TROMBONE-L Digest 2294 Topics covered in this issue include: 1) Re: Trombone solo with band by aceftd@aztec.asu.edu (FRANK T. DARMIENTO) 2) Relacquering/Slide Tubes by "Chris McClure" 3) Re: having trouble in upper register by Craig Parmerlee 4) Re: Sam Burtis and Carambola by "Corliss" 5) Re: Trombone solo with band by BJMCHAFFIE@aol.com 6) diminished chord by DavGra@aol.com 7) Re: Relacquering/Slide Tubes by "Daniel Pliskin" 8) Rotary valves by Bruce Guttman 9) Fwd: More great news by TboneGib@aol.com 10) Re: Bass Trombone/Tenor Trombone Doubling Advice by 11) Jon Etterbeek Contact Information by "Michael Clayville" 12) RE: Diminished Cord Part Writing by Steve Gamble 13) Re: teeth problems by BJMCHAFFIE@aol.com 14) RE: diminished chord by "Marple, Richard L COL BAMC-Ft Sam Houston" 15) anybody with a valve trombone for sale? by Peter Collins & Sara Wilbur 16) Pressure Training Adapter by "Chuck De Paolo" 17) Re: Pressure Training Adapter by Brian French 18) Re: Pressure Training Adapter by Earl Needham 19) RE: Pressure Training Adapter by "Gary Greenhoe" 20) RE: anybody with a valve trombone for sale? by "Gary Greenhoe" 21) Bach 42G for sale by TboneGib@aol.com 22) Finally. by Anders.Carlsson@gfs.gu.se (Anders Carlsson) 23) Re: teeth problems by ROSEBONE@aol.com 24) Re: teeth problems by Roger Hecht 25) I'm sad, I need diagrams! by "keith.marr" 26) RE: I'm sad, I need diagrams! by "Gary Greenhoe" 27) It's Over Now by Craig Parmerlee 28) RE: It's Over Now by "Jeff Albert" 29) Site problem by "Hector Bourg Jr." 30) Re: diminished chord by "Elisabeth Frederick" 31) RE: It's Over Now by Craig Parmerlee 32) Re: Perfect Pitch Study by "Rod Ellard" 33) Eugene Ormandy Quotes by "Tom G Tyson" 34) Re: Perfect Pitch Study by john.mcvey@cablespeed.com 35) Re: Perfect Pitch Study by "keith.marr" ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 11:50:24 -0700 (MST) From: aceftd@aztec.asu.edu (FRANK T. DARMIENTO) To: trombone-l@po.missouri.edu Subject: Re: Trombone solo with band Message-ID: <200202071850.LAA24468@aztec2.asu.edu> >Once again I call on the expertise of the list to help me out. > >I have a senior high school student who has a great upper register, but >kind of a nasally middle and lower register. I know, I know (and she does >too) lots of long tones. That ain't gonna happen. She is not gonna >practice to improve, she is going to practice to play. Like, she plays >lead in the jazz band and sounds great. Like I said, geat upper register >and a musical player. > >Anyhoo, her band features the best players each year in the final >concert. She is looking for a jazzy upper register solo with wind >ensemble. Don't even say Morceau or Blue Bells, ain't gonna happen. The >only piece I know of is "Reflective Mood" by Sammy Nestico, but it is >kind of dull. > >Any ideas, my friends. > >Jim Prindle, San Diego I think "Trombone Concepts" by Mark McDunne & Jim Christensen (not sure about the spellings on their names) would be just the ticket. It's flashy, jazzy, playable and needs a solid upper register. -- Frank T. Darmiento (e-mail: aceftd@aztec.asu.edu) Scottsdale, Arizona ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 13:02:04 -0600 From: "Chris McClure" To: Subject: Relacquering/Slide Tubes Message-ID: <003201c1b009$ef999aa0$816bddd8@chrismcc> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_002F_01C1AFD7.A3EAFB80" I am curious if anyone on the list has had their trombone relacquered. Did the sound (timbre) change or was it more or less just cosmetic in design? I own a Bach 50B--I don't have the serial number in front of me right now. I do know that the horn is 30 + years old (when Bach supposedly was making their very best horns...) If relacquering a horn changes the sound, then I plan to stick with the original lacquer until held up at gunpoint. If the opposite is true, then I have to start saving up for the process. Also, I have an Olds Trombone circa 1912. Tuning slide on the slide, no weight in the upper bell section. The inner slides are starting to corrode and I need to know where to special or custom order the proper fitting slide tubes. It is a peashooter, less than .500" bore. Maybe a .480" or so. FYI, I am in ND. But I don't play this horn everyday; I could be persuaded to ship it out to restore it to mint condition. Or at least have my local repairman order and install the slide tubes from the source recommended. God bless you, and keep on sliding! Chris Ann ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 14:06:11 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: having trouble in upper register Message-ID: <4.3.2.7.2.20020207134900.01ef4710@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 08:28 AM 2/7/2002 -0800, Gabriel Langfur wrote: --- Jon Moeller wrote: > Whenever I get past Bb (4 ledger lines) I start to bite > my bottom lip to > play higher, and I know I shouldn't be doing this, but I > can't seem to > stop doing it, and I can't get enough air coming out of > my mouth to pull > off the high notes. > > Is there a remedy to this, or should I just stop playing > up high? > OK, nobody's responded yet - I'll bite (pun intended). I didn't hear this story firsthand, but I've heard it secondhand so many times I think I'm qualified to tell it. The great trumpet player Tony Plog was taking some lessons with Bud Herseth while studying in Chicago. He went to a lesson and said "When I go into the upper register, I tend to pinch my corners up and sort of stretch them out, and the sound tends to get sort of thin. What should I do?" He then demonstrated for Mr. Herseth what was happening. Herseth looked, nodded his head, and said "Yeah, you're right, that's exactly what you do. Don't do that." The recommended exercises are fine, but IMHO they won't do much good until you get the right mechanical approach to high register playing. It sounds to me like you are trying to get higher and higher by stretching the lips tighter and tighter. Don't feel bad, that's what 90% of the people do, and that is why the reliable range is usually limited to about that Bb and endurance is a constant problem. Physically you can't stretch the lips tight enough to play well in that register. Even if you can do it for a few minutes, you will wear yourself out and the notes will sound strained (because you ARE straining). The answer is certainly "don't do that". But that begs the question what to do instead. The better approach is to achieve higher notes not by stretching the lips until they explode, but by training the muscles to be able to limit your buzz to a smaller aperture. Mechanically, it is simply a matter of training the muscles (developing the strength) to stop the outer