Subject: TROMBONE-L Digest - 30 Jan 2003 to 31 Jan 2003 (#2003-31) Date: Saturday, February 1, 2003 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 41 messages totalling 1875 lines in this issue. Topics of the day: 1. taking a risk (2) 2. MPTF (6) 3. Shoutin Liza 4. San Francisco Opera woes (3) 5. Gardell Simons 6. The great bore controversy [was [TBN-L] MPTF] 7. basstrombone interest! 8. Wired Magazine: The Year The Music Dies 9. Mute question, etc. (6) 10. How auditions work and responsibility (long) (3) 11. Shouting Liza, etc (5) 12. Opera! (4) 13. Yamahorama////bass bone questions 14. Opera!(And other Symphony woes.) (2) 15. Summer Jobs for College Trombone Players 16. New CD with tenor and bass solos 17. Remington website 18. Live Music Petition ---------------------------------------------------------------------- Date: Thu, 30 Jan 2003 23:00:09 -0800 From: Jerry Blomberg Subject: Re: taking a risk I just got a new 5G mouthpiece with my new 88H from Conn -- the mpc has a much different outside design that a Bach mpc and it stamped UMI 5G. I would like to try a Bach (or Faxx) 5G to compare them. Anyone tried them both? Jerry Blomberg Temple City, CA <>< ----- Original Message ----- From: "Alan Partis" To: Sent: Thursday, January 30, 2003 6:53 PM Subject: [TBN-L] taking a risk > Ladies and gentlemen, > > At the risk of asking an extremely boring question, is there any difference between a new Conn 5G mouthpiece and a Bach 5G? I think I heard someone say recently that Bach mouthpieces are now being stamped with the Conn name. Is this true? > > Thanks. > > > __________________________________________________ > alan partis, amateur bonehead > louisville, ky > ------------------------------ Date: Fri, 31 Jan 2003 01:43:27 -0600 From: Jeff Albert Subject: Re: MPTF > > In short, I hope the MPTF doesn't fold. In spite of the cynical comments > that many of us have made about the "Green Sheet" gigs, the fund has put a > lot of money into musician's pockets over the years, and brought a lot of > LIVE music to people who might otherwise not had a chance to hear it. > I agree, I hope MPTF has a long and fruitful future, but I have heard that that is unlikely. jva ------------------------------ Date: Fri, 31 Jan 2003 09:03:22 -0000 From: Adrian Drover Subject: Re: MPTF From: "Jeff Albert" > I agree, I hope MPTF has a long and fruitful future, but I have heard > that that is unlikely. Ahem, hate to be a bore, but could someone please tell this Brit what MPTF means. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Fri, 31 Jan 2003 08:58:26 -0000 From: Adrian Drover Subject: Re: Shoutin Liza From: "Mike Switzer" > I found a recording of Shoutin Liza Trombone by Fillmore floating around, > and now I can't get it out of my head... > anyone know where I can find music for this piece? Howzabout outa yer head? A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Fri, 31 Jan 2003 06:10:30 -0600 From: Phil Brink Subject: Re: MPTF *M*usic *P*erformace *T*rust *F*unds - money from the profits of the recording industry which supports free public concerts for people who couldn't otherwise hear live music. It's administered by the Union, but not run by them [at least not officially...] Phil ----- Original Message ----- From: "Adrian Drover" To: Sent: Friday, January 31, 2003 3:03 AM Subject: Re: [TBN-L] MPTF > From: "Jeff Albert" > > > I agree, I hope MPTF has a long and fruitful future, but I have heard > > that that is unlikely. > > > Ahem, hate to be a bore, but could someone please tell this Brit what MPTF > means. > > A. > > Adrian Drover > ADIOS, Scotland www.adios.co.uk > Personal email: adrian@adios.co.uk ------------------------------ Date: Fri, 31 Jan 2003 08:39:40 -0500 From: Douglas Yeo Subject: San Francisco Opera woes See this article from today's NY Times on the San Francisco Opera's operating troubles: http://www.nytimes.com/2003/01/30/arts/music/30SANF.html I also hear yesterday the Tulsa Philharmonic has closed up shop, but I've no details on that. -Doug Yeo -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Fri, 31 Jan 2003 05:52:09 -0800 From: David Guion Subject: Re: MPTF From: Adrian Drover > >Ahem, hate to be a bore, I always figured you were .562 -- *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion Who is General Failure? And why is he reading my hard drive? david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* -- ------------------------------ Date: Fri, 31 Jan 2003 07:21:33 -0700 From: Larry Zalkind Subject: Gardell Simons Hi, My last message to the list came out in pieces, so I will try it again. I would appreciate any information on biographical sources for Gardell Simons. Thanks for the help. Larry Zalkind larry@zalkindmusic.com ------------------------------ Date: Fri, 31 Jan 2003 14:24:43 -0000 From: Keith Marr Subject: The great bore controversy [was [TBN-L] MPTF] > ----- Original Message ----- > From: David Guion > > From: Adrian Drover > >Ahem, hate to be a bore, > > I always figured you were .562 > David Guion Could be worse, he could've been .562/.578 dual bore, which twice as boring and much louder. But then his name would've been Adrian Edwards. Keith in Bb/F/D ------------------------------ Date: Fri, 31 Jan 2003 09:26:52 -0500 From: "Paul D. Kemp Jr." Subject: Re: San Francisco Opera woes I read this article, and this position is refreshing. I have seen that where these managements expect the musicians to take all of the heat in terms of reduced wages or less work. But for the arts company management to agree to a freeze or temporary reduction, that is almost unheard of. Paul Kemp Chattanooga Symphony www.trbnplyr.com ----- Original Message ----- From: "Douglas Yeo" To: Sent: Friday, January 31, 2003 8:39 AM Subject: [TBN-L] San Francisco Opera woes > See this article from today's NY Times on the San Francisco Opera's > operating troubles: > > http://www.nytimes.com/2003/01/30/arts/music/30SANF.html > > I also hear yesterday the Tulsa Philharmonic has closed up shop, but > I've no details on that. > > -Doug Yeo > -- > > > Douglas Yeo > Bass Trombonist, Boston Symphony Orchestra > Music Director, The New England Brass Band > > dyeo@rcn.com /// yeo@yeodoug.com > http://www.yeodoug.com > > <>< > --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.445 / Virus Database: 250 - Release Date: 1/21/2003 ------------------------------ Date: Fri, 31 Jan 2003 14:28:03 -0000 From: Keith Marr Subject: Re: basstrombone interest! Between Ben van Dyke and Doug Yeo we have such a resource on this list don't we. No offence to others who contribute regularly, you're great too. Mutual admiration society memberships now available. Keith in Bb/F/D www.allthingsmusic.co.uk/entertainers/keith.htm --------------------------------------------------------------------- "Are you still wasting your time with spam?... There is a solution!" Protected by Yaga Company's SpamHunter 3.2 The most powerful anti-spam software available. http://www.junkfighter.com/ ----- Original Message ----- From: "Ben van Dijk" To: Sent: Thursday, January 30, 2003 3:28 PM Subject: [TBN-L] basstrombone interest! > Dear friends, > > For bass trombone lovers I have 2 interesting new items on my website. > The Bassbonegraphy is still growing and will be updated as often as > necessary and possible. > I also have now a bass trombone only forum on my site and hope those > interested > to have discussions about basstrombone matters will join the forum > quickly to make it an interested > recourse for all of us. > Go to www.basstrombone.nl and you will find whatever you need. > > Yours truly, > > > Ben van Dijk > Basstrombone > Rotterdam Philharmonic > Rotterdam Conservatory > Royal Northern College > of Music, Manchester > www.basstrombone.nl > ben@basstrombone.nl ------------------------------ Date: Fri, 31 Jan 2003 08:24:37 -0600 From: RWilson Subject: Re: Wired Magazine: The Year The Music Dies "Anachronism"?? MPTF? I must disagree. What a neat idea--taking a few cents from the sale of recorded music to pay musicians for LIVE performances of music! Without LIVE music most of us are out of business, and anything that promotes LIVE music will always be welcome with me. MPTF should not be allowed to wither away. ron wilson Principal Trombone, Ft.Worth Symphony ----- Original Message ----- From: "Dave Burch" To: Sent: Thursday, January 30, 2003 5:47 PM Subject: Re: [TBN-L] Wired Magazine: The Year The Music Dies > ----- Original Message ----- > From: "Eric & Candice Swanson" > > > Sam, > > > > What about the MPTF (trust fund gigs), and the Special Payments Fund > > checks? Wouldn't they disappear too? > > On the one hand...In this area, most of the people who do the trust fund > gigs are part of an old-timers club. I suspect that if they stopped getting > paid, most of them would keep showing up out of habit. There's no serious > money involved for anybody, and we play for fun. > > On the other hand...The handful of young faces that are drawn in probably > come for the money initially. I worry about the future of these groups, with > or without the trust fund. > > Finally...The trust fund is such an anachronism that it's bound to disappear > sooner or later, regardless of the music industry's coming upheaval. > > Dave Burch > Hamilton-Fairfield Symphony Orchestra (Ohio) > Mt Auburn Brass Fellowship ------------------------------ Date: Fri, 31 Jan 2003 09:00:00 -0600 From: Erik Berggren Subject: Mute question, etc. Greetings, Listers! =20 I'm looking for a little help and advice on several things. In several = places in the book for "Chicago" there are calls for a solotone mute. = Swing band charts I've played call for this kind of mute occasionally as = well. I've seen these mutes and have heard their effect, but, as of = yet, still don't own one. Is there an acceptable substitute, or should = I break down and buy one for this show? If the advice is to buy one, = where can they be purchased and is there a particular brand/manufacturer = that is better than another? Also, the "Chicago" book occasionally = mentions "Derby" or "In Stand or Derby". I'm not certain what the = "Derby" reference means. And the last question. There is a gliss = written from an unspecified lower note (say a low F) to a first space G = with "growl" written along the gliss. Is this designation the same as = flutter tonguing, or is it different than that? In other words, how = does one "growl" a note? (I can't wait to hear some of the responses to = that question!) =20 Thanks, in advance, for you usually excellent comments! =20 Erik Berggren - AAA (Always An Amateur) ------------------------------ Date: Fri, 31 Jan 2003 09:58:44 -0500 From: Douglas Yeo Subject: How auditions work and responsibility (long) Some of you may have hard that on Monday, the Boston Symphony was pleased to hire a new tuba player. Mike Roylance is finishing a master's degree at DePaul University and currently plays in the Chicago Civic Orchestra. He is a fine player and a great guy and we in Boston are thrilled to have him joining us in a few months. The happy conclusion of this process, which consumed two years and took three auditions allows me to talk a bit about the process and answer some persistent rumors and gossip which I've been aware of for many months. Trombone players have the trombone-l and OTJ Forum, tuba players have the "TubeNet" bulletin board which is operated by Sean Chisham. I've checked in on the TubeNet BB for the last couple of years and have been treated to some really outrageous comments about the BSO audition and its process (of course there are many good things which are posted on the TubeNet as well). Rumors, gossip, pointless speculation, and a lot of hurtful stuff. We've had a lot of discussion on the trombone-l about the need to post responsibly. I think the trombone-l does a pretty good job of policing itself and the members of the community, along with our List Monitor, manage to keep the level of discourse at a pretty high level. Kudos to all of you/us. Over the last few days, I posted two messages to the TubeNet, talking about how posting unsubstantiated rumor and gossip is a hurtful, harmful thing, and that so much of what had been posted there about the BSO audition was utterly untrue. It was obvious that many people still have the idea that auditions are "fixed" for people and that audition committees are crazy if they don't hire someone. After posting my messages on the TubeNet, they generated the predictable response: some people blasted me for being on a soap box while most others who weighed in did so privately in support. How people respond was not important to me; I simply wanted to get the ideas out there for people to think about. My two posts talk about personal responsibility, the audition process, what can be known and what should not be known. Given that some of the same questions are asked from time to time on the trombone-l, I'm posting my TubeNet posts here FYI. Before doing so, I want to quote Alexander Solzhenitsyn, from comments he made at Harvard University on June 8, 1978. Solzhenitsyn was only four years in exile in the United States. The Vietnam war was over only a few years. There was no internet. But he talked about "the media" and what it does in our culture. And I think his comments are insightful, not just 25 years ago, but today, as we include the internet (including email discussion lists and bulletin boards) in the "media." Here's what he said: "Because instant and credible information has to be given, it becomes necessary to resort to guesswork, rumors and suppositions to fill in the voids, and none of them will ever be rectified, they will stay on in the readers' memory. How many hasty, immature, superficial and misleading judgments are expressed every day, confusing readers, without any verification. The press can both simulate public opinion and miseducate it. Thus we may see terrorists heroized, or secret matters, pertaining to one's national defense, publicly revealed, or we may witness shameless intrusion on the privacy of well-known people under the slogan: "everyone is entitled to know everything." But this is a false slogan, characteristic of a false era; people also have the right not to know, and it is a much more valuable one. The right not to have their divine souls stuffed with gossip, nonsense, vain talk. A person who works and leads a meaningful life does not need this excessive burdening flow of information." (http://www.columbia.edu/cu/augustine/arch/solzhenitsyn/harvard1978.html) Perhaps what I wrote (below) will help shed some light on the audition process and how those who are looking at it from the outside will view it. -Doug Yeo ===== Douglas Yeo Post to TubeNet Bulletin Board (http://www.chisham.com/tubabbs.html) January 28, 2003 The Tubenet bulletin board is a curious thing - like most bulletin boards and email discussion lists, the Tubenet is not immune from the wise man and the fool co-existing together. It's