Subject: TROMBONE-L Digest - 14 Jan 2003 to 15 Jan 2003 (#2003-15) Date: Thursday, January 16, 2003 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 26 messages totalling 1004 lines in this issue. Topics of the day: 1. All-American Youth Orchestra (1940 and 1941) (2) 2. yamah microphones?? (3) 3. Yamaha Compact (6) 4. Trombone Trios (4) 5. Extra Bach 50 Bell? 6. IAJE 7. Oral cavity (2) 8. Interchangeability of slides + bells between old + new style King 3Bs? (3) 9. All-American Youth Orchestra (1940 and 1941) (fwd) 10. Phoenix, AZ listers 11. 'Pirates of Penzance' Broadway version 12. Messy Grondahl Orchestra Parts ---------------------------------------------------------------------- Date: Wed, 15 Jan 2003 16:26:54 +0900 From: Joseph Green Subject: All-American Youth Orchestra (1940 and 1941) Does anyone know who was in the All-American Youth Orchestra in 1940 and 1941? Looking at their photos (), I started wondering... Did Stokowski always put winds and percussion out in front? Who is in the low brass sections (aside from Edward Kleinhammer in 1940 and Arnold Jacobs in 1941)? They recorded Bolero and the Sibelius 7th in 1940. Does anyone know who played the solos? (Dorothy Ziegler?) JG ++++++++++++++++ ------------------------------ Date: Wed, 15 Jan 2003 00:10:25 -0800 From: Elisabeth Frederick Subject: yamah microphones?? Hey Everybody.... Okay, so I'm trying to find information about Yamaha microphones....specifically a clip on mike......but their site is a dead end. I can't find any microphones. I don't see any on ebay, internet searches don't turn up anything helpful........blah blah blah. Does anyone know of a retailer that sells Yamaha microphones?? Thanks!! Elisabeth ------------------------------ Date: Wed, 15 Jan 2003 12:35:49 -0000 From: Keith Marr Subject: Yamaha Compact I'm looking for feedback on the Yamaha 350C Bb/C compact trombone with the ascending valve. I have a lady colleague in a big band I play in who has difficultly reaching 7th position, and I think she would benefit from using one of these. Yamaha don't mention it at all on their UK site but it's there on the US site, so I know it could be tough finding one to try over here. Hence the request. These are my assumptions based on guesswork. It's a Bb trombone with a short slide, the difference between that and a normal slide being contained in the trigger valve? Just how much shorter is the slide? Does it have a 6th position? If it's only 7th position that's missing the only disadvantage I can think of is that there's no way of playing the low E. The B above it could be played in 2nd position on the C valve. Can someone help me with this? Cheers! ------------------------ Keith in Bb/F/D www.allthingsmusic.co.uk/entertainers/keith.htm ------------------------------ Date: Wed, 15 Jan 2003 13:10:34 -0000 From: Adrian Drover Subject: Re: Yamaha Compact From: "Keith Marr" > These are my assumptions based on guesswork. It's a Bb trombone with a short > slide, the difference between that and a normal slide being contained in the > trigger valve? Just how much shorter is the slide? Does it have a 6th > position? If it's only 7th position that's missing the only disadvantage I > can think of is that there's no way of playing the low E. The B above it > could be played in 2nd position on the C valve. Correct: Also good for C and B pedals. That would be good on a bass 'bone version methinks. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Wed, 15 Jan 2003 08:30:54 -0500 From: "Peter W. Schroth" Subject: Re: Trombone Trios Handel, "Suite for Three Trombones," arranged by Ostrander. Scott Robinson wrote: > > Greetings, > > My trombone quartet at school (due to circumstance) has now unexpectedly > turned into a trio. Unhappily for me, I don't know of many, or any trios > that would be suitable for a decent undergraduate trombone trio (Except the > William Schmidt Partita on Hammering). > > My questions is: Do you? (know of some good trios, that is) I need to order > some as soon as I can so we've got something to play for the semester. > > So I'll provide the thanks up front (thanks) and eagerly await any response. > > -Scott > > _________________________________________________________________ > Help STOP SPAM: Try the new MSN 8 and get 2 months FREE* > http://join.msn.com/?page=features/junkmail ------------------------------ Date: Wed, 15 Jan 2003 05:39:23 -0800 From: David Guion Subject: Re: Trombone Trios Daniel Speer wrote a couple of sonatas for three trombones. I suspect they're