TROMBONE-L Digest 2397 Topics covered in this issue include: 1) RE: Ophicleide? by "Gary Maxwell" 2) RE: Ophicleide? by "Dennis Clason" 3) "Pressurize" by "David A. Schwartz" 4) Re: "Pressurize" by Walter Barrett 5) Re:Contrabass Trombone images by Douglas Yeo 6) Chris Waage by Galen Zinn 7) Re: "Pressurize" by Gabriel Langfur 8) Re:Contrabass Trombone images by Craig Parmerlee 9) RE: Ophicleide? by sabutin 10) Dark/Bright was Re: It is imporrible to breathe wrong by Gabriel Langfur 11) Re: It is imporrible to breathe wrong by Gabriel Langfur 12) Re: It is imporrible to breathe wrong by sabutin 13) RE: Ophicleide? by Douglas Yeo 14) RE: "Pressurize" by Steve Gamble 15) Re: in- & out-breathers by Gabriel Langfur 16) Re: It is imporrible to breathe wrong by Craig Parmerlee 17) Re: "Nerves" by sabutin 18) Jazz Nights at the Radission at ITF 2002 by "Marple, Richard L COL BAMC-Ft Sam Houston" 19) Re: It is imporrible to breathe wrong by "Daniel Pliskin" 20) Re: It is imporrible to breathe wrong by sabutin 21) RE: Ophicleide? by "David Guion" 22) Re: Ophicleide? by Brian French 23) RE: Ophicleide? by "Dr. Carole Nowicke, Applied Health Science" 24) Anyone at U of Texas, Austin? by BassBonist@aol.com 25) RE: Jazz Nights at the Radission at ITF 2002 by "Joshua Brown" 26) FOR SALE-1939 Conn Double-Belled Euphonium & Italian Baritone by Gordon Cherry 27) Tuba group address by Gordon Cherry 28) FOR SALE-1939 Conn Double-Belled Euphonium & Italian Ba by Gordon Cherry 29) Re: Tuba group address by Phil Burton 30) Nerves - or The Great Fireball Theory by "Bill Redgate" 31) Dick Nash by Jim Seaman 32) Re: Arthur Pryor "The Supervisor" by "Brennan Arceneaux" 33) Re: It is imporrible to breathe wrong by "Adrian Drover" 34) Re: It is imporrible to breathe wrong by "Adrian Drover" 35) Re: Nerves - or The Great Fireball Theory by "David Guion" 36) Re: Ophicleide? by David Buckley 37) Re: Nerves - or The Great Fireball Theory by David Buckley 38) Current Events by "Rod Ellard" 39) RE: Current Events by "Jeff Albert" 40) Re: Ophicleide? by "Dr. Carole Nowicke, Applied Health Science" 41) Re: Nerves - or The Great Fireball Theory by "Daniel Pliskin" 42) Trombone-L Admin Page at www.trombone.org by "Trombone-L Monitor" 43) Re: It is imporrible to breathe wrong by "Daniel Pliskin" 44) Re: Current Events by "Daniel Pliskin" ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 10:04:43 -0700 From: "Gary Maxwell" To: "Gary Maxwell" , "Trombones and related issues forum." Subject: RE: Ophicleide? Message-ID: <659829993461CA49942D1312DE343691830A52@edcenmail1.bcsd.k12.ca.us> content-class: urn:content-classes:message MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C200E9.9A81F656" Well, just leave it to an anxious idiot trying to run a Music App. class at the same time he's sneaking peaks at trombone-L emails!!!! Professor Schickeley's instrument is named a "tromboon"; NOT "slide windbreaker", although it still fits. The "tromboon" can be heard on the same CD, but in the "Lamintations of Jerry Maja". Sorry for leading you all astray! Signing off redfaced. Gary Maxwell ================================================================ -----Original Message----- From: Gary Maxwell Sent: Tue 21-May-02 09:45 To: Trombones and related issues forum. Cc:ÊÊÊÊ Subject: RE: Ophicleide? For a kinda, sorta sound of an Ophicleide, one might try a small bore trombone with a bassoon bocal and reed. I'm not sure if anyone can take credit for trying this first, but Peter Schickele recorded one on his "P. D. Q. Bach - 1712 Overture & other Musical Assaults", CD, (Telarc CD-80310) in the Finale of "The Preachers of Crimetheus", Variation III of "Special Deliverance". He has aptly named this instrument the "slide windbreaker". There is also a picture of the instrument(?) in the liner notes. FWIW All the best, Gary Maxwell ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 11:35:35 -0600 From: "Dennis Clason" To: , "Trombones and related issues forum." Subject: RE: Ophicleide? Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0004_01C200BB.9F5DBC80" PDQ also calls this the tromboon, "a slide brasswind played with a bassoon bocal and reed, combining the disadvantages of both instruments" -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu]On Behalf Of Gary Maxwell Sent: Tuesday, May 21, 2002 10:45 AM To: Trombones and related issues forum. Subject: RE: Ophicleide? For a kinda, sorta sound of an Ophicleide, one might try a small bore trombone with a bassoon bocal and reed. I'm not sure if anyone can take credit for trying this first, but Peter Schickele recorded one on his "P. D. Q. Bach - 1712 Overture & other Musical Assaults", CD, (Telarc CD-80310) in the Finale of "The Preachers of Crimetheus", Variation III of "Special Deliverance". He has aptly named this instrument the "slide windbreaker". There is also a picture of the instrument(?) in the liner notes. FWIW All the best, Gary Maxwell ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 13:38:34 -0400 From: "David A. Schwartz" To: Gabriel Langfur , Subject: "Pressurize" Message-ID: <5.1.0.14.0.20020521132507.00aa1c90@pop.nyx.net> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Gabe, For your collection of aphorisms, consider the one-word suggestion, "Pressurize". Dick Plaster instructs us in his brass choir to pressurize when he hears puffy or tardy attacks. Tom O'Halloran instructs his middle school band students, at the start of a number, to breath in, HOLD, and prepare for his downbeat. Tom reports ensemble improvement every time he sees the instruction followed. David http://www.nyx.net/~dschwart/ ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 13:46:41 -0400 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: "Pressurize" Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thus spake, not Zarathustra, but David A. Schwartz... > Tom O'Halloran instructs his middle school band > students, at the start of a number, to breath in, HOLD, and prepare for his > downbeat. Tom reports ensemble improvement every time he sees the > instruction followed. I guess it might work for ensemble, but I'd be too afraid of developing a habit that makes it too easy to perform the Valsalva Maneuver. I have my students breath in on the upbeat, out on the downbeat; absolutely NO HOLDING! Maybe the kids do all come in together, but what's their tone like? -- Walter Barrett "REAL trombonists play EXERCISES. Woodwind players and French Hornists play ETUDES." - Wayne Dyess Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 13:59:45 -0400 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re:Contrabass Trombone images Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The contrabass trombone page in the "Contrabass Compendium" is now loading its images properly: http://www.contrabass.com/pages/cbtbn.html -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 11:13:36 -0700 From: Galen Zinn To: Trombone List Post Subject: Chris Waage Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit I would like to send you a message but apparently I don't have your current email address. Please contact me off list. Thanks, Galen Zinn E-mail: grzinn@ca.astound.net ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 11:53:13 -0700 (PDT) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: "Pressurize" Message-ID: <20020521185313.19925.qmail@web10302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- "David A. Schwartz" wrote: > Dick Plaster instructs us in his brass choir to > pressurize when he hears > puffy or tardy attacks. Tom O'Halloran instructs his > middle school band > students, at the start of a number, to breath in, HOLD, > and prepare for his > downbeat. Tom reports ensemble improvement every time he > sees the > instruction followed. Hmm... I'd have to join Walter in questioning the long-term wisdom of that approach. Maybe Dick Plaster has explained "pressurize" to mean something useful about directing the air for clarity, but the breathe-hold-play thing is asking for trouble, in my opinion. Sure, in professional situations, I often have to do something like that, but I've been playing for a relatively long time, and I'm always practicing, always monitoring that I'm playing in a relaxed fashion, with good airflow, etc.. For middle-school kids, it seems like a short-term ensemble solution that has the potential to cause long-term individual problems. It seems to me that there has to be a better way to focus on good rhythm within an ensemble. Gabe __________________________________________________ Do You Yahoo!? LAUNCH - Your Yahoo! Music Experience http://launch.yahoo.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 16:05:48 -0300 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re:Contrabass Trombone images Message-ID: <4.3.2.7.2.20020521160033.01cd85b0@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Two of the more common ones are missing from this web site. The Alexandre had some popularity, although it is somewhat impractical. The Haag seems to be enjoying popularity today, but I have not seen a good picture of it anywhere. I can supply pictures of the Alex if anybody is interested. Of all the contrabass instruments, the Dick Tyack invention seems the most pragmatic (although I would prefer F). It isn't overly large from front to back and the doubled slide means you can manage a full 7 (or 8) positions easily. I realize it doesn't look like a he-man's instrument, and maybe that is the whole point of playing a contrabass. But as practical instruments go, this looks like the best idea. Why hasn't this caught on? Just curious, Craig At 01:59 PM 05/21/2002 -0400, Douglas Yeo wrote: The contrabass trombone page in the "Contrabass Compendium" is now loading its images properly: http://www.contrabass.com/pages/cbtbn.html -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 14:59:47 -0400 From: sabutin To: trombone-l@po.missouri.edu Subject: RE: Ophicleide? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Well, just leave it to an anxious idiot trying to run a Music App. class at the same time he's sneaking peaks at trombone-L emails!!!! Professor Schickeley's instrument is named a "tromboon"; NOT "slide windbreaker", although it still fits. The "tromboon" can be heard on the same CD, but in the "Lamintations of Jerry Maja". Sorry for leading you all astray! Signing off redfaced. Gary Maxwell ================================================================ Hi all... Speaking of names...here is an interesting excerpt from a webpage I just found: ______________________ The ophicleide is part of the family of keyed bugles invented by L. Clyde Hallary in the early 1800's. While the soprano members of the family (in Eb, C, and Bb, at least) were made in a single coil, in the shape of a bugle, the larger members were made upright. The first instruments were made with 9 keys, while later models were equipped with 11 or 12. The name "ophicleide" means "keyed serpent", and in fact the ophicleide was developed as an improvement over the serpent. The serpent is difficult to play and has a soft timbre. Its tone holes are arranged essentially where one can reach them, rather than where they have the best effect acoustically. Hallary revised the entire concept, making the bore of metal (rather than the serpent's wood), positioning 9 tone holes in approximately correct locations, and covering the large holes with padded keys. Additional keys were added later to improve particular notes. When Mr. Hallary first attempted to demonstrate the instrument in London for some of the members of the Philharmonic, the plauers in the brass section raised serious objections about its pitch and timbre. Finally one of them stood up and stormed out of the room, yelling "That's off, L. Clyde, it's way., way off", thus giving the cumbersome pile of metal...reportedly the result of an illicit three-way among a bassoon, a trombone and a pile of English farm implements...its name for all time. _________________ Later... S. P.S. Sorry...I couldn't resist. I tried, Adrian, I really did... ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 12:04:32 -0700 (PDT) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Dark/Bright was Re: It is imporrible to breathe wrong Message-ID: <20020521190432.42087.qmail@web10303.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii --- Chuck De Paolo wrote: > I don't think there is anything particularly wrong with > the bright/dark > argument. After all, most people "get it" when those > terms are used. It's > when the concept is overanalyzed and run too far up the > ivory tower that it > begins to lose its meaning. I would disagree - I don't think most people get it. The problem is when the terms are NOT analyzed, and players who could otherwise play well go to great lengths to remove all traces of overtones in order to achieve a "dark" sound. I went into this at length when I described listening to principal trombone auditions for the Rhode Island Phil. We heard A LOT of dark sounds that would have trouble projecting in any orchestra, usually accompanied by insecure high registers. I think way too many young players (OK, young orchestral players) equate dark with orchestra, bright with jazz or commercial, and then stop thinking about it entirely and try to go as dark as possible, with a big, heavy bell and a big, heavy mouthpiece. They end up with sounds that don't have a good balance of dark and bright, or weight and rub, or fundamental and overtones, or whatever terms you prefer. My problem with dark/bright is that it's really easy to fall into the mental shortcut of dark=good and bright=bad and stop there. Gabe __________________________________________________ Do You Yahoo!? LAUNCH - Your Yahoo! Music Experience http://launch.yahoo.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 12:05:43 -0700 (PDT) From: Gabriel Langfur To: Chuck De Paolo , "Trombones and related issues forum." Subject: Re: It is imporrible to breathe wrong Message-ID: <20020521190543.72944.qmail@web10304.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii By the way, I love this typo. Can we come up with a definition of imporrible? Adrian? __________________________________________________ Do You Yahoo!? LAUNCH - Your Yahoo! Music Experience http://launch.yahoo.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 15:17:56 -0400 From: sabutin To: trombone-l@po.missouri.edu Subject: Re: It is imporrible to breathe wrong Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" By the way, I love this typo. Can we come up with a definition of imporrible? Adrian? =========== imporrible: absolutely incapable of ingesting porridge in any form whatsoever S. ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 15:29:38 -0400 From: Douglas Yeo To: "Trombones and related issues forum." Subject: RE: Ophicleide? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 2:59 PM -0400 5/21/02, sabutin wrote: I tried, Adrian, I really did... You done good, Sam, you done VERY good... :-) -Doug ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 12:32:25 -0700 From: Steve Gamble To: "'wbarrett@bestweb.net'" , "Trombones and related issues forum." Subject: RE: "Pressurize" Message-ID: <01C200C3.914A8D00.sgamble@tucsonsymphony.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Walter, I know it's a little weird. In fact I've never actually heard of anyone teaching it before David mentioned it. But I happen to get the best start when I take a slow, full breath over the few seconds before the conductor begins the preparatory beat. Usually I'm holding it by the time the downbeat comes. I'm not sure how or when I came up with it. But it's been quite a while. I wouldn't use the word "pressurize" to describe what I do. To me, that word connotes stress and strain. What I do promotes just the opposite, a relaxed instantaneous release of air. I have the same concern as you do about the possibility of encouraging clenching the throat. So I don't teach the holding part of the breath to my students unless 1) it is completely obvious that there is no chance of clenching problems 2) the student's sense of time is exceptional and 3) the technique would actually improve upon what they are already doing. In reality, I don't remember ever having a student that I thought fit these conditions. So it must be fairly rare. Breathing with the stick seems to be good for rhythm, but it also seems to make a lot of kids unnecessarily tight, in my experience. So I do teach the slow initial breath. It's part of the warm-up routine that we do together. On that ever-popular Remington warm-up (F-E, F-Eb, etc.), with the metronome set on 60 or slower, we breathe in for four counts, concentrating on taking the maximum amount of air evenly over the entire four counts and also maintaining the same degree of relaxation at the end of the breath as at the beginning. Then we play on the next beat, no stopping. The air is moving either in or out. Each note gets four beats. I like to combine it with a breath attack and gliss. between the notes. The breath attack is great for making them learn to set the embouchure very quickly. The exercise includes stopping the second note simply by beginning the four-count breath before the next pair of notes. Stop breathing by playing, stop playing by breathing. It's all very efficient, a good skill for those long passages with very little space to breathe. Over the few minutes that this part of the warm-up takes, the students that are doing it correctly have eased into using the extremes of their lung capacity without any tension. These students typically have a very good sound and good articulation. I suppose once a player has learned to relax to the max as s/he tanks up, breathing with the stick should be no problem. But, for me, it's always been a source of tension, so I quit doing it. Perhaps I learned to hold the air before the attack, because of inconsistent and unpredictable conductors. 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: Walter Barrett [SMTP:wbarrett@bestweb.net] Sent: Tuesday, May 21, 2002 10:47 AM To: Trombones and related issues forum. Subject: Re: "Pressurize" Thus spake, not Zarathustra, but David A. Schwartz... > Tom O'Halloran instructs his middle school band > students, at the start of a number, to breath in, HOLD, and prepare for his > downbeat. Tom reports ensemble improvement every time he sees the > instruction followed. I guess it might work for ensemble, but I'd be too afraid of developing a habit that makes it too easy to perform the Valsalva Maneuver. I have my students breath in on the upbeat, out on the downbeat; absolutely NO HOLDING! Maybe the kids do all come in together, but what's their tone like? -- Walter Barrett "REAL trombonists play EXERCISES. Woodwind players and French Hornists play ETUDES." - Wayne Dyess Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 12:34:12 -0700 (PDT) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: in- & out-breathers Message-ID: <20020521193412.21681.qmail@web10306.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii On a lighter note, Wrigley's new "eclipse" gum is "EVEN MORE POWERFUL!" and promises "Immediate Breath Control". I'll let you all know how it works out. Gabe __________________________________________________ Do You Yahoo!? LAUNCH - Your Yahoo! Music Experience http://launch.yahoo.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 17:13:47 -0300 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: It is imporrible to breathe wrong Message-ID: <4.3.2.7.2.20020521171257.01cd7328@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 12:05 PM 05/21/2002 -0700, Gabriel Langfur wrote: By the way, I love this typo. Can we come up with a definition of imporrible? Adrian? It is something so horrible, it is impossible to even imagine. Imporrible. ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 16:35:54 -0400 From: sabutin To: trombone-l@po.missouri.edu Subject: Re: "Nerves" Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" ; format="flowed" Content-Transfer-Encoding: 8bit Dave wrote: I've been lurking over this topic for a while with great interest. I am finding lots of great things written here (and on the OTJ Forum), but have a couple of points I'd like to make. First of all, I don't want anyone to think I'm just picking on what Sam has written, especially Sam! I'm not arguing against what he wrote, just that I feel there are some common misconceptions about Zen which Sam appears to be under. As a practicing Zen Buddhist I may be able to point out slightly different views about what Zen actually is. Secondly, these misunderstandings don't necessarily invalidate any of the advice that have been given. What I mainly want to point out is that should one undertake a study of Zen for the purpose of controlling nerves then the whole purpose of Zen has been missed. quote: ------------------------------------------------------------------------ Sam wrote: If, however, you can switch from an approval or success oriented approach to one of simply doing with no hope or fear of any reward or punishment from without, then PRESTO !!! The fear is gone. This is sometimes known as an existentialist point of view. It also is quite familiar to students of many oriental pathsÉTaoism, Zen and most martial arts, for instance. ======================== Sam now writes: The inclusion of the words "This is sometimes known as an existentialist point of view. It also is quite familiar to students of many oriental pathsÉTaoism, Zen and most martial arts, for instance" were a clear indication that I was not recommending that anyone take up any study, be it Zen, Kendo, Sufism, or try to move to Paris and become a '30s style bohemian existentialist either, for that matter. What "Zen" is or is not lies well beyond the scope of this discussion, and if I were to try to explain the continuing conundrum which every discipline of this sort tries to