not always easy to tell the difference, either, especially cloaked behind the coward's veil of anonymity. I came to the Tubenet nearly two years ago when someone emailed to tell me there were some untruthful postings on it which used my name. Since that time, I've followed it from time to time and spent some idle moments one afternoon looking up all the postings which had some reference to me or the Boston Symphony. Just reading now and then, not posting. The happy conclusion of yesterday's Boston Symphony tuba audition leads me to bid the Tubenet adieu. While this is my first (and last) post to the Tubenet bulletin board, allow me a chance to make a few observations before I delete the Tubenet bookmark from my computer. There have been about 100 posts about the BSO tuba auditions over the last few years. Most have been fully vested with fiction. As one who has been aware and involved with every step of the audition process in Boston, it's laughable to have read all the nonsense people have posted as truth. If the audition had been "fixed" for as many people as people "in the know" claimed it had been fixed for, the BSO would be the world's largest tuba ensemble. It should come as no surprise that none of the people for whom the audition was allegedly "fixed" won the job. How could that be, if it was "fixed" for them? Ahh, of course, I read it on Tubenet! Silly me. The BSO audition process is a matter of public record. Go to the Boston Musician's Union office and you can read it for yourself in the BSO trade agreement. Same for any orchestra. The dealings of the committee, however, are confidential. As they should be. What the committee and the orchestra wants is to hire a fine player for the job. That we have done. That it took us three auditions to do so and the reasons why that happened are things that even "in the know" doesn't know. I know, since I was on all three committees, but it's not for me to say. What IS for me to say is that the amount of bandwidth spent on speculating, wondering, boasting, complaining, dissing, whining, hoping, slandering and pandering has been pretty remarkable. There has been one person on the Tubenet who actually got it right. "Wrong again" posted a few messages in which he suggested that people were spending too much time writing messages to Tubenet with gossip about the BSO audition and not enough time practicing to win it. He got that right. Nobody on the Tubenet who was "in the know" and was passing on fiction and gossip about the BSO audition was there when the screen came down. My teacher, Edward Kleinhammer, who played bass trombone in the Chicago Symphony for 45 years, wrote a book with me a few years ago, "Mastering the Trombone." In his forward to the book, he wrote two sentences which bear repeating here: "World class trombone players [or, in this case, tuba players] do not just happen. Their talents are forged in the dual furnaces of determination and diligence." Funny, he didn't mention gossip. I wish all of you well at your next audition. May you be the one who hears those wonderful words from the personnel manager, "We are happy to offer the position to you." I assure you, it will be much more rewarding than the "15 minutes of fame" you might get from posting an unsubstantiated rumor on the Tubenet. Cordially, Douglas Yeo Bass Trombonist Boston Symphony Orchestra yeo@yeodoug.com ===== Douglas Yeo Post to TubeNet Bulletin Board (http://www.chisham.com/tubabbs.html) January 29, 2003 When I came home from this morning's Boston Symphony rehearsal, I found my "in" box with over 50 messages from TubeNet folks. Nice messages from nice people. That's persuasive enough for me to stick with TubeNet for a little way and answer some questions which have come my way. First, let me say that my earlier message was not meant as a broad brush directed at every tuba player on the planet. I thought that was clear, but some clearly misunderstood my points. My bad if I wasn't clear. Some of my best friends are tuba players (including a new friend I made a couple of weeks ago at a Brass Festival at the Univ of Dayton, James Jenkins - a fine player and a quality person). My comments were specifically directed at those comments on TubeNet which concerned the BSO auditions, reminding those people who post gossip or hearsay that there is a cost when they do so. Posting gossip is not only potentially hurtful to individuals (not just their feelings, but even their reputations), but it isn't honest or helpful. Many people look for their 15 minutes of fame and will take it any way they can get it. The internet has made this even easier to do, with some people getting thrills because they can post the latest juicy tidbit before anyone else, never mind who gets run over in the process. Speculation is one thing, but rumor and gossip are entirely of a different cloth. Of course there are many people who visit TubeNet who post and reply with good intentions. Such a bulletin board (or related email discussion group) can prove to be a lifeline to many people who need help and input from others. I participate regularly in the trombone-l email discussion group - both as one who has posted many messages and one who has learned from it. The difference between TubeNet and the trombone-l is that the trombone-l does not allow anonymous posts or subscriptions from people with free email service accounts. While it is not moderated, the free exchange of ideas on the trombone-l has, for the most part, an elevated level of discourse and it has a list-monitor who reminds us from time to time to stay away from gossip, personal attacks and the endless, "me, too" posts which just take up bandwidth. Trombone-l and TubeNet are two different ways to run a forum. Both have people who post politely and those who are determined to cause a fuss. That's life. So, post away. As others have said more eloquently than I, j ust think before you hit the "send" button. A number of people have asked me to talk about what I was looking for in a player at our recent auditions. I've already done that in great detail. On my website, you can find a long article on taking professional, symphonic auditions at: http://www.yeodoug.com/yeoauditions.html That article has appeared in several other formats as well. It began as an article for the winter 1984 T.U.B.A. Journal, based on my observations after the audition for the seat in the Baltimore Symphony vacated by Dan Brown, won by David Fedderly. It was further revised for the International Trombone Association Journal in Winter, 1987 and appeared in the International Musician in November 1992 (in a greatly abridged format). I subsequently revised and expanded it again when I posted it on my website, and included it in the book I wrote with Edward Kleinhammer, "Mastering the Trombone." It tells everything I can think to say about how to prepare for an audition and what the audition committee is looking for during an audition. As I said in my earlier post, the workings of the BSO audition committee (and, in fact, the workings of ANY audition committee for ANY orchestra) are confidential. This is necessary to protect the privacy and reputations of those auditioning. Those who want an "inside look" at the process will find out how important this is when they serve on an audition committee themselves. My article referenced above speaks to this in some detail. As Sean pointed out, audition committees don't "owe" answers to anyone about how they