TROMBONE-L Digest 2313 Topics covered in this issue include: 1) Re: Denture commercial and trombone by "Emil & Cynthia Orth" 2) actors and playing trombone by "Dan Traugh" 3) Re: Big Phat Band on "The Other Half" by Greg Bergantz 4) RE: actors and playing trombone by "Gary Maxwell" 5) Alain Trudel's alto by "Keith Marr" 6) Re: Alain Trudel's alto by Earl Needham 7) Re: Alain Trudel's alto by "David Pozos" 8) RE: Alain Trudel's alto by "Kevin Saunders" 9) RE: Alain Trudel's alto by "Roger L. Karren" 10) Abbie Conant US tour by Jeanie Lee 11) Mpce Question by "Johnson, Scott (TBS)" 12) Re: Big Phat Band on "The Other Half" by James Scott 13) Re: Mpce Question by "Daniel Pliskin" 14) RE: Alain Trudel's alto by "Tom Izzo" 15) RE: Bear's There by "Jon Moeller" 16) Concert notice by Jon Bohls 17) RE: mpce question by TboneGib@aol.com 18) Re: Bear's There by "Richard Zemry Johnson" 19) HTML apologies by "Steve Cordingley" 20) Re: Bear's There (Three Bears Suite?) by "Adrian Drover" 21) Re: Bear's There (Three Bears Suite?) by "Richard Zemry Johnson" 22) Re: Instrument design over the past 100 years or so by jimandcat@juno.com 23) Re: Bear's There (Three Bears Suite?) by "Dr. Carole Nowicke, Applied Health Science" 24) Re: Alain Trudel's alto by Walter Barrett 25) RE: HTML apologies by "Jeff Albert" 26) Re: mpce question by "Paul D. Kemp, Jr." 27) Re: Instrument design over the past 100 years or so by Craig Parmerlee 28) Mechanical music by Craig Parmerlee 29) How loud? was Re: mpce question by Gabriel Langfur 30) The MBQ's Newest Member by "Michael Clayville" 31) Re: How loud? was Re: mpce question by Craig Parmerlee ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 12:21:57 -0600 From: "Emil & Cynthia Orth" To: , "Trombones and related issues forum." Subject: Re: Denture commercial and trombone Message-ID: <005601c1bef2$7cedb200$82731818@midsouth.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit FAKE----FAKE----FAKE-----! ! ! Emil ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 13:30:21 -0500 From: "Dan Traugh" To: trombone-l@po.missouri.edu Subject: actors and playing trombone Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit A few years back there was a movie called "The American President". In that movie the president had a daughter that was practicing trombone when he walked in to the room. That young actress was really playing that trombone on camera (and not doing to shabby of a job for a beginner). Check it out, it is one of the best "commercials" for playing trombone there ever was. ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 11:14:06 -0800 From: Greg Bergantz To: alexiles@earthlink.net, "Trombones and related issues forum." Subject: Re: Big Phat Band on "The Other Half" Message-ID: <00EC7138-2AED-11D6-A9CF-0003934F876A@linkline.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v481) Content-Transfer-Encoding: 7bit On 2/26/2002, at 09:46 AM, Alex wrote: Gordon Goodwin's Big Phat Band is appearing on the daytime talkshow, "The Other Half" today at noon PST. Hey Alex, I just caught the last 10 minutes of the show...just in time to see the band! HOT! I was really impressed how good the sound quality and balance was over the TV. Nice trombone section sound. Also, several shots of YOU! I hope you taped it on your VCR. Apparently, the NBC affiliate here in the Bay Area is a couple of hours ahead of LA (it was on at 10am here). I also noted the quick plug at the end: The Big Phat Band is to be featured on the BET network some time in March. Please keep us apprised! One more thing, does the band have any more CDs in the making? Thanks, - Greg PS: Great music, but I'm not a fan of "The Other Half". Tell me, is Dick Clark really 97 years old? Amazing. :) ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 11:29:09 -0800 From: "Gary Maxwell" To: , "Trombones and related issues forum." Subject: RE: actors and playing trombone Message-ID: <659829993461CA49942D1312DE3436918309E6@edcenmail1.bcsd.k12.ca.us> Content-Class: urn:content-classes:message MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1BEFB.DCB34793" From: Dan Traugh A few years back there was a movie called "The American President". In that movie the president had a daughter that was practicing trombone when he walked in to the room. That young actress was really playing that trombone on camera (and not doing to shabby of a job for a beginner). Check it out, it is one of the best "commercials" for playing trombone there ever was. =========================================================== That's true, and I believe I'm right when I say that the little red-headed boy on "Picket Fences" was actually plying, at least, AT the trombone. More of my .02 Gary Maxwell ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 19:17:52 -0000 From: "Keith Marr" To: "Trombones and related issues forum." Subject: Alain Trudel's alto Message-ID: <001e01c1befe$ed77b320$e12d86d9@tiny> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Can someone look at the picture of Alain Trudel on http://www.latitude45arts.com/artists/trudel.html and tell me what make that alto trombone is? I begin to understand why folk on this list keep referring to "trill" valves. Keith in Bb/F/D ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 13:00:14 -0700 From: Earl Needham To: trombone-l@po.missouri.edu Subject: Re: Alain Trudel's alto Message-ID: <4.2.2.20020226125917.00aa18d0@pop3.norton.antivirus> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 07:17 PM 2/26/2002 +0000, Keith Marr wrote: Can someone look at the picture of Alain Trudel on http://www.latitude45arts.com/artists/trudel.html and tell me what make that alto trombone is? I'm not positive, but if he follows convention for the past 25 years or so, it would have to be an Edwards or similar, with a .747" bore! Earl Earl Needham, KD5XB, Clovis, New Mexico KD5XB-2>APW251,PCSAT-1*:=3425.83N/10313.55W-PHG7150/WinAPRS 2.5.1 -EARL_CLOVIS -251-<630> Did you get a letter from Nigeria offering a "deal"? See http://home.rica.net/alphae/419coal/ and http://www.crimes-of-persuasion.com/Crimes/Business/nigerian.htm ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 14:14:24 -0600 From: "David Pozos" To: , "Trombones and related issues