Subject: TROMBONE-L Digest - 22 Feb 2004 to 23 Feb 2004 (#2004-55) Date: Tuesday, February 24, 2004 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 30 messages totalling 1423 lines in this issue. Topics of the day: 1. Mythbusters (3) 2. Bass Trumpet Question (4) 3. Definition (5) 4. OTJ Classifieds Update - 2/23/04 5. valve throw question (3) 6. Doug Elliott F cup/F8 shank for sale??? 7. thayer throw question 8. James Scott, where are you? 9. Just For Laughs (3) 10. School (4) 11. Blatant plug - horn for sale 12. Report on Sheridan Brass, Bonzilla and Such 13. Sad But True 14. Missing part, Traces of Love ---------------------------------------------------------------------- Date: Mon, 23 Feb 2004 07:57:06 -0000 From: Adrian Drover Subject: Re: Mythbusters From: "Angie Brunk" > I would like to think that no trombone player would be dumb > enough to place explosives in his/her horn. Seems no more dumb than strapping explosives to your body and riding a bus full of school children, believing you will be closer to God after the deed is done. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Sun, 22 Feb 2004 23:59:26 -0600 From: Wayne Dyess Subject: Bass Trumpet Question Howdy from Texas, mah friends o' Trombone-L. I have a friend here in Beaumont how has a hankerin' fer a new instrument -- a bass trumpet, of all things. (Tom???) As for the piano... it was plugged directly into the P.A. Not my favorite kind of sound reinforcement. :-) Wayne =============== Hey, man - Could you put out something on your trombone listserv and find out if anyone knows of a used bass trumpet for sale? I know some tbone players like them. By the way - enjoyed hearing you guys play last nite. Don't the acoustics suck in there? There was something in the hall that really liked one particular pitch from the keyboard - everytime Kurt played that note it JUMPED out at you!! Thanks Terry ------------------------------ Date: Mon, 23 Feb 2004 05:58:04 -0700 From: Steve Gamble Subject: Re: Definition Mike, Art is the window through which one gains a glimpse of the soul of the artist...nothing more complicated than that. Your opinion of classical music says volumes about you and nothing at all about classical music itself or about those that express themselves through it. (Which, or course, fits my definition perfectly. Who would want it any other way?) Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax (520) 991-7056 cel sgamble@tucsonsymphony.org -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of MikeSuter@AOL.COM Sent: Saturday, February 21, 2004 5:12 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Definition Hi Guys, For a number of years I've struggled to find a definition for art. Not just music. Not just my preferred field, jazz. But art in general. A friend of mine even devoted over 200 pages to this definition in a book he published without coming close. I'd given up hope. But late last night while channel surfing I clicked on a station just as some guy said "Art bypasses intellect and goes straight to the heart." Aha! Now I don't have to stammer and search for words when I try to explain why I like jazz but am bored with 'classical' music. No insult here. For me, jazz is like writing a story, while other kinds of music are more like completing a crossword. I hope we all have some kind of music that reaches our heart, not just our intellect. Mike Suter ------------------------------ Date: Mon, 23 Feb 2004 06:57:55 -0600 From: Chris Waage Subject: OTJ Classifieds Update - 2/23/04 The Online Trombone Journal Classifieds (http://www.trombone.org/classifieds) have been updated as of 6:58 AM CST on February 23, 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 ------------------------------ Date: Mon, 23 Feb 2004 06:15:36 -0700 From: Steve Gamble Subject: Re: valve throw question Hello James, I've never felt the need to alter my Thayer linkage, but my old Bach linkages were a different story. I shortened the throw simply by lengthening the lever on the other side of the fulcrum from the thumb lever. It was a simple matter of cutting the lever and brazing in a piece of brass of sufficient length to achieve the desired results. There was a limit to how much length you could add. Too much length would bind up that goofy ball and socket set up. To get a little addition length to the lever it was then necessary to add some length to the rod between the lever and the spindle assembly. You could probably do something like this with the Thayer linkage or maybe just shorten the thumb lever a little. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax (520) 991-7056 cel sgamble@tucsonsymphony.org -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of James W. Yardley Sent: Sunday, February 22, 2004 7:53 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] valve throw question Does anyone know if there is a way to shorten the throw of a thayer valve? I've been to many music conventions this year (IAJE, Midwest, etc.) and tried out some bass trombones at each and noticed to almost every valve I tried had a shorter throw than my Thayer does. I'm talking mostly about my F valve, and hopefully there are some Thayer owners out there that know what I'm talking about. Any ideas? Take care, James ------------------------------ Date: Mon, 23 Feb 2004 08:15:26 -0500 From: "Eiden, Peter" Subject: Re: valve throw question Chuck McAlexander helped me with this issue on my Edwards bass a number of years ago. The way the linkages were set up, when I depressed the lever, the linkage had to move through two planes to move the valve spindle (so, when you hit the lever, the linkage had to move a bit in one direction before it could move in another direction to turn the valve). Chuck did two things - a minor bend to the linkage end of the lever, and replaced the rod connecting the two linkages with a rod that's bent at about a 45 degree angle (looks like a little crescent). The combination of these two actions resulted in the linkage having to move through only one plane, so that all of the energy of depressing the lever goes immediately to moving the spindle. The result is a more direct and shorter-feeling throw. Your mileage may vary - it made all the difference for me. Pete -----Original Message----- From: James W. Yardley [mailto:yardlejw@UWEC.EDU] Sent: Sunday, February 22, 2004 9:53 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] valve throw question Does anyone know if there is a way to shorten the throw of a thayer valve? I've been to many music conventions this year (IAJE, Midwest, etc.) and tried out some bass trombones at each and noticed to almost every valve I tried had a shorter throw than my Thayer does. I'm talking mostly about my F valve, and hopefully there are some Thayer owners out there that know what I'm talking about. Any ideas? Take care, James **************************************************************************** This email may contain confidential material. If you were not an intended recipient, please notify the sender and delete all copies. We may monitor email to and from our network. **************************************************************************** ------------------------------ Date: Mon, 23 Feb 2004 08:35:31 -0500 From: "John J. Jenkins" Subject: Re: Doug Elliott F cup/F8 shank for sale??? Does anyone out there have a Doug Elliott LT F cup and F8 shank for sale? If so, send me an email. Thanks. John J. P.S.- I'm also open to a LT G/G8 combo. "I have opinions of my own - strong opinions - but I don't always agree with them." - George Bush ------------------------------ Date: Mon, 23 Feb 2004 06:29:02 -0800 From: Gabriel Langfur Subject: Re: valve throw question The most basic thing to do is to shorten the length of lever between the spring and the bend for the thumb contact. This will then require more force to engage, but I think that will probably bother you less than the long throw. You should take it to a good repair tech, really. It's a small job and shouldn't reqire much time or money. ===== Gabe Langfur Boston, MA ------------------------------ Date: Mon, 23 Feb 2004 09:43:01 -0500 From: "Wessner, John" Subject: Re: Definition Which puts serial music in its place beyond the pale. Or maybe there are more varieties of "heart" than I realized. jw -----Original Message----- From: MikeSuter@AOL.COM [mailto:MikeSuter@AOL.COM] Sent: Saturday, February 21, 2004 7:12 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Definition Hi Guys, For a number of years I've struggled to find a definition for art. Not just music. Not just my preferred field, jazz. But art in general. A friend of mine even devoted over 200 pages to this definition in a book he published without coming close. I'd given up hope. But late last night while channel surfing I clicked on a station just as some guy said "Art bypasses intellect and goes straight to the heart." Aha! Now I don't have to stammer and search for words when I try to explain why I like jazz but am bored with 'classical' music. No insult here. For me, jazz is like writing a story, while other kinds of music are more like completing