available in multiple editions, so check all the usual suspects. From the late 18th century, there are six trios by Gebauer. These are available in an edition by Howard Weiner. Of the six Gebauer trios, one is a transcription of a motet by Gossec. Others are arrangements of pieces by Haydn and Mozart, which brings up the subject of transcriptions. There is a lot of excellent three-part music by late Medieval and early Renaissance composers. Almost any motet or chanson by Dufay or Binchois should sound good on three trombones. You might try Machaut, too, but his parts cross so much that his music would probably come off better with a different instrument on each part. Give it a listen some time and keep it in mind for another time. Check and see if your library has a book by Mary Rasmussen called something like a guide for teachers of brass instruments. If I recall correctly, she says that every trombone quartet should have some trios to play in case someone does not show up. If I'm remembering correctly where I read that, then she should have a few suggestions. -- *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion Who is General Failure? And why is he reading my hard drive? david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* -- ------------------------------ Date: Wed, 15 Jan 2003 08:51:03 EST From: JFBermann@AOL.COM Subject: Re: Extra Bach 50 Bell? Hi Jim, and Jim, I've got three of those Osmun bells, 9", 91/4" and 91/2" all fabulous! Much better than the Bachs without a doubt! A bargain at $375 for anyone looking for a great bell. All My Best, Jim Bermann ------------------------------ Date: Wed, 15 Jan 2003 15:04:02 +0000 From: "J.c. Sherman" Subject: Re: Yamaha Compact The horn you speak of is fairly ingenius, and inspired me to build an orchestral size instrument like it. It is a C trombone (shortened Bell and slide, I believe), with a Bb valve, though the valve is reversed to ascend from Bb to C. It does have 7 positions in C, 6 positions in Bb - don't know about 7th - I'm going to the Brasswind Saturday to see if I can try one out. With this horn, C is in 1st, and low B is in second with the valve. It would also give some unique glissando options, and you can trill any note other than low B natural. Plus, high range is aided too. If Brasswind has one, I'll let you know what I think of it... BTW - Thein also makes an ascending valve Bb/C trombone - for only 10 times as much money, probably :-) But it has a full length slide, I think. J.c. > I'm looking for feedback on the Yamaha 350C Bb/C compact trombone with the > ascending valve. I have a lady colleague in a big band I play in who has > difficultly reaching 7th position, and I think she would benefit from using > one of these. > > Yamaha don't mention it at all on their UK site but it's there on the US > site, so I know it could be tough finding one to try over here. Hence the > request. > > These are my assumptions based on guesswork. It's a Bb trombone with a short > slide, the difference between that and a normal slide being contained in the > trigger valve? Just how much shorter is the slide? Does it have a 6th > position? If it's only 7th position that's missing the only disadvantage I > can think of is that there's no way of playing the low E. The B above it > could be played in 2nd position on the C valve. > > Can someone help me with this? > > Cheers! > ------------------------ > Keith in Bb/F/D > www.allthingsmusic.co.uk/entertainers/keith.htm ------------------------------ Date: Wed, 15 Jan 2003 16:18:13 +0100 From: =?iso-8859-1?B?U/hyZW4gQm9n+A==?= Subject: Re: Yamaha Compact Keith, You are right. The valve is opposite: activated=open=1.st pos. Bb. So most of the time one will blow through the valve. The valve length is one tone. The slide has 6 positions. Yes (or no): low E is not available - only as a fake tone. It is created exactly as a remedy for the difficulty you mention. I am sure the 6th position will be comfortable for a player who has only just difficulty reaching 7th. My son has had a young student on one for about a year and is very enthusiastic about it. One thing he mentions is that the shorter slide all in all makes it easier to handle. NB: it is a medium bore. Soren Bogoe Bb Bass, FDF Gladsaxe Brass Band mailto:sb@sbconsult.net ------------------------------ Date: Wed, 15 Jan 2003 10:29:59 -0500 From: Walter Barrett Subject: Re: Yamaha Compact Thus spake, not Zarathustra, but Keith Marr > > These are my assumptions based on guesswork. It's a Bb trombone