portions of your lips from vibrating. To go higher, employ a shorter and shorter segment of the lips. The concept is simple. The actual training may take a couple of years to achieve full control. If you can free buzz (without a mouthpiece), try using your thumb and index finger to help you limit the buzz to the very center of the lips. This is what you will be training the lip muscles to do on their own. Because the aperture is smaller, you need to have stronger breath support in that register. That's why a lot of teachers say the secret to high playing is "fast air". It isn't the secret, but it is one necessary ingredient of good high register technique. Long tone exercises are fine, as long as you are reinforcing this embouchure formation. If you do long tone exercises in the high tension lip-stretching mode, all you will accomplish is fatigue. Only do these exercises as long and as high as you can produce a beautiful, soaring (i.e. not strained in the slightest) tone. If the tone is not Dorsey beautiful and 100% under control, go back down into your more reliable register until you have built up the embouchure strength and breath support necessary to play well in the high register. ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 13:05:45 -0600 From: "Corliss" To: , "Trombones and related issues forum." Subject: Re: Sam Burtis and Carambola Message-ID: <006e01c1b00a$728588c0$39cb5340@richard> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Richard, Thanks for the mentioning of this album. I'm impressed with the Emusic program. If anyone finds more good trombone stuff there let the rest of us know. I just downloaded a Jack Teagraden album. Richard Corliss ----- Original Message ----- From: "Richard Johnson" To: "Trombones and related issues forum." Sent: Thursday, February 07, 2002 8:31 AM Subject: Sam Burtis and Carambola > Sam: > I just recently downloaded (completely legally from emusic.com!) a cd > entitled Carambola which was recorded by a big band led by Chico O'Farrill. > I noticed that you were one of the trombonists on the cd. There are some > excellent trombone solos on the cds. Did you play any of them? Outstanding > album! > **************************************************************************** > ** > 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_2294 Date: Thu, 7 Feb 2002 14:04:35 EST From: BJMCHAFFIE@aol.com To: aceftd@aztec.asu.edu, trombone-l@po.missouri.edu Subject: Re: Trombone solo with band Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Perhaps a mouthpiece with a larger back bore would be helpful. However if the student has not yet completed growth, there may be too small a chest cavity for the proper air control. If that is the case time will take care of it. beldon wade ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 14:29:02 EST From: DavGra@aol.com To: trombone-l@po.missouri.edu Subject: diminished chord Message-ID: <109.d158f2c.29942f7e@aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_109.d158f2c.29942f7e_boundary" According to my Theory text, in 4 part writing a diminished triad ( in common practice) is notated in first inversion with the 3rd of the chord doubled. A diminished 7th (full or half) chord can be written in any inversion. Additionally when writing dim 7th chord you cannot get parallel 5ths because the dim 5 removes aural impression of the consecutive motion at a static interval. I hope I made sense. David Gravesen ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 19:40:36 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: Relacquering/Slide Tubes Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Chris, I am curious if anyone on the list has had their trombone relacquered. Did the sound (timbre) change or was it more or less just cosmetic in design? Iâd strip the lacquer in a heartbeat and leave it un-lacquered. Probably the only trombone Iâve got, and Iâve got a lot of them, which sounds ãbetterä lacquered is a TB-300. ãBetterä is in quotes in that I donât think it sounds good either way, but I certainly wouldnât want to bring out more resonance, on a trombone which is so bright, already. If you do get it re-lacquered, Iâd go with the thinnest coat you can get, even if that means using an old-fashioned non-water resistant lacquer. DanP _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 14:45:38 -0500 From: Bruce Guttman To: "Trombones and related issues forum." Subject: Rotary valves Message-ID: <200202071446_MC3-F100-9F78@compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Disposition: inline Content-Transfer-Encoding: 8bit Message text written by INTERNET:keith.marr@tinyworld.co.uk > Am I likely to cause problems for myself in dismantling them? If not, does anyone have an exploded view of a conventional rotary valve that they could email me? < Ok. You are not likely to cause problems with the valves if you dismantle and reattach them properly. This means you will need proper tools and a lot of care. I believe there is a diagram of the parts of a rotary valve on the Osmun Web Site (www.osmun.com). Otherwise, I believe there is a diagram in the Fink "Trombonist's Handbook", or any good book on French Horn. One very important thing to keep in mind. Some of the spindles on the rotors are tapered. It is easy to jam these improperly and really ruin the action of the valve. The procedures for dealing with tapered spindles can be used on non-tapered spindles, so treat all as if they were tapered. To disassemble a valve, I start by disconnecting the actuation. If there is a string, remove the string. If there is a linkage, disconnect it at the valve. Next, remove the cover at the bottom of the valve. You should be familiar with this since you do this to lubricate the valve. Now unscrew the small screw in the top of the spindle a few turns. Tap the screw with a wooden mallet (such as is sold in Kitchen Supply) or a modelmakers hammer. The hammer should not be over 4 ounces (130 grams). The bearing plate that is on the bottom of the valve should now pop out. Unscrew the screw the rest of the way and remove the actuating collar and slide the rotor out of the valve. If the rotor is corroded, you can clean it with anti-corrosion wadding as sold in auto parts stores, or just trying to brush off as much as possible with a fiber bristle brush; no metal bristle brushes!! Same for the inside of the valve casing. If you want to use steel wool (I would prefer brass wool), use an extremely fine grade: 0000 (four-nought) or so. Do not get aggressive in scrubbing the rotor or you will have leakage problems that will ruin the performance. When you are done, you need to reassemble the valve. Here is where you can