forum." Subject: Re: Alain Trudel's alto Message-ID: <000b01c1bf02$2f994c20$4bc2180a@xal.megared.net.mx> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit I played on that alto. It is a Yamaha. And he carries it around in a specially adapted Yamaha double case. It was barely bigger than a regular case. Only problem for me was that the linkage would graze my neck causing it to stick occasionally. Nice horn though. David Pozos Primer Tromb—n Orquesta Sinf—nica de Xalapa www.sinfonicadexalapa.com ----- Mensaje original ----- De: "Keith Marr" Para: "Trombones and related issues forum." Enviado: Martes, 26 de Febrero de 2002 01:17 p.m. Asunto: Alain Trudel's alto > Can someone look at the picture of Alain Trudel on > http://www.latitude45arts.com/artists/trudel.html and tell me what make that > alto trombone is? > > I begin to understand why folk on this list keep referring to "trill" > valves. > > Keith in Bb/F/D ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 14:21:33 -0600 From: "Kevin Saunders" To: "Trombones and related issues forum." Subject: RE: Alain Trudel's alto Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Gary Greenhoe is the alto expert here, but I think this is a Yamaha. Kevin Saunders. -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Keith Marr Sent: Tuesday, February 26, 2002 1:18 PM To: Trombones and related issues forum. Subject: Alain Trudel's alto Can someone look at the picture of Alain Trudel on http://www.latitude45arts.com/artists/trudel.html and tell me what make that alto trombone is? I begin to understand why folk on this list keep referring to "trill" valves. Keith in Bb/F/D ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 14:34:47 -0700 From: "Roger L. Karren" To: , "Trombones and related issues forum." Subject: RE: Alain Trudel's alto Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Alain Trudel is a Yamaha artist. Last I heard Yamaha designed that Alto Trombone w/half step trill valve specifically for him. I don't believe it's available for the consumer. http://www.yamaha.com/band/artists/regional/trombone/trudel.htm -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Kevin Saunders Sent: Tuesday, February 26, 2002 1:22 PM To: Trombones and related issues forum. Subject: RE: Alain Trudel's alto Gary Greenhoe is the alto expert here, but I think this is a Yamaha. Kevin Saunders. -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Keith Marr Sent: Tuesday, February 26, 2002 1:18 PM To: Trombones and related issues forum. Subject: Alain Trudel's alto Can someone look at the picture of Alain Trudel on http://www.latitude45arts.com/artists/trudel.html and tell me what make that alto trombone is? I begin to understand why folk on this list keep referring to "trill" valves. Keith in Bb/F/D ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 17:06:25 -0500 From: Jeanie Lee To: trombone-l@po.missouri.edu Subject: Abbie Conant US tour Message-ID: <3C7C06E1.23B5D7F8@morehead-st.edu> MIME-Version: 1.0 Content-Type: multipart/mixed; boundary="------------103067599F818182050647F0" Abbie Conant performed at Morehead State University last night and it was an incredible experience! She is a fabulous musician and the avante-garde program that she performs is intriguing. The emotional reactions from the audience last night were intense. Here is some information about the rest of her tour in case you get a chance to see her in concert. -- Jeanie Lee >From February 21 to April 15, Abbie Conant will tour to 17 cities in the Southeastern USA. The tour will include two programs. One will feature the music theater work created by her and her husband, William Osborne. The other will feature works from her project "The Wired Goddess and Her Trombone" which is designed to encourage the creation of new compositions for trombone and computer based on the theme of the goddess. To date 28 works have been completed or are in progress of which she has premiered 14. The Wired Goddess concerts for this tour will include compositions written for her by six distinguished American women composers -- listed here along with where they teach: + Cindy Cox -- (Univ. of California, Berkeley) + Elizabeth Hoffmann -- (New York University) + Maggi Payne -- (Mills College) + Anne LeBaron -- (Cal Arts) + Anna Rubin -- (Oberlin College) + Nancy Dowlin There is a website devoted to the tour with details about the programs, the composers, the music theater, the Wired Goddess Project and the itinerary at: http://www.osborne-conant.org/tour2002.htm This is the itinerary: February 2 -- Denison University -- Granville, Ohio February 25 -- Morehead State University -- Morehead, KY February 28 -- East Carolina University -- Greenville, NC March 4 -- U. of Maryland, Baltimore County -- Baltimore, MD March 7 -- Virginia Commonwealth Univ. -- Richmond, VA March 10 -- Lenoir-Rhyne College -- Hickory, NC March 11 -- Virginia Technical University -- Blacksburg, VA March 16 -- Eastern Trombone Workshop -- Washington, DC March 19 -- University of Virginia -- Charlottesville, VA March 20 -- Univ. of North Carolina, Chapel Hill March 26 -- University of Tennessee, Knoxville April 1 -- University of Tennessee, Chattanooga April 4 -- Valdosta State University -- Valdosta, GA April 6-- University of Florida -- Gainesville, FL April 8 -- Columbus State University -- Columbus, GA April 14 -- University of Arkansas -- Fayetteville For further information feel free to contact William Osborne at the address below. William Osborne 100260.243@compuserve.com http://www.osborne-conant.org Content-Type: text/x-vcard; charset=us-ascii; name="j.lee.vcf" Content-Transfer-Encoding: 7bit Content-Description: Card for Jeanie Lee Content-Disposition: attachment; filename="j.lee.vcf" Attachment converted: Macintosh HD:j.lee.vcf (TEXT/R*ch) (00007748) ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 17:30:51 -0500 From: "Johnson, Scott (TBS)" To: "Trombone-l (E-mail)" Subject: Mpce Question Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1BF15.3ED927D3" Y'all, I have a mouthpiece question for you that I do not remember ever having seen discussed. What are the benefits/differences of using a mouthpiece with a funnel shaped cup vs. the more prevalent bowl shape? I have seen one or two of this kind of mpce, but I wonder what they are usually used for. I have heard it said that the funnel shape is better suited for jazz playing. True? Thanks for the information. Scott Johnson Conyers, GA USA ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 16:48:22 -0700 From: James Scott To: alexiles@earthlink.net Cc: "Trombones and related issues forum." Subject: Re: Big Phat Band on "The Other Half" Message-ID: <3C7C1EC6.D1189AC3@ucalgary.