Subject: TROMBONE-L Digest - 13 Jan 2004 to 14 Jan 2004 (#2004-15) Date: Thursday, January 15, 2004 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 11 messages totalling 1808 lines in this issue. Topics of the day: 1. Schmelzer 2. Where to buy horns 3. TROMBONE-L Digest - 12 Jan 2004 to 13 Jan 2004 (#2004-14) 4. FW: [TBN-L] Where to buy horns 5. Vibrato? Yes, No or it depends (2) 6. trombone.org down? 7. Online Trombone Journal Outage 8. Shameless Plug 9. FW: Online Trombone Journal Update 10. Nickel Silver Tubes ---------------------------------------------------------------------- Date: Wed, 14 Jan 2004 01:16:54 -0600 From: "William P. Huber" Subject: Re: Schmelzer Dear Peter, Doug Elliott has a Schmelzer on which he sounds very good, indeed. I was able to play a very little bit on it and it seemed a fine horn, very warm sound, good center, easy articulations, fast slide. I don't know which model it is/was. Maybe Doug's catalogue would tell? Sincerely, Bill Huber Nashville, TN Trombone-L Digest Subscriber ------------------------------ Date: Wed, 14 Jan 2004 04:48:07 EST From: SteveInside@AOL.COM Subject: Re: Where to buy horns In a message dated 14/01/04 05:07:32 GMT Standard Time, trbnplyr@COMCAST.NET writes: > Right after Christmas I had the opportunity to visit DJ Kennedy there in > his little domain of the world in Chester, Illinois. Chester is about 60 > miles off I-57 in the southern part of Illinois, and he's 330 miles south of > Chicago. Not much going on there, to be honest with you. However, he has an > absolutely staggering array of used horns, some really good, some not so > good, but the prices that he's asking would definitely fit most people's > pocketbook very well. > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > I endorse everything you say about DJ and his horns Paul. I've bought a > complete horn and a 1950s Olds valve section from him and found him to be > reliable and courteous too. And has contacts to find a horn if he doesn't have > that thing you're looking for. > Regards > Steve C > UK ------------------------------ Date: Wed, 14 Jan 2004 05:55:32 -0800 From: Mark & Ulrike Narins Subject: Re: TROMBONE-L Digest - 12 Jan 2004 to 13 Jan 2004 (#2004-14) -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Automatic digest processor Sent: Tuesday, January 13, 2004 10:00 PM To: Recipients of TROMBONE-L digests Subject: TROMBONE-L Digest - 12 Jan 2004 to 13 Jan 2004 (#2004-14) There are 8 messages totalling 1347 lines in this issue. Topics of the day: 1. Vibrato? Yes, No or it depends. (2) 2. TROMBONE-L Digest - 11 Jan 2004 to 12 Jan 2004 (#2004-13) 3. Schmelzer (2) 4. Schmelzer trombones opinions) 5. Subscription Problem 6. Where to buy horns ---------------------------------------------------------------------- Date: Tue, 13 Jan 2004 11:35:51 -0800 From: Elliott Moxley Subject: Re: Vibrato? Yes, No or it depends. I was wondering about this the other day when I went to hear a Victorian Cornet Band concert. It was a group that puts a lot of time and effort into re-creating the authentic style of a late 19th century town band, right down to period instruments, and the director of the band has a Phd in Musicology. Anyways, there was a trombone solo in "Grand Selection from Carmen", and the trombonist used LOTS of slide vibrato - fast and very wide, at least a full position on either side of the note. I was surprised at this interpretation of an Operatic piece, was this the way Bizet intended for it to sound? To really know the "correct" way to perform pieces that were written before we had recording equipment, I suppose we would have to have a way of getting into the mind of the composer. Maybe we should lighten up a bit on Mark, his interpretation may be a valid one. Besides, how many of us would perform the piece on an alto sackbut, alongside a tenor and G-bass sackbut? Sue Mark & Ulrike Narins wrote: > I want to start a discussion of vibrato as it affects section playing. > Recently in a rehearsal of Beethoven 9 the subject of my vibrato came > up, not from the conductor or even my own section but a horn player. > The opinion was expressed that there should be no vibrato in the sound > what so ever. I honestly wasn't aware that I had much if any vibrato > at all but after exploring what I was doing, I discovered the > following: I was getting some movement of the sound directly off my > diaphragm. I was not trying to make a diaphragm vibrato, it's just > natural. I'm a singer as well and that's what diaphragms do-they > undulate when your breath is connected to it. > The other thing I noticed is that I was adding some lip > vibrato in addition to what my diaphragm was doing. I realized I did > this for two reasons-I don't like an absolutely straight sound and the > lip vibrato helped me hang on to the sustained high notes easier, I > was playing the alto part on a King 2B. I asked the conductor about it > and he didn't notice any vibrato-he was happy. I listened to a > recording of the performance and although I could hear that there was > some movement > (undulation) in the air column while I was playing, it was very mild > and produced a sound that worked in context of the piece. > But now I'm paranoid about the whole concept and would > appreciate comments on vibrato or mild tone undulation (sub-vibrato) in > a section situation. As American trombonists have we sworn off anything > remotely resembling vibrato when playing in an symphonic orchestra > section?? > > When I was in Emory Remington's trombone choir I don't remember the > subject of vibrato coming up per say but I don't believe we played > with a totally straight tone. Please correct me fellow former choir > members. Solo voices in the choir did use what I call an undulating > sub-vibrato. So what do people have to say on this subject. > > Mark > ______________________ > Mark Narins > Phone: (415) 928-7464 > email: narins@pacbell.net > ______________________ ----------------------------- Date: Tue, 13 Jan 2004 10:42:49 -0800 From: Peter Anderson Subject: Re: TROMBONE-L Digest - 11 Jan 2004 to 12 Jan 2004 (#2004-13) There seems to be a full selection of Schmelzer trombones on Ebay currently. Does anyone have any expierience with Schmelzer horns? Thanks. ----- Original Message ----- From: "Automatic digest processor" To: "Recipients of TROMBONE-L digests" Sent: Monday, January 12, 2004 10:00 PM Subject: TROMBONE-L Digest - 11 Jan 2004 to 12 Jan 2004 (#2004-13) > There are 20 messages totalling 977 lines in this issue. > > Topics of the day: > > 1. Vibrato? Yes, No or it depends. (10) > 2. OTJ Classifieds Update - 1/12/04 > 3. Looking for Chad Yarborough > 4. TROMBONE-L Digest - 10 Jan 2004 to 11 Jan 2004 (#2004-12) (2) > 5. trombone & harp > 6. FS Conn 4h & old King > 7. bone & harp > 8. (Re) Introduction > 9. Welcome > 10. Lecture in Kalamazoo next week > > ---------------------------------------------------------------------- > > Date: Sun, 11 Jan 2004 22:57:41 -0800 > From: Mark & Ulrike Narins > Subject: Vibrato? Yes, No or it depends. > > I want to start a discussion of vibrato as it affects section playing. > Recently in a rehearsal of Beethoven 9 the subject of my vibrato came > up, not from the conductor or even my own section but a horn player. > The opinion was expressed that there should be no vibrato in the sound > what so ever. I honestly wasn't aware that I had much if any vibrato > at all but after exploring what I was doing, I discovered the > following: I was getting some movement of the sound directly off my > diaphragm. I was not trying to make a diaphragm vibrato, it's just > natural. I'm a singer as well and that's what diaphragms do-they > undulate when your breath is connected to it. > The other thing I noticed is that I was adding some lip > vibrato in addition to what my diaphragm was doing. I realized I did > this for two reasons-I don't