came to make their decisions. Suffice to say that any audition committee I've ever been on is interested in finding a fine player for the job. Period. I've never been on a committee where the audition was "fixed" or there was a favorite candidate. The road from auditions is littered with tales of people who thought they had it "in the bag" and went home without a contract. It is important for people to understand, though, that when auditioning for the top level symphony orchestras, such groups are not training grounds, but they are proving grounds. People don't win auditions hoping that they will play well. They don't win auditions if they hope a certain excerpt won't be asked after a particular other excerpt has been played. Wishful thinking won't win an audition. Auditions are won by people who, with the combination of talent, hard work and destiny, prove they have something special to the sets of ears behind the curtain. One question many people have is, "Why did it take the BSO three auditions to find a winner?" The answer is both easy and complicated and summed up this way: Because it just did. Every time a candidate walks out on stage, the silent prayer of every person on the audition committee is, "Please let this person be the one!" Committees want to hire a player. When an audition ends and the committee and/or music director can't identify a winner or can't come to agreement on a winner, everyone goes home disappointed. So you try again, hoping some candidates will "step up" the next time and prove they have that special something that will lead the committee to say, "That's the one we want!" We found that person the third time around. And now that it's over, we can say it was worth the wait. This is not ever to say that the winner of any audition is the "best" player in the world. That's not ever ever possible to say. What it DOES say is that on a particular day, at a particular place, to a particular set of ears, a particular player proved that he had something that particular orchestra thought would suit them well. Every audition has only one winner. While every audition has many losers, most auditions have a high level of playing at the final rounds where there are good players who on any given day might win that or another position. But there is a time to make the decision, and when the decision is made, it is made. And there is one winner. The same things still tend to win auditions: great sound, great pitch, great rhythm, great style, great musical personality. This is no secret. This is what my ears listen for when I'm on an audition committee. In the end, though, picking a winner often comes down to intangibles. How does it FEEL to sit next to a particular person? What kind of radar is in effect? Is there a personal dynamic that just seems to fit? All things being equal between players, those kinds of intangible things come into play. They are actually some of the most important questions since those are the things which make live music a dynamic, living thing. It's not appropriate for me to speak about individuals who came to the Boston auditions. We heard some fine players and some not so fine ones. In the end, we chose one winner, Mike Roylance. I am thrilled to have Mike coming into the BSO. He is an excellent player, a superb musician and, from the little I know of him, a very nice guy. I am very much looking forward to the partnership we will have over the coming years, a partnership which will develop over time in what I think will be very exciting ways. I don't think there is anyone happier than I am that Mike is coming to the Boston Symphony (with the likely exception of Mike and his wife!). David Zerkel posted some excellent comments about his experience at the BSO audition and how he prepared. Chuck Jackson did so as well. What I found so refreshing about their posts was they simply told their story - they didn't make excuses, they didn't vent that the committee was crazy for not hiring them, they didn't complain about the outcome. They told their experience and they, fine players both, will both live for another day. Their posts were classy and informative. They have given each of you a rare gift of candor and helpfulness. The Boston Symphony tuba audition is over. A two year process has led to Mike Roylance loading up his car and a moving van and moving east to Beantown. For those who did not win the BSO audition, other auditions are on the horizon. This is an exciting time for those whose combination of talent, hard work and destiny lead them ever closer to the position they have always wanted. I wish you all well. Douglas Yeo Bass Trombonist, Boston Symphony Orchestra yeo@yeodoug.com www.yeodoug.com -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Fri, 31 Jan 2003 14:52:11 -0000 From: Adrian Drover Subject: Re: MPTF From: "David Guion" > From: Adrian Drover > > >Ahem, hate to be a bore, > > I always figured you were .562 > Who is General Failure? And why is he > reading my hard drive? Dave, you're lucky you only get "General Failure". I'm always seeing "Fatal Error". Keep thinking my doctor's given me the wrong drugs. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Fri, 31 Jan 2003 09:00:27 -0600 From: s76lewis Subject: Shouting Liza, etc Fred, I will ask our librarian about your "trombone babies" when he gets back from sick leave. We have lots of old music, but he won't lend them out 'cause they don't come back. But we have a copier. One lady told us that Fillmore was prolific because, he grew up in a publishing family and they made him work on things he really didn't like. So he went wild when he got a little freedom of choice. Sandy Lewis ------------------------------ Date: Fri, 31 Jan 2003 10:19:41 -0500 From: Brian French Subject: Re: San Francisco Opera woes on 1/31/03 8:39 AM, Douglas Yeo at dyeo@RCN.COM wrote: > I also hear yesterday the Tulsa Philharmonic has closed up shop, but > I've no details on that. The Savannah Symphony is apparently shutting down for the month of February, and the Houston Symphony is supposedly having (or maybe recently had?) a one-day strike. Colorado Springs Symphony musicians are planning a new orchestra if the CSSO folds after their recent bankruptcy filing. I read the news on andante.com . . . seems about half the headlines anymore are about financial troubles ------------------------------ Date: Fri, 31 Jan 2003 16:20:27 +0100 From: =?iso-8859-1?Q?Marius_Helg=E5?