Subject: TROMBONE-L Digest - 1 Jan 2004 to 2 Jan 2004 (#2004-3) Date: Saturday, January 3, 2004 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 2 messages totalling 144 lines in this issue. Topics of the day: 1. Composer Residencies 2. Rims-soldered or unsoldered. What is the difference? ---------------------------------------------------------------------- Date: Fri, 2 Jan 2004 06:55:05 -0500 From: Retired Prof 55 Subject: Composer Residencies --Apple-Mail-8-248025117 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=WINDOWS-1252; format=flowed As a composer, performer and educator, I like to encourage you to=20 consider having a composer-in-residence for your organization or=20 performing ensemble. Often musicians and audiences consider composers=20 to be =93dead people who exist from the shoulders up sitting on the=20 piano=94. However, they are often overlooked as a vibrant force in the=20= music making process. Having a composer present during rehearsals=20 provides insights into the music that cannot be obtained otherwise.=20 During, prior to and after the concert, a composer can share these=20 insights with the audience. In addition, many composers can share their=20= expertise in other areas with a wide variety of students and audiences. I=92d like to tell you about two programs that make having a=20 composer-in-residence financially possible. The Co-op Press Residency=20 Assistance Program is a program that I established because of my strong=20= belief in the importance of having composers, audiences and performers=20= interact. Information about this program is available at . Meet The=20 Composer is another program that enables composer, performer, and=20 audience interaction. Information about this program is available at . Today=92s composers represent a wide variety of musical styles. Many=20 composers embrace a style that is based upon the traditions of Western=20= Art Music and is rooted in tonality so that =93new music=94 is not=20 necessarily synonymous with the =93avant garde=94. The American Music=20 Center , The Composer-Conductor Bridge , and the Center for Promotion=20= of Contemporary Composers are organizations that can assist you in=20 finding a composer that matches your interests. Sy Brandon --Apple-Mail-8-248025117 Content-Transfer-Encoding: quoted-printable Content-Type: text/enriched; charset=WINDOWS-1252 TimesAs a composer, performer and educator, I like to encourage you to consider having a composer-in-residence for your organization or performing ensemble. Often musicians and audiences consider composers to be =93dead people who exist from the shoulders up sitting on the piano=94. However, they are often overlooked as a vibrant force in the music making process. Having a composer present during rehearsals provides insights into the music that cannot be obtained otherwise. During, prior to and after the concert, a composer can share these insights with the audience. In addition, many composers can share their expertise in other areas with a wide variety of students and audiences.=20 I=92d like to tell you about two programs that make having a composer-in-residence financially possible. The Co-op Press Residency Assistance Program is a program that I established because of my strong belief in the importance of having composers, audiences and performers interact. Information about this program is available at . Meet The Composer is another program that enables composer, performer, and audience interaction. Information about this program is available at .=20 Today=92s composers represent a wide variety of musical styles. Many composers embrace a style that is based upon the traditions of Western Art Music and is rooted in tonality so that =93new music=94 is not necessarily synonymous with the =93avant garde=94. The American Music Center , The Composer-Conductor Bridge , and the Center for Promotion of Contemporary Composers are organizations that can assist you in finding a composer that matches your interests. Sy Brandon = --Apple-Mail-8-248025117-- ------------------------------ Date: Fri, 2 Jan 2004 15:25:21 +0100 From: Anders Carlsson Subject: Re: Rims-soldered or unsoldered. What is the difference? I agree with you Sam. I play a lot of different styles and a lot of different horns from alto sackbut to bass trombone and the occasional tuba gig. The harder really pointed articulation needed for for example rock & roll horn section and big band playing is a lot easier to do on my two unsoldered horns. 1969 Conn 78H and 1956 Conn 32H. I have other horns, smaller and bigger ones but they are all harder to be that clear on when it comes to articulation. I think I can also say that the unsoldered ones are easier to blend with other instruments on. For me that is. Happy new year to all of you. /Anders Carlsson Gothenburg SWEDEN sabutin writes: >Yeah?but here is exactly where it breaks down for me. > > Up and down both lines?at least in the classic >examples I have played?the "unsoldered" Conns >favor pointed articulations and a focused sound >and the "soldered" Bachs do exactly the opposite. > > Large + small, light + heavy. > > Backwards. > > See my confusion? > > Now with Shires horns I have just picked up >bells and played them until I found the one I >most liked (usually soldered), but most people do >not have that advantage and instead have to >preorder. > > Still looking for answers? > > Sam ------------------------------ End of TROMBONE-L Digest - 1 Jan 2004 to 2 Jan 2004 (#2004-3) *************************************************************