like an absolutely straight sound and the > lip vibrato helped me hang on to the sustained high notes easier, I > was playing the alto part on a King 2B. I asked the conductor about it > and he didn't notice any vibrato-he was happy. I listened to a > recording of the performance and although I could hear that there was > some movement > (undulation) in the air column while I was playing, it was very mild > and produced a sound that worked in context of the piece. > But now I'm paranoid about the whole concept and would > appreciate comments on vibrato or mild tone undulation (sub-vibrato) in > a section situation. As American trombonists have we sworn off anything > remotely resembling vibrato when playing in an symphonic orchestra > section?? > > When I was in Emory Remington's trombone choir I don't remember the > subject of vibrato coming up per say but I don't believe we played > with a totally straight tone. Please correct me fellow former choir > members. Solo voices in the choir did use what I call an undulating > sub-vibrato. So what do people have to say on this subject. > > > Mark > ______________________ > Mark Narins > Phone: (415) 928-7464 > email: narins@pacbell.net > ______________________ > > ------------------------------ > > Date: Mon, 12 Jan 2004 06:56:00 -0600 > From: Chris Waage > Subject: OTJ Classifieds Update - 1/12/04 > > The Online Trombone Journal Classifieds > (http://www.trombone.org/classifieds) have been updated as of 6:56 AM > CST on > January 12, 2004. > > - - - - - Thank you for using the OTJ Classifieds! - - - - - > > OTJ Classifieds Frequently Asked Questions > http://www.trombone.org/classifieds/faq.asp > > OTJ Gift Shoppe: > http://www.cafepress.com/cp/store/store.aspx?storeid=trombones > > If you have any questions or comments about the Online Trombone > Journal Classifieds, please contact me at chris@trombone.org. > > Chris Waage > > -- > Chris Waage, Associate Webmaster > The Online Trombone Journal > "A Website for Trombonists" > > ------------------------------ > > Date: Mon, 12 Jan 2004 09:16:20 -0500 > From: John Burton > Subject: Re: Vibrato? Yes, No or it depends. > > I can't speak to trombone choirs, BUT.. How often do you see the > violin section (or other strings for that matter) pulling in the > vibrato? How 'bout the floots? > > No I'm not going to go so far as to say that "if they can, why can't > I?", BUT. It seems to me a bit of vibrato, be it lip'd, or the famous > hand-tremble, or from the diaphragm seems to be the accepted way of > making music. > > Shucks, even barbershop quartets use vibrato to enhance the sound! > > I believe a bit of vibrato enhances in the orchestral setting and use > it myself, tho not so much as to be annoying. In the jazz band? > Well, pedal notes and vibrato don't often go together... > > Naturally, your mileage may vary. > > Thanks! > > ~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~= > > john burton > Bach 50B3 > Bass Trombone, Charleston NeoPhonic Orchestra > South Charleston, West Virginia > > > > > -----Original Message----- > > From: Trombones and related issues forum. > > [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Mark & Ulrike > > Narins > > Sent: Monday, January 12, 2004 1:58 AM > > To: TROMBONE-L@PO.MISSOURI.EDU > > Subject: [TBN-L] Vibrato? Yes, No or it depends. > > > > > > I want to start a discussion of vibrato as it affects section > > playing. Recently in a rehearsal of Beethoven 9 the subject of my > > vibrato came up, not from the conductor or even my own section but a > > horn player. The opinion was expressed that there should be no > > vibrato in the sound what so ever. I honestly wasn't aware that I > > had much if any vibrato at all but after exploring what I was doing, > > I discovered the > > following: I was getting some movement of the sound directly off my > > diaphragm. I was not trying to make a diaphragm vibrato, it's just > > natural. I'm a singer as well and that's what diaphragms do-they > > undulate when your breath is connected to it. > > The other thing I noticed is that I was adding some lip > > vibrato in addition to what my diaphragm was doing. I realized I did > > this for two reasons-I don't like an absolutely straight sound and > > the lip vibrato helped me hang on to the sustained high notes > > easier, I was playing the alto part on a King 2B. I asked the > > conductor about it and he didn't notice any vibrato-he was happy. I > > listened to a recording of the performance and although I could hear > > that there was some movement > > (undulation) in the air column while I was playing, it was > > very mild and produced a sound that worked in context of the piece. > > But now I'm paranoid about the whole concept and > > would appreciate comments on vibrato or mild tone undulation > > (sub-vibrato) in a section situation. As American trombonists > > have we sworn off anything remotely resembling vibrato when > > playing in an symphonic orchestra section?? > > > > When I was in Emory Remington's trombone choir I don't remember the > > subject of vibrato coming up per say but I don't believe we played > > with a totally straight tone. Please correct me fellow former choir > > members. Solo voices in the choir did use what I call an undulating > > sub-vibrato. So what do people have to say on this subject. > > > > > > Mark > > ______________________ > > Mark Narins > > Phone: (415) 928-7464 > > email: narins@pacbell.net > > ______________________ > > > > ------------------------------ > > Date: Mon, 12 Jan 2004 09:18:25 EST > From: Stephen Colley > Subject: Looking for Chad Yarborough > > Please email me! > > Thanks, > > Stephen Colley > www.tuneupsystems.com > 804-852-8219 > "Rhythm - Metronome. Intonation - TuneUp." > > ------------------------------ > > Date: Mon, 12 Jan 2004 08:34:34 -0600 > From: "John.McVey" > Subject: Re: Vibrato? Yes, No or it depends. > > Speaking to my experience in Concert Bands, I have always believed > that if it is not indicated in the music, do not use excessive, if > any, vibrato. If > vibrato is used in the section, everyone's vibrato style and speed > should match. > > Speaking to my section experience in jazz Swing Bands, the basic rule > is "Follow the Lead Bone". If he is using vibrato, try to match it > exactly. When he is not using vibrato, NEVER use it on your own. The > exception, of course, is when you are soloing, but that is not the > subject here. > > John > > ------- Original Message -------- > From: "Mark & Ulrike Narins" > To: "TROMBONE-L@PO.MISSOURI.EDU" > CC: > Subject: [TBN-L] Vibrato? Yes, No or it depends. > Date: 12/01/04 > > I want to start a discussion of vibrato as it affects section playing. > Recently in a rehearsal of Beethoven 9 the subject of my vibrato came > up, not from the conductor or even my own section but a horn player. > The opinion was expressed that there should be no vibrato in the sound > what so ever. I honestly wasn't aware that I had much if any vibrato > at all but after exploring what I was doing, I discovered the > following: I was getting some movement of the sound directly off my > diaphragm. I was not trying to make a diaphragm vibrato, it's just > natural. I'm a singer as well and that's what diaphragms do-they > undulate when your breath is connected to it. The other thing I > noticed is that I was adding some lip vibrato in addition to what my > diaphragm was doing. I realized I did this for two reasons-I don't > like an absolutely straight sound and the lip vibrato helped me hang > on to the sustained high notes easier, I was playing the alto part on > a King 2B. I asked the conductor about it and he didn't notice any > vibrato-he was happy. I listened to a recording of the performance and > although I could hear that there was some movement > (undulation) in the air column while I was playing, it was very mild > and produced a