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Alex - The big band that I play with here in Calgary has been playing a few of Gordon Goodwin's charts lately. Great charts and tough but fun trombone parts. A few of the guys in our band that are teachers heard your band down at a convention in the LA area, and are still talking about how great the Big Phat Band was, and they came home with charts for us. Sorry I missed the TV appearance. Jim Scott alex iles wrote: > I am resending this...it didn't go through this morning for some reason... > > alex iles wrote: > > > Hi all, > > > > If you are at home sick or something today or bored at work, and would > > like to witness a total mismatch of music with a given demographic... > > > > Gordon Goodwin's Big Phat Band is appearing on the daytime talkshow, > > "The Other Half" today at noon PST. Gordon actually wrote the theme for > > the show and they asked if he would like to bring his whole big band on > > a show to play. We played an abbreviated version of a latin funk tune > > and the "The Other Half" theme at the end of the show. Otherwise, you > > get to sit through a story about a guy getting a vasectomy and an > > interview with actress, Kimberly Elise. [If you do watch, the bones from > > l to r are Steve Holtman, Andy Martin, myself and Craig Ware] > > > > Alex ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 23:59:55 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: Mpce Question Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Scott, Surely the way to answer that question is to try them. But I find that the funnel shaped mouthpieces are a bit fuzzy sounding but are easier to play in the upper registers. I donât mean that to sound like a complaint. I actually like mouthpieces, which are somewhat between bowl and funnel-shaped. DanP I have a mouthpiece question for you that I do not remember ever having seen discussed. What are the benefits/differences of using a mouthpiece with a funnel shaped cup vs. the more prevalent bowl shape? I have seen one or two of this kind of mpce, but I wonder what they are usually used for. I have heard it said that the funnel shape is better suited for jazz playing. True? Thanks for the information. Scott Johnson Conyers, GA USA _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 18:12:38 -0600 From: "Tom Izzo" To: "Trombones and related issues forum." Subject: RE: Alain Trudel's alto Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Roger L. Karren Sent: Tuesday, February 26, 2002 3:35 PM To: Trombones and related issues forum. Subject: RE: Alain Trudel's alto Alain Trudel is a Yamaha artist. Last I heard Yamaha designed that Alto Trombone w/half step trill valve specifically for him. I don't believe it's available for the consumer. Yes it is a Yamaha, tho the Valve is a custom job. Yamaha had it shipped out for that reason, & would do it again if you're interested, if one wants topay the piper, one can have almost anything. Tom (who considered that version before buying his Conn 36H with the Bb attachment) http://www.yamaha.com/band/artists/regional/trombone/trudel.htm -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Kevin Saunders Sent: Tuesday, February 26, 2002 1:22 PM To: Trombones and related issues forum. Subject: RE: Alain Trudel's alto Gary Greenhoe is the alto expert here, but I think this is a Yamaha. Kevin Saunders. -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Keith Marr Sent: Tuesday, February 26, 2002 1:18 PM To: Trombones and related issues forum. Subject: Alain Trudel's alto Can someone look at the picture of Alain Trudel on http://www.latitude45arts.com/artists/trudel.html and tell me what make that alto trombone is? I begin to understand why folk on this list keep referring to "trill" valves. Keith in Bb/F/D ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 18:44:32 -0600 From: "Jon Moeller" To: "'Trombones and related issues forum.'" Subject: RE: Bear's There Message-ID: <000f01c1bf27$ec069a50$9401a8c0@Jon> MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0010_01C1BEF5.A16C2A50" Ok this is a classic example of why we should NOT use html on the listÉ The message is easily 8 times larger than it would have been had it not used htmlÉ -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Steve Cordingley Sent: Tuesday, February 26, 2002 4:50 AM To: Trombones and related issues forum. Subject: Bear's There Dear all Ð and especially Bear I got to cleaning up my in-box and no longer have the e-mail about performers and composers knowing each otherÕs crafts but I do feel the impulse to make a general reply in BearÕs support. Summary: The first issue was indeed that a composer cannot expect a player to have three arms but equally, the first point was also how should that musician handle it with the composer. ThatÕs now in the past I think. Bear seems to be picking up the thread on how much a composer might be expected to know about what is truly achievable on every instrument and how far he or she should consider the taught limitations when trying to put musical ideas down on paper for others to try to turn into a sound. And then there was some talk about music being playable and (I understood) mainstream so that it gets performed and the composer gets paid. Rambling view from here: Now more than ever, composers are trapped by the sheer volume of what went before so doing something new becomes ever harder. Music is, of course, an inherently flawed system. It seems to me that itÕs the tension between the limitations and the endlessly demanding performer and writer that creates something new for us all. The composer (or indeed, the improvising musician) has a sound in mind and an idea to express. Written codes and marks on paper and playing ability are what