with a short > slide, the difference between that and a normal slide being contained in the > trigger valve? Just how much shorter is the slide? Does it have a 6th > position? If it's only 7th position that's missing the only disadvantage I > can think of is that there's no way of playing the low E. The B above it > could be played in 2nd position on the C valve. Keith- Your assumptions are pretty much on the mark. It does have a full 6 positions, I didn't check to see how many it had in C. Jeff Adams has one, and he wrote an article on it that I think is on his website. If you check the archives, you should be able to turn up more... Slainte! Walter Barrett "Without question, the greatest invention in the history of mankind is beer. Oh, I grant you that the wheel was a fine invention, but the wheel does not go nearly as well with pizza." -Dave Barry Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Wed, 15 Jan 2003 11:00:32 -0500 From: Walter Barrett Subject: Re: yamah microphones?? Thus spake, not Zarathustra, but Elisabeth Frederick > Hey Everybody.... > > Okay, so I'm trying to find information about Yamaha > microphones....specifically a clip on mike......but their site is a dead > end. I can't find any microphones. I don't see any on ebay, internet > searches don't turn up anything helpful........blah blah blah. > > Does anyone know of a retailer that sells Yamaha microphones?? > > Thanks!! > > Elisabeth I found a couple of references to it with this search... http://www.google.com/search?q=Yamaha+clip-on+microphone+MC7&hl=en&lr=&ie=UT F-8&filter=0 but these all seem to be references to using it with the ST5 Silent Brass Studio. It may be that the product is new, and not widely available/stocked. I would assume that any dealer that carries Silent Brass could get one/find out more for you. Walter Barrett "If Barbie's so popular, then why do you have to buy her friends?" -Steven Wright Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Wed, 15 Jan 2003 09:18:19 -0800 From: Gabriel Langfur Subject: Re: Trombone Trios --- Scott Robinson wrote: > Greetings, > > My trombone quartet at school (due to circumstance) has > now unexpectedly > turned into a trio. Hate when that happens. My first suggestion would be to find another player as son as possible. Trombone trio, in my opinion, is a lot more difficult and a lot less gratifying than quartet. Harder on everyone's chops, and small inconsistencies of pitch and rhythm are at least 25% more obvious to everyone listening. That said, there's some great music available that's certainly worth working on. Chris mentioned the Brian Lynn pieces, which are TONS of fun, light music well done for a concert program or GB gig stuff. Off the top of my head, the International collection of Renaissance trios is a great selection of interesting music, and the Ralph Sauer arrangements of Bach Sinfonias are fantastic, and quite challenging to do well. He also did an arrangement of a Pergolesi trio sonata that's just as fantastic. One of you needs a good, reliable high e-flat, however (Ralph makes it sound easy as cake on the LA Phil Trombone Troupe recording of it). For a good, more weighty original piece of concert music, try the Paul Gay Chorale. Paul is a trombonist here in Boston with the Ballet Orchestra, and this is a very emotionally satisfying piece of music. All of that, as well as the other good suggestions you've gotten so far, is available at Hickeys: http://www.hickeys.com/cgi/display.cgi?cart_id=&page=tntrio.htm You can order online, but I would suggest calling 1-800-HICKEYS and asking for Chuck. He's usually on the list...he's a trombone player and will have more suggestions I'm sure. Have fun! Gabe __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Wed, 15 Jan 2003 12:26:03 -0500 From: DSlide13@AOL.COM Subject: IAJE I had a great time at IAJE last weekend. Was anyone else there? I met some very fine jazz trombonists while there. Al Kay, Jerry Johnson among them. It was nice to catch up with Bill Watrous, Robin Eubanks, Dennis Wilson and the rest too. Boy did Slide put together a great band. I thought the energy at the concert on Friday was wonderful. It just gets better and better every time we do it. Even when the personnel changes somewhat, the overall vibe is consistently good. I think the x factor is Slide and his energy and vision. He's simply amazing. David Gibson ------------------------------ Date: Wed, 15 Jan 2003 12:34:28 -0500 From: richardt@LEE.ARMY.MIL Subject: Oral cavity This is getting to be