a crossword. I hope we all have some kind of music that reaches our heart, not just our intellect. Mike Suter ------------------------------ Date: Mon, 23 Feb 2004 07:11:50 -0800 From: Chris Tune Subject: Re: Mythbusters Let me guess. . .the place where they put the explosives simply ruptured and there was a gaping hole where the brass was blown apart. If anything came out the front it was not with sufficient force to fly very far. In other words brass is too soft to act as a jet airplane engine-like redirected explosive exhaust chamber. Just guessing. Love the show. Saw one recently where poor Adam had to fight his slight arachnophobia to prove that Daddy Long Legs don't have a "super venom". Good to see your still on the list Angie. Chris Tune ----- Original Message ----- From: "Angie Brunk" To: Sent: Sunday, February 22, 2004 9:45 PM Subject: [TBN-L] Mythbusters > For those in the U. S., or those overseas who get American > television, the Discovery channel show Mythbusters just covered the > exploding trombone myth. It was rather entertaining and they > "proved" that the myth is simply not possible. Discovery repeats > their shows (often), so you should be able to catch this one in > re-runs. I would like to think that no trombone player would be dumb > enough to place explosives in his/her horn. > -- > Angie Brunk-angie@cybersolvers.com > Graduate Student Indiana University School of Journalism > MLS Indiana University School of Library and Information Science 1999 > Dominant: In a choral relationship, usually the soprano. > ------------------------------ Date: Mon, 23 Feb 2004 07:21:14 -0800 From: Chris Tune Subject: Re: Bass Trumpet Question That kind of sound effect is called a "resonance". It could be dialed into or a part of the P.A. or it could also be a part of the building. Even though I am very careful to eliminate resonance in my sound systems at home, my old room with the recording gear used to take low bass G and make the windows rattle (so pedal G would do, but a bass or bass guitar was a better example). That was a room resonance. I measured the room and sure enough, the length was a multiple of the wavelength of a low G. So the entire room airspace was resonating. Of course having JBL 12" 3 way studio monitors starting the process helped. Ultimately, I moved to a new room, one with more irregular planes to the walls and it stopped. It's pretty hard to be sure you've gotten all these out, but pro audio sound reinforcement people use a system (used to be called Soniplex) to run over the entire spectrum and then EQ out any bumps. Chris Tune ----- Original Message ----- From: "Wayne Dyess" To: Sent: Sunday, February 22, 2004 9:59 PM Subject: [TBN-L] Bass Trumpet Question > Howdy from Texas, mah friends o' Trombone-L. > > I have a friend here in Beaumont how has a hankerin' fer a new > instrument -- a bass trumpet, of all things. (Tom???) > > As for the piano... it was plugged directly into the P.A. Not my > favorite kind of sound reinforcement. > :-) > > Wayne > > =============== > > > Hey, man - > > Could you put out something on your trombone listserv and find out if > anyone knows of a used bass trumpet for sale? I know some tbone > players like them. > > By the way - enjoyed hearing you guys play last nite. Don't the > acoustics suck in there? There was something in the hall that really > liked one particular pitch from the keyboard - everytime Kurt played > that note it JUMPED out at you!! > > Thanks > > Terry > ------------------------------ Date: Mon, 23 Feb 2004 09:34:46 -0800 From: Steve Ferguson Subject: Re: thayer throw question If your Thayer throw is too long, have your favorite repaiman make either a longer valve/thumb lever, so the lever pivot point is farther from the valve linkage and closer to your thumb, and/or have the valve stop arm redrilled so the ball and socket is closer to thhe center of the valve spindle. Also, check out a Shires trombone with an axial valve. Its valve has a slightly shorter throw than the Thayer horns from the big companies. Steve Ferguson (dot net) ------------------------------ Date: Mon, 23 Feb 2004 13:21:09 -0500 From: "John J. Jenkins" Subject: Re: James Scott, where are you? James Scott of the Calgary Philharmonic, when you read this, please send me an email. Thanks. John J. Jenkins "I have opinions of my own - strong opinions - but I don't always agree with them." - George Bush ------------------------------ Date: Mon, 23 Feb 2004 18:33:16 +0000 From: Daniel Pliskin Subject: Re: Just For Laughs >>I laugh with joy every time I apply