convey that idea to performer and listener. IÕm pretty sure that research has demonstrated that each performer and listener will hear a different thing and maybe none of us Ð not even the composer Ð can claim know what it was that was originally in the personÕs head. The plunger work in the part of the register requiring valve use may be a case in point. Maybe one of the other players helps out by lending a hand Ð I donÕt know and itÕs not really the point. The composer has a sound in mind and wants it in that part of the aural spectrum. The musician tries to do it (or explores what the composer might have been trying to do) and somewhere something happens that creates something new Ð and like all music, itÕs new every time it is performed. I feel Bear is right (apologies for the paraphrasing and forgive me Bear if this isnÕt what you were trying to say) to declare that difficulty Ð or even apparent impossibility - in itself should not preclude a composer from trying to express an idea. If that means nobody plays it or hears it, thatÕs an issue for the composer. If everything were to reside in the broadly playable, nicely popular arena, music and any other form of artistic expression would become dead and rather dull Ð donÕt you think? Personally, IÕm not a fan of squeaky gate music, but I do appreciate where the composer/s is/are coming from in exactly the same way as I donÕt care for but appreciate what Damian Hurst (sorry, canÕt remember the spelling of his name), was trying to do with his sheep in formaldehyde. All the best from a grey and windy England STEVE ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 19:24:35 -0600 From: Jon Bohls To: Trombone-l Subject: Concert notice Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I wanted to let all of you who are in theDallas/Ft. Worth metroplex area, that the Rittenhouse Trombone Quartet from the Curtis Institute of Music will be playing two concerts in the coming days. Both concerts will be held at the Student Center, Center Corner at the Tarrant County College Northeast Campus. The address for the Northeast Campus is 828 Harwood Rd. in Hurst. The first concert is a morning concert, Thursday, February 28 at 11:07 am. The second concert will be on Friday, March 1 at 8:00 pm. The group made a tour of the area last year playing at several high schools. Because Curtis has a national, and sometimes international draw of applicants, they are a very unique group in that three of the four members are from this area. Ryan Johnstone is from Kemp, David Rumbaugh is from Carrollton, and Zack Bond is from Colleyville. The fourth member is Tony Wise from Pennsylvania. Having heard them last year, I can say that you are in for a real musical treat. Please come and enjoy. Jon Bohls ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 21:04:11 EST From: TboneGib@aol.com To: trombone-l@po.missouri.edu Subject: RE: mpce question Message-ID: <10e.d17539a.29ad989b@aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_10e.d17539a.29ad989b_boundary" Scott, et al, I have on the webpage a spec sheet showing all the different features of a mouthpiece and what you might expect from changing certain features. GENERALLY speaking, the funnel shape will mellow and darken the sound at the expense of brilliance and pronounced higher overtones. The beautiful, smooth sounds of the old Conn 88's was due in some part to the players using the funnel-shaped Remington mp's that came with them. It was discovered that this sound didn't project as well as some other set-ups and the sound tended to "break up" at loud volumes. To my ears, though, that ole Conn sound is the prettiest thing I know. Still works very, very well when soloing, if not on Mahler, Bruckner, etc. Tom Gibson Brass Dept. Coordinator Georgia State University tbonegib@aol.com ph: (404) 651-1740 trombonelessons.com ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 22:08:57 -0600 From: "Richard Zemry Johnson" To: , "Trombones and related issues forum." Subject: Re: Bear's There Message-ID: <001b01c1bf44$7b1f1340$efaf9d42@zemry> MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0017_01C1BF12.301FEE00"; type="multipart/alternative" Yes, but it looks so nice!! ****************************************************************************** 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. JohnsonÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ ********************************************************************************* 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: Jon Moeller To: Trombones and related issues forum. Sent: Tuesday, February 26, 2002 6:44 PM Subject: RE: Bear's There Ok this is a classic example of why we should NOT use html on the listÉ The message is easily 8 times larger than it would have been had it not used htmlÉ -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Steve Cordingley Sent: Tuesday, February 26, 2002 4:50 AM To: Trombones and related issues forum. Subject: Bear's There Dear all Ð and especially Bear I got to cleaning up my in-box and no longer have the e-mail about performers and composers knowing each otherÕs crafts but I do feel the impulse to make a general reply in BearÕs support. Summary: The first issue was indeed that a composer cannot expect a player to have three arms but equally, the first point was also how should that musician handle it with the composer. ThatÕs now in the past I think. Bear seems to be picking up the thread on how much a composer might be expected to know about what is truly achievable on every instrument and how far he or she should consider the taught limitations when trying to put musical ideas down on paper for others to try to turn into a sound. And then there was some talk about music being playable and (I understood) mainstream so that it gets performed and the composer gets paid. Rambling view from here: Now more than ever, composers are trapped by the sheer volume of what went before so doing something new becomes ever harder. Music is, of course, an inherently flawed system. It seems to me that itÕs the tension between the limitations and the endlessly demanding performer and writer that creates something new for us all. The composer (or indeed, the improvising