, so I suspect people often leave out > this element of the long tone practice. > > So 200 breath attacks a day (long tones or short tones, I don't care). For > extra practice, you can sneak in a lot of breath attacks when you are > rehearsing in ensembles. > ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 19:53:38 -0800 From: "Elisabeth Frederick" To: "Trombones and related issues forum." Subject: Four Freshman w/Brass Pete Rugolo Message-ID: <000e01c1ac66$5d7d02c0$d972fb3f@d9h2z9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hello Everyone.... I just found a gem in the local second hand store. I'm listening to it right now. Its the Four Freshman with a trombone chior directed and arranged by Pete Rugolo. Its very nice....the back of the album mentions that there are 10 trombones....but not who. Its also funny, theres a trumpet solo....that dosen't go with a trombone chior. Well, thats my high for the day....very nice trombone listening.... Liz ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sat, 2 Feb 2002 23:33:08 -0600 From: "Hal Starkey" To: "Trombone List" Subject: Re: Four Freshman w/Brass Pete Rugolo Message-ID: <00e701c1ac74$43596380$b1e81d41@KSCABLE.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Liz- You didn't say what format your "gem" was in but I suspect it's an LP put out by Capitol Records quite a few years ago. I have this record in my collection, but have not listened to it in years. I'm sure it is a great recording. The cover of it does mention a trombone choir. The title of the album is "Voices and Brass" though. I guess that gave them the liberty to use any brass instrument they desired. In fact, the notes on the back says "...vocal stylings with the full, rich backings of a brass choir that features a total of ten trombones...." The record label itself says "Orchestra conducted by Pete Rugolo." Another Four Freshmen album from around that same time was "Four Freshman and 5 Trombones." The arrangements were also by Pete Rugolo. The trombonists on it were Frank Rosolino, Harry Betts, Milt Bernhart, Tommy Pederson and George Roberts. What a lineup! I highly recommend this album. And it has been released on a CD that contains the album "Four Freshmen and 5 Trumpets." On the trumpets portion of the album I'd swear I can hear a trombone. There are even some trombone solos. It could be a valve trombone. Some trumpet players try to get away with that from time to time. There was also a "5 Saxophones" album. I don't know any info about it. Hal ----- Original Message ----- From: "Elisabeth Frederick" Subject: Four Freshman w/Brass Pete Rugolo > Hello Everyone.... > > I just found a gem in the local second hand store. I'm listening to it right > now. > > Its the Four Freshman with a trombone chior directed and arranged by Pete > Rugolo. Its very nice....the back of the album mentions that there are 10 > trombones....but not who. Its also funny, theres a trumpet solo....that > dosen't go with a trombone chior. > > Well, thats my high for the day....very nice trombone listening.... > > Liz > > ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 03 Feb 2002 00:46:34 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Breath attacks Message-ID: <4.3.2.7.2.20020203003824.01efacb0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:44 PM 2/2/2002 -0600, s76lewis wrote: Craig, For the benefit of weekend warriors, would you please give an example of breath attacks. I assume you mean play at soft volume. I have a part with 8 counts of low a-flats, soft volume and it's hard. Kind of John Williams/Planets bass line. The tubas are having a hard time too. Nothing tricky here. Simply leave the tongue at the bottom of the mouth. Don't move it when you start the note. Attack with only the force of your diaphragm pushing. That's a breath attack. I believe it is an extremely useful exercise to force the embouchure to vibrate efficiently. In other words, any note can be started if you let a lot of pressure build up behind your tongue before attacking. With the breath attack, you