a dead horse, but maybe one more thought. I agree with the last post suggesting that neither lack of vibration nor lack of resonance rules out the oral cavity having an effect, but it does then beg the question of how it does work, if it does. The more I think about what really goes on when the lips vibrate, the more I realize I don't understand it. But here is part of what may be happening. When the lips are blown open by pressure behind them, a pressure impulse is released into the horn. It is infinitesimally greater than the operating pressure, that's part of the definition of sound. The lips end up at their widest point, slow to a stop under the influence of the tension of the lips muscles, and accelerate closed. Downstream of the lips, the pressure impulse has reached the end of the horn, reflected, and returns out of phase. Its return to the lips is timed to help them close and open. Upstream of the lips, when the lips close the mouth air pressure rises and when they open the mouth air pressure drops rapidly. The extent to which this occurs must depend on the air supply from the lungs and the storage available in the cavity itself. It is not a steady state problem but a transient, and you remember how we all hated those in school. That pressure is also propagated backwards in a wave, but given the dimensions involved that may or may not be relevant. At any rate, to analyze the motion of the lips at any period in time requires knowing the mass of the lips, amount of tension from the lip muscles, and aerodynamic forces from all sides. So yes, if pressure changes upstream of the lips are sufficiently large they will influence the speed of lips closing at various points in the cycle, and any deviation from sinusoidality will add harmonic content. As you can see I'm thinking out loud and floundering a bit, if you can add clarity to that it would be welcome. Gotta go practice. Snowstorm coming, if work is delayed or cancelled maybe I'll get some extra in. ------------------------------ Date: Wed, 15 Jan 2003 12:59:36 -0500 From: Jim Gayfer Subject: Re: Trombone Trios I agree that quartets are where it's at -- the fourth voice makes a big difference. The only thing better is more trombones. I had the pleasure of playing in the trombone choir for Mark Freeh's Montclair Brass Festival last year (36 bones seem to recall). We played some of the original charts from Urbie's 21 Trombone albums. I'll never forget playing the opening chords of "Here's That Rainy Day." I can die happy now. Jim Gayfer Trombone/baritone NorthWinds Brass Quintet Ottawa, ON (613) 523-4285 -----Original Message----- From: Gabriel Langfur [mailto:glangfur@YAHOO.COM] Sent: January 15, 2003 12:18 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Trombone Trios --- Scott Robinson wrote: > Greetings, > > My trombone quartet at school (due to circumstance) has > now unexpectedly > turned into a trio. Hate when that happens. My first suggestion would be to find another player as son as possible. Trombone trio, in my opinion, is a lot more difficult and a lot less gratifying than quartet. Harder on everyone's chops, and small inconsistencies of pitch and rhythm are at least 25% more obvious to everyone listening. That said, there's some great music available that's certainly worth working on. Chris mentioned the Brian Lynn pieces, which are TONS of fun, light music well done for a concert program or GB gig stuff. Off the top of my head, the International collection of Renaissance trios is a great selection of interesting music, and the Ralph Sauer arrangements of Bach Sinfonias are fantastic, and quite challenging to do well. He also did an arrangement of a Pergolesi trio sonata that's just as fantastic. One of you needs a good, reliable high e-flat, however (Ralph makes it sound easy as cake on the LA Phil Trombone Troupe recording of it). For a good, more weighty original piece of concert music, try the Paul Gay Chorale. Paul is a trombonist here in Boston with the Ballet Orchestra, and this is a very emotionally satisfying piece of music. All of that, as well as the other good suggestions you've gotten so far, is available at Hickeys: http://www.hickeys.com/cgi/display.cgi?cart_id=&page=tntrio.htm You can order online, but I would suggest calling 1-800-HICKEYS and asking for Chuck. He's usually on the list...he's a trombone player and will have more suggestions I'm sure. Have fun! Gabe __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Wed, 15 Jan 2003 12:57:10 -0600 From: Fred Hudson