address, I would simply call it The Secret That Keeps Itself. ==================== Dave wrote: This is much easier said than done. I think one of the reasons many people decide to go to the simpler, "band-aid" approach to performance anxiety is that this approach takes so long to achieve. ======================= Sam writes: I have posted another take on this, to clarify my own experience in the matter. Here is most of it, in case anyone missed it. ______________________________________________________________________________ I came to this conclusion in order to quell serious nervousness issues when I was in my early 20s, w/no help from ANY books and no useful conversations w/anyone else about it either. I was playing in a so-called "major" band for the first time in my life (Buddy Rich), and had been troubled by periodic attacks of the shakes and short breath for many years in so-called important performance situations. In fact, I had considered becomoing an actor at one time and appeared in a few high school productions, but was almost completely discouraged by this syndrome. (It's worse if you don't have a horn between you + the audience, I think...) On the second or third night I played in the band, I heard that Count Basie was going to be in the aufdience. Count Basie!!! GOTTA play good for him, right? Wrong. I was the trombone soloist in the section, and I have never played worse in my life, before or since. Nervous, tense, shaky, short of breath...the works. Afterwards, I resolved to never again care who was listening to me or what they thought, and ever since that resolution I have had no problems as far as nervousness is concerned. None. Zero. Nada. Anyone who seriously thinks this through can see the truth of it. It is not hard; it is not estoeric; it is CERTAINLY nothing some radio talk show host is going to recommend, because it's just too simple. They have to fill air time. But it works. ____________________________________________ It does NOT take that long, in fact, once understood it is an instantaneous thing. ============ Dave writes: Like Sam, I feel it's well worth the effort, but most people who suffer from performance anxiety need a quicker fix to get them through their next bout of nerves. They need to play a recital next month or an audition next week. Controlling their thought process from a "success/failure" to the "no mind" approach takes years of practice. ==== Sam writes: Once again, no. To reach that state in LIFEÉanother story. To reach that state as a playerÉyet another story. (Or perhaps the same story in a different languageÉ) But to get to that point in terms of performance anxietyÉjust one of the initial small steps on Musashi's thousand mile road. =============== Dave: Furthermore, there are some people who just don't seem to be suited to this approach. For these musicians visualization, hypnotism, or beta-blockers may be a better way to go. Some studies done on performance anxiety by both musicians and athletes show that most people feel similar symptoms before and during a situation which causes nervousness. One of the major differences between those individuals who claim to have "nerves" and those who don't are the mental reactions to those physical symptoms. The people getting nervous are feeling anxious about those symptoms. The people who are successfully combating performance anxiety are feeling "excited." It's not that both types of individuals aren't feeling anxious, just that some don't let it affect their performance. ================== Sam writes: And someÉthe very best, in my experienceÉhave no problem w/their mental reaction to physical symptoms BECAUSE THEY HAVE NO PHYSICAL SYMPTOMS. Dizzy didn't have to deal w/nervousness, I will guarantee, nor Mingus nor Jimmy Knepper nor Joe Wilder nor any of the other players after whom I have tried to model myself, and not because of years of experience and success, either. It was just another gig, and great players play at the same level at a rehearsal in a dingy studio as they do at Carnegie Hall. Why? Because when the instrument is in their hands, it's about the music. Certainly some of the greatest musicians have been much less than "enlightened" OFF the stand. But on the standÉno fear, because they are alone w/the music and the other musicians. This becomes a feedback system of sorts, too. You get to this point and you play well; playing well allows you to have even LESS anxiety out front, which enables you to play better, and on and on it rolls =================== Sam wrote: The very first of these books in English, to my knowledge, was a book called "Zen In the Art of Archery" by a German named Eugen Herrigel , published in 1953. This gentleman became interested in Zen while in Japan on business, and studied it there in some depth.. Let me from quote some of his writing. Dave answered: "Zen in the Art of Archery" is a good introduction to some of the philosophy we're talking about, but really doesn't describe Zen very well. ========================= Sam answers: I don't want to get into a discussion about what is or isn't "Zen" here, so I am going to skip the rest of Dave's post. For those of you who are interested in the various ways that cultures throughout the centuries, have approached this self-keeping secretÉI wish you all the luck in the world. I really do. It has been a lifelong interest of mine, and like Dave, I have found my own way through that thicket of impossibilities. But here I am going to concentrate on music. (Which might be considered one of the "ways" if looked at from the right point of viewÉ) LaterÉ Sam ---snip--- ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 15:29:05 -0500 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'Trombone-L (List)'" Subject: Jazz Nights at the Radission at ITF 2002 Message-ID: <587F49FABBEDD411A68F00A0C9EA313B5FD2F5@dasmthkhn561.amedd.army.mil> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit Just heard from Ron Wilkins. There will be 2 "hot" jazz nights , Saturday and Sunday for all of you listeners (like me) and wanna bees as well. Ron will be one of the featured artists on Sunday night, 10:30 PM to ??. Other Sunday night guests include Bill Gibson, Thomas HultŽn and Tony Baker. I have felt for a long time that some artists cannot be captured well by recordings. Come and experience the humor, spark and spontaneity of Ron Wilkins' jazz. Hope to meet a bunch of Listers before the Guinness listing sets in! Rick Marple San Antonio TX ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 20:42:43 +0000 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: It is imporrible to breathe wrong Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed By the way, I love this typo. Can we come up with a definition of imporrible? imporrible: absolutely incapable of ingesting porridge in any form whatsoever What a horrible, disability! No Chinese rice porridge? I was trying to figure out why the ãLä would be dropped from implorable. DanP _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 16:44:39 -0400 From: sabutin To: trombone-l@po.missouri.edu Subject: Re: It is imporrible to breathe wrong Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 12:05 PM 05/21/2002 -0700, Gabriel Langfur wrote: By the way, I love this typo. Can we come up with a definition of imporrible? Adrian? It is something so horrible, it is impossible to even imagine. Imporrible. ===== Yeah...like porridge. S. ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 13:55:49 -0700 From: "David Guion" To: "Trombones and related issues forum." , Subject: RE: Ophicleide? Message-ID: <200205211355.AA52101340@trombone.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Dissing the ophicleide seems to have been a parlor sport for generations. But to the best of my recollection, it is the ancestor of both the tuba and the saxophone. Put valves on it instead of keys, and you have a more dependable bass-register brass instrument, the tuba. Put a clarinet reed on it, as I understand Adolphe Sax did, and you have, well, he had something new to name after himself. Now, does that information give the instrument more respect? Or does it just confirm all the jokes? -- *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion "Television is a medium, so-called because it is neither rare nor well done."--Ernie Kovacs david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* -- ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 16:59:49 -0400 From: Brian French To: "Trombones and related issues forum." Subject: Re: Ophicleide? Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 5/21/02 4:55 PM, David Guion at david@trombone.org wrote: > Dissing the ophicleide seems to have been a parlor sport for generations. But > to the best of my recollection, it is the ancestor of both the tuba and the > saxophone. Put valves on it instead of keys, and you have a more dependable > bass-register brass instrument, the tuba. Put a clarinet reed on it, as I > understand Adolphe Sax did, and you have, well, he had something new to name > after himself. > > Now, does that information give the instrument more respect? Or does it just > confirm all the jokes? Jokes. --Brian ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 16:23:59 -0500 (EST) From: "Dr. Carole Nowicke, Applied Health Science" To: David Guion Cc: "Trombones and related issues forum." Subject: RE: Ophicleide? Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Tue, 21 May 2002, David Guion wrote: > Dissing the ophicleide seems to have been a parlor sport for > generations. But to the best of my recollection, it is the ancestor of Prospere', Jullien's ophicleidist got very good press. I suspect someone will mention Prospere' at the Great American Brass Band Festival this year as there were to be papers presented about Jullien. G.B. Shaw as music critic "Corno di Bassetto" did enjoy poking fun at the ophicleide (as he did most things in life) and said something about how he had an uncle who played ophicleide, "very nicely, in fact, until he took his life by his own hand." Comments in contemporary literature about the instrument being loud make one realise _just how quiet_ everything else was. > a clarinet reed on it, as I understand Adolphe Sax did, and you have, > well, he had something new to name after himself. One of my former classmates had a beer too many one day and put a slide on a mellophone... I don't know that he named it for himself, but he has admitted to his action in public fora. Carole Nowicke cnowicke@indiana.edu ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 17:47:11 EDT From: BassBonist@aol.com To: trombone-l@po.missouri.edu Subject: Anyone at U of Texas, Austin? Message-ID: <9e.26a8c2ea.2a1c1a5f@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit If any List subscriber is currently a member of the faculty (or a student) at the University of Texas at Austin, please email me direct (off List). Thanks in advance! Matt Varho Bass Trombonist ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 17:29:17 -0500 From: "Joshua Brown" To: "Trombone L" Subject: RE: Jazz Nights at the Radission at ITF 2002 Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_001_0000_01C200ED.08B69DB0" Hi all, Every night at the Radisson should be a "hot" jazz night. Here is the schedule: Thursday: Slide Tradition with special guests Jiggs Whigham and Harry Watters Friday: Tom "Bones" Malone, Bill Reichenbach, and the Frank Rosolino Competition Winner Saturday: Open Mic Night Sunday: Ron Wilkins, Bill Gibson, Thomas HultŽn, and Tony Baker I hope everyone will be able to make it to Denton this week. For those of you that can't, make sure you check the ITA website for updates during and after the festival. Joshua Brown ITA Webmaster http://www.ita-web.org/ ---------------------------------------------------- Just heard from Ron Wilkins. There will be 2 "hot" jazz nights , Saturday and Sunday for all of you listeners (like me) and wanna bees as well. Ron will be one of the featured artists on Sunday night, 10:30 PM to ??. Other Sunday night guests include Bill Gibson, Thomas HultŽn and Tony Baker. I have felt for a long time that some artists cannot be captured well by recordings. Come and experience the humor, spark and spontaneity of Ron Wilkins' jazz. Hope to meet a bunch of Listers before the Guinness listing sets in! Rick Marple San Antonio TX Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 16:44:54 -0700 From: Gordon Cherry To: gcherry@interchange.ubc.ca, neil@fivethreesix.com Subject: FOR SALE-1939 Conn Double-Belled Euphonium & Italian Baritone Message-ID: MIME-version: 1.0 Content-type: multipart/Related; boundary="Boundary_(ID_yBJADky1SbRh/DqDfaN+qA)"; type="text/html" Dear Brass colleagues & friends, I have been contacted by family of the late Dave Roberts, formerly a trombonist with the San Francisco Opera, to sell 2 instruments as described and shown below.Ê After retiring from the Opera and subsequently leaving beautiful San Francisco, Dave retired with his wife Barb to even more beautiful, Courtenay British Columbia on Vancouver Island a number of years ago. I was contacted by a family friend, Neil Bliss, and have been asked to sell the 2 instruments the best way I can. To be totally up front with everyone, Mrs. Roberts will be paying me a small fee for conducting this sale. These two instruments will be put up for sale in two separate auctions running for exactly 7 days, on the eBay auction site, beginning at or around 9:00 a.m. Pacific time, on the morning of Saturday, May 25th. The auction will end exactly 7 days later on Saturday morning June 1st. There will be no "Instant bidder" and the instruments will go to the highest bidders in each auction. You may find both auctions on the eBay site by doing a search using the keywords: "Conn Euphonium" & "Italian Baritone". There will be many more pictures of the instruments at the eBay site and you may question me as much as possible about their condition. I cannot tell you yet what the auction numbers will be, but after the auctions commence, you may contact me via the ebay auction, telephone (604-261-5454) or email, gcherry@interchange.ubc.ca if you have any questions, etc. Payment will be in US$ by cashiers check or money order. Shipping and those charges will be arranged after the auction and added to the total fee of the auction. There are no taxes to be paid except to residents of B.C., but I will check. I would recommend shipping insurance. Mrs. Roberts will be shipping the instruments out from Vancouver Island by one of the standard methods of FedEX or Purolator, UPS or Canada