are using low pressure air against the embouchure. Get the embouchure to vibrate that way and you will be using air more efficiently, guaranteed. Besides being a good exercise, there are some times where I find the breath attack useful in performance. Let's say you miss an entrance for a whole note. You don't want to lay out the whole measure. A breath attack allows you to sneak in under the radar. There are a lot of jazzy inflections you can do when you don't need the tongue to start a note too. For example, a "wah" attack can be done to sound almost like a plunger. Play around with it a little. There are lots of possibilities. Craig ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 09:47:57 +0000 From: Nigel Horne To: tbonecentral@yahoogroups.com, trombone-l@po.missouri.edu Cc: alt.trombone@smsltd.demon.co.uk Subject: Trombone vacancies for January 2002 Message-ID: <02020309475701.15538@smsltd.demon.co.uk> Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Content-Transfer-Encoding: 8bit This list is periodically posted to the following mailing lists: Trombone Tbonecentral to the following newsgroups: alt.music.trombone For the most up to date list and for the contact details for each vacancy, visit http://www.bandsman.co.uk. To advertise a vacancy here fill out the form on-line at http://www.bandsman.co.uk/vform.htm Vacancies will be deleted after 3 months and are listed in order of Country, County/State/Province and Town. Surfers Paradise Brass Band (updated 14/1/02), Gold Coast, QUEENSLAND, Australia Titan Hutt City Brass (updated 15/1/02), Lower Hutt, WELLINGTON, New Zealand Sdertrns Brass (updated 23/12/01), Stockholm, Sweden Marshfield Brass Band (updated 5/10/01), Bristol, AVON, United Kingdom Dodington Parish Band (updated 20/1/02), Yate, AVON, United Kingdom Pangbourne and District Silver Band (updated 9/1/02), Reading, BERKSHIRE, United Kingdom Histon and Impington Brass Band (updated 31/1/02), Histon, CAMBRIDGESHIRE, United Kingdom Hazel Grove Brass Band (updated 23/11/01), Stockport, CHESHIRE, United Kingdom Liskeard Silver Band (updated 12/12/01), Liskeard, CORNWALL, United Kingdom Burbage Band Buxton (updated 3/10/01), Buxton, DERBYSHIRE, United Kingdom Torbay Brass (updated 10/10/01), Torquay, DEVON, United Kingdom Sacriston Colliery Silver Band (updated 5/1/02), Durham, COUNTY DURHAM, United Kingdom Bearpark and Esh Colliery Band (updated 5/1/02), Esh Winning, COUNTY DURHAM, United Kingdom Hangleton Band (updated 13/11/01), Hove, EAST SUSSEX, United Kingdom Aunt Bessies East Yorkshire Brass (updated 12/10/01), Driffield, EAST YORKSHIRE, United Kingdom Fullwell Brass Band (updated 12/12/01), Barkingside, ESSEX, United Kingdom Hatfields Of Colchester Band (updated 16/11/01), Colchester, ESSEX, United Kingdom Grays Town Band (updated 29/12/01), Grays, ESSEX, United Kingdom Rayleigh Brass (updated 18/1/02), Rayleigh, ESSEX, United Kingdom Basingstoke Silver Band (updated 8/11/01), Basingstoke, HAMPSHIRE, United Kingdom Hannington Silver Band (updated 22/10/01), Basingstoke, HAMPSHIRE, United Kingdom Portsmouth City Band (updated 11/1/02), Portsmouth, HAMPSHIRE, United Kingdom Ocean Brass (updated 17/1/02), Southampton, HAMPSHIRE, United Kingdom Potters Bar Town Band (updated 11/1/02), Potters Bar, HERTFORDSHIRE, United Kingdom City Of Rochester Brass (updated 23/12/01), Rochester, KENT, United Kingdom Blackburn and Darwen Band (updated 19/10/01), Blackburn, LANCASHIRE, United Kingdom Oldham Brass (updated 11/10/01), Oldham, LANCASHIRE, United Kingdom Poulton Le Fylde Silver Band (updated 28/12/01), Poulton Le Fylde, LANCASHIRE, United Kingdom Whitworth Vale and Healey Band (updated 4/12/01), Rochdale, LANCASHIRE, United Kingdom Standish Brass Band (updated 15/12/01), Standish, LANCASHIRE, United Kingdom Kibworth Band (updated 28/12/01), Kibworth, LEICESTERSHIRE, United Kingdom Crystal Palace Band (updated 4/10/01), LONDON, United Kingdom Capital Concert Brass (updated 29/1/02), Greenford, LONDON, United Kingdom Hanwell Band (updated 19/10/01), Hanwell, LONDON, United