Subject: Re: yamah microphones?? ----- Original Message ----- From: "Walter Barrett" To: Sent: Wednesday, January 15, 2003 10:00 AM Subject: Re: [TBN-L] yamah microphones?? > Thus spake, not Zarathustra, but Elisabeth Frederick > > > Hey Everybody.... > > > > Okay, so I'm trying to find information about Yamaha > > microphones....specifically a clip on mike......but their site is a dead > > end. I can't find any microphones. I don't see any on ebay, internet > > searches don't turn up anything helpful........blah blah blah. > > > > Does anyone know of a retailer that sells Yamaha microphones?? > > > > Thanks!! > > > > Elisabeth > > I found a couple of references to it with this search... > > http://www.google.com/search?q=Yamaha+clip-on+microphone+MC7&hl=en&lr=&ie=UT > F-8&filter=0 > > but these all seem to be references to using it with the ST5 Silent Brass > Studio. It may be that the product is new, and not widely available/stocked. > I would assume that any dealer that carries Silent Brass could get one/find > out more for you. > > > Walter Barrett > > "If Barbie's so popular, then why do you have to buy her friends?" > -Steven Wright > > > Yamaha Artist/Clinician > Tenor, Alto, Bass Trombones > Euphonium > Bass Trumpet > Tuba > Hickeys Lists the "Yamaha MC7 Clip-on Microphone - silent brass compatible " which seems to be compatible with bot the SR-5 and ST - 9 systems. (according to one of the links in the Google search Walter posted,but I have not been able to find the specs (frequency response etc.)on it. Hopefully some Lister can post an appropriate link. Fred H ------------------------------ Date: Wed, 15 Jan 2003 14:03:16 -0500 From: Craig Parmerlee Subject: Re: Oral cavity At 12:34 PM 1/15/2003 -0500, richardt@LEE.ARMY.MIL wrote: >I agree with the last post suggesting that neither lack of vibration nor >lack of resonance rules out the oral cavity having an effect, but it does >then beg the question of how it does work, if it does. The more I think >about what really goes on when the lips vibrate, the more I realize I don't >understand it. But here is part of what may be happening. -- snip -- You seem to be making two assumptions that I question: 1) That vibrating lips preclude other vibrations passing through the mouthpiece, and more basically 2) that the lips are actually ever closed. Clearly non-lip vibrations get through the horn. If not, then multiphonics would be impossible. That is surely beyond any kind of debate. The more interesting question is the mechanism. You (and others) have suggested a very complex interplay of waves reflecting off lips reflecting off other waves reflecting off who knows what. May I humbly suggest an infinitely simpler answer -- one that is completely consistent with everything we observe. The lips don't close. The lips don't have to be closed in order to vibrate. I'd suggest that less than 5% of the energy of the air stream is consumed in vibrating the lip tissue. (A person could estimate this by measuring how much energy there is in the air that flows through the instrument and subtracting that from the energy of an air stream being blown out the lips.) If that is true, then what can we say about the other 95%. One thing we could say is that the better players probably develop embouchures that put more of that energy to use. But the other thing we can say about it is that if it is not being consumed to create a lip vibration, then it is passing freely through the lips untouched. And if there is a clear path for the air to pass untouched, then obviously there that clear path can and does carry other sound waves, such as the ones we produce in tech larynx with multiphonics. I don't see why it needs to be any more complicated than this. I agree there are probably all sorts of subtle little interactions, but the big mechanism is simply sound waves originating before the lips, passing through the lips untouched. If you agree that vibrations on the body side of the lips can enter the horn, then the role of the mouth cavity in contouring those pre-lip vibrations. It is the mouth cavity that gives us the difference between singling OOOH and EEE -- a radical change in timbre (OOOH is almost a sine wave and EEE is loaded with overtones). ------------------------------ Date: Wed, 15 Jan 2003 13:13:02 -0600 From: David Johansen Subject: Re: All-American Youth Orchestra (1940 and 1941) ------=_Part_123_18249575.1042657982659 Content-Type: text/plain; charset=iso-8859-1 Content-Transfer-Encoding: 7bit Joseph- I know that