easily muck the thing up pretty bad. Follow these instructions carefully!!! First, put some rotor oil on the spindles of the rotor. Now slide the rotor into the valve body, long spindle first. When it is in place, try to rotate the rotor inside the valve housing. If there is any resistance, STOP. See what is binding. Now take the bottom bearing plate. Note that it has a notch on the outer edge. There is also a notch in the valve casing. Carefully place the bearing plate on the rotor so that the notches line up. This is VERY important. Do not try to press the bearing plate in position yet. Again, check the rotor for rotation. Screw on the valve cover until there is light resistance. It won't go on all the way. This is OK. Keep checking the rotor. Using the mallet, tap the valve cover in the center once. The cover will now turn about 1/4 to 1/2 turn. Check the rotor. Keep tapping and checking until the cover doesn't move with another tap. Now remove the cover again. Attach the actuating collar to the valve. It is probably keyed so it only goes on one way. If not, you need to be really careful in your final alignment. If you have a string linkage, you now need to install the string. Use multifilament polyester fishing line. Here in the States this is rated in "pounds test". You should use 20 pound test or better (10 Kg test?). Do not use monfilament line; it is not flexible enough. Take a piece of string about 4 inches long (100 mm). Put a knot in one end and thread it through the hole in the actuating arm that is nearest the pivot, going toward the side near the valve. Now run the string around the actuating collar, around the stop arm (with a small screw in it), back around the actuating collar, and toward the other hole in the actuating arm (where there should be a small screw). The string should make a "figure 8" around the actuating collar and stop arm. Bring the string through this other hole, and wrap it around the screw and tighten. Now we check alignment: On the valve spindle where we unscrewed the cap you will see 2 marks, and there is another mark on the bearing just outside this spindle. At one end of the valve travel, one of the inner marks must line up with an outer mark. At the other end of the travel, the other inner mark must line up with the outer mark. If they don't fit, you have to modify the stop corks (either new ones to make them bigger, or shave them to make them smaller). If the trigger position is uncomfortable on a string linkage, loosen the stop arm screw and slide the string into a comfortable position using the trigger to move it, and then tighten the stop arm screw. Now put the valve back together. Put some rotor oil on the spindle under the cap, and replace the cap. Then put some rotor oil in the space between the actuating arm and the valve body, and replace the screw that goes into the other end of the spindle. Your valve should now be working and clean. This is adapted from instructions originally handed out by Osmun Brass. You shouldn't have to do this more than once per year. Hope this helps Bruce Guttman Solo Trombone, Hollis Town Band Section Leader, Merrimack Valley Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 14:55:09 EST From: TboneGib@aol.com To: cculver@liu.edu, mdunn@gallalee.as.ua.edu, DyessJW@hal.lamar.edu, tisiddk@atl.mindspring.com, goodric@auburn.edu, karlhovey@earthlink.net, Subject: Fwd: More great news Message-ID: <12d.c19f9b5.2994359d@aol.com> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="part1_12d.c19f9b5.2994359d_boundary" Tom Gibson Brass Dept. Coordinator Georgia State University tbonegib@aol.com ph: (404) 651-1740 trombonelessons.com Return-path: From: TboneGib@aol.com Full-name: TboneGib Message-ID: <18a.2fbc98b.29943464@aol.com> Date: Thu, 7 Feb 2002 14:49:56 EST Subject: More great news To: jmoad@gsu.edu, smart@gsu.edu, dmyers@gsu.edu, ndemos@gsu.edu, metzel@gsu.edu, leeorr@gsu.edu, mstreet@gsu.edu, ftaylor@gsu.edu, tgoolsby@gsu.edu, rsquibbs@gsu.edu, stepping@gsu.edu, jhaberlen@gsu.edu, JSBach369@aol.com, musjm@langate.gsu.edu, musarb@langate.gsu.edu, musjsg@langate.gsu.edu, musrzj@langate.gsu.edu, musjxn@langate.gsu.edu, musjap@langate.gsu.edu, musaer@langate.gsu.edu, muscrr@langate.gsu.edu, musplw@langate.gsu.edu, musjab@langate.gsu.edu, musmgc@langate.gsu.edu, muswdc@langate.gsu.edu, musmsg@langate.gsu.edu, musgjh@langate.gsu.edu, carothy@mindspring.com, musjcn@langate.gsu.edu, musalr@langate.gsu.edu, musjzs@langate.gsu.edu, musbjs@panther.gsu.edu, musrst@langate.gsu.edu, musgjv@langate.gsu.edu, springwind@worldnet.att.net, musrja@langate.gsu.edu, muslnn@langate.gsu.edu, musdbp@langate.gsu.edu, musswg@langate.gsu.edu, TboneGib@aol.com MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part2_12d.c19f9b5.29943464_boundary" X-Mailer: AOL 7.0 for Windows US sub 121 Abbie is Coming to GSU! Thursday, April 11 at 11am in 150HH One of the world's greatest trombone soloists will be doing a masterclass/recital here at GSU! This remarkable woman is a pioneer and a creative genius. PLEASE encourage family, friends, and students to come hear this virtuoso. Learn more about Abbie Conant on the Web at: http://www.osborne-conant.org/ (Abbie's Home Page Link) Tom Gibson Brass Dept. Coordinator Georgia State University tbonegib@aol.com ph: (404) 651-1740 trombonelessons.com ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 15:08:21 -0500 From: To: trombone-l@po.missouri.edu Subject: Re: Bass Trombone/Tenor Trombone Doubling Advice Message-ID: 1-Get the right tool for the job. 2-Practice the same things, the same ranges, on both. Get a good balance on both every day, no matter WHAT work you have. 3-Decide which is the double and practice that one in between practicing your main instrument. 4-Be prepared to sound less than perfect. On BOTH instruments. I've doubled for a living for 20+ years...get mainstream equipment that fits the styles you have to play, and jump on in. You'll scuffle..but you'll learn something, too. S, ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 20:12:54 From: "Michael Clayville" To: trombone-l@po.missouri.edu Subject: Jon Etterbeek Contact Information Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed I am desperately seeking contact information for Jon Etterbeek, Sinfonia de Galicia, Spain (phone #, email address). If anyone has information for him please reply to me off the list. Thanks in advance, Mike Clayville www.monumentalbrass.org _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 12:54:19 -0700 From: Steve Gamble To: "'eliztbone@nctimes.net'" , "Trombone List (E-mail)" Subject: RE: Diminished Cord Part Writing Message-ID: <01C1AFD9.67587920.sgamble@tucsonsymphony.