musician) has a sound in mind and an idea to express. Written codes and marks on paper and playing ability are what convey that idea to performer and listener. IÕm pretty sure that research has demonstrated that each performer and listener will hear a different thing and maybe none of us Ð not even the composer Ð can claim know what it was that was originally in the personÕs head. The plunger work in the part of the register requiring valve use may be a case in point. Maybe one of the other players helps out by lending a hand Ð I donÕt know and itÕs not really the point. The composer has a sound in mind and wants it in that part of the aural spectrum. The musician tries to do it (or explores what the composer might have been trying to do) and somewhere something happens that creates something new Ð and like all music, itÕs new every time it is performed. I feel Bear is right (apologies for the paraphrasing and forgive me Bear if this isnÕt what you were trying to say) to declare that difficulty Ð or even apparent impossibility - in itself should not preclude a composer from trying to express an idea. If that means nobody plays it or hears it, thatÕs an issue for the composer. If everything were to reside in the broadly playable, nicely popular arena, music and any other form of artistic expression would become dead and rather dull Ð donÕt you think? Personally, IÕm not a fan of squeaky gate music, but I do appreciate where the composer/s is/are coming from in exactly the same way as I donÕt care for but appreciate what Damian Hurst (sorry, canÕt remember the spelling of his name), was trying to do with his sheep in formaldehyde. All the best from a grey and windy England STEVE ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 10:13:27 -0000 From: "Steve Cordingley" To: "Trombone Forum Posting Address" Subject: HTML apologies Message-ID: MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0000_01C1BF77.65FA4B00" Ok this is a classic example of why we should NOT use html on the listÉ The message is easily 8 times larger than it would have been had it not used htmlÉ Sorry everyone. IÕm a complete bounder and will give myself a jolly stern talking to first chance I getÉ And of course in future I hope to be able to stop things going HTML when they shouldnÕt. Steve in England ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 11:26:36 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Bear's There (Three Bears Suite?) Message-ID: <008f01c1bf81$b1e36240$c198fc3e@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: Richard Zemry Johnson > Yes, but it looks so nice!! > ************************ So we have to see it 3 times? If the original was 8 times as big as it would have been in plain text, it's now 23 times as big as it would have been, sorry 24 times with this reply, but notice I've now changed it to plain text, and stripped out all of the 1st and 2nd generation text. No vellum laid parchment, no fancy sig, just less bytes and easier to read. Sorry 'bout that :-( Luv y'all, A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 06:58:42 -0600 From: "Richard Zemry Johnson" To: , "Trombones and related issues forum." Subject: Re: Bear's There (Three Bears Suite?) Message-ID: <000801c1bf8e$7c539c00$a4ae8aac@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit My apologies to the group. I forgot to strip the original HTML message! Love you too, Adrian! **************************************************************************** ** 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: Wednesday, February 27, 2002 5:26 AM Subject: Re: Bear's There (Three Bears Suite?) > > From: Richard Zemry Johnson > > > Yes, but it looks so nice!! > > ************************ > > > So we have to see it 3 times? If the original was 8 times as big as it > would have been in plain text, it's now 23 times as big as it would have > been, sorry 24 times with this reply, but notice I've now changed it to > plain > text, and stripped out all of the 1st and 2nd generation text. > > No vellum laid parchment, no fancy sig, just less bytes and easier to read. > > Sorry 'bout that :-( > > Luv y'all, A. > > Adrian Drover > ADIOS, Scotland www.adios.co.uk > Personal email: adrian@adios.co.uk > > > ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Tue, 26 Feb 2002 21:35:00 -0800 From: jimandcat@juno.com To: trombone-l@po.missouri.edu Cc: craig@acticalc.com Subject: Re: Instrument design over the past 100 years or so Message-ID: <20020227.061132.-507777.1.Jimandcat@juno.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary=--__JNP_000_1c76.2028.1757 Craig, I have been very slow (but diligent) about working my way through the Trombone L digests sitting in my inbox. This post you did on 2/12 is fantastic. It belongs in a magazine like the New Yorker. You hammered the nail on the head. In case, some of you missed this, read it or read it again. It sums up a lot of where the performing arts are in this country. And why there is still optimism for the future. Thank you, Craig. (Sorry if the posts beyond this date 2/12 dealt with the same subject, I do think it is worth repeating regardless. Night y'all) Jim Prindle At 05:24 PM 2/12/2002 -0600, Jon Moeller wrote: >We don t seem to be getting anywhere in the design of instruments, for the >past 100 years or so the classical orchestra has remained nearly >unchanged. The only advents that I have really seen are the electronic >family of instruments, and some improvements in the percussion family. > >So my question is this: Have more classical instruments passed their >prime? Will we be seeing Electronics in an orchestra any time soon? Is >the Orchestra out of date ? I have 8 or 10 trombones, as do many of the people on the list here. Without any doubt, my two favorites are a 1930's Silvertone and a 1999 Edwards bass. Has there been progress? Indeed. But it is also true that they don't make 'em like they used to. I'm looking forward to seeing the integration of other metals or exotic materials to get an incremental change over today's horns, but that is mainly because I'm a gadget guy. Those innovations aren't going to change the popularity of the instrument. Your questions revolve around the "classical symphony orchestra". The