Robert Lambert alternated principal with Jack Satterfield in the All-American Youth Orchestra in the early 40s, but am not sure what year. Mr. Lambert talked about the orchestra in my Winter, 1997 article in the ITA Journal, "A Conversation with Bob Lambert". He also mentioned that Bob Marsteller and Arnold Jacobs were in it and that Howard Cole was the bass trombonist. Dave Johansen > Does anyone know who was in the All-American Youth Orchestra in 1940 and > 1941? > > Looking at their photos > (), I started > wondering... > > Did Stokowski always put winds and percussion out in front? > > Who is in the low brass sections (aside from Edward Kleinhammer in 1940 > and Arnold Jacobs in 1941)? > > They recorded Bolero and the Sibelius 7th in 1940. Does anyone know who > played the solos? (Dorothy Ziegler?) > > JG > > ++++++++++++++++ > ------=_Part_123_18249575.1042657982659 Content-Type: text/plain; name="Original message"; charset=iso-2022-jp Content-Transfer-Encoding: 7bit Content-Disposition: attachment; filename="Original message" Does anyone know who was in the All-American Youth Orchestra in 1940 and 1941? Looking at their photos (), I started wondering... Did Stokowski always put winds and percussion out in front? Who is in the low brass sections (aside from Edward Kleinhammer in 1940 and Arnold Jacobs in 1941)? They recorded Bolero and the Sibelius 7th in 1940. Does anyone know who played the solos? (Dorothy Ziegler?) JG ++++++++++++++++ ------=_Part_123_18249575.1042657982659-- ------------------------------ Date: Wed, 15 Jan 2003 16:26:29 -0400 From: sabutin Subject: Interchangeability of slides + bells between old + new style King 3Bs? Hi all... I have a question. I have up for sale on my website a '60s silver bell 3B w/two bells, one straight and one F attachment. I have been asked if the F attchment bell would work on a newer, 2 year old 3B slide. Has anyone here owned both vintages and experimented w/switching bells + slides? Are the receivers the same? Are the relative lengths of the slides and bells the same, so they play in tune when switched? Thanks in advance, all you trombone freaks... Later... Sam -- (Sam Burtis, author of "The American Trombone" and proud proprietor of The Trombone Store in NYC, featuring only the finest new and used lower brass instruments and accessories. Visit us on the web at [still under construction], email us at , or call us at [718] 796-4413. By appointment only.) ------------------------------ Date: Wed, 15 Jan 2003 16:50:34 -0600 From: "D.J. Kennedy" Subject: Re: Interchangeability of slides + bells between old + new style King 3Bs? i had a new 3b ss with the swan///birdie on the side of the bell it looked the same size /length as the oldies slides tuning slides etc switch out same fitting----a benge custom175 165 ?????also has same fitting sabutin wrote: > Hi all... > > I have a question. I have up for sale on my website > a '60s silver bell 3B w/two bells, one > straight and one F attachment. I have been asked if the F attchment > bell would work on a newer, 2 year old 3B slide. > > Has anyone here owned both vintages and experimented w/switching > bells + slides? Are the receivers the same? Are the relative lengths > of the slides and bells the same, so they play in tune when switched? > > Thanks in advance, all you trombone freaks... > > Later... > > Sam > -- > (Sam Burtis, author of "The American Trombone" and proud proprietor > of The Trombone Store in NYC, featuring only the finest new and used > lower brass instruments and accessories. Visit us on the web at > [still under construction], email us at > , or call us at [718] 796-4413. By > appointment only.) ------------------------------ Date: Wed, 15 Jan 2003 16:53:02 -0600 From: "D.J. Kennedy" Subject: Re: Interchangeability of slides + bells between old + new style King 3Bs? is that the horn the guy in singapore tiapei taiwan east timor south pacfic east of the sun------ west of the moon got off boney bay ????????????????????????????? sabutin wrote: > Hi all... > > I have a question. I have up for sale on my website > a '60s silver bell 3B w/two bells, one > straight and one F attachment. I have been asked if the F attchment > bell would work on a newer, 2 year old 3B slide. > > Has anyone here owned both vintages and experimented w/switching > bells + slides? Are the receivers the same? Are the relative lengths > of the slides and bells the same, so they play in tune when switched? > > Thanks in advance, all you trombone freaks... > > Later... > > Sam > -- > (Sam Burtis, author of "The American Trombone" and proud proprietor > of The Trombone Store in NYC, featuring only the finest new and used > lower brass instruments and accessories. Visit us on the web at > [still under construction], email us at > , or call us at [718] 796-4413. By > appointment only.) ------------------------------ Date: Wed, 15 Jan 2003 18:00:04 -0500 From: "Dr. Carole Nowicke, Applied Health Science" Subject: Re: All-American Youth Orchestra (1940 and 1941) (fwd) Identification from someone formerly with the Philadelphia Orchestra: The '40 orchestra was loaded with principals from the Philadelphia Orchestra, for instance, Saul Caston, trumpet. Charley Gusikoff, trombone and others. The tuba player was Phil Silverman (aka Phil Cadway). [NB: Cadway also played in the National Symphony before Abe Torchinsky] Arnold Jacobs was in the '41 group, as was Bob Lambert. If he could enlarge the pictures, he said, he would really be able to give me a run-down on all the "over aged" people in '40 group posing as young people. Carole Nowicke cnowicke@indiana.edu ------------------------------ Date: Wed, 15 Jan 2003 15:32:37 -0800 From: Brandon Moodie <3bones@3BONES.COM> Subject: Phoenix, AZ listers Hi, If there are any Phoenix, AZ area list members lurking about, could you please contact me? I will be in Phoenix for the next couple of days performing a show and could use some info from a "local". Thanks in advance, --Brandon Moodie brandon@3bones.com mobile# 817-680-4556 ------------------------------ Date: Wed, 15 Jan 2003 16:13:38 -0800 From: Tom Izzo Subject: Re: 'Pirates of Penzance' Broadway version Hi Dave, --- Dave Burch wrote: > Has anyone played the Broadway version of 'Pirates', > as opposed to the > original scoring by Sullivan? I am being asked to > play the single trombone > part, and I'd like to learn something about it. > Yes! It's GREAT part!!!!! Tho all playable on Bass Trb, I've done it several times, & the coductor each time has asked for a Tenor/Bass double. The part is a lot more playing than just a comb of both parts. Tom > Thanks, > Dave Burch > > Hamilton-Fairfield Symphony Orchestra and Chorale > (Ohio) > Mt. Auburn Brass Fellowship > After Hours Big Band ===== Tom Izzo Principal Trombonist, Bristol Renaissance Faire Bass Trombonist, West Suburban Symphony Orchestra Alto/Tenor/Bass/Contrabass Trombones, Tubas, Bass Trumpet, Euphonium, Electric Bass, Percussion http://www.Geocities.com/Vienna/Studio/7875/ (630) 983-1985 __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Wed, 15 Jan 2003 23:34:10 -0600 From: Eric & Candice Swanson Subject: Re: Yamaha Compact Keith Marr wrote: > I'm looking for feedback on the Yamaha 350C Bb/C compact trombone with the > ascending valve. Keith, One thing I haven't seen anyone say is that this is intended to be a student line trombone. It might play really well and everything, but don't expect professional quality. It is built the same as the student horns, but costs more because of the valve. I'm not knocking the horn, I just wanted to point out that is is a student line horn. Eric Swanson ------------------------------ Date: Wed, 15 Jan 2003 21:59:17 -0800 From: Andrew Michael Subject: Messy Grondahl Orchestra Parts Hello all, Tonight I had my first rehearsal of the Grondahl with the orchestra. It went quite well (phew!), but that's not my question. The parts we rented from Peters are a bit of a mess. Actually, the piano part is really a mess. The original parts were heavily marked and what we got are photocopies so the markings are really now part of the parts! The pianist is a bit dismayed. As she said, I know what key I'm in but apparently this person didn't! It's actually a bit hard for her to find the notes! I also enjoyed the tempo marking on the first Rondo in movement III in the score. It was marked at 92! Geez, even Alessi's recording only goes about 84 and its only supposed to go 80. I assume there are other people on the list that have played this with orchestra. So, my question is: are these parts typical? If we complain to Peters might they send us a cleaner piano part (I think it is the worst). But, if they all look like this then I imagine this is just the way it is. Despite the parts, the orchestra really likes the piece and I got numerous thanks for choosing it because they are enjoying playing it. Cheers, Andy ------------------------------ End of TROMBONE-L Digest - 14 Jan 2003 to 15 Jan 2003 (#2003-15) ****************************************************************