Reka Superslide cause' it's so >>SUPERIOR >>to all else out there. Thanks for the laff! Emil > >It really is great, isn't it? > > Best I've ever used. For kicks, more than anything else, I decided to try Trombotine, again. And you know what? Itâs pretty good stuff, too. I find that Super-Slide runs off, if your trombone has sit on a stand for extended periods of time. Trombotine doesnât do that. So it has its advantages, as well. If cold cream werenât so expensive, I suppose I could get it to work well, as well. DanP _________________________________________________________________ Take off on a romantic weekend or a family adventure to these great U.S. locations. http://special.msn.com/local/hotdestinations.armx ------------------------------ Date: Mon, 23 Feb 2004 10:40:13 -0800 From: Tom Izzo Subject: Re: Bass Trumpet Question Wayne, --- Wayne Dyess wrote: > Howdy from Texas, mah friends o' Trombone-L. > > I have a friend here in Beaumont how has a hankerin' > fer a new > instrument -- a bass trumpet, of all things. > (Tom???) > Iffin I 'members krectly, Wayne.... Chris has just such a catagory in the On-line Trb journal Classifieds. And last time I checked, there might even have been a used one listed. Hope this helps. Tom ===== Tom Izzo Principal Trombonist, Bristol Renaissance Faire; Bass Trombonist, West Suburban Symphony Orchestra; Founding Director, The Naperville Area Trombone Ensemble; Alto/Tenor/Bass/Contrabass Trombones, Tubas, Euphonium, Bass Trumpet, Electric Bass, Timpani & Percussion. http://www.Geocities.com/Vienna/Studio/7875/ (630) 858-7832 __________________________________ Do you Yahoo!? Yahoo! Mail SpamGuard - Read only the mail you want. http://antispam.yahoo.com/tools ------------------------------ Date: Mon, 23 Feb 2004 12:52:26 -0600 From: Chris Waage Subject: Re: Mythbusters According to the Discovery Channel's web site, the next airing of the episode (named "Sinking Titanic") is on March 22, 2004 and March 23, 2004. http://dsc.discovery.com/schedule/series.jsp?series=24344&gid=11031&channel= DSC Chris > ----- Original Message ----- > From: "Angie Brunk" > To: > Sent: Sunday, February 22, 2004 9:45 PM > Subject: [TBN-L] Mythbusters > > >> For those in the U. S., or those overseas who get American >> television, the Discovery channel show Mythbusters just covered the >> exploding trombone myth. It was rather entertaining and they >> "proved" that the myth is simply not possible. Discovery repeats >> their shows (often), so you should be able to catch this one in >> re-runs. I would like to think that no trombone player would be dumb >> enough to place explosives in his/her horn. >> -- >> Angie Brunk-angie@cybersolvers.com >> Graduate Student Indiana University School of Journalism >> MLS Indiana University School of Library and Information Science 1999 >> Dominant: In a choral relationship, usually the soprano. >> > -- Chris Waage Associate Webmaster, The Online Trombone Journal www. trombone.org Bass Trombonist, Western Missouri British Brass Band Bass Trombonist, Northland Cathedral Orchestra ------------------------------ Date: Mon, 23 Feb 2004 14:03:00 EST From: MikeSuter@AOL.COM Subject: Re: Definition Steve wrote << Your opinion of classical music says volumes about you and nothing at all about classical music itself or about those that express themselves through it. >> Don't get your panties in a twist. It wasn't an attack on anybody's music. It was a statement of what touches me, and what doesn't. - and to what magnitude. Suter ------------------------------ Date: Mon, 23 Feb 2004 14:02:26 -0600 From: "Douglas A. Rowe" Subject: School I have a question mostly directed toward those of you who actively participate as trombone/low brass educators at the college and university level, although all opinions are welcome. I am currently exploring the possibilities of returning to school to obtain degrees that may qualify me to become a college/university level teacher and instructor, with the idea of teaching trombone/low brass as well as other music related classes (theory, ear training etc.). With my current ideas (which, at this stage, could change with the wind) I would envision myself teaching full time at a liberal arts type college, or possibly (after some experience) at the university level. My question: When I look at grad schools, I am curious as to how important the NAME of the school is. I.E.