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit This didn't come back through to me the first time. I hope the boredom experienced by the reader is due to the original content and not due to repetition. Liz, How you speel the cord depends on the voice leading you want. I prefer less angular voice leading. So under normal circumstances, the note that I would double would be determined by the voicing of the previous harmony and the voicing you want in the next harmony. The surrounding chords are voiced based on the harmonic strength of the bass voice that sounds right to you (in other words, you are choosing a bass voice that either moves the piece along or contributes to a sense of repose) and what note is in the primary melodic or motivic material at that point. A good rule: In most situations, try, if at all possible, to write each individual part so that it is at least somewhat interesting by itself. This rule is especially good for those "tie breaker" situations (that's "tie" as in "equal" not as in "cord"). Now, if you're trying to get an A in part writing class, forget what I said and do it by the book. Steve Gamble Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax sgamble@tucsonsymphony.org -----Original Message----- From: Elisabeth Frederick [SMTP:eliztbone@nctimes.net] Sent: Wednesday, February 06, 2002 4:18 PM To: Trombones and related issues forum. Subject: Diminished Cord Part Writing Hi List! I got this assignment in class today and I was wondering if someone could help me out here. How do you double a diminished cord when part writing? Thanks! -Liz P.S. Trombone Content: I play trombone! :P ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 15:17:45 EST From: BJMCHAFFIE@aol.com To: shaun.hillen@visd.com, trombone-l@po.missouri.edu Subject: Re: teeth problems Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Lip not acting right?? Eating hot TexMex food?? Vinegar on pickles??? Big problem seldom recognized. Shaving lotion containing conditioner. That conditioner is the same as Adolph's Meat Tenderizer. We had quite a string on this last year. beldon wade ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 14:37:13 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'DavGra@aol.com'" , "Trombones and related issues forum." Subject: RE: diminished chord Message-ID: <587F49FABBEDD411A68F00A0C9EA313B5FD097@dasmthkhn561.amedd.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1B017.39648570" ...you cannot get parallel 5ths because the dim 5 removes aural impression of the consecutive motion at a static interval. I hope I made sense. David Gravesen ============== Perfectly! :-).Ê I don't have a keyboard in front of me, but I think I used to like the Dim 7th because all of the intervals were equal. Kind of a people's symmetry where the root can only be understood from the context of what came before and after the chord, rather than the intervals between notes. Start with a Dim 7th, what key are you in? It depends. Rick Marple San Antonio TX ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 15:57:21 -0500 From: Peter Collins & Sara Wilbur To: "Trombones and related issues forum." Subject: anybody with a valve trombone for sale? Message-ID: <3C62EA31.8F346A42@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi list, I have a colleague (not currently on the list) who is looking to buy a valve trombone. If there is anybody out there with one for sale you may contact Mike Polci at: mike@dixiedawgs.info Thanks very much for your help. Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 16:20:31 -0500 From: "Chuck De Paolo" To: "Trombone List" Subject: Pressure Training Adapter Message-ID: <047501c1b01d$463da5f0$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Anyone ever heard of a "Pressure Training Adapter?" If so, let me know what it is. I've got a customer making an inquiry and I'm stumped. (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) ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 16:34:54 -0500 From: Brian French To: "Trombones and related issues forum." Subject: Re: Pressure Training Adapter Message-ID: <3C62F2FE.5020704@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit Sounds like a BERP to me. --Brian Chuck De Paolo wrote: Anyone ever heard of a "Pressure Training Adapter?" If so, let me know what it is. I've got a customer making an inquiry and I'm stumped. (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) ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 14:52:51 -0700 From: Earl Needham To: "Chuck De Paolo" , "Trombones and related issues forum." Subject: Re: Pressure Training Adapter Message-ID: <4.2.2.20020207145212.019c7a10@pop3.norton.antivirus> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 04:20 PM 2/7/2002 -0500, Chuck De Paolo wrote: Anyone ever heard of a "Pressure Training Adapter?" If so, let me know what it is. I've got a customer making an inquiry and I'm stumped. (please quote this message if you reply) See http://store.osmun.com/browse.cfm/4,155,1,14,79.html "One of the hardest parts of brass playing is learning to resist the urge to use too much pressure. This adaptor fits between the mouthpiece and the instrument and acts as a valve to prevent air from entering the instrument if too much pressure is being used. The pressure level is adjustable so that the pressure can be slowly reduced until it's possible to play with a light touch." Earl Earl Needham, KD5XB, 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_2294 Date: Thu, 7 Feb 2002 15:58:55 -0600 From: "Gary Greenhoe" To: , "Trombones and related issues forum." Subject: RE: Pressure Training Adapter Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Or Ralph Sauer's F.A.R.T. device. -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Brian French Sent: Thursday, February 07, 2002 3:35 PM To: Trombones and related issues forum. Subject: Re: Pressure Training Adapter Sounds like a BERP to me. --Brian Chuck De Paolo wrote: >Anyone ever heard of a "Pressure Training Adapter?" If so, let me know what >it is. I've got a customer making an inquiry and I'm stumped. > >(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) > > > > ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 15:59:41 -0600 From: "Gary Greenhoe" To: , "Trombones and related issues forum." Subject: RE: anybody with a valve trombone for sale? Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit If I have one, it definitely would be for sale! ;-) Gary -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Peter Collins & Sara Wilbur Sent: Thursday, February 07, 2002 2:57 PM To: Trombones and related issues forum. Subject: anybody with a valve trombone for sale? Hi list, I have a colleague (not currently on the list) who is looking to buy a valve trombone. If there is anybody out there with one for sale you may contact Mike Polci at: mike@dixiedawgs.info Thanks very much for your help. Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 18:20:13 EST From: TboneGib@aol.com To: trombone-l@po.missouri.edu Subject: Bach 42G for sale Message-ID: <25.22af418b.299465ad@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit A good friend is selling his Bach 42G. He would like to fetch $1100, but would probably entertain all offers. Before it heads to eBay, I though I'd let list members have first dibs. I've played the horn and I like it quite a bit. I've already got a slew of these, though:-) For info and pictures, check out the link at trombonelessons.com For info, email me at tbonegib@aol.com This is a really good instrument. If you or a student of yours is ready to move up to a big, professional instrument, I highly recommend this one. Tom Gibson Brass Dept. Coordinator Georgia State University TboneGib@aol.com (404) 651-1740 trombonelessons.com ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 23:18:15 +0100 From: Anders.Carlsson@gfs.gu.se (Anders Carlsson) To: trombone-l@po.missouri.edu Subject: Finally. Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1 Content-ID: Content-Transfer-Encoding: 8bit Today I traded in my Bach42 for a Minick tenor. JOY!! /Anders ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 18:45:30 EST From: ROSEBONE@aol.com To: shaun.hillen@visd.com, trombone-l@po.missouri.edu Subject: Re: teeth problems Message-ID: <90.21080e72.29946b9a@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Shaun, One thing for the dentists to check is small internal cracks in the teeth - they can cause great sensitivity to vibration - and they can be repaired or reduced. Bill Rose McNeese State University Lake Charles, LA \ rosebone@aol.com In a message dated 2/7/02 10:17:55 AM, shaun.hillen@visd.com writes: << Dear List, For the past month I've been having problems with my front top teeth being sensitive. It's quite uncomfortable and I beging to feel it early on in my warm up. I've taken time off and I've played nothing but easy slurs and long tones but the problem persists. I especially begin to notice it when I play anything above F in the staff. I've been to the dentist--no cavities. And I've been to an endodontist--no nerve damage and the gums are in great shape. Since the dentists couldn't find what was wrong, I'm getting a little worried. I don't think it relates to too much pressure because I've been thinking a lot about reducing pressure while I play. It seems to relate more to the actual vibration of the pitches. Does anyone out there have experience with this problem? Thanks. >> ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 19:30:42 -0500 From: Roger Hecht To: ROSEBONE@aol.com, "Trombones and related issues forum." Subject: Re: teeth problems Message-ID: <4.2.2.20020207191636.00a89a50@pop.earthlink.net> Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="=====================_1337914==_.ALT" I have had a ton of dental work in my life. Just about every procedure short of gum surgery. One thing I've found is that dentistry is not the most diagnostic of disciplines. Many times I've had to have something get worse before the problem comes into focus. And I've had some very good dentists. Cracks are a distinct possibility. However, my experience with cracks is that they are very difficult to detect, even for a dentist. Sometimes a tooth has to break off before you actually find it. I've gone at this two ways. Twice, I just let the tooth break. Then I got a cap. One time, the pain was irritating and I didn't feel like waiting. I had the thing capped. I may even have had it root canaled. I forget. In any case, done. Pain gone. I didn't mind doing this, either. One problem with waiting for a crack to let go is that it might let go to the base of the tooth, in which case, no caps are possible. You'll go right to a bridge. On the other hand, this could be some resonance with a filling, or (and this is just a thought) you may have a nerve that is going and which could be sensitive to certain vibrations. Pressure may be the factor. If a nerve is going, very little stimulus is required to set it off, and pressure, even slight, may be traumatizing to a sensitive nerve. This kind of sensitivity may not show up on an x-ray until the nerve becomes infected. I am in no way predicting anything, but this could get worse gradually, or you could wake up one day with a "hot tooth." In which case, welcome to the land of root canals--at which point your problem will be over. Another thought. An exposed root. I assume from what you've said, this is not a problem. And finally, this whole syndrome may just go away on its own. I've had this happen many times, too. Should you have any doubts, I am NOT a dentist and am no expert, other than having a mouth full of dental work. I'm speaking from my own experience not expertise. This is a lot of speculation. At 06:45 PM 2/7/2002 -0500, ROSEBONE@aol.com wrote: Shaun, One thing for the dentists to check is small internal cracks in the teeth - they can cause great sensitivity to vibration - and they can be repaired or reduced. Bill Rose McNeese State University Lake Charles, LA \ rosebone@aol.com In a message dated 2/7/02 10:17:55 AM, shaun.hillen@visd.com writes: << Dear List, For the past month I've been having problems with my front top teeth being sensitive. It's quite uncomfortable and I beging to feel it early on in my warm up. I've taken time off and I've played nothing but easy slurs and long tones but the problem persists. I especially begin to notice it when I play anything above F in the staff. I've been to the dentist--no cavities. And I've been to an endodontist--no nerve damage and the gums are in great shape. Since the dentists couldn't find what was wrong, I'm getting a little worried. I don't think it relates to too much pressure because I've been thinking a lot about reducing pressure while I play. It seems to relate more to the actual vibration of the pitches. Does anyone out there have experience with this problem? Thanks. >> Roger Hecht ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Fri, 8 Feb 2002 01:22:02 -0000 From: "keith.marr" To: "Trombones and related issues forum." Subject: I'm sad, I need diagrams! Message-ID: <004701c1b03f$056f6820$a9293c3e@tiny> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0044_01C1B03F.033DE220" Allcomers Thanks to all who provided helpful support on the issue of dismantling rotary valves for cleaning. Can anyone point me at a website with a diagram of the trombone labelling the names of the various part. I find all this talk of leadpipes, goosenecks etc all a bit baffling. Hope you can help. Keith, still in Bb/F/D ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 21:16:07 -0600 From: "Gary Greenhoe" To: , "Trombones and related issues forum." Subject: RE: I'm sad, I need diagrams! Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Keith, One question: Is there a good reason why you feel the need to take the rotors apart? The only required maintenance on a rotary valve is regular oiling. If you are putting a couple of drops into the slide tube...or from the slide receiver regularly, and religiously oiling the rotating spindles with a drop or two.....there is probably no reason to dismantle it. I would suggest a good bathtub soaking in lukewarm water....run a snake through it where it will go....and do yourself a favor....order a couple of bottles of Hetman synthetic oil. I recommend his regular "bearing oil" for the spindles....and "rotor" oil for the internal use. These oils have a nice cleaning affect without much or any other maintenance and if you happen to forget to oil them on a regular basis....the synthetics offer incredible protection. If your valve is new and very tight...try "light bearing oil" by Hetman. Very cheap insurance for long valve life. Regards, Gary -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of keith.marr Sent: Thursday, February 07, 2002 7:22 PM To: Trombones and related issues forum. Subject: I'm sad, I need diagrams! Allcomers Thanks to all who provided helpful support on the issue of dismantling rotary valves for cleaning. Can anyone point me at a website with a diagram of the trombone labelling the names of the various part. I find all this talk of leadpipes, goosenecks etc all a bit baffling. Hope you can help. Keith, still in Bb/F/D ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 07 Feb 2002 22:55:18 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: It's Over Now Message-ID: <4.3.2.7.2.20020207225049.01e66320@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed A few months ago, I heard a recording of one of the military big bands playing a chart of Monk's "It's Over Now". It was set for female vocal, about half the normal tempo, and a funky or slow hiphop beat. I play with a band that is thinking about putting on a concert of arrangements that are completely different from the normal tempo or style. This one would be perfect. Does anybody know this arrangement? Any idea if it is available somewhere? How about an audio recording? Thanks, Craig ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 22:08:08 -0600 From: "Jeff Albert" To: , "'Trombones and related issues forum.'" Subject: RE: It's Over Now Message-ID: <007601c1b056$377eafd0$75259d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I don't know that arrangement, but speaking of Monk tunes, "Well You Needn't" works great on a reggae groove. Jeff Albert www.jeffalbert.com -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Craig Parmerlee Sent: Thursday, February 07, 2002 9:55 PM To: Trombones and related issues forum. Subject: It's Over Now A few months ago, I heard a recording of one of the military big bands playing a chart of Monk's "It's Over Now". It was set for female vocal, about half the normal tempo, and a funky or slow hiphop beat. I play with a band that is thinking about putting on a concert of arrangements that are completely different from the normal tempo or style. This one would be perfect. Does anybody know this arrangement? Any idea if it is available somewhere? How about an audio recording? Thanks, Craig ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Fri, 8 Feb 2002 00:11:51 -0500 From: "Hector Bourg Jr." To: "Bone List" Subject: Site problem Message-ID: <05aa01c1b05f$1e528230$a2523842@hn9nz49oeloz7b> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_05A7_01C1B035.353C63F0" Listers, I have received several private inquiries from list members who were trying unsuccesfullyÊto access the little story on my band's websiteÊabout my meeting with TD years ago. I have called my ISP and found out that they are having server problems. I apologize to any who have tried and failed to connect to our site. I beg your indulgence for what I hope is only a temporary problem and ask that you try again soon. The link as posted to the list a few days ago during the "warm-up thread, was: http://www.thesjo.com/pages/archive.html ,,,scroll down to "TD and Me" This link is correct...when the server is operational!! :-) Thanks, Butch ******************************************************************************* Hector "Butch" Bourg Jr. - Graphic and Web Design - Atlanta, GA Trombonist - Sentimental Journey Orchestra - http://www.thesjo.com ** NOW CELEBRATING TWENTY-SIX SWINGIN' YEARS ** ******************************************************************************* PLEASE UPDATE your e-dress for me to: sackbutt@mediaone.netÊÊ ******************************************************************************* ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Thu, 7 Feb 2002 21:12:26 -0800 From: "Elisabeth Frederick" To: , "Trombones and related issues forum." Subject: Re: diminished chord Message-ID: <004201c1b05f$341bbfa0$6872fb3f@d9h2z9> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_003F_01C1B01C.2505E240" I had said the apperance of parallel fifths...because it would look like parallel fifths but would be missing some kind of accidental or key signature to make it a "full sized" interval. Liz ----- Original Message ----- From: Marple, Richard L COL BAMC-Ft Sam Houston To: Trombones and related issues forum. Sent: Thursday, February 07, 2002 12:37 PM Subject: RE: diminished chord ...you cannot get parallel 5ths because the dim 5 removes aural impression of the consecutive motion at a static interval. I hope I made sense. David Gravesen ============== Perfectly! :-).Ê I don't have a keyboard in front of me, but I think I used to like the Dim 7th because all of the intervals were equal. Kind of a people's symmetry where the root can only be understood from the context of what came before and after the chord, rather than the intervals between notes. Start with a Dim 7th, what key are you in? It depends. Rick Marple San Antonio TX ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Fri, 08 Feb 2002 06:25:24 -0500 From: Craig Parmerlee To: , "Trombones and related issues forum." Subject: RE: It's Over Now Message-ID: <4.3.2.7.2.20020208062351.01f0f2a8@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 10:08 PM 2/7/2002 -0600, Jeff Albert wrote: I don't know that arrangement, but speaking of Monk tunes, "Well You Needn't" works great on a reggae groove. Jeff Albert I think I'm in error here. Too many lines in my head. I think the song I'm talking about *IS* "Well You Needn't". But the chart I heard wasn't reggae. ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Fri, 8 Feb 2002 05:38:15 -0800 From: "Rod Ellard" To: , "Trombones and related issues forum." Subject: Re: Perfect Pitch Study Message-ID: <003301c1b0a5$dd8296e0$7fe594d1@lindascomp> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I heard an interview with pianist Renee Rosnes in which she said that she and her two sisters all had perfect pitch. The catch: all three girls were adopted. None are biological sisters. Rod ----- Original Message ----- From: "Gary Greenhoe" To: "Trombones and related issues forum." Sent: Thursday, February 07, 2002 9:53 AM Subject: RE: Perfect Pitch Study > Hi Gabe, > > I have to chuckle at this DNA theory...as I have pitch recognition....and > years ago ran across a study that links pitch recognition with a definite > spike or loss of hearing in an individual that has recognition. At first I > scoffed at this theory...but years later, had a hearing test where there was > one of these spikes in my hearing. It was very narrow, and definite...and > after years of thought on my part.....seems totally logical as I mature. > > I think it would also account for variations in perfect pitch people....some > being very sensitive to changes in pitch centers, while others can adapt to > a lower or higher tuning of particular pitches, depending on where or how > narrow a spike is in one's particular case. > > It is definitely possible that there are other factors, but this really hit > home with me as a young man....it was so logical. > > As for colors...or other identifiers...there are just timbres that might > represent colors....but something just hits me with different pitches...they > all have personalities...or faces just like people. Some are pitches of > "color" and others are definitely "northern European". ;-) > > Regards, > Gary > > -----Original Message----- > From: owner-trombone-l@po.missouri.edu > [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Gabriel Langfur > Sent: Thursday, February 07, 2002 11:30 AM > To: Trombones and related issues forum. > Subject: Re: Perfect Pitch Study > > > Dan and others on the list with absolute pitch: > > I'm giving a brief talk on Saturday about Messiaen and his > perception of pitch and pitch groups as colors. He seems to > have had a condition called Synesthesia. > > My questions are as follows: do you associate pitches with > colors? If not, is the experience of recognizing a pitch > analogous to recognizing a color? Is there some other sense > that seems to be involved in your recognition of pitch? Any > other comments? > > I'll be happy to take my answers off the air if y'all don't > think they belong on the list... > > Gabe > > __________________________________________________ > Do You Yahoo!? > Send FREE Valentine eCards with Yahoo! Greetings! > http://greetings.yahoo.com > > ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Fri, 8 Feb 2002 09:08:48 -0500 From: "Tom G Tyson" To: Subject: Eugene Ormandy Quotes Message-ID: <001201c1b0aa$21c0fff0$cedcbfa8@DD943111> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0013_01C1B080.38EAF7F0" After quoting Hans Vonk and Paul Desmond, why donÕt we quote some of Eugene OrmandyÕs gems too. Enjoy Tom Tyson Bass Trombone Richmond VA ----- Original Message ----- Subject: Eugene Ormandy's funny history Over the years that Eugene Ormandy was conductor of the Philadelphia Orchestra, some members of the orchestra kept track of malapropisms and funny inconsistencies in his directions to them. Herewith a selection: Congratulations to each and every one of you for the concert last night in New York and vice versa. I'm conducting very slowly because I don't know the tempo. I am thinking it right but beating it wrong. I can conduct better than I count. Why do you always insist on playing when I am trying to conduct? Don't ever follow me, because I am difficult. It is not as difficult as I thought it was, but it is harder than it is. The notes are right, but if I listened they would be wrong. It is not together, but the ensemble is perfect. Start three bars before something. Did you play? It sounded very good. Percussion, a little louder. ("We don't have anything.") That's right, play it louder. I need one more bass less. Brass, stay down all summer. Accelerando means in tempo. Don't rush. I don't want to repeat this a hundred times. When you see crescendo, it means p [piano]. We can't hear the balance yet because the soloist is still on the airplane. Please follow me because I have to follow him and he isn't here. ..he is a wonderful man, and so is his wife. Bizet was a very young man when he composed this symphony, so play it soft. That's the way Stravinsky was--Bup, bup, bup. The poor guy's dead now. Play it legato. [On Oistrakh's death:] I told him he'd have a heart attack a year ago, but unfortunately he lived a year longer. This is a very democratic organization, so let's take a vote. All those who disagree with me raise their hands. It's all very well to have principles, but when it comes to money you have to be flexible. Thank you for your cooperation and vice versa. I never say what I mean but I always manage to say something similar. I don't mean to make you nervous, but unfortunately I have to. ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Fri, 8 Feb 2002 14:21:22 GMT From: john.mcvey@cablespeed.com To: "Trombones and related issues forum." Subject: Re: Perfect Pitch Study Message-ID: <200202081421.g18ELRF07899@po.missouri.edu> Not that this is the case with the Pianist and her sisters below, but one other piece that must be considered in any kind of study is that just because people say they have perfect pitch does not mean that they do. Most musicians have some degree of "pitch recognition". It is only through testing that it can be determined what that degree is. "Perfect Pitch" looks awfully good on a Resume. John > I heard an interview with pianist Renee Rosnes in which she said that she > and her two sisters all had perfect pitch. The catch: all three girls were > adopted. None are biological sisters. > > Rod > > > ----- Original Message ----- > From: "Gary Greenhoe" > To: "Trombones and related issues forum." > Sent: Thursday, February 07, 2002 9:53 AM > Subject: RE: Perfect Pitch Study > > > > Hi Gabe, > > > > I have to chuckle at this DNA theory...as I have pitch recognition....and > > years ago ran across a study that links pitch recognition with a definite > > spike or loss of hearing in an