= Subject: Opera! Just have to share my joy with someone. The Norwegian State Opera has a tradition of showing different operas around the country, and in march, my hometown Mo i Rana will have a visit by Offenbachs "The Tales of Hoffmann". The singers, and most of the orchestra are pros, while the choir and a few of the musicians are local amateurs, and amongst the local amateurs this time, the audience perhaps will notice me and my bass trombone. Anyone on the list who've ever played this opera? Any difficult places to watch out for in Trombone III? Well, I'll just have to start practicing. Have a nice weekend everyone! Marius HelgΠBass Trombone Mo Wind Band Mo Community Orchestra Rana Trombone Quartet Producer Nordland Symphonic Band Conductor Hauknes Elementary School Band Mo i Rana, Norway ------------------------------ Date: Fri, 31 Jan 2003 10:22:13 -0500 From: Douglas Yeo Subject: Re: Opera! Tales of Hoffman has some wonderful music. The trombone parts are fairly sparse, I played it in 1973 while a freshman in college. It was memorable for me because I counted about 350 bars of rest at one point and came in a bar early. I learned then that counting was only part of the solution; knowing the score was the better way. The long periods of rest allow you a chance to enjoy the singing more! -Doug Yeo At 4:20 PM +0100 1/31/03, Marius HelgΠwrote: >Just have to share my joy with someone. > >The Norwegian State Opera has a tradition of showing different operas around >the country, and in march, my hometown Mo i Rana will have a visit by >Offenbachs "The Tales of Hoffmann". > >The singers, and most of the orchestra are pros, while the choir and a few >of the musicians are local amateurs, and amongst the local amateurs this >time, the audience perhaps will notice me and my bass trombone. > >Anyone on the list who've ever played this opera? >Any difficult places to watch out for in Trombone III? -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Fri, 31 Jan 2003 10:42:14 -0500 From: Chuck De Paolo Subject: Re: taking a risk You wrote: > At the risk of asking an extremely boring question, is there any > difference between a new Conn 5G mouthpiece and a Bach 5G? > I think I heard someone say recently that Bach mouthpieces are > now being stamped with the Conn name. Is this true? I was recently told by a tech at UMI (now Conn-Selmer) that Conn was moving towards revamping the exterior design of their stock mouthpieces, those with the Bach numbering system (i.e. 5G, 6-1/2AL, etc.). This is not the case with their custom lines (Lindberg, Roberts, etc). They are going for a more angular look in order to set their mouthpieces apart visually from those of Bach and other Bach wannabees. How the two compare I can only offer an educated guess. With the exception of Greg Black, it appears that all makers who use the Bach nomenclature typically copy the Bach design very closely in their own models. Therefore, I would think your Conn 5G would be quite similar to the average Bach 5G. Of course, there is no one exact 5G mouthpiece. Bach has had so much variation over the years in manufacture, that every 5G off the line is different from the last, and is therefore quite a "moving target" when it comes to making an exact comparison. So, in short, the answer is "yes, they're the same for all intents and purposes." Hope this helps (please quote this message if you reply) In Music, ---Charles De Paolo General Manager & Webmaster Hickey's Music Center 104 Adams Street Ithaca, NY 14850 607.272.8262 (Phone) 607.272.2203 (Fax) chuck@hickeys.com (E-Mail) http://www.hickeys.com (Website) http://www.weather.com/weather/local/14850 ----- Original Message ----- From: Jerry Blomberg To: TROMBONE-L@PO.MISSOURI.EDU Sent: Friday, January 31, 2003 2:00 AM Subject: Re: [TBN-L] taking a risk I just got a new 5G mouthpiece with my new 88H from Conn -- the mpc has a much different outside design that a Bach mpc and it stamped UMI 5G. I would like to try a Bach (or Faxx) 5G to compare them. Anyone tried them both? Jerry Blomberg Temple City, CA <>< ----- Original Message ----- From: "Alan Partis" To: Sent: Thursday, January 30, 2003 6:53 PM Subject: [TBN-L] taking a risk > Ladies and gentlemen, > > At the risk of asking an extremely boring question, is there any difference between a new Conn 5G mouthpiece and a Bach 5G? I think I heard someone say recently that Bach mouthpieces are now being stamped with the Conn name. Is this true? > > Thanks. > > > __________________________________________________ > alan partis, amateur bonehead > louisville, ky > ------------------------------ Date: Fri, 31 Jan 2003 09:39:49 -0600 From: Jeff Oien Subject: Re: Opera! I played it too. As Doug Yeo said very sparse trombone parts but it's fun listening to the singing if they are good. There is one whole note that is crescendo from about p to ff. That's the highlight of the brass playing. This was the one and only time I heard an accordion played with an orchestra and I have to say it sounded nice. Jeff Oien > Just have to share my joy with someone. > > The Norwegian State Opera has a tradition of showing different operas around > the country, and in march, my hometown Mo i Rana will have a visit by > Offenbachs "The Tales of Hoffmann". > > The singers, and most of the orchestra are pros, while the choir and a few > of the musicians are local amateurs, and amongst the local amateurs this > time, the audience perhaps will notice me and my bass trombone. > > Anyone on the list who've ever played this opera? > Any difficult places to watch out for in Trombone III? > > Well, I'll just have to start practicing. Have a nice weekend everyone! > > Marius HelgΠ> > Bass Trombone > Mo Wind Band > Mo Community Orchestra > Rana Trombone Quartet > > Producer > Nordland Symphonic Band > > Conductor > Hauknes Elementary School Band > > Mo i Rana, Norway ------------------------------ Date: Fri, 31 Jan 2003 10:39:40 -0500 From: "Dr. Carole Nowicke, Applied Health Science" Subject: Re: How auditions work and responsibility (long) On Fri, 31 Jan 2003, Douglas Yeo wrote: > Trombone players have the trombone-l and OTJ Forum, tuba players have > the "TubeNet" bulletin board which is operated by Sean Chisham. I've That is not the only source of online discourse tubists have. There are probably any number of other tuba groups lurking on yahoo or alt.rec.monstereefer or something, but another online (moderated) community is Tubaeph: tubaeuph@smartgroups.com Carole Nowicke cnowicke@indiana.edu ------------------------------ Date: Fri, 31 Jan 2003 10:54:02 -0500 From: Chuck De Paolo Subject: Re: Mute question, etc. Erik, You wroite: > I'm looking for a little help and advice on several things... > ...solotone...derby...growl... The Solotone mute is a real thing that has a sound not easily copied. It's currently sold as a Stonelined mute with the name "Clear-Tone" by Humes & Berg. It looks kind of like a straight mute with a second "bell" protruding from the body. It seals all the way around like a practice mute does, and has a very small outlet at the bell end. I like to describe the sound as "that 1930's radio sound." If you can imagine sitting in a farmhouse somewhere in 1936 listening to Glen Miller, then that's the sound of the mute. A "Derby" mute is what you think it is - a mute shaped like the old fashioned derby hat. In the old days, players would simply take their real derby hat with them into the pit and use it on their horn. But, since most folks don't actually wear derbys anymore, a mute has been created that looks like one, right down to the knurled brim. Personally, I can get the same effect (as the plastic derby mute) with a plastic margarine bowl. To get a somewhat more muffled sound, you need to use a real live derby hat. The effect overall is somewhat akin to a bucket mute or putting the bell "in stand." I suppose if Cole Porter and those cats were writing today they'd specify "Baseball Cap" (reversed of course) instead! Every time I have ever seen growl in a show book, I have played it as a somewhat "crushed" fluttertongue. Imagine making a growl with your voice, and then do the same thing with your aural cavity as you gliss and flutter. Try it, you'll like it. FWIW (please quote this message if you reply) In Music, ---Charles De Paolo General Manager & Webmaster Hickey's Music Center 104 Adams Street Ithaca, NY 14850 607.272.8262 (Phone) 607.272.2203 (Fax) chuck@hickeys.com (E-Mail) http://www.hickeys.com (Website) http://www.weather.com/weather/local/14850 ----- Original Message ----- From: Erik Berggren To: TROMBONE-L@PO.MISSOURI.EDU Sent: Friday, January 31, 2003 10:00 AM Subject: [TBN-L] Mute question, etc. ------------------------------ Date: Fri, 31 Jan 2003 09:00:09 -0700 From: Steve Gamble Subject: Re: Mute question, etc. Hi Erik, I played that show when it came through Tucson. The people from the show provided the mutes because they wanted them to be the same and to be painted black so that the audience wouldn't be distracted by the red and white objects floating around in the background (the musicians were on stage). If you're providing your own mutes, get a Humes and Berge "Stone Lined" solotone mute for this gig. It's the right sound for those passages. As for the Derby, same company. I put a hole in the brim and put a bolt through it so I could hang it from my music stand due to the quick changes that were necessary. But, as it turned out, the conductor didn't want us to use the derby. Some of the mute changes were very quick and, being that we were on stage, sometimes it was too dark to see where your mute was when it was on the floor (being painted black didn't help). So they provided mute holders that attached to the music stands. I don't think I could have made it with the mute holders. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 sgamble@tucsonsymphony.org 520-792-9155 x118 520-792-9314 fax 520-991-7056 cel -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Erik Berggren Sent: Friday, January 31, 2003 8:00 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Mute question, etc. Greetings, Listers! I'm looking for a little help and advice on several things. In several places in the book for "Chicago" there are calls for a solotone mute. Swing band charts I've played call for this kind of mute occasionally as well. I've seen these mutes and have heard their effect, but, as of yet, still don't own one. Is there an acceptable substitute, or should I break down and buy one for this show? If the advice is to buy one, where can they be purchased and is there a particular brand/manufacturer that is better than another? Also, the "Chicago" book occasionally mentions "Derby" or "In Stand or Derby". I'm not certain what the "Derby" reference means. And the last question. There is a gliss written from an unspecified lower note (say a low F) to a first space G with "growl" written along the gliss. Is this designation the same as flutter tonguing, or is it different than that? In other words, how does one "growl" a note? (I can't wait to hear some of the responses to that question!) Thanks, in advance, for you usually excellent comments! Erik Berggren - AAA (Always An Amateur) ------------------------------ Date: Fri, 31 Jan 2003 11:18:30 -0500 From: Harlan Feinstein Subject: Re: Mute question, etc. Humes and Berg _used_ to make a mute & derby holder, that was very useful by holding their standard derby in playing position, right next to your music stand. Thus, you could simply point your instrument into it and not waste all the time fumbling for it. I'd heard they were starting redesign of it, and were going to re-issue it soon. Still haven't heard anything about that yet. If it's something you'd find useful, drop them a line and let them know. I'm sure more interest would bump it up to higher priority. --Harlan ------------------------------ Date: Fri, 31 Jan 2003 08:23:20 -0800 From: Jim O'Briant Subject: Re: Shouting Liza, etc Sandy Lewis wrote, in part: > One lady told us that Fillmore was > prolific because, he grew up in a publishing > family and they made him work on things he > really didn't like. So he went wild when > he got a little freedom of choice. I think Fillmore was prolific because that's just the way he was. But there is a lot of truth in that story. Fillmore's father, a very religious man, ran the Fillmore Music House in Cincinnati, and for years it published only religious music. He was appalled that Henry would want to write or play secular music, and tried to steer Henry into the business, keeping it strictly a religious music house. We all know how the story ended up ... Fillmore composed and published. literally hundreds of marches, overtures and other band pieces, under several pseudonyms as well as under his own name. Later, he sold Fillmore Music House to Carl Fischer. Incidentally, there were a total of fourteen of the "Trombone Family" trombone-feature rags, written between about 1905 and 1928. Jim O'Briant Bayside Music Press Gilroy, CA www.baysidemusicpress.com ------------------------------ Date: Fri, 31 Jan 2003 11:32:51 +0000 From: Walter Barrett Subject: Re: Mute question, etc. Thus spake, not Zarathustra, but Erik Berggren > There is a gliss written from an unspecified lower note (say a low F) to a > first space G with "growl" written along the gliss. Is this designation the > same as flutter tonguing, or is it different than that? In other words, how > does one "growl" a note? (I can't wait to hear some of the responses to that > question!) There are a couple of ways to get a growl effect... A) flutter-tongue (tip of the tongue) B) Growl in the back of the throat. This is kinda like gargling, only with air instead of mouthwash. C) Vocalize a grrr while playing. Picture "I Love Lucy", when Lucy does something wrong, and she realizes that Ricky knows about it. That, or imitate a junkyard dog. Ask your mailman to demonstrate... D) A and C E) B and C The classic Ellington Band has some great growlers, like Bubber Miley, Tricky Sam Nanton, and Lawrence Brown. (Hmmm, did Lawrence Brown have a nickname?) There are any number of Dixieland or Chicago( the jazz style, not the show) players that would be good role models as well. Walter Barrett "Ohne Musik ist das Leben ein Irrtum." (Without Music, life is insane.) -Nietzsche Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Fri, 31 Jan 2003 09:31:46 -0700 From: Steve Gamble Subject: Re: Mute question, etc. Oops...Yes... it's called a Clear Tone mute. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 sgamble@tucsonsymphony.org 520-792-9155 x118 520-792-9314 fax 520-991-7056 cel -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Chuck De Paolo Sent: Friday, January 31, 2003 8:54 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Mute question, etc. Erik, You wroite: > I'm looking for a little help and advice on several things... > ...solotone...derby...growl... The Solotone mute is a real thing that has a sound not easily copied. It's currently sold as a Stonelined mute with the name "Clear-Tone" by Humes & Berg. It looks kind of like a straight mute with a second "bell" protruding from the body. It seals all the way around like a practice mute does, and has a very small outlet at the bell end. I like to describe the sound as "that 1930's radio sound." If you can imagine sitting in a farmhouse somewhere in 1936 listening to Glen Miller, then that's the sound of the mute. A "Derby" mute is what you think it is - a mute shaped like the old fashioned derby hat. In the old days, players would simply take their real derby hat with them into the pit and use it on their horn. But, since most folks don't actually wear derbys anymore, a mute has been created that looks like one, right down to the knurled brim. Personally, I can get the same effect (as the plastic derby mute) with a plastic margarine bowl. To get a somewhat more muffled sound, you need to use a real live derby hat. The effect overall is somewhat akin to a bucket