sound that worked in context of the piece. But now I'm > paranoid about the whole concept and would appreciate comments on > vibrato or mild tone undulation (sub-vibrato) in a section situation. > As American trombonists have we sworn off anything remotely resembling > vibrato when playing in an symphonic orchestra section?? > > When I was in Emory Remington's trombone choir I don't remember the > subject of vibrato coming up per say but I don't believe we played > with a totally straight tone. Please correct me fellow former choir > members. Solo voices in the choir did use what I call an undulating > sub-vibrato. So what do people have to say on this subject. > > > Mark > ______________________ > Mark Narins > Phone: (415) 928-7464 > email: narins@pacbell.net > ______________________ > > _____________________________________________________________________ > This mail was sent by Cablespeed Webmail > > ------------------------------ > > Date: Mon, 12 Jan 2004 09:40:09 -0500 > From: Bruce Guttman > Subject: Re: Vibrato? Yes, No or it depends. > > I think that a mild diaphragm vibrato or lip vibrato that is part of > your normal sound shouldn't be a problem. Even when they are trying > to play straight tones, the strings have some weak vibrato. Playing a > wide slide vibrato a-la Tommy Dorsey is definitely out of the question > in an orchestral setting. > > I remember seeing a promotional film made by King featuring Urbie > Green. He gave some tips on vibrato, including using a trombone choir > where he suiggested that the 3 lower voices should play as straight as > possible and the upper voice give a gentle vibrato to add some "life" > to the sound. I have often found this works; 4 trombones playing dead > straight can be very boring. And 4 with unmatched vibratos can be > annoying. > > Just my 2 cents (or 2p to any Brits). > > Bruce Guttman > Section Leader, Merrimack Valley Philharmonic Orchestra > Solo Trombone, Hollis Town Band > > ------------------------------ > > Date: Mon, 12 Jan 2004 08:32:59 -0600 > From: Bob Koester > Subject: Re: Vibrato? Yes, No or it depends. > > Mark, > > Generally, I don't think using vibrato in section work or tutti > playing in an orchestral piece is appropriate particularly if you are > playing an interior part. Same goes for the majority of commercial > playing. There are > some commercial applications where vibrato can work, but you really > have to > know the style as well as the other player or players so your vibratos match > up. Again, in any event, the vibrato style should not be set from an > interior part. > > Years ago I had a very good friend who was a good trombone player and > a wonderful singer. Like you, he battled the conceptual difference > between what the voice does and what playing a brass instrument does. > Over time, he > resolved it for himself by working diligently on separating the two concepts > intellectually and carrying that intellectual separation over into the > respective practices and performances. > > Hope that helps some. Good luck. > > Bob Koester > > > >From: Mark & Ulrike Narins > >Reply-To: Mark & Ulrike Narins > >To: TROMBONE-L@PO.MISSOURI.EDU > >Subject: [TBN-L] Vibrato? Yes, No or it depends. > >Date: Sun, 11 Jan 2004 22:57:41 -0800 > > > >I want to start a discussion of vibrato as it affects section > >playing. Recently in a rehearsal of Beethoven 9 the subject of my > >vibrato came up, not from the conductor or even my own section but a > >horn player. The opinion was expressed that there should be no > >vibrato in the sound what so ever. I honestly wasn't aware that I had > >much if any vibrato at all but after exploring what I was doing, I > >discovered the following: I was getting some movement of the sound > >directly off my diaphragm. I was not trying to make a diaphragm > >vibrato, it's just natural. I'm a singer as well and that's what > >diaphragms do-they undulate when your breath is connected to it. > > The other thing I noticed is that I was adding some lip > >vibrato in addition to what my diaphragm was doing. I realized I did > >this for two reasons-I don't like an absolutely straight sound and > >the lip vibrato helped me hang on to the sustained high notes easier, > >I was playing the alto part on a King 2B. I asked the conductor about > >it and he didn't notice any vibrato-he was happy. I listened to a > >recording of the performance and although I could hear that there was > >some movement > >(undulation) in the air column while I was playing, it was very mild > >and produced a sound that worked in context of the piece. > > But now I'm paranoid about the whole concept and would > >appreciate comments on vibrato or mild tone undulation (sub-vibrato) in > >a section situation. As American trombonists have we sworn off anything > >remotely resembling vibrato when playing in an symphonic orchestra > >section?? > > > >When I was in Emory Remington's trombone choir I don't remember the > >subject of vibrato coming up per say but I don't believe we played > >with a totally straight tone. Please correct me fellow former choir > >members. Solo voices in the choir did use what I call an undulating > >sub-vibrato. So what do people have to say on this subject. > > > > > >Mark > >______________________ > >Mark Narins > >Phone: (415) 928-7464 > >email: narins@pacbell.net > >______________________ > > _________________________________________________________________ > Find out everything you need to know about Las Vegas here for that getaway. > http://special.msn.com/msnbc/vivalasvegas.armx > > ------------------------------ > > Date: Mon, 12 Jan 2004 10:24:23 -0500 > From: "David A. Schwartz" > Subject: Re: Vibrato? Yes, No or it depends. > > At 09:16 AM 1/12/2004 -0500, John Burton wrote: > >Shucks, even barbershop quartets use vibrato to enhance the sound! > > But usually barbershop quartets use very little vibrato. That is > their magic. The stillness and perfection of barbershop quartet > intonation creates fabulous resultant tones, making them sound rich. > > Vibrato creates unwanted resultants. An operatic quartet, with competitive > vibratos, creates unpleasant resultant tones and sounds muddled. > > Any voice, or part, calls attention to itself with vibrato. That's > OK, within limits. Bill Watrous says it can be good to limit vibrato > to the last third of the time value of the final note of a phrase. > > David > > David A. Schwartz > My two cents is added to the fifth, subtracted from the fourth! > http://www.nyx.net/~dschwart/breakfast.html > > ------------------------------ > > Date: Mon, 12 Jan 2004 10:38:05 -0500 > From: Chris Dearth > Subject: Re: TROMBONE-L Digest - 10 Jan 2004 to 11 Jan 2004 (#2004-12) > > Date: Sun, 11 Jan 2004 09:43:49 +0000 > From: Oddur Bjornsson > Subject: Trombone and harp... > > Fellow listers. > I«m looking for music for trombone and harp. Came up with a few > titles at Hickeys and I«m in the process of ordering Norman Bolters > Lakes (arr. for tbone and hp). Nitzan Haroz has performed > trombone/harp music with his mother; does anyone know wich pieces and > if they recorded any of it? All tips appreciated, Oddur Bjšrnsson. > > Asta Kristin og Oddur Bjornsson, > Mjostraeti 2B, > 101 Reykjavik, > Iceland. > phone/fax: 354-551-6959, > gsm: 354-891-8665. > > > When I was in undergrad at Oberlin many moons ago, I remember a friend > of mine doing Ravel's, "Pavane for a Dead Princess" (pardon me for not putting > the French title, but I do not remember it off hand) for trombone and harp. > I don't remember if there was an arrangement or if the harpist > adjusted the > piano part to fit her instrument (My gut says the whole thing was > arranged > by the trombonist and harpist). But I do remember it worked really > well. I > know it's not originally for trombone (gasp) but would be a very good > possibility. > > Chris Dearth > Principal