Kingdom Eccles Borough Silver Band (updated 30/10/01), Eccles, MANCHESTER, United Kingdom Flixton Band (updated 15/1/02), Flixton, MANCHESTER, United Kingdom Sale Brass (updated 15/10/01), Sale, MANCHESTER, United Kingdom Staines Brass (updated 28/1/02), Staines, MIDDLESEX, United Kingdom Brackley and District Silver Band (updated 10/12/01), Brackley, NORTHAMPTONSHIRE, United Kingdom Daventry Brass (updated 4/1/02), Daventry, NORTHAMPTONSHIRE, United Kingdom Ashgrove Brass Band (updated 18/10/01), Newtownabbey, NORTHERN IRELAND, United Kingdom Ashington Colliery Band (updated 14/1/02), Ashington, NORTHUMBERLAND, United Kingdom Carlton Brass (updated 14/12/01), Nottingham, NOTTINGHAMSHIRE, United Kingdom Wem Jubilee Band (updated 29/1/02), Wem, SHROPSHIRE, United Kingdom Tongwynlais Temperance Silver Band (updated 20/1/02), Tongwynlais, SOUTH GLAMORGAN, United Kingdom Oughtibridge Brass Band (updated 11/1/02), Sheffield, SOUTH YORKSHIRE, United Kingdom Haverhill Silver Band (updated 24/1/02), Haverhill, SUFFOLK, United Kingdom The Wrentham Band (updated 10/12/01), Lowestoft, SUFFOLK, United Kingdom Cobham Band (updated 2/1/02), Cobham, SURREY, United Kingdom Woking Brass Band (updated 10/12/01), Woking, SURREY, United Kingdom City Of Birmingham Brass Band (updated 29/11/01), Birmingham, WEST MIDLANDS, United Kingdom Phoenix West Midlands Brass (updated 6/12/01), Old Hill, WEST MIDLANDS, United Kingdom Shirley Band (updated 11/1/02), Shirley, WEST MIDLANDS, United Kingdom Huddersfield Brass (updated 8/11/01), Huddersfield, WEST YORKSHIRE, United Kingdom Yorkshire Traction and Honley Silver Band (updated 16/1/02), Huddersfield, WEST YORKSHIRE, United Kingdom Stanley Newmarket Colliery Band (updated 22/12/01), Leeds, WEST YORKSHIRE, United Kingdom DUT Yorkshire Imperial Rothwell Band (updated 10/10/01), Rothwell, WEST YORKSHIRE, United Kingdom Silsden Town Band (updated 28/1/02), Silsden, WEST YORKSHIRE, United Kingdom Lofthouse Brass Band (updated 6/11/01), Wakefield, WEST YORKSHIRE, United Kingdom Wetherby Silver Band (updated 13/11/01), Wetherby, WEST YORKSHIRE, United Kingdom Swindon Pegasus Brass (updated 18/1/02), Swindon, WILTSHIRE, United Kingdom West Mercia Constabulary Band (updated 4/1/02), Worcester, WORCESTERSHIRE, United Kingdom Brass Band Northwest (updated 16/1/02), Bellevue, WA, United States -- Nigel Horne. Arranger, Composer, Typesetter. Owner of the brass band group of the Internet. ICQ#20252325 njh@bandsman.co.uk http://www.bandsman.co.uk/music.htm ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 10:09:56 +0000 From: Nigel Horne To: tubaeuph@yahoogroups.com, tbonecentral@yahoogroups.com, trombone-l@po.missouri.edu Subject: Brass band events for Febuary 2002 Message-ID: <02020310095604.15538@smsltd.demon.co.uk> Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Content-Transfer-Encoding: 8bit The following events have been advertised on the brass band portal http://www.bandsman.co.uk/cgi-bin/events/db.cgi?db=events Date and Time: 02-Feb-2002 at 19:30 Band: Launceston Town E-mail: andrew@pitt21.freeserve.co.uk URL: http://www.launcestontownband.co.uk Event: Celebrity Concert featuring Euphonium Ace, David Childs, (BBC Brass Musician of the Year 2000). Further details and tickets (£6.00)from Andrew Pitt on 01288 354993. andrew@pitt21.freeserve.co.uk Central Methodist Church, Launceston, N. Cornwall United Kingdom Date and Time: 02-Feb-2002 at 7:30 Band: Cuyahoga Valley Brass Band E-mail: mlathrop@neo.rr.com URL: http://cvbb.com/ Event: Patrick Sheridan in concert with the Cuyahoga Valley Brass Band First United Methodist Church, Akron, Ohio United States Date and Time: 23-Feb-2002 at 19:30 Band: Central Band of the Royal British Legion Scotland E-mail: JMFnG@hotmail.com Event: A charity concert in aid of the restoration of St Margaret's Church , programme likely to feature selections from Vaughn Williams, Holst, and John William's Music from the Movies.``Tickets (£5) and further information from Jacqueline Fraser at the email address above.