trombone is a relatively insignificant instrument in the symphony orchestra, having the fewest prominent lines of any full time instrument. (I say that as a trombonist in a symphony orchestra, and the President of that orchestra. I know people don't want to hear it, but facts are facts.) I don't think we can blame the trombone for the difficulties that symphony orchestras face today. And likewise, there are no improvements to the trombone that will improve the future facing symphony orchestras. I think you have to look at macroeconomic factors. When there were only three TV networks, few arena-sized rock productions, no such thing as a VCR, and far more leisure time in the average family, the symphony orchestra was able to compete quite well for live audiences as well as major radio broadcasts. Today we have family incomes that keep most people above the poverty level, but only with both parents working full time in many cases. And many of those jobs are more demanding of their time. Our houses and cars are bigger and full of more gadgets, but we seem to be enjoying all of that less. People seem to be burning the candle at both ends. It is very easy to drop into a Lay-Z-Boy at the end of a long day and not want to get up to go to a concert. And if you do want to go out for entertainment, there are more options competing for your attention. More concerts, shows, productions, whatever. In my city of about 1 million population, you can find a hundred or more good performances almost every weekend. Add to that lots of 12-screen theatres and more restaurants than ever to compete for the diminished leisure time that we have. Technology has been kind to some of these other entertainment options. Movies have Dolby Surround and IMax. Some of the shows coming through town have 4 live musicians plus a monster MIDI synthesizer system where they used to have 25 musicians. The public accepts this in the same way the public accepts Nike shoes made by Asian workers earning 50 cents a day. People just don't concern themselves with the bigger picture. Is the classical symphony orchestra doomed? Not necessarily. There are many inspired compositions that have survived centuries, and there is nothing like attending a live performance of some of the classics. Music education is essential, and the orchestras must make that a major priority of their mission if they want to have a future. I do think that the genre was dealt a very ugly blow by some really horrendous trends in composition during the 20th century. Much of that music was just plain bad -- on the whole, 20th century symphonic music was *FAR* below the standards of prior centuries. Orchestras should not be afraid to utilize technologies to make their performances more entertaining. A laser light show and synthesizers in a pops concert are just fine by me, but I really don't want to go see an orchestra play impressions of the latest Back Street Boys sounds. I do believe the bread and butter will continue to be the classics performed acoustically. When I say "classics" I am including modern works that are up to the standards of the great works of the past. Our orchestra performed the premiere of a violin concerto this weekend. We commissioned its composition by an amazing 18-year old. The piece reminds one of Vivaldi and a few others. I find it more listenable than 90% of what was written during the 20th century. We had 1000 people in the audience for this concert (it was a major celebration of Black History, of which this new composition was a small part.) I dare say there is nothing most of the people in the audience will see in the next 12 months that will be more inspirational than concert. Bottom line, the main purpose of symphony orchestras is to keep alive a piece of history. Society should value its history, so there will always be a place for some of that. But as time passes, that niche continues to get smaller, not because symphonic music has lost any of its essential goodness, but simply because the world is getting so much bigger every year. So to answer your questions directly, Jon: Has the genre passed its prime? Is the orchestra out of date? Well yes, there's no denying that. But that isn't a bad thing. The economics will continue to be harsh. Some pro orchestras will be replaced by semi-pro ones and semi-pro orchestras will be replaced by excellent amateur orchestras, but the music will live. Will we be seeing electronic orchestras? I'll answer that by asking you how much would you pay for a seat in an auditorium to see a computer play the Pines of Rome live? Not too much, I'm guessing. Some electronics should be used judiciously to extend the aural palette of the orchestra, but not to replace the essential live performance by humans. That's how I see it anyway. Craig ------------------------------------------- I kept looking for something to add. But you said it and summed it up perfectly "...the music will live...Some electronics should be used judiciously to extend the aural palette of the orchestra, but not to replace the essential live performance by humans." That has been a constant in my life experience, and what audiences frequently repeat to me. They are more fascinated by the artists' performance of musicÊ(humans) than the sound (bits and bytes) reproduction in electronic media. Jim Prindle ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 09:47:41 -0500 (EST) From: "Dr. Carole Nowicke, Applied Health Science" To: Adrian Drover Cc: "Trombones and related issues forum." Subject: Re: Bear's There (Three Bears Suite?) Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 27 Feb 2002, Adrian Drover wrote: > No vellum laid parchment, no fancy sig, just less bytes and easier to read. Adrian, You can have vellum, you can have laid, or you can have parchment, but it's not like five-way chili, you can't have all three. Carole "thinking about chili" Nowicke cnowicke@indiana.edu ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 09:50:23 -0500 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: Alain Trudel's alto Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 2/26/02 2:17 PM, Keith Marr expounded thusly... > Can someone look at the picture of Alain Trudel on > http://www.latitude45arts.com/artists/trudel.html and tell me what make that > alto trombone is? > > I begin to understand why folk on this list keep referring to "trill" > valves. > > Keith in Bb/F/D > The current Yamaha price list has the YSL 671T, which is the current alto, plus a Trill valve. I couldn't tell you how available they are. The horn in the picture looks a lot like my older Custom Series alto (YSL 871), except with a trill valve grafted onto the tuning slide. This is not so strange a place to put it; the YSL 603 German-style tenor trombone is set up the same way. It lets you change to a straight horn, or a valved one, just by changing the tuning slide. -- Walter Barrett " The good Doctor said she was nervous, and, to relieve her, proposed a round game at cards; of which he knew as much as of the art of playing the trombone." -Charles Dickens "David Copperfield" Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 08:49:20 -0600 From: "Jeff Albert" To: "Trombones and related Forum." Subject: RE: HTML apologies Message-ID: <001401c1bf9d$f0acc630$4e239d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Of course the html apology was html. :) Jeff -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Steve Cordingley Sent: Wednesday, February 27, 2002 4:13 AM To: Trombones and related issues forum. Subject: HTML apologies Ok this is a classic example of why we should NOT use html on the list. The message is easily 8 times larger than it would have been had it not used html. Sorry everyone. I'm a complete bounder and will give myself a jolly stern talking to first chance I get. And of course in future I hope to be able to stop things going HTML when they shouldn't. Steve in England ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 10:28:06 -0500 From: "Paul D. Kemp, Jr." To: "Trombones and related issues forum." Subject: Re: mpce question Message-ID: <005801c1bfa3$5bc13e10$a85b4d0c@trbnplyr> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0055_01C1BF79.71C46950" Scott, et al, This is a very subjective area, butÊI believe that Tom is very much on the money. However, I do feel that we as trombonists need to deal with this thing of "Just how loud do we have to play anyway?" There are many different factors in the mix--the size of the orchestra has gotten larger with more string players that are putting out sound, and the hall has everything to do with it. So, in order to compensate for these factors, we as trombonists have felt the need to try 1) heavier mouthpieces in terms of massÊ2) larger mouthpieces, and 3) larger and larger trombones. It wasn't that long ago that a .525 bore instrument was considered to be a great sounding first trombone, the .547 bore instrument for second, and of course the .562 for bass. However, as the groups have gotten larger and the halls have gotten larger as well, theÊprincipal trombonists have had to go to the large bore trombone (Gordon Pulis introduced the 88H to theÊorchestral world in the 1940's)Êin order to be heard, and it was very common for principal players to play on a 6 1/2AL (Glenn Dodson comes to mind vividly) but then the 5G is more or less the standard now. There are even players out there playing on 4G's and some people play on even larger tenorÊmouthpieces than that, and unless you really have the dental structure to support it, what happens is that where you might sound really fantastic in the middle and lower registers, the upper registerÊmany times lacks clarity and focus. Also, how you sound to yourself can be radically different to what you sound like out in the hall. So, in the final analysis, it is one giant compromise. You choose a mouthpiece that is going to allow you to everything reasonably well, and you work your butt off to sound great. It is still a greatÊideaÊto take someone with you that you respect to listen to you as you try things out from a distance. Tom Gibson and I have done this and the results have beenÊvery musically gratifying (you canÊtake me to lunch the next time I'm in Atlanta, Tom.). Also,ÊI can't emphasize enough the importance of trying to fix the operator first before going out and spending mega bucks on equipment. Coaching sessions with a good teacher are still cheaper than a new horn or a sometimes even a new mouthpiece, and you will learn a lot in the process. Paul D. Kemp Jr. Chattanooga Symphony www.trbnplyr.comÊÊÊÊÊ ----- Original Message ----- From: TboneGib@aol.com To: Trombones and related issues forum. Sent: Tuesday, February 26, 2002 9:04 PM Subject: RE: mpce question Scott, et al, I have on the webpage a spec sheet showing all the different features of a mouthpiece and what you might expect from changing certain features. GENERALLY speaking, the funnel shape will mellow and darken the sound at the expense of brilliance and pronounced higher overtones. The beautiful, smooth sounds of the old Conn 88's was due in some part to the players using the funnel-shaped Remington mp's that came with them. It was discovered that this sound didn't project as well as some other set-ups and the sound tended to "break up" at loud volumes. To my ears, though, that ole Conn sound is the prettiest thing I know. Still works very, very well when soloing, if not on Mahler, Bruckner, etc. Tom Gibson Brass Dept. Coordinator Georgia State University tbonegib@aol.com ph: (404) 651-1740 trombonelessons.com ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 11:08:31 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: Instrument design over the past 100 years or so Message-ID: <4.3.2.7.2.20020227110627.024352c0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Sorry if this is a repeat. The original never came through on my email. ==================================================== Thank you for the kind words, Jim. I guess the short version of that post is: (imagine the following words being in bold italics if I were using HTML) education and history. For those of us on the list who play in orchestras at any level, I encourage you to ask yourself and the people who manage your orchestra these questions: Are we giving enough priority to supporting music education, particularly among the youth? Are we making sure that attending our concerts is the best possible education experience for