Trombone, West Virginia Symphony > 2nd Trombone, Evansville Philharmonic > > ------------------------------ > > Date: Mon, 12 Jan 2004 08:07:33 -0800 > From: Chris Tune > Subject: Re: Vibrato? Yes, No or it depends. > > "It depends. . . > > Not appropriate for orchestral section work. (e.g. not any on Brahms > chorales in orchestra, etc.) Probably slight vibrato on something soloistic > and very, very prominent like Ravel Bolero solo. > > Need to vibrato on the very "Cantabile" sections of swing band music > (this will get me into trouble, but here is where modern trombonists > fall down quite often!). Especially needed in trombone section > "singing" parts of big > band music. Nothing more boring than flat, non-vibratoed soli > sections in stuff like "At Last", or "Interlude" (although Interlude > is one of those pieces where some straight hold, followed by > substantial vibrato, works quite well).. > > Watrous is right that you could create a "Kenton-esk" effect by > waiting until the end of held tones to put in some real vibrato. > > So NONE for orchestra > PLENTY for swing pretty soli sections. > > Don't vibrato appreciably below F below middle C (sometimes works > slower vibratoing, slight). > > If the lead bone player is so silly as to go through something really > ballad-like such as the "At Last" soli without so much as a waiver in > his/her tone, then I don't think "following the leader" is such a good idea. > The player at the lead bone position is not a dictator. If the person > is so > devoid of feeling that he/she only wants straight tone all the time, > well that person needs to think again. The lead bone is responsible > for being musical (sometimes such as in big band jazz, vibrato is > neccessary, just like following dynamics is neccessary. . .we don't > suggest ignoring dynamics > because the lead bone does). > > Chris Tune > > > ----- Original Message ----- > From: "David A. Schwartz" > To: > Sent: Monday, January 12, 2004 7:24 AM > Subject: Re: [TBN-L] Vibrato? Yes, No or it depends. > > > > At 09:16 AM 1/12/2004 -0500, John Burton wrote: > > >Shucks, even barbershop quartets use vibrato to enhance the sound! > > > > But usually barbershop quartets use very little vibrato. That is > > their magic. The stillness and perfection of barbershop quartet > > intonation creates fabulous resultant tones, making them sound rich. > > > > Vibrato creates unwanted resultants. An operatic quartet, with > competitive > > vibratos, creates unpleasant resultant tones and sounds muddled. > > > > Any voice, or part, calls attention to itself with vibrato. That's > > OK, within limits. Bill Watrous says it can be good to limit > > vibrato to the last third of the time value of the final note of a > > phrase. > > > > David > > > > David A. Schwartz > > My two cents is added to the fifth, subtracted from the fourth! > > http://www.nyx.net/~dschwart/breakfast.html > > > > ------------------------------ > > Date: Mon, 12 Jan 2004 08:25:38 -0800 > From: Galen McQuarrie > Subject: Re: TROMBONE-L Digest - 10 Jan 2004 to 11 Jan 2004 (#2004-12) > > I actually have this arrangement. It is by Ostrander, and it dates > back to the 1950's. It is indeed scored for harp and trombone. If anyone is interested, email me, and I can give you the particulars as to publisher etc. I don't have the piece handy right now. It's a nice arrangement. I am not sure if it is still available or not. > > Galen McQuarrie > > -----Original Message----- > From: Chris Dearth [mailto:mr.dearthian@VERIZON.NET] > Sent: Mon 1/12/2004 7:38 AM > To: TROMBONE-L@PO.MISSOURI.EDU > Cc: > Subject: Re: [TBN-L] TROMBONE-L Digest - 10 Jan 2004 to 11 Jan 2004 (#2004-12) > > > > Date: Sun, 11 Jan 2004 09:43:49 +0000 > From: Oddur Bjornsson > Subject: Trombone and harp... > > Fellow listers. > Iå«m looking for music for trombone and harp. Came up with a > few titles at > Hickeys and Iå«m in the process of ordering Norman Bolters > Lakes (arr. for > tbone and hp). Nitzan Haroz has performed trombone/harp music with his > mother; does anyone know wich pieces and if they recorded any > of it? > All tips appreciated, > Oddur BjĢ¦rnsson. > > Asta Kristin og Oddur Bjornsson, > Mjostraeti 2B, > 101 Reykjavik, > Iceland. > phone/fax: 354-551-6959, > gsm: 354-891-8665. > > > When I was in undergrad at Oberlin many moons ago, I remember > a friend of > mine doing Ravel's, "Pavane for a Dead Princess" (pardon me > for not putting > the French title, but I do not remember it off hand) for > trombone and harp. > I don't remember if there was an arrangement or if the harpist adjusted the > piano part to fit her instrument (My gut says the whole thing > was arranged > by the trombonist and harpist). But I do remember it worked really well. I > know it's not originally for trombone (gasp) but would be a > very good > possibility. > > Chris Dearth > Principal Trombone, West Virginia Symphony > 2nd Trombone, Evansville Philharmonic > > > ------------------------------ > > Date: Mon, 12 Jan 2004 16:54:14 +0000 > From: Daniel Pliskin > Subject: Re: Vibrato? Yes, No or it depends. > > Mark, > > I do commiserate with you about that unconscious vibrato. After > quaking (and I suppose quacking, too) with an oboe, for far too many > years, it now takes a conscious effort for me to turn my vibrato off. > And, like you, it seems as if my entire body is engaged in the > vibrato, not just my lips or my > jaw or my diaphragm. > > So Iām going to paraphrase and misquote Doug Yoe, in search of an > answer. I > had asked the list how one chooses between sounding good, in front of > the bell, and sounding good, behind the bell. He said that I should > just try to > sound good to me. And when I think of all the yahoos in the audience, > who donāt know a trumpet from a cello, surely pleasing me takes > precedence. > > Iāve upset a few teachers, who would like for me to consciously turn > the vibrato off. So far, no one else seems to mind it. > > But I also have a different set of criteria. Iām trying to learn to > play jazz trombone. The majority of my brainpower goes into trying to > play things, which arenāt trite. I guess Iād rather play inventive > music with a > stinkinā vibrato than mundane music with none. > > But, also, no matter what you choose to do, youāre going to have detractors. > > Jeez, it was Rick Nelson who said, ćyou got to please yourselfä, or > something like that. And how could I argue with someone who crashed > his airplane, because he was too busy snorting cocaine? > > · and hi neighbor, up there in rainy 415. > > DanP (650) > > _________________________________________________________________ > Scope out the new MSN Plus Internet Software ÷ optimizes dial-up to > the max! > http://join.msn.com/?pgmarket=en-us&page=byoa/plus&ST=1 > > ------------------------------ > > Date: Mon, 12 Jan 2004 09:25:32 -0800 > From: Chris Tune > Subject: Re: Vibrato? Yes, No or it depends. > > Also, Barbershop Quartet is usually performed without vibrato. > However, the > sound of the fully adjusted intonation of a barbershop group sometimes > creates "beat tones" which might sound like vibrato. > > And. . .Listen to Watrous. . . .he actually vibratos quite a lot on > ballad material. He does "All The Way" (the Sinatra thing) on a > Patrick Williams album called Sinatraland. The thing is simply > drenched with vibrato. That > is just fine. The tune cries out for the vocalistic sound of a solo > trombone with ample vibrato. > > Don't be afraid of vibrato in a commercial music context. Simply be certain > that you are vibratoing when the music requires a very "SINGING" > effect. > > Chris Tune > > > ----- Original Message ----- > From: "Chris Tune" > To: > Sent: Monday, January 12, 2004 8:07 AM > Subject: Re: [TBN-L] Vibrato? Yes, No or it depends. > > > > "It depends. . . > > > > Not appropriate for orchestral section work. (e.g. not any on > > Brahms