``The Central Band is a military style band with woodwind and brass sections: comprising ex-military, and civilian players. St Andrew's & St George's Church, George St, Edinburgh United Kingdom -- Nigel Horne. Arranger, Composer, Typesetter. Owner of the brass band group of the Internet. ICQ#20252325 njh@bandsman.co.uk http://www.bandsman.co.uk/music.htm ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 12:28:04 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: weather Message-ID: <008201c1acae$9f22ceb0$b191fc3e@homedmpbgvaomg> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Richard Johnson" > Trombone content......perhaps if I promise not to practice today, she'll > make it! That's negative trombone content. Adrian ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 06:00:36 -0800 From: "Chris Waage" To: Subject: Hamilton Trombone Stand Parts Message-ID: <200202030600.AA6160694@trombone.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Does anyone know where to order replacement parts for Hamilton trombone stands? I just picked up a stand base, and it's missing the black plastic part that supports the bell and the rubber stop that covers the top of the tube. Chris ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 09:10:19 -0500 From: "Denver D. Seifried" To: "Trombone - List" Subject: Re:Four Freshmen w/Brass Pete Rugolo Message-ID: <000b01c1acbc$839fed90$486b5acf@dseifried> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit The trombone player heard on the 4Fresh. trumpet album was 4Fresh. leader and Columbus, IN native, Bob Flanigan, who played string bass and trombone with the group, until just a few years ago. Bob still lives in Las Vegas and manages the New Four Freshmen. Bob also sang the lead voice in the original Four Freshmen. The trumpet player heard on the trombone portion of the album, was probably Ken Albers, who was one of many trumpet players who was in the group, throughout its existence. When I was a young, impressionable high school student, back in the late 1950's, Bob Flanigan, along with George Roberts, were two reasons I decided to switch from the tuba to the trombone. In his younger days, Bob was a pretty flashy, sassy trombone player and his playing really put the "zing" into the early Four Freshmen. Hope all of you list members had a chance to catch Bob's trombone replacement in the Four Freshmen, Kevin Stout. Kevin is no longer with the group; however, his trombone playing, with the group is very memorable. What an awesome player he was, and he had high chops that just wouldn't quit! What was really amazing, was, he would do this great playing, most of the time, picking the horn off a trombone stand---cold---as he was the guitar player for the group. For the younger players on the list who have never heard either the original Four Freshmen or the New Four Freshmen, try to get hold of some of the old vinyl or newer CD's of this group. There was some great trombone playing going on! Denny Seifried Bass Trombone-Springfield (OH) Symphony & Dayton Jazz Orchestra Adjunct Trombone-Wittenberg Univ. Dept. of Music ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 09:57:55 -0600 From: Wayne Dyess To: s76lewis@bellsouth.net Cc: Trombone-L: Subject: Re: Physical size as related to big sound Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 9:44 PM -0600 2/2/02, s76lewis wrote: Craig, For the benefit of weekend warriors, would you please give an example of breath attacks. I assume you mean play at soft volume. I have a part with 8 counts of low a-flats, soft volume and it's hard. Kind of John Williams/Planets bass line. The tubas are having a hard time too. I ain't Craig, but I'll tell you what has worked best for ME. Try using the consonant "n" for the beginning of your notes that are a problem for you. I have always and forever had difficulties with soft attacks. "Nah" works!!! I have more trouble when trying the no attack at all approach. Sometimes it works; sometimes it doesn't. The "nah" works for me EVERY time. I like things I can count on. --Wayne -- ========================= Dr. J. Wayne