mute or putting the bell "in stand." I suppose if Cole Porter and those cats were writing today they'd specify "Baseball Cap" (reversed of course) instead! Every time I have ever seen growl in a show book, I have played it as a somewhat "crushed" fluttertongue. Imagine making a growl with your voice, and then do the same thing with your aural cavity as you gliss and flutter. Try it, you'll like it. FWIW (please quote this message if you reply) In Music, ---Charles De Paolo General Manager & Webmaster Hickey's Music Center 104 Adams Street Ithaca, NY 14850 607.272.8262 (Phone) 607.272.2203 (Fax) chuck@hickeys.com (E-Mail) http://www.hickeys.com (Website) http://www.weather.com/weather/local/14850 ----- Original Message ----- From: Erik Berggren To: TROMBONE-L@PO.MISSOURI.EDU Sent: Friday, January 31, 2003 10:00 AM Subject: [TBN-L] Mute question, etc. ------------------------------ Date: Fri, 31 Jan 2003 11:35:12 +0000 From: Walter Barrett Subject: Re: Shouting Liza, etc Thus spake, not Zarathustra, but Jim O'Briant > Fillmore composed and published. literally hundreds of > marches, overtures and other band pieces, under several pseudonyms as well > as under his own name. My favorite pen name of Henry's was "Gus Beans." Walter Barrett "These days many politicians are demanding change. Just like homeless people." -George Carlin Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Fri, 31 Jan 2003 11:54:38 +0000 From: Walter Barrett Subject: Re: Yamahorama////bass bone questions Thus spake, not Zarathustra, but D.J. Kennedy > hello michael - > i am not up to speed on the yamahauler bass bones --still figuring > out the 651!!! > the illustrious member participants of the TL tlist -for sure ---- > will confute --er clear up many missconceptions with perfect > perspective > ---------and punctuation ----will forward same - > Gentlemen [and ladies] ///this is your cue!!!!!!! > > Michael Lawson wrote: > >> Yo DJ, >> >> what is up with the Yamaha basses? >> >> I love the 622, a teacher of mine sounds beautiful on a 613H. question >> - what's the diff between "heavy gauge metal" and "heavy wall >> construction". do tell if you got answers. also, where are those cool >> 612R II coming form on ebay all the time, I would love to play one in >> a big band - seems like a wanna be 62H Conn. while I'm at it, Stanko >> tells me the 622 design is "Bach-based". From Yeo? I suppose, and also >> that the 613H is "steve norrell's design". True? >> >> Thanks for any info. >> >> Mike Mike, DJ, et al... The 613 had input from Steve, don't know how much. Doug, of course, had major input on the 622, and seeing as he played on Bachs before, it would come as no surprise that a horn that felt comfortable to Doug would have at least some Bach concepts in it. The 611 and 612 horns are back from the '70s, when Yamaha had much design input from Schilke, and produced clones of what were considered to be the state of the art from the 50s and 60s. The 611 and 612 were definitely based on the old 62H, plus a bit of the old Reynolds 2 valver, too. No difference between "heavy gauge" and "heavy wall" that I know of, except that maybe marketing thought that "heavy wall construction" sounded more high-tech... Walter Barrett " these bits of metal are nothing until you add talent and dedication..." -D.J. Kennedy Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Fri, 31 Jan 2003 11:27:37 -0600 From: Mike Mathews Subject: MPTF I have to agree with Bill when he says, "In short, I hope the MPTF doesn't fold. In spite of the cynical comments that many of us have made about the "Green Sheet" gigs, the fund has put a lot of money into musician's pockets over the years, and brought a lot of LIVE music to people who might otherwise not had a chance to hear it." I played my first "green sheet" gig back in high school (ca. 1955) and have played innumerable MPTF performances since then. I have been led to understand that a current problem for the fund is that there are many new recording companies that were not signatories to the original agreement and a number of those who were no longer exist. The result is that MPTF no longer has the resources that it once had because those new companies do not pay into the fund. Maybe today's Doonesbury strip has a good point (?). Mike Mathews Director of Instrumental Studies Missouri Western State College mathews@mwsc.edu ------------------------------ Date: Fri, 31 Jan 2003 12:20:33 EST From: "A. Michael Brown" Subject: Re: Opera!(And other Symphony woes.) Hi List, Has anyone noticed (Besides myself.) that the "Arts Management" era has'nt worked? Seems like most of the "Boards" have their hearts in the right place but really don't have the knowledge or how to on who should be "Driving the bus". The non-profit thing has always hurt Symphony, Opera, and Ballet companies. (Most other non-profit orgs. as well.) We just got a new CEO that is from the corporate world ..... but knows the arts world equally well. A true and natuaral leadrer. She knows how to "drive the bus" and how to (Without their knowing it.) teach others (Namely Board members, Donors, and the rest of the mgt. staff.) to do the same.There's plenty of money out there. We just need people in the leadership positions that have half a clue on how to find it and then ... not "arts management"(Squander.) it away. Credo!, Mike Brown, Phoenix Symphony ------------------------------ Date: Fri, 31 Jan 2003 18:25:45 +0000 From: "J.c. Sherman" Subject: Re: Opera!(And other Symphony woes.) As somone who's been working in nonprofits for a while, I'd have to agree. Most Boards have been functioning under the "business model" idea (or not functioning, as the case may be) for quite some time. They try to "manage" an organization, rather than simply hold the organization in trust, answering only the questions of "where are we going" (mission) and "what can we do to help get there". Currently, my organization is facing this phenomenon, and I hope that there are things being learned from the past success and failures of this organization and others. Board micromanagement doesn't work. Further, risking the livelyhoods of artists for the sake of fiscal responsibility is the wrong formula, and in direct opposition to the missions of most non-profits. Long- term thinking goes out the door in favor of short term success. Board members want a legacy of success in the present, rather than protecting the future, or by sacrificing that future. I'm quite sure I'm not making much sense, as I get very emotional when confronted with the issues of nonprofits falling apart. Several formerly strong orchestras and other organizations in Cleveland have already fallen victim. I pray there are not too many more here and in the rest of the nation before Boards and organizations alike "get the point". Leave the "hows" up to responsible staffs. Leave the art to responsible artists. Board members need to help, and provide oversite that the organization is fulfilling its mission. Period. Off the soapbox... J.c. Sherman > Hi List, > > Has anyone noticed (Besides myself.) that the "Arts Management" era > has'nt worked? Seems like most of the "Boards" have their hearts in the right > place but really don't have the knowledge or how to on who should be "Driving > the bus". The non-profit thing has always hurt Symphony, Opera, and Ballet > companies. (Most other non-profit orgs. as well.) We just got a new CEO that > is from the corporate world ..... but knows the arts world