Post. For the past 2 years or so I have been selling music on the internet through eBay and have sold to hundreds of very satisfied musicians, giving the very best service and quality possible. I will endeavor to conduct these 2 auctions in the fairest way possible. I will not be bidding on either of the instruments, nor will I have anyone else (a shill) bid on my behalf. I have no interest in these instruments. Both auctions will have a reserve (hidden minimum). If the reserved is not met the instrument will not sell, just as at any auction. Personally, the Conn Euphonium is very collectable and will go for a handsome price, that I am sure. They do not make these anymore of course and having one in excellent playing condition is exceptional! The descriptions below have been supplied by Mr. Bliss, on behalf of Mrs. Roberts. Sincerely, Gordon Cherry Principal Trombone, Vancouver Symphony Orchestra Senior Lecturer, University of British Columbia ============================================================================================================= Conn Double Belled Euphonium from 1939: This is a five-valve model with the serial number 324833, which dates this instrument to 1939. Valves all function well, and the slides are free moving. Could use a good cleaning. Both Bells are dent free. Brass (or possible Gold wash on the inside of the bells) with the body of the instrument being silver plated. No major dents. Existing dents focused around the lower member of the secondary bell. The primary bell side plays beautifully and has a rich sonorous sound. It's a beautiful instrument even without the secondary bell. Secondary bell has dents in lower member, as mentioned. One dent is likely affecting the sound of that bell. All these dents are easily repairable. Silver plate finish is pretty close to 100%. Comes with original case, which is in good functional condition. No Mouthpiece (standard tenor bore). Includes original lyre. Beautiful CG Conn logo on bell. Baritone Horn by B. Cazzani: Three Rotary Valves, all of them smooth and responsive, a little noisy. All tuning slides move, but could probably use a good cleaning, as they are stiff. Minor dings here and there but none that effect playing. Some scratches and wearing of finish but overall it is a good sounding and attractive instrument. Finish is a clear lacquer and at least 85% clean. Only marking is the bell stamp which reads: A. Rampone Dule Riunite B.Cazzani & Co Premiato Stabil B.Cazzani & Co Milano Esportazione Mondiale Italy O.Pagani & Bro. New York. There is no serial number. Presumably, this instrument was made in Italy for export to the US or vice versa. No case, mouthpiece or accessories. 2photos of the Conn Double Belled Euphonium from 1939, serial number 324833 photo of the Baritone Horn by B. Cazzani ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 17:49:51 -0700 From: Gordon Cherry To: trombone-l@po.missouri.edu, brass@lists.fsu.edu Subject: Tuba group address Message-ID: MIME-version: 1.0 Content-type: text/plain; charset=us-ascii; format=flowed Content-transfer-encoding: 7BIT Could someone kindly supply me with the email address of the tuba/euph group? Some of you may know that a double bell euph will be sold on eBay on beginning on Saturday and I wanted to make sure that everyone knew about it in advance. Thanks, Gordon Cherry ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 17:53:10 -0700 From: Gordon Cherry To: trombone-l@po.missouri.edu, brass@lists.fsu.edu Subject: FOR SALE-1939 Conn Double-Belled Euphonium & Italian Ba Message-ID: MIME-version: 1.0 Content-type: multipart/alternative; boundary="Boundary_(ID_eXmPssYbuIPzfl2UT0/IUQ)" Dear Brass colleagues & friends, I have been contacted by family of the late Dave Roberts, formerly a trombonist with the San Francisco Opera, to sell 2 instruments as described and shown below.Ê After retiring from the Opera and subsequently leaving beautiful San Francisco, Dave retired with his wife Barb to even more beautiful, Courtenay British Columbia on Vancouver Island a number of years ago. I was contacted by a family friend, Neil Bliss, and have been asked to sell the 2 instruments the best way I can. To be totally up front with everyone, Mrs. Roberts will be paying me a small fee for conducting this sale. These two instruments will be put up for sale in two separate auctions running for exactly 7 days, on the eBay auction site, beginning at or around 9:00 a.m. Pacific time, on the morning of Saturday, May 25th. The auction will end exactly 7 days later on Saturday morning June 1st. There will be no "Instant bidder" and the instruments will go to the highest bidders in each auction. You may find both auctions on the eBay site by doing a search using the keywords: "Conn Euphonium" & "Italian Baritone". There will be many more pictures of the instruments at the eBay site and you may question me as much as possible about their condition. I cannot tell you yet what the auction numbers will be, but after the auctions commence, you may contact me via the ebay auction, telephone (604-261-5454) or email, gcherry@interchange.ubc.ca if you have any questions, etc. Payment will be in US$ by cashiers check or money order. Shipping and those charges will be arranged after the auction and added to the total fee of the auction. There are no taxes to be paid except to residents of B.C., but I will check. I would recommend shipping insurance. Mrs. Roberts will be shipping the instruments out from Vancouver Island by one of the standard methods of FedEX or Purolator, UPS or Canada Post. For the past 2 years or so I have been selling music on the internet through eBay and have sold to hundreds of very satisfied musicians, giving the very best service and quality possible. I will endeavor to conduct these 2 auctions in the fairest way possible. I will not be bidding on either of the instruments, nor will I have anyone else (a shill) bid on my behalf. I have no interest in these instruments. Both auctions will have a reserve (hidden minimum). If the reserved is not met the instrument will not sell, just as at any auction. Personally, the Conn Euphonium is very collectable and will go for a handsome price, that I am sure. They do not make these anymore of course and having one in excellent playing condition is exceptional! The descriptions below have been supplied by Mr. Bliss, on behalf of Mrs. Roberts. Sincerely, Gordon Cherry Principal Trombone, Vancouver Symphony Orchestra Senior Lecturer, University of British Columbia ============================================================================================================= Conn Double Belled Euphonium from 1939: This is a five-valve model with the serial number 324833, which dates this instrument to 1939. Valves all function well, and the slides are free moving. Could use a good cleaning. Both Bells are dent free. Brass (or possible Gold wash on the inside of the bells) with the body of the instrument being silver plated. No major dents. Existing dents focused around the lower member of the secondary bell. The primary bell side plays beautifully and has a rich sonorous sound. It's a beautiful instrument even without the secondary bell. Secondary bell has dents in lower member, as mentioned. One dent is likely affecting the sound of that bell. All these dents are easily repairable. Silver plate finish is pretty close to 100%. Comes with original case, which is in good functional condition. No Mouthpiece (standard tenor bore). Includes original lyre. Beautiful CG Conn logo on bell. Baritone Horn by B. Cazzani: Three Rotary Valves, all of them smooth and responsive, a little noisy. All tuning slides move, but could probably use a good cleaning, as they are stiff. Minor dings here and there but none that effect playing. Some scratches and wearing of finish but overall it is a good sounding and attractive instrument. Finish is a clear lacquer and at least 85% clean. Only marking is the bell stamp which reads: A. Rampone Dule Riunite B.Cazzani & Co Premiato Stabil B.Cazzani & Co Milano Esportazione Mondiale Italy O.Pagani & Bro. New York. There is no serial number. Presumably, this instrument was made in Italy for export to the US or vice versa. No case, mouthpiece or accessories. ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 19:04:44 -0600 From: Phil Burton To: gcherry@interchange.ubc.ca, "Trombones and related issues forum." Subject: Re: Tuba group address Message-ID: <5.1.0.14.2.20020521190428.02e44960@mail.attbi.com> Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="=====================_91550456==_.ALT" At 06:49 PM 5/21/2002, Gordon Cherry wrote: Could someone kindly supply me with the email address of the tuba/euph group? Some of you may know that a double bell euph will be sold on eBay on beginning on Saturday and I wanted to make sure that everyone knew about it in advance. Thanks, Gordon Cherry ---------------------end-of-message---------------------------------------- To unsubscribe, send an email to: TubaEuph-unsubscribe@yahoogroups.com List concerns? Email the management: TubaEuph-LMT@yahoogroups.com TubaEuph HomePage: http://groups.yahoo.com/group/TubaEuph Basic Questions: http://groups.yahoo.com/group/TubaEuph/files/FAQ.htm Guidelines: http://groups.yahoo.com/group/TubaEuph/files/Guidelines/Guidelines.htm ------------------------------------------------------------------------ ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 23:32:31 -0400 From: "Bill Redgate" To: "Post to Trombone List" Subject: Nerves - or The Great Fireball Theory Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit I have watched this discussion with interest because I have been fascinated by this phenomenon since I was young. My sister could have won Virtually any audition she might have ever wanted to - had only the audition been held in her bedroom without her knowledge. Any audience at all sent her into convulsive reactions that were truly stunning to me at the time. Especially since I have never had the first thought of concern about a performance. Since we are (reportedly) blood relatives, I found the dichotomy of attitudes quite interesting. I had the situation very deftly explained to me by someone who wasn't even talking to me and in fact was being interviewed on TV. After the Seventh Game of the World Series in 1980 , Pitcher Tug McGraw of the Philadelphia Phillies was interviewed. The interviewer asked (paraphrasing here) "Tug you look so relaxed out there. How can you possibly be relaxed pitching the ninth inning of the seventh game of the World Series?" Mr. Mc Graw Replied, "It's the Great Fireball Theory." Interviewer, "What's that?" Mc Graw, " I figure that in a million years or so, this whole planet's gonna turn into a great big fireball one day, and then no one's really gonna give damn what happened here today." The best point one can make ---Perspective. Come one folks - we're playing trombone here!! The consequences of even horrific trombone playing can never effect your life - that is "what matters" No matter how poorly you play the horn you're not going to hurt anyone in the process, you're not likely to go to jail. What ever level of health you have isn't going to disappear. Your Mother will still invite you over to dinner so she can complain you don't write often enough, and if you're really lucky your dog will still be delirious every time you come home. In short, "Home and Hearth" have to the best of my knowledge never been linked to trombone performance. Good thing for me too! Sorry to have run on, but this is one of those things to me. I don't know why. I appreciate your tolerance and patience. Bill Redgate ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 00:14:15 -0400 From: Jim Seaman To: "Trombones and related issues forum." Subject: Dick Nash Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Lister persons, Could some one furnish me with the phone number for Dick Nash? Kindly respond to my email address. Ciao and thanks, Jim ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Tue, 21 May 2002 23:38:39 -0500 From: "Brennan Arceneaux" To: "Trombones and related issues forum." Subject: Re: Arthur Pryor "The Supervisor" Message-ID: <000d01c2014a$8c648200$129ecdd1@computer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "David Guion" To: "Trombones and related issues forum." Sent: Tuesday, May 21, 2002 8:09 AM Subject: Re: Arthur Pryor "The Supervisor" > POoP doesn't make any difference to copyright status, alas. I see that The Supervisor was published in >1939. Under thenk-current law, it could be renewed once after 28 years, or 1967. If Carl Fischer did not renew >the copyright, I think it would be public domain. I'm not positive. I think you mean POoP doesnt make any poop of a difference... sorry... Guiness inspired musings :) Brennan Arceneaux bren77@i-55.com Masters Student: Southeastern Louisiana University Ovation Brass Quintet ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 12:08:22 +0100 From: "Adrian Drover" To: "Sam Burtis" , "Trombones and related issues forum." Subject: Re: It is imporrible to breathe wrong Message-ID: <00c701c20181$3b4a28c0$4f98fc3e@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "sabutin" > >By the way, I love this typo. Can we come up with a > >definition of imporrible? Adrian? > =========== > imporrible: absolutely incapable of ingesting porridge in any form > whatsoever Hey Sam, get off my territory! I see through your little game. You wait till it's way past bedtime in Scotland, then slip in the funnies before I wake up. >>It is something so horrible, it is impossible to even imagine. ===== > Yeah...like porridge. Now you're insulting the staple diet of Scotland. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 12:09:00 +0100 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: It is imporrible to breathe wrong Message-ID: <00c801c20181$3db9a220$4f98fc3e@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Craig Parmerlee" > At 12:05 PM 05/21/2002 -0700, Gabriel Langfur wrote: > >By the way, I love this typo. Can we come up with a > >definition of imporrible? > > > >Adrian? > > It is something so horrible, it is impossible to even imagine. You mean, something like a Slide-o-mix thread? A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 06:01:05 -0700 From: "David Guion" To: "Trombones and related issues forum." , Subject: Re: Nerves - or The Great Fireball Theory Message-ID: <200205220601.AA10223840@trombone.