Dyess, Professor of Music Lamar University Music Department P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 10:08:01 -0600 From: "Richard Johnson" To: , "Trombones and related issues forum." Subject: Re: weather Message-ID: <004001c1accc$f4a144c0$28fb5141@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hmmm.......will I have to post two positive trombone contents to go one up on my negative? **************************************************************************** ** Richard Zemry Johnson, Jr. "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, , "There won't come a time when you won't have to practice anymore." J. J. Johnson **************************************************************************** ***** I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----- Original Message ----- From: "Adrian Drover" To: "Trombones and related issues forum." Sent: Sunday, February 03, 2002 6:28 AM Subject: Re: weather > > From: "Richard Johnson" > > > Trombone content......perhaps if I promise not to practice today, she'll > > make it! > > That's negative trombone content. > > Adrian > > > ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 03 Feb 2002 11:21:48 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: Physical size as related to big sound Message-ID: <4.3.2.7.2.20020203111730.01e9c690@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:57 AM 2/3/2002 -0600, Wayne Dyess wrote: At 9:44 PM -0600 2/2/02, s76lewis wrote: Craig, For the benefit of weekend warriors, would you please give an example of breath attacks. I assume you mean play at soft volume. I have a part with 8 counts of low a-flats, soft volume and it's hard. Kind of John Williams/Planets bass line. The tubas are having a hard time too. I ain't Craig, but I'll tell you what has worked best for ME. Try using the consonant "n" for the beginning of your notes that are a problem for you. I have always and forever had difficulties with soft attacks. "Nah" works!!! I have more trouble when trying the no attack at all approach. Sometimes it works; sometimes it doesn't. The "nah" works for me EVERY time. I like things I can count on. --Wayne I didn't mean to imply that I can do the breath attack so reliably that it is good for lots of performance situations. I look at it mainly as a training exercise. It is hard to do and can be frustrating. But as one gets better and better at it, that tells me the embouchure is becoming more and more responsive, and that is a good thing. I do unconventional articulations including breath attacks all the time during improvisation, but if a note doesn't come out quite right there, that is all part of the improvisation. I don't think I'd ever use it on a symphonic piece or solo, for example. Too risky for my blood. Later, CP ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 10:25:16 -0600 From: "Brian Frederiksen" To: "Trombones and related issues forum." Subject: Re: Physical size as related to big sound Message-ID: <00d701c1accf$61e57540$12ccfea9@desk> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_00D4_01C1AC9D.1262EAC0" Like Doug, I have been monitoring this thread and would like to add my two cents. Unlike Doug, I'm not at the Super Bowl and am rooting for the Rams. From a physiolocgical aspect, all of us are different which will affect our vital capacity. There is a formula that is used to compute vital capacity for all of us that the American Thorasic Society came out with. Believe me, you do not want to use the formula as it is complex. Instead (if you can stand a bit of commercialism) go to my web page www.windsongpress.com and go to "Breathing Device Directions" and you will see charts for both males and females. This will give the estimate but there are variences. First off, as we are healthy musicians, it is common that we can exceed these numbers by maybe 10-25% (this has something to do with the elasticity of the lung tissue). Next, it does not take in account things such as weight, smoking and physical things such as porportion of torso and