chorales in orchestra, etc.) Probably slight vibrato on > > something > soloistic > > and very, very prominent like Ravel Bolero solo. > > > > Need to vibrato on the very "Cantabile" sections of swing band music (this > > will get me into trouble, but here is where modern trombonists fall > > down quite often!). Especially needed in trombone section "singing" > > parts of > big > > band music. Nothing more boring than flat, non-vibratoed soli > > sections in > > stuff like "At Last", or "Interlude" (although Interlude is one of > > those pieces where some straight hold, followed by substantial > > vibrato, works quite well).. > > > > Watrous is right that you could create a "Kenton-esk" effect by > > waiting until the end of held tones to put in some real vibrato. > > > > So NONE for orchestra > > PLENTY for swing pretty soli sections. > > > > Don't vibrato appreciably below F below middle C (sometimes works > > slower vibratoing, slight). > > > > If the lead bone player is so silly as to go through something > > really ballad-like such as the "At Last" soli without so much as a > > waiver in his/her tone, then I don't think "following the leader" is > > such a good > idea. > > The player at the lead bone position is not a dictator. If the > > person is > so > > devoid of feeling that he/she only wants straight tone all the time, well > > that person needs to think again. The lead bone is responsible for being > > musical (sometimes such as in big band jazz, vibrato is neccessary, > > just like following dynamics is neccessary. . .we don't suggest > > ignoring > dynamics > > because the lead bone does). > > > > Chris Tune > > > > > > ----- Original Message ----- > > From: "David A. Schwartz" > > To: > > Sent: Monday, January 12, 2004 7:24 AM > > Subject: Re: [TBN-L] Vibrato? Yes, No or it depends. > > > > > > > At 09:16 AM 1/12/2004 -0500, John Burton wrote: > > > >Shucks, even barbershop quartets use vibrato to enhance the > > > >sound! > > > > > > But usually barbershop quartets use very little vibrato. That is their > > > magic. The stillness and perfection of barbershop quartet > > > intonation creates fabulous resultant tones, making them sound > > > rich. > > > > > > Vibrato creates unwanted resultants. An operatic quartet, with > > competitive > > > vibratos, creates unpleasant resultant tones and sounds muddled. > > > > > > Any voice, or part, calls attention to itself with vibrato. > > > That's OK, > > > within limits. Bill Watrous says it can be good to limit vibrato > > > to the > > > last third of the time value of the final note of a phrase. > > > > > > David > > > > > > David A. Schwartz > > > My two cents is added to the fifth, subtracted from the fourth! > > > http://www.nyx.net/~dschwart/breakfast.html > > > > > > > ------------------------------ > > Date: Mon, 12 Jan 2004 10:34:34 -0700 > From: Tom Ervin > Subject: trombone & harp > > Regarding trombone and harp -- > Anything originally for voice and guitar could likely be a natural > transcription. Well, almost. Harp and guitar are of course not quite > the same, with special capabilities and special challenges for both. > But all that wonderful old stuff for voice and lute, wow. > > -- > -------------------- > Tom Ervin, Professor of Music, University of Arizona, > 1017 N. Olive > (PO Box 210004) > Tucson AZ 85721-0004 > Office 520/621-7021, Fax 520/621-8118 ervint@u.arizona.edu > http://tom-ervin.com > > ------------------------------ > > Date: Mon, 12 Jan 2004 10:12:34 -0800 > From: John & Rossana Cather > Subject: FS Conn 4h & old King > > Hi all, I listed an old Conn 4h on ebay. Anyone interested can see > it at: > http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2372740843&category=1 6216&rd=1 > > I also listed a King by HN White at: > http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2372742590&category=1 6216&rd=1 > > Cheers, > John Cat > > ------------------------------ > > Date: Mon, 12 Jan 2004 10:16:36 -0800 > From: Dean Hubbard > Subject: bone & harp > > This is a multi-part message in MIME format. > > ------=_NextPart_000_00D8_01C3D8F5.28F2E520 > Content-Type: text/plain; > charset="iso-8859-1" > Content-Transfer-Encoding: quoted-printable > > Friends, > I've used O Mio Bambino Caro as a trombone and harp piece. Pretty = > hard to beat Pucinni. Most harpists already know the part and the > solo = part is beautiful and accessable. It's in Ab major, a nice > singing key = on the horn. > > Truly, > Dean Hubbard > ------=_NextPart_000_00D8_01C3D8F5.28F2E520 > Content-Type: text/x-vcard; > name="Dean Hubbard.vcf" > Content-Transfer-Encoding: quoted-printable > Content-Disposition: attachment; > filename="Dean Hubbard.vcf" > > BEGIN:VCARD > VERSION:2.1 > N:Hubbard;Dean > FN:Dean Hubbard > TEL;HOME;VOICE:(510) 531-6047 > TEL;CELL;VOICE:(510) 325-1877 > TEL;WORK;FAX:(510)336-0243 > TEL;HOME;FAX:(510) 336-0243 > ADR;HOME:;;5849 Ascot Drive;Oakland;CA;94611-2702;USA > LABEL;HOME;ENCODING=3DQUOTED-PRINTABLE:5849 Ascot = > Drive=3D0D=3D0AOakland, CA 94611-2702=3D0D=3D0AUSA > EMAIL;PREF;INTERNET:bonedean@msn.com > REV:20040112T181636Z > END:VCARD > > ------=_NextPart_000_00D8_01C3D8F5.28F2E520-- > > ------------------------------ > > Date: Mon, 12 Jan 2004 12:16:38 -0600 > From: "John.McVey" > Subject: Re: Vibrato? Yes, No or it depends. > > Chris, I wasn't referring to what should be the exception where a lead > player doesn't know what he's doing. Generally, the lead in any pro or > semi-pro section is there because he can play lead and can lead the section. > He knows the styles and when to apply vibrato or any other > embellishments or > ornaments and when not to. If you choose not to follow and play your > part your own way, normally nothing dramatic will happen, the Buddy > Rich days are > gone for the most part, you just may not get another gig with that > band, and > if you're insistent or arrogant about doing things your own way > because you > know better, you may miss opportunities with other bands as well > because word gets around. > > ------- Original Message -------- > From: "Chris Tune" > To: "TROMBONE-L@PO.MISSOURI.EDU" > CC: > Subject: Re: [TBN-L] Vibrato? Yes, No or it depends. > Date: 12/01/04 > > So NONE for orchestra > PLENTY for swing pretty soli sections. > > Don't vibrato appreciably below F below middle C (sometimes works > slower vibratoing, slight). > > If the lead bone player is so silly as to go through something really > ballad-like such as the "At Last" soli without so much as a waiver > in > his/her tone, then I don't think "following the leader" is > such a > good idea. > The player at the lead bone position is not a dictator. If the person > is so > devoid of feeling that he/she only wants straight tone all the time, > well that person needs to think again. The lead bone is responsible > for being musical (sometimes such as in big band jazz, vibrato is > neccessary, just like following dynamics is neccessary. . .we don't > suggest ignoring dynamics > because the lead bone does). > > Chris Tune > > > ----- Original Message ----- > From: "David A. Schwartz" <dschwar@BELLATLANTIC.NET> > To: <TROMBONE-L@PO.MISSOURI.EDU> > Sent: Monday, January 12, 2004 7:24 AM > Subject: Re: [TBN-L] Vibrato? Yes, No or it depends. > > > > At 09:16 AM 1/12/2004 -0500, John Burton wrote: > > >Shucks, even barbershop quartets use vibrato to enhance the sound! > > > > But usually barbershop quartets use very little vibrato. That is their > > magic. The stillness and perfection of barbershop quartet > intonation > creates fabulous resultant tones, making them sound > rich. > > Vibrato creates unwanted resultants. An operatic > quartet, with competitive > > vibratos, creates unpleasant resultant tones and sounds muddled. > > > > Any voice, or part, calls attention to itself with vibrato. That's OK, > > within limits. Bill Watrous says it can be good to limit vibrato > to the > last third of the time value of the final note of a > phrase. > > > David > > > > David A. Schwartz > > My two cents is added to the fifth, subtracted from the fourth! > > http://www.nyx.net/~dschwart/breakfast.html > > > > _____________________________________________________________________ > This mail was sent by Cablespeed Webmail > > ------------------------------ > > Date: Mon, 12 Jan 2004 17:18:06 -0600 > From: "Douglas A. Rowe" > Subject: (Re) Introduction > > Hello, my name is Doug Rowe, and I am new/old member of the trombone-l. > I have been a subscriber on and off over the last 6 years, but > mostly off in the last three as I made the transition from student to > the working world. > > A bit about myself: > > I am a bass trombonist who plays in the Minneapolis/St. Paul metro > area as an amateur/quasi-professional trombonist (meaning I get paid > for some gigs, but have a day job, and do a lot of playing for free in > community groups etc.). > > I am playing in a brass quintet, trombone quartet, a community band, > trombone choir, and until recently, the Sheldon Theater Brass Band > (out of Red Wing, MN), as well as occasionally taking lessons from > teachers in the area. I also teach lessons occasionally, mostly to > adult trombone students. > > I have my B.A. music degree from St. Olaf College, where I played in a > smattering of ensembles through out my four years. I occasionally > have delusions of attending grad school for further music degrees > sometime in the future, but I have no concrete plans at this time. > > I am hoping to be able to contribute more to this forum than I have in > the past, so for what it's worth, I figure that knowing a little bit > about where I come from will give folks an idea on whether they should > take me seriously or not when my e-mails appear in their inbox. > > By day I work as a broadcast engineer (dealing with electronics and > computers) at a classical format NPR station (making great use of my > B.A. general music degree (HA!)), and I am trying to decide if I am an > engineer who plays trombone, or a trombonist who engineers. I married > a soprano, and we have two cats. I spend a lot of my free time > practicing (because I like it), much to my wife's chagrin. > > Doug Rowe > > ------------------------------ > > Date: Mon, 12 Jan 2004 19:02:17 -0600 > From: Bill Dinwiddie > Subject: Welcome > > Welcome, Doug, > > Glad to have you on the list. I look forward to reading some of your = > opinions. I hope that you will feel like you are getting something out > = of this. I think most of us feel good about the list, although, = > occasionally, a thread that is not particularly interesting can seem > to = go on forever.......but then, that's why they invented the delete > key. = Certainly, having someone who works at NPR will, hopefully, > give us some = insights that we have not had access to before. > > Bill Dinwiddie > billdin@comcast.net > > ------------------------------ > > Date: Mon, 12 Jan 2004 22:43:05 -0500 > From: "Dr. Carole Nowicke, Applied Health Science" > Subject: Lecture in Kalamazoo next week > > I was asked by the WMU school of music to deliver a lecture on using > primary sources in research, but not to bore entire the students to > death. As per request, I'm talking about sources I used for the > presentations I gave at ITG, ITEA, and ARSC conferences--or how to use > oral histories, archival sources, personal papers, etc. Will do a bit > of the actual lecture from the ITG conference on local boy Walter F. > Smith and Professor Scott Thornburg will perform one or two of Smith's > favorite solos, to help recreate Smith's 19th century multi-media > presentation. > > Working on a very snazzy handout on the theory if you can't talk good, > you should look good, and just realized that even though I was trying > not to be so low-brass and more multicultural, I have one tubist and 7 > trombonists in thumbnail photos (1940s Detroit symphony low brass, > Bart Varselona (Library of Congress), Japanese American trombonists at > an internment camp in AK (National Archives), Sousa Band members, > James Reese Europe (National Archives), some amusing sheet music > covers. The thumbnails are all from various libraries or archives with > good digital offerings--"The Tip of the Iceberg." Also have a goofy > sheet music example, fiddle players, dancers, etc. > > Carole Nowicke > cnowicke@indiana.edu > > ------------------------------ > > End of TROMBONE-L Digest - 11 Jan 2004 to 12 Jan 2004 (#2004-13) > **************************************************************** > ----------------------------- Date: Tue, 13 Jan 2004 11:20:41 -0800 From: Dean Hubbard Subject: Schmelzer This is a multi-part message in MIME format. ------=_NextPart_000_00A7_01C3D9C7.47649800 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Friends, I've only tried a couple of the #1s. They were well made, sturdy = yet extremely light in weight. I really thought the slides were great = right out of the box. The general knock seems to be the horn's ability to project. I didn't = find that to be a problem but, I put in very little (45min) time on the = horns. One of the List's finest bone players, Rob Stoneback bought one at = the ITA in '99 but ended up returning the horn to the store. I was = there and heard Rob play of a good 30 minutes or so and thought it = sounded marvelous. May be he could shed some light. I'm very happy with my current set up. If I wasn't, I certainly = would put the Scmetzer on the short list of axes to try. Don't flame me, I'm old and sick, Dean Hubbard ------=_NextPart_000_00A7_01C3D9C7.47649800 Content-Type: text/x-vcard; name="Dean Hubbard.vcf" Content-Transfer-Encoding: quoted-printable Content-Disposition: attachment; filename="Dean Hubbard.vcf" BEGIN:VCARD VERSION:2.1 N:Hubbard;Dean FN:Dean Hubbard TEL;HOME;VOICE:(510) 531-6047 TEL;CELL;VOICE:(510) 325-1877 TEL;WORK;FAX:(510)336-0243 TEL;HOME;FAX:(510) 336-0243 ADR;HOME:;;5849 Ascot Drive;Oakland;CA;94611-2702;USA LABEL;HOME;ENCODING=3DQUOTED-PRINTABLE:5849 Ascot = Drive=3D0D=3D0AOakland, CA 94611-2702=3D0D=3D0AUSA EMAIL;PREF;INTERNET:bonedean@msn.com REV:20040113T192041Z END:VCARD ------=_NextPart_000_00A7_01C3D9C7.47649800-- ----------------------------- Date: Tue, 13 Jan 2004 13:59:35 -0600 From: Robert Holland Subject: Re: Vibrato? Yes, No or it depends. Mark Narins wrote: >> after exploring what I was doing, I discovered the following: I was >> getting some movement of the sound directly off my diaphragm. I was not >> trying to make a diaphragm vibrato, it's just natural. and >> The other thing I noticed is that I was adding some lip vibrato in >> addition to what my diaphragm was doing. I realized I did this for >> two reasons-I don't like an absolutely straight sound and the lip >> vibrato helped me hang on to the sustained high notes easier I don't read many threads and comment on even fewer, but I thought I would comment on this. It seems that the use of vibrato in your case is the confluence of at least three factors: unawareness (diaphragmatic air), style, and technical crutch. While the unawareness and technical crutch may not be ideal, they don't necessarily invalidate the use of vibrato. In the best case, one only does what one intends, but that's utopian and beyond the reach of mere mortals. Some accomodations to technical necessity work fine musically; others fails miserably. In your case, as long as the vibrato doesn't call undue attention to itself (the hornist might hear it, but the audience probably doesn't), I wouldn't worry too much. With other players, the use of vibrato founders on stylistic grounds. While on the whole I tend to agree that vibrato is out of place in orchestral playing, I reflexively chafe against the notion that there is only on proper way. Old recordings of European orchestra demonstrate a lot more