equally well. A > true and natuaral leadrer. She knows how to "drive the bus" and how to > (Without their knowing it.) teach others (Namely Board members, Donors, and > the rest of the mgt. staff.) to do the same.There's plenty of money out > there. We just need people in the leadership positions that have half a clue > on how to find it and then ... not "arts management"(Squander.) it away. > Credo!, > Mike Brown, > > Phoenix Symphony ------------------------------ Date: Fri, 31 Jan 2003 14:57:57 -0500 From: David Buckley Subject: Re: How auditions work and responsibility (long) Good stuff Doug. Thanks. Dave. ------------------------------ Date: Fri, 31 Jan 2003 14:59:25 -0500 From: David Buckley Subject: Re: Opera! Glad to hear I'm not the only one to have done that. Dave. Douglas Yeo wrote: > Tales of Hoffman has some wonderful music. The trombone parts are > fairly sparse, I played it in 1973 while a freshman in college. It > was memorable for me because I counted about 350 bars of rest at one > point and came in a bar early. I learned then that counting was only > part of the solution; knowing the score was the better way. > > The long periods of rest allow you a chance to enjoy the singing more! > > -Doug Yeo > > At 4:20 PM +0100 1/31/03, Marius HelgΠwrote: > >Just have to share my joy with someone. > > > >The Norwegian State Opera has a tradition of showing different operas around > >the country, and in march, my hometown Mo i Rana will have a visit by > >Offenbachs "The Tales of Hoffmann". > > > >The singers, and most of the orchestra are pros, while the choir and a few > >of the musicians are local amateurs, and amongst the local amateurs this > >time, the audience perhaps will notice me and my bass trombone. > > > >Anyone on the list who've ever played this opera? > >Any difficult places to watch out for in Trombone III? > > -- > > Douglas Yeo > Bass Trombonist, Boston Symphony Orchestra > Music Director, The New England Brass Band > > dyeo@rcn.com /// yeo@yeodoug.com > http://www.yeodoug.com > > <>< ------------------------------ Date: Fri, 31 Jan 2003 15:49:55 -0500 From: Todd Holmberg Subject: Summer Jobs for College Trombone Players SUMMER JOBS FOR COLLEGE TROMBONE PLAYERS AT BLUE LAKE FINE ARTS CAMP Founded in 1966 and located in the Manistee National Forest of Michigan, Blue Lake Fine Arts Camp is a summer community of the fine arts. Each summer Blue Lake serves nearly 4,500 junior high and high school students, who major in music, art, dance, and drama. 175 staff positions are available for college musicians with interest and aptitude in working with young people. Spend your summer making a difference! OPPORTUNITIES INCLUDE performing in the Festival Orchestra, chamber ensembles, recitals, staff choir, and the Staff Solo Competition; taking private lessons with faculty, teaching sectionals and technique classes with junior campers, and gaining valuable experience in leadership and working with youth. STAFF POSITIONS: June 16 - August 17, salary $1,150 And Up (based on experience) plus room, board, and extensive performing & educational opportunities. Staff duties include living with and supervising 10 - 12 campers, assisting with recreational and social activities, working 15 - 20 hours a week at a specific assignment (performing ensembles for musicians), and consistently acting on all campers' needs. A SUMMER FULL OF EXPERIENCE! Instrumentalists have the opportunity to perform with faculty in the Blue Lake Festival Orchestra, Band, Jazz Band, or chamber ensembles as part of their work assignment. A staff solo competition offers performers an opportunity to solo with the Festival Orchestra as part of Blue Lake's Season Finale. Teaching positions with junior campers are also available for those who qualify. Placement based on audition cassette. SOLO COMPETITION: Compete for an opportunity to solo with the Blue Lake Festival Orchestra! Only Blue Lake staff members are eligible. Call 800-221-3796 for more information on how you can participate. Blue Lake Fine Arts Camp Twin Lake, Michigan Call 800.221.3796 for application materials! www.bluelake.org ------------------------------ Date: Fri, 31 Jan 2003 17:26:32 -0500 From: Jay Sheridan Subject: Re: Shouting Liza, etc Besides music publishing, Fillmore Bros. also had a line of instruments. I don't know what all they made, but I do have a silver valve trombone with the Fillmore Bros. Cincinnati, OH engraved on the bell. Just thought I would add something now that I am back to the list after about 2 years off (but, I am happy to be back) Jay Sheridan Director of Music Upper Scioto Valley Schools McGuffey, OH jsheridan@usv.k12.oh.us ------------------------------ Date: Fri, 31 Jan 2003 18:10:45 -0500 From: Douglas Yeo Subject: New CD with tenor and bass solos On September 7, 2002, I participated in the 2002 Great Northern Brass Arts Festival at Bridgewater Hall in Manchester, England. It was a full day (12 hours) of performances by some of England's top brass bands including Black Dyke, Williams Fairey, Fodens and Household Troops. Egon has just released a "highlights" disc from the Festival which contains 70 minutes of remarkable brass band playing including the most powerful performance of Eric Ball's "Resurgam" (Fodens with Bramwell Tovey conducting) I have ever heard. Two solos are featured on the album as well: I play Kenneth Cook's solo, "The Passing Years" with Fodens (Russell Gray conducting) and Nick Hudson plays Ray Steadman-Allen's "The Eternal Quest" with Household Troops (John Mott conducting). The CD is a limited pressing and I am offering it for sale through my website. Just click on the cover image for "Bridgewater Hall Live 2002" and you'll be able to get more information. It was quite a day; I'm very pleased to have this CD as a way to remember some truly amazing brass band playing! -Doug Yeo -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Fri, 31 Jan 2003 17:04:32 -0800 From: Ralph Bigelow Subject: Remington website Several months ago we established a website to show pictures from the 1955 reunion to honor Emory B. Remington, "The Chief." Since then we have added copies of emails we have received about the site, a copy of the 1979 program for the dedication of a rehearsal hall in the memory of Emory Remington, and most recently, some photos of "The Chief" taken in the fall of 1971, shortly before his death. We thank Gordon Cherry and Don Hunsberger for providing these photographs. http://web10.superb.net/thechief/ Ralph Bigelow ------------------------------ Date: Fri, 31 Jan 2003 19:53:31 -0800 From: "Joe L. Norcross" Subject: Re: Shouting Liza, etc Has anyone looked to see if Masters Music is republished the original version? I bought it several years ago in the original version still published by Fischer Joe L. Norcross Tuba: Visalia CA Sequoia Winds Bass Trombone: Clovis CA Community Band Tuba and Announcer: Kingsburg CA City Band joetuba@lightspeed.net ------------------------------ Date: Fri, 31 Jan 2003 23:38:14 -0600 From: Eric & Candice Swanson Subject: Live Music Petition For the sake of all live music everywhere, take just a minute to go to this site and sign this petition. If they eliminate the live orchestras on Broadway, they will be gone when shows come to your city too. Thanks, Eric Swanson Dallas/Fort Worth ------------------------------ End of TROMBONE-L Digest - 30 Jan 2003 to 31 Jan 2003 (#2003-31) ****************************************************************