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii and if you're really lucky your dog >will still be delirious every time you come home. I should be so lucky. My dog just sniffs and walks away like, "oh, it's you. About time, too." She saves her delirium for anyone who does not live in the same house. It doesn't seem to matter whether I practice relentlessly or not at all. -- *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion "Television is a medium, so-called because it is neither rare nor well done."--Ernie Kovacs david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* -- ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 09:36:43 -0400 From: David Buckley To: "Dr. Carole Nowicke, Applied Health Science" Cc: "Trombones and related issues forum." Subject: Re: Ophicleide? Message-ID: <3CEB9EEB.26CB9D6E@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit "Dr. Carole Nowicke, Applied Health Science" wrote: > in public fora. Wow. Are we cultured in Indiana or are we cultured! The tone of the list is rising fast. Dave. > > > Carole Nowicke > cnowicke@indiana.edu ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 09:44:43 -0400 From: David Buckley To: david@trombone.org Cc: "Trombones and related issues forum." Subject: Re: Nerves - or The Great Fireball Theory Message-ID: <3CEBA0CB.D847AADF@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit David Guion wrote: > and if you're really lucky your dog > >will still be delirious every time you come home. > > I should be so lucky. My dog just sniffs and walks away like, "oh, it's you. About time, too." She saves her delirium for anyone who does not live in the same house. It doesn't seem to matter whether I practice relentlessly or not at all. Au contraire. She's probably saying "Oh God, he's home and that awful noise will start again soon". Same thing my wife says. Dave. > > > -- > *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > David Guion > > "Television is a medium, so-called because it is neither rare nor well done."--Ernie Kovacs > > david@trombone.org > > *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > > -- ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 06:47:05 -0700 From: "Rod Ellard" To: "Trombones and related issues forum." Subject: Current Events Message-ID: <000801c20197$29a27f80$61cffea9@rodcomp> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit >From this morning's paper: "Drinking a glass of white wine every day, strengthens the lungs and may help prevent disease, according to a major US study. Researchers have found that moderate white wine drinkers have healthier lungs than teetotallers or beer or spirit drinkers. ... The volunteers performed standard lung function tests measuring the volume of air they could expel in one breath or one second." Replace long tones with long drinks? Rod ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 08:56:00 -0500 From: "Jeff Albert" To: , "'Trombones and related issues forum.'" Subject: RE: Current Events Message-ID: <000901c20198$6825a6f0$9b239d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit >From this morning's paper: "Drinking a glass of white wine every day, strengthens the lungs and may help prevent disease, according to a major US study. Researchers have found that moderate white wine drinkers have healthier lungs than teetotallers or beer or spirit drinkers. ... The volunteers performed standard lung function tests measuring the volume of air they could expel in one breath or one second." Replace long tones with long drinks? ======================================================================== = I work with some guys that did that a looong time ago. jva ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 09:41:47 -0500 (EST) From: "Dr. Carole Nowicke, Applied Health Science" To: David Buckley Cc: "Trombones and related issues forum." Subject: Re: Ophicleide? Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII On Wed, 22 May 2002, David Buckley wrote: > "Dr. Carole Nowicke, Applied Health Science" wrote: > > > in public fora. > > Wow. Are we cultured in Indiana or are we cultured! David, we learn many four letter words in graduate school. Carole Nowicke cnowicke@indiana.edu ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 16:23:17 +0000 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: Nerves - or The Great Fireball Theory Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed No matter how poorly you play the horn you're not going to hurt anyone in the process, you're not likely to go to jail. Ah. So youâre saying that my stage fright is just a hard wired response, that I developed, back when I used to play accordion? ;?) $~) ;<) 8^! 8?O :o] ;^ ,/ ; ?| (:#I) :-D ;<{> DanP _________________________________________________________________ Join the worldâs largest e-mail service with MSN Hotmail. http://www.hotmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 09:25:27 -0700 From: "Trombone-L Monitor" To: Subject: Trombone-L Admin Page at www.trombone.org Message-ID: <200205220925.AA9634030@trombone.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii There is an online trombone-l information page at http://www.trombone.org/trombone-l However, one point needs to be clarified regarding the subscription maintenance portion of this page. All commands sent via this web page are actually processed by a human being prior to being sent to the trombone-l's listprocessor. That is why there is often a long delay between the time a request is submitted and the time that a request is processed. Sending multiple requests will not speed this process. If your request has not been processed within eight hours, please resubmit. You may also manage your subscription directly by sending an e-mail to: LISTPROC@LISTS.MISSOURI.EDU with SET TROMBONE-L MAIL POSTPONE in the body of the message. To restart your subscription, send an e-mail to the same address with SET TROMBONE-L MAIL ACK or SET TROMBONE-L MAIL DIGEST in the body of the message. "ACK" will set your subscription to receive each individual message. "DIGEST" will subscribe you to the daily digest, one large e-mail containing that day's trombone-l posts. If you have any additional questions, please e-mail. LM ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 16:25:47 +0000 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: It is imporrible to breathe wrong Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed >>It is something so horrible, it is impossible to even imagine. ===== > Yeah...like porridge. Now you're insulting the staple diet of Scotland. I actually think itâs sad that Sam has never had great porridge. DanP _________________________________________________________________ Join the worldâs largest e-mail service with MSN Hotmail. http://www.hotmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2397 Date: Wed, 22 May 2002 16:54:33 +0000 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: Current Events Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed "Drinking a glass of white wine every day, strengthens the lungs and may help prevent disease, according to a major US study. Researchers have found that moderate white wine drinkers have healthier lungs than teetotallers or beer or spirit drinkers. No, just go straight for the active ingredient, specific to white wine, sulfur disinfectant. DanP _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ----__ListProc__NextPart____TROMBONE-L__digest_2397--