color, variety, and (subsequently) interest through their nonstandardization, whereas standardization is the rule in modern American orchestras. I'll never win any converts to such an opinion, I'm sure, but so what? Anything that adds an element of expression and interest to the otherwise flat affect of square phrasing and evenness of tone is worth consideration. Robert Holland Briar Music Press briar@chicagonet.net =================================================================== EASY and FREE access to your email anywhere: http://elderink.com/mailreader =================================================================== ----------------------------- Date: Tue, 13 Jan 2004 15:55:30 EST From: Johannes Mader Subject: Re: Schmelzer Hi, this is his website: http://www.schmelzertrombone.de/ Johannes ----------------------------- Date: Tue, 13 Jan 2004 16:25:19 -0500 From: David Carter Subject: Re: Schmelzer trombones opinions) I had the chance to play one once, briefly. I was not impressed. A small bore tenor, but did not seem to have the wide dynamic range of typical American horns, such as Conn 6H, King 3B, etc. They may be well built, and with the light weight may feel responsive, but this doesn't mean they play better than other horns. Just one persons opinion. ----------------------------- Date: Tue, 13 Jan 2004 18:11:09 -0500 From: Chuck De Paolo Subject: Subscription Problem Hi, Does anyone know who is in charge of Trombone-L subscriptions? A longtime list member, currently unsubscribed, has asked me to help him get back on, as he has had no luck re-subscribing. Please repond privately if you do. Thanks! 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 ----------------------------- Date: Wed, 14 Jan 2004 00:05:08 -0500 From: "Paul D. Kemp Jr." Subject: Where to buy horns Dear Trombone-L, As a private music/trombone teacher, I am always looking for good, reputable places where students can get a good used professional grade instrument and not feel like they have bought the farm. Let's face the facts: New horns are EXPENSIVE, even with the substantial discounts that many of the stores are offering, and many times a good used instrument can be bought from anywhere to 40-50% of that price. I have been very fortunate in that I have found some very good deals on the OTJ classifieds, and I also deal with a music store or two. Even if the slide needs a first class alignment, you're still not out of the price of a brand new horn, and many times, even brand new horns, even from the custom shops, are far less than put together correctly. Right after Christmas I had the opportunity to visit DJ Kennedy there in his little domain of the world in Chester, Illinois. Chester is about 60 miles off I-57 in the southern part of Illinois, and he's 330 miles south of Chicago. Not much going on there, to be honest with you. However, he has an absolutely staggering array of used horns, some really good, some not so good, but the prices that he's asking would definitely fit most people's pocketbook very well. He deals mostly with the smaller bore instruments, but for example, he has a NY Bach 36 from the 30's---older design where the tuning slide is very wide, (much wider than the current Bach 36/42 tuning slide) but this instrument sings like a bird. I don't know what he would sell it for but in the hands of an extremely good instrument restoration person (NO--not the average repairman in the average shop---a REAL CRAFTSMAN) it could made to be look like new and even like it is now, a good slide alignment would make this horn play even better than it does now, and I'd play it on a gig in a Manhattan Moment RIGHT NOW. He's also got a Conn 78 from the 30's that supposedly belonged to Frank Crisafulli, no bell lock (they didn't make them that way in those days) but again with a good slide alignment, this horn has a voice that is EXTREMELY unique. If I was in the market for a real vintage horn and had unlimited funds, either of these horns would be a real deal. I can see why some of the older horns are commanding the prices that they are----it was a real education into the care and pride of American craftsmanship of yesteryear. He has a bunch of Conn 6H's, King 3B's 2B's----easily he has about 100 used horns, many of which can be made professionally playable for practically nothing---a great slide alignment would be all that most of them would need. He has a few of the .525 horns and .547 bore horns too. I was literally like a kid in a candyshop. One thing that I can say about the quality of yesteryear, irrespective of how these horns were put together, was that the parts and materials that were used to manufacture many of the older instruments were in many ways much better than the parts and materials used to build horns today. It was as if the reputation of the company, whether it was King, Conn, Bach, etc. was on the line with every instrument that was made. As far as I am concerned, it still is. However, the attention to detail that was paid back then seemed to be much greater than what I have witnessed at a few of the instrument displays that I've had the opportunity to visit in recent years. Well I kinda got off the subject, but anyone looking for an older instrument would do quite well to contact DJ at djpens@midwest.com or call him at 618-826-2810 and talk to him about what he has available. If you're bent on having something brand new, and you're looking for world class craftsmanship, then I'd definitely would consider Greenhoe, Inc., as they are now manufacturing a custom Conn trombone and I know that they will also be tooling up to be building a custom Bach trombone as well in the very near future. No, they don't give them away, but for about the same money as you would pay for an Edwards or a Shires, you can have a truly custom Conn or Bach that will play great as soon as you take it out of the case. Happy New year everyone, Paul Kemp Chattanooga Symphony www.trbnplyr.com ----------------------------- End of TROMBONE-L Digest - 12 Jan 2004 to 13 Jan 2004 (#2004-14) **************************************************************** ------------------------------ Date: Wed, 14 Jan 2004 07:16:28 -0700 From: Eric Edwards Subject: FW: [TBN-L] Where to buy horns It's a real shame we lost this great resource of info due to the complete over reaction of a few individuals. Fortunately we have another forum to enjoy his prose and wit. Not to mention his list of facts about the horns he sells. Eric Eric, Leandra, Sara & Jared Edwards bonearzt@cox.net "The bitterness of poor quality remains long after the sweetness of low price fades". -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of SteveInside@AOL.COM Sent: Wednesday, January 14, 2004 2:48 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Where to buy horns In a message dated 14/01/04 05:07:32 GMT Standard Time, trbnplyr@COMCAST.NET writes: > Right after Christmas I had the opportunity to visit DJ Kennedy there in > his little domain of the world in Chester, Illinois. Chester is about 60 > miles off I-57 in the southern part of Illinois, and he's 330 miles south of > Chicago. Not much going on there, to be honest with you. However, he has an > absolutely staggering array of used horns, some really good, some not so > good, but the prices that he's asking would definitely fit most people's > pocketbook very well. > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > I endorse everything you say about DJ and his horns Paul. I've bought a > complete horn and a 1950s Olds valve section from him and found him to be > reliable and courteous too. And has contacts to find a horn if he doesn't have > that thing you're looking for. > Regards > Steve C > UK ------------------------------ Date: Wed, 14 Jan 2004 09:08:05 EST From: Eric Carlson Subject: Vibrato? Yes, No or it depends I think if you listen to recordings from various