our patrons? Are we playing a repertoire that includes great works from the past that don't get the appreciation they deserve? Are we supporting the composers of today as well as we can by commissioning new compositions and performing excellent new works? If your orchestra is 4 for 4 on that list, I'm betting you have a long and fulfilling future. All the best, Craig ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 11:24:13 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Mechanical music Message-ID: <4.3.2.7.2.20020227111242.00ba0bc0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:35 PM 2/26/2002 -0800, jimandcat@juno.com wrote: I kept looking for something to add. But you said it and summed it up perfectly "...the music will live...Some electronics should be used judiciously to extend the aural palette of the orchestra, but not to replace the essential live performance by humans." That has been a constant in my life experience, and what audiences frequently repeat to me. They are more fascinated by the artists' performance of music (humans) than the sound (bits and bytes) reproduction in electronic media. Coincidentally, there was a short piece on NPR (All Things Considered, I think) yesterday that featured a pair of San Francisco performers who took the stage with dueling notebook computers. They performed a composition using pre-programmed sound samples. In my response to Jon, I posed the question how much anybody would be willing to spend to see a computer play the Pines of Rome. I meant that as a rhetorical question, but after listening to this feature I'm not so sure. In my own life, I book myself out playing trombone over computer-based MIDI tracks for live background music. People pay a bit of money for this, but I don't attribute much of that to the computer. The mechanical music is a means to an end, not a performance worthy of attention by itself. However, I'll admit the music generated by these two computers on NPR was interesting. The sound samples were of noises that occur in a hospital operating room. Who would have thought that the sound of liposuction could be artistic? I guess it pays to have an open mind about everything. Cheers, Craig P.S. I could only listen to this track for about 20 seconds before I was overcome by the mental image of doctors dancing around an operating table doing musical liposuction on a bloated body, much like you marinate a Thanksgiving turkey. It wasn't the mental image I needed at that moment. ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 09:18:42 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: How loud? was Re: mpce question Message-ID: <20020227171842.50937.qmail@web10302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- "Paul D. Kemp, Jr." wrote: > However, I do feel that we as > trombonists need to deal with this thing of "Just how > loud do we have to play anyway?" Great question Paul. I spend much much more time and energy in my freelance career figuring out how to play with an exciting sound at a lower volume than I do trying to play more loudly. In the orchestras I play with most of the time, I've never had to struggle to put out a big enough sound; the only time that happens is when I sub with the Boston Symphony or Pops - and even there I am much more concerned with matching the quality of sound, articulations and releases of the players around me than I am with volume. Granted, most of my playing is with regional and freelance orchestras. I know it's quite different in full-time symphony orchestras. But one of my orchestras, the RI Phil, uses a string section as large as most salaried orchestras: 7 basses, 9 cellos, etc., and we still never have to push really hard to make the appropriate loud dynamics. So my question is this - and I'm really curious: how many of the orchestral players on the list - being really honest with ourselves - really ever have to play as loud as their bodies and equipment will allow? How many of us are really pushed very often to the limits of our capacity for loud dynamics? Gabe __________________________________________________ Do You Yahoo!? Yahoo! Greetings - Send FREE e-cards for every occasion! http://greetings.yahoo.com ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 17:25:23 From: "Michael Clayville" To: trombone-l@po.missouri.edu Subject: The MBQ's Newest Member Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed The Monumental Brass Quintet, of Washington, DC, is happy to announce its newest member, tubist Michael Parker. Michael has performed with the Elmhurst Symphony, the Missouri Brass Consortium, The University of Missouri Faculty Brass Quintet, and the Mount Vernon Brass Consort. He has taught at the University of Missouri, the Wyoming Seminary Preparatory School, and maintains a private studio in Baltimore, MD. Mike earned a bachelor's degree at Northwestern University where he studied with Rex Martin. Mike's first duties with the MBQ include our Brass Weekend 2002 with David Fedderly (March 2nd and 3rd), a tour of Virginia schools in March and a tour of Illinois in April. If you can catch a performance of the Monumental Brass take a second to say hello afterward. Mike Clayville for the MBQ www.monumentalbrass.org _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2313 Date: Wed, 27 Feb 2002 12:39:28 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: How loud? was Re: mpce question Message-ID: <4.3.2.7.2.20020227123652.00b9fb38@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:18 AM 2/27/2002 -0800, Gabriel Langfur wrote: So my question is this - and I'm really curious: how many of the orchestral players on the list - being really honest with ourselves - really ever have to play as loud as their bodies and equipment will allow? How many of us are really pushed very often to the limits of our capacity for loud dynamics? I think that depends a great deal on the hall. The orchestra I play in doesn't have a regular home, so we play on a variety of stages. Some concerts, the conductor is always looking for more. Other times we apparently carry just fine without an extreme effort. Even the seating position on a given stage can make a huge difference. ----__ListProc__NextPart____TROMBONE-L__digest_2313--