legs. All these (plus many more) will affect vital capacity. Now the bad news - as we get older, vital capacity goes down. Worse news - it goes down further for women than men. There is an easy solution that Mr Jacobs always told me - "Brian, don't get old, you won't like it." If someone can figure out how to do this, let's hear about it. Shallow breathers are all over the place and I saw Mr Jacobs work with hundreds of them. While we are younger, we can get away with it more than in later years. Many players would make the trek to Chicago to work with Mr Jacobs with their careers in jeopardy. As they got older and capacity went down, if they were shallow breathers problems would occur. This is when Mr Jacobs would take them away from the instrument and work with breathing. He would do a simple vital capacity test then do some excercising on some of the breathing toys to get an actual breath upto their projected capacity. All of that is another story. Someone brought up the subject of a breath attack and there was an answer of keep the tounge low. This is correct but instead of controlling the tounge as a muscle, just use the sylable "Hooo" - same results but easier to control. Brian Frederiksen WindSong Press PO Box 146 Gurnee, Illinois 60031 USA Phone 847 223-4586 Fax 847 223-4580 brianf@windsongpress.com www.windsongpress.com ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 10:19:37 -0600 From: Wayne Dyess To: TRBNTERRY@webtv.net Cc: Trombone-L: Subject: Re: Army Blues Jazz Ensemble & P.A. Reinforcement Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" My tombstone shall be inscribed "The worst thing that ever happened to music was electricity". I coined that expression and I'll proclaim it to the very end. Mike Terry We played a gig last night in a large venue -- civic center... and our symphony ball fund-raiser. I hired the best sound man in the area who is a student of mine. He's always been dependable, has a good set of ears, and his dad helps him (also a good musician). Without the P.A. help, we'd have been "lost" in that room. If there hadn't been another band, I might have tried Sam Burtis' suggestion of just putting mics on the rhythm section and soloists. But we did it with one mic for every 2 players. That worked very, very well. And with a musician at the board, the balance and tone of the band was great. But I'd still rather NOT have to deal with all that stuff. --Wayne -- ========================= Dr. J. Wayne Dyess, Professor of Music Lamar University Music Department P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu ----__ListProc__NextPart____TROMBONE-L__digest_2289 Date: Sun, 3 Feb 2002 11:27:27 -0500 (EST) From: "Dr. Carole Nowicke, Applied Health Science" To: "Trombones and related issues forum." Subject: Four Freshman w/Brass Pete Rugolo (fwd) Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Elisabeth Frederick posted: >trombones....but not who. Its also funny, theres a trumpet solo....that >dosen't go with a trombone chior. Trumpet player might have been one of the Four Freshmen depending upon the date of the recording. A Bill Adam student I've done an oral history with recently was telling me lurid stories of early 1950's child labor law violations in that at age 12 he was playing in dance bands in the Warsaw, IN area with (former) Four Freshmen members Bob Wagner and Hal (that was the trumpet player) Kratch/Curtis (my subject is having a mental block and I'm waiting for him to return the transcription before double-checking names). He said he didn't know who these guys were at the time, they didn't talk about their previous careers. I'm imagining this kid out with the dance band and also taking trumpet lessons with Louis Ecker and Larry Wiseman the Elder. He said he'd run off to his father's drugstore and bring Louis and Larry back coffee and more smokes and they'd give him another lesson... My subject was also posing with instruments for school band publications. Carole Nowicke cnowicke@indiana.edu ----__ListProc__NextPart____TROMBONE-L__digest_2289--