eras, you will discover that vibrato (in general, not just for trombones) goes in an out of fashion on a regular basis. Right now in American orchestras we seem to be going through a phase where vibrato is somewhat out of favor. Trumpet players in general seem to me to be using less vibrato than they did thirty to forty years ago, and even the Philadelphia horn section, which used to use a fair amount of vibrato, has cut back significantly. Regarding orchestral trombone vibrato, every player in every professional section that I have played in has used vibrato in spots. Here in Philadelphia, while we do not use vibrato on the Brahms 1 chorale, we certainly use a touch of vibrato in some of the tutti chorales in Brahms 2,3, and 4. We don't use much, just enough to warm up the sound so that it blends better with the strings. In general, we do not use vibrato in loud section passages, but if one of us happens to have a melody that is loud and lyrical, we often warm it up with a little vibrato. If I had to guess percentages, we probably each use vibrato at least ten to twenty percent of the time in the orchestra. For me, the key to using vibrato well is that it must be a conscious choice. If you can't turn your vibrato on and off, (or vary the amount of it) when asked to, you don't really have a vibrato, you have tone production problems. Eric Carlson ------------------------------ Date: Wed, 14 Jan 2004 17:14:59 +0100 From: Simon G P Bailey Subject: trombone.org down? hi all, is trombone.org down? i can't seem to get a nameserver reply for the domain? does anybody know anything about this? thanks, regards, simon. -- Simon Bailey Systems Administrator Universitaet Innsbruck ------------------------------ Date: Wed, 14 Jan 2004 08:30:55 -0800 From: Chris Tune Subject: Re: Vibrato? Yes, No or it depends That is so very well put. I'd venture to say that the pendulum was on the other side (toward generous use of vibrato) during the big band era of the 1930's and 1940's. This might even have been true of orchestra players at that time. Perhaps the Philadelphia Orchestra is a good barometer of this. I remember under Eugene Ormandy the strings were considered to have a notably "lush" vibrato sound stemming actually more from their mixed bowing (up AND down bows used and split between section members). Very important to be able to control you vibrato. Also, I like to ask students to learn both slide vibrato and "jaw" vibrato (AKA lip vibrato). I learned jaw vibrato from a paragraph written on it by Jay Friedman. Chris Tune. ----- Original Message ----- From: "Eric Carlson" To: Sent: Wednesday, January 14, 2004 6:08 AM Subject: [TBN-L] Vibrato? Yes, No or it depends > I think if you listen to recordings from various eras, you will discover > that vibrato (in general, not just for trombones) goes in an out of fashion on > a regular basis. Right now in American orchestras we seem to be going > through a phase where vibrato is somewhat out of favor. Trumpet players in general > seem to me to be using less vibrato than they did thirty to forty years ago, > and even the Philadelphia horn section, which used to use a fair amount of > vibrato, has cut back significantly. > > Regarding orchestral trombone vibrato, every player in every professional > section that I have played in has used vibrato in spots. Here in > Philadelphia, while we do not use vibrato on the Brahms 1 chorale, we certainly use a > touch of vibrato in some of the tutti chorales in Brahms 2,3, and 4. We don't > use much, just enough to warm up the sound so that it blends better with the > strings. > > In general, we do not use vibrato in loud section passages, but if one of > us happens to have a melody that is loud and lyrical, we often warm it up > with a little vibrato. If I had to guess percentages, we probably each use > vibrato at least ten to twenty percent of the time in the orchestra. > > For me, the key to using vibrato well is that it must be a conscious > choice. If you can't turn your vibrato on and off, (or vary the amount of it) > when asked to, you don't really have a vibrato, you have tone production problems. > > Eric Carlson > ------------------------------ Date: Wed, 14 Jan 2004 11:12:58 -0600 From: "Christian E. Waage" Subject: Online Trombone Journal Outage The Online Trombone Journal is currently offline for server and hardware upgrades. Service will be restored sometime this evening. We apologize for any inconvenience this may cause. Chris -- Chris Waage, Associate Webmaster The Online Trombone Journal "A Website for Trombonists" ------------------------------ Date: Wed, 14 Jan 2004 12:38:26 -0500 From: Roger Carmichael Subject: Shameless Plug I have come into possession of over 400 old LPs, many of which are big bands from the 50s and 60s. These albums are for sale individually or collectively. Names I saw on the list include the Dorseys, Woodie Herman, Trummie Young, Pete Fountain, and others. Of course, there are many other bands and artists, including rock and roll. Tell your friends who are into woodwinds. I don't have access to their email lists. If there is an artist or group you are looking for, drop me an email and I'll see if I have it. A quick sampling shows the records to be in playable condition. I also have received over 600 individual 45s but do not have the ID list yet. Plans are to list all these on ebay, beginning maybe as early as tonight. Roger Carmichael ------------------------------ Date: Wed, 14 Jan 2004 16:34:11 -0600 From: "Christian E. Waage" Subject: FW: Online Trombone Journal Update Friends, The location where the server hosting the OTJ, Air-Ev and other sites of friends of mine experienced equipment failure Tuesday morning, sometime shortly after 1:00am (PCT). Luckily, there was no damage to our server. Several servers in the immediate location were damaged, however. After speaking with the owners of the space and attempting to ascertain why this happened, my partner Brent Bain and I have decided to move our server to a new colocation facility. While this does cause an immediate inconvenience to those who regularly visit the OTJ and Air-Ev (as well as seven other sites we host) the long term benefits make this a good move. The server will be moved and thoroughly checked this evening. The necessary changes at Network Solutions to update DNS records will be made this evening as well. The OTJ and Air-ev web sites should be available via domain name within 24-48 hours of tomorrow morning. Those sites will be available earlier via IP number, which we will share with you either tonight or during the day tomorrow. I apologize for the inconvenience this has caused - especially to Carol Viera and Norman Bolter. It has been a tense day of many phone calls, emails and IMs. I appreciate those who called me during the day to ask how they could help. Many people were ready to offer their checkbooks to get the OTJ up and going. For that I am touched, and grateful. Thank you, Richard Human, Jr. rh150@colled.msstate.edu 662.325.8021 ------------------------------ Date: Wed, 14 Jan 2004 18:58:02 -0600 From: Emil Subject: Re: Nickel Silver Tubes Hey Alan, I have played both brass and nickel silver slides and have noticed no difference about lubing. I have found a German made lube called "Reka" super slide to work just great , extermely smooth and slippery and lasts like crazy on both my nickel silver slides. I play a Yamyha 691 and an old '64 King 3B and both slides are wonderful. This stuff is not suseceptible to heat or cold as far as I can tell....Get it from Brasswind/Woodwinds.....You'll like it. I used SOM for about 4-5 years and tho't it was the answer but I have changed over to Reka now and love it. Emil Orth ------------------------------ End of TROMBONE-L Digest - 13 Jan 2004 to 14 Jan 2004 (#2004-15) ****************************************************************