individual that has recognition. At first > I > > scoffed at this theory...but years later, had a hearing test where there > was > > one of these spikes in my hearing. It was very narrow, and definite...and > > after years of thought on my part.....seems totally logical as I mature. > > > > I think it would also account for variations in perfect pitch > people....some > > being very sensitive to changes in pitch centers, while others can adapt > to > > a lower or higher tuning of particular pitches, depending on where or how > > narrow a spike is in one's particular case. > > > > It is definitely possible that there are other factors, but this really > hit > > home with me as a young man....it was so logical. > > > > As for colors...or other identifiers...there are just timbres that might > > represent colors....but something just hits me with different > pitches...they > > all have personalities...or faces just like people. Some are pitches of > > "color" and others are definitely "northern European". ;-) > > > > Regards, > > Gary > > > > -----Original Message----- > > From: owner-trombone-l@po.missouri.edu > > [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Gabriel Langfur > > Sent: Thursday, February 07, 2002 11:30 AM > > To: Trombones and related issues forum. > > Subject: Re: Perfect Pitch Study > > > > > > Dan and others on the list with absolute pitch: > > > > I'm giving a brief talk on Saturday about Messiaen and his > > perception of pitch and pitch groups as colors. He seems to > > have had a condition called Synesthesia. > > > > My questions are as follows: do you associate pitches with > > colors? If not, is the experience of recognizing a pitch > > analogous to recognizing a color? Is there some other sense > > that seems to be involved in your recognition of pitch? Any > > other comments? > > > > I'll be happy to take my answers off the air if y'all don't > > think they belong on the list... > > > > Gabe > > > > __________________________________________________ > > Do You Yahoo!? > > Send FREE Valentine eCards with Yahoo! Greetings! > > http://greetings.yahoo.com > > > > > > ----------------------------------------------- This message was sent using CableSpeed Webmail. http://www.one.net/ -- http://www.us.net ----__ListProc__NextPart____TROMBONE-L__digest_2294 Date: Fri, 8 Feb 2002 14:30:15 -0000 From: "keith.marr" To: "Trombones and related issues forum." Subject: Re: Perfect Pitch Study Message-ID: <004801c1b0ad$2722afe0$be343c3e@tiny> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit One guy I knew who had perfect pitch said that it was a curse to him. He could always tell if a band/orchestra/choir were not spot on pitch, which of course is more often than not as the temperature rises in a hall. I'm glad I don't have perfect pitch if that's what it's like. What I do have is a good pitch memory. That is to say if I hear a piece played today I can whistle it in the same key in a coupla days time. Handy if you need to play some on the bone that you heard last night. ----- Original Message ----- From: To: "Trombones and related issues forum." Sent: Friday, February 08, 2002 2:21 PM Subject: Re: Perfect Pitch Study > Not that this is the case with the Pianist and her sisters below, but one > other piece that must be considered in any kind of study is that just > because people say they have perfect pitch does not mean that they do. Most > musicians have some degree of "pitch recognition". It is only through > testing that it can be determined what that degree is. "Perfect Pitch" > looks awfully good on a Resume. > > > John > > > > I heard an interview with pianist Renee Rosnes in which she said that she > > and her two sisters all had perfect pitch. The catch: all three girls > were > > adopted. None are biological sisters. > > > > Rod > > > > > > ----- Original Message ----- > > From: "Gary Greenhoe" > > To: "Trombones and related issues forum." > > Sent: Thursday, February 07, 2002 9:53 AM > > Subject: RE: Perfect Pitch Study > > > > > > > Hi Gabe, > > > > > > I have to chuckle at this DNA theory...as I have pitch > recognition....and > > > years ago ran across a study that links pitch recognition with a > definite > > > spike or loss of hearing in an individual that has recognition. At > first > > I > > > scoffed at this theory...but years later, had a hearing test where there > > was > > > one of these spikes in my hearing. It was very narrow, and > definite...and > > > after years of thought on my part.....seems totally logical as I mature. > > > > > > I think it would also account for variations in perfect pitch > > people....some > > > being very sensitive to changes in pitch centers, while others can adapt > > to > > > a lower or higher tuning of particular pitches, depending on where or > how > > > narrow a spike is in one's particular case. > > > > > > It is definitely possible that there are other factors, but this really > > hit > > > home with me as a young man....it was so logical. > > > > > > As for colors...or other identifiers...there are just timbres that might > > > represent colors....but something just hits me with different > > pitches...they > > > all have personalities...or faces just like people. Some are pitches of > > > "color" and others are definitely "northern European". ;-) > > > > > > Regards, > > > Gary > > > > > > -----Original Message----- > > > From: owner-trombone-l@po.missouri.edu > > > [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Gabriel Langfur > > > Sent: Thursday, February 07, 2002 11:30 AM > > > To: Trombones and related issues forum. > > > Subject: Re: Perfect Pitch Study > > > > > > > > > Dan and others on the list with absolute pitch: > > > > > > I'm giving a brief talk on Saturday about Messiaen and his > > > perception of pitch and pitch groups as colors. He seems to > > > have had a condition called Synesthesia. > > > > > > My questions are as follows: do you associate pitches with > > > colors? If not, is the experience of recognizing a pitch > > > analogous to recognizing a color? Is there some other sense > > > that seems to be involved in your recognition of pitch? Any > > > other comments? > > > > > > I'll be happy to take my answers off the air if y'all don't > > > think they belong on the list... > > > > > > Gabe > > > > > > __________________________________________________ > > > Do You Yahoo!? > > > Send FREE Valentine eCards with Yahoo! Greetings! > > > http://greetings.yahoo.com > > > > > > > > > > > > > ----------------------------------------------- > This message was sent using CableSpeed Webmail. > http://www.one.net/ -- http://www.us.net > > ----__ListProc__NextPart____TROMBONE-L__digest_2294--