--if I attend XXXX state university that isn't renown for music, but I find a teacher whom I'm compatible (and learning things) and a program from which I am learning, will my degrees make me just as hire-able to potential employers as degrees from the Eastman's, Julliards, Peabody's, etc.? What if I have a masters from XXXX and a Ph.D. from Eastman etc.? What about the other way around? I'd be curious to know what folks think. Thanks, Doug P.S. I am fully aware that advanced degrees are expensive, take a lot of time, work, and (sometimes) hard ship. I also know that htey don't necessarily mean a ton when it comes to getting hired for gigs etc.--practice time (and sometimes reputation) probably generally weigh in more. But I am also aware (or at least under the impression) that these degrees ARE important if one wants to teach full time at the advanced level. To me there is definitely something to be said about sharing my love of music and, specifically, the trombone with students--but I could never envision myself teaching at the high school (or lower) levels--I have very little interest in being a band director or a full time feelance private teacher for the rest of my career. ------------------------------ Date: Mon, 23 Feb 2004 15:26:52 EST From: Johannes Mader Subject: Re: Bass Trumpet Question I think I recently saw one on Ebay. A Bach if I remember right. Johannes ------------------------------ Date: Mon, 23 Feb 2004 15:05:51 -0600 From: David Johansen Subject: Re: School Doug, Speaking as someone who has served on more search committees than I care to think about, I don't think that the "name" is as important to a committee as the way in which the applicant presents himself. The things that are more likely to catch our attention are the ability to write clearly (in the cover letter), the quality of the letters of recommendation, the previous teaching experiences, and the quality of the playing offered on the recording. Now days, many schools advertising for a position are more concerned about the state of the doctorate (if the applicant has a doctorate-in-hand or if he's ABD) and not so much about the school from which it is earned. If your presentation shows you to be competent as a teacher, player and potential colleague, you'll do fine. I would suggest that you visit several schools that interest you and find a teacher/program with which you feel compatible and from which you can learn and grow. I see you're from St. Olaf College. My first full time position was at St. Olaf and, though it was a one-year position to replace Paul Nemisto while he attended UM, it was the best time I've ever had. You're lucky to be going to school there. Tell Paul and Tim "hello" for me. Sincerely, Dave Johansen ----- Original Message ----- From: "Douglas A. Rowe" To: Sent: Monday, February 23, 2004 2:02 PM Subject: [TBN-L] School > I have a question mostly directed toward those of you who actively > participate as trombone/low brass educators at the college and > university level, although all opinions are welcome. > > I am currently exploring the possibilities of returning to school to > obtain degrees that may qualify me to become a college/university level > teacher and instructor, with the idea of teaching trombone/low brass as > well as other music related classes (theory, ear training etc.). With > my current ideas (which, at this stage, could change with the wind) I > would envision myself teaching full time at a liberal arts type college, > or possibly (after some experience) at the university level. > > My question: When I look at grad schools, I am curious as to how > important the NAME of the school is. I.E.--if I attend XXXX state > university that isn't renown for music, but I find a teacher whom I'm > compatible (and learning things) and a program from which I am learning, > will my degrees make me just as hire-able to potential employers as > degrees from the Eastman's, Julliards, Peabody's, etc.? What if I have > a masters from XXXX and a Ph.D. from Eastman etc.? What about the other > way around? > > I'd be curious to know what folks think. > > Thanks, > Doug > > P.S. I am fully aware that advanced degrees are expensive, take a lot of > time, work, and (sometimes) hard ship. I also know that htey don't > necessarily mean a ton when it comes to getting hired for gigs > etc.--practice time (and sometimes reputation) probably generally weigh > in more. But I am also aware (or at least under the impression) that > these degrees ARE important if one wants to teach full time at the > advanced level. > > To me there is definitely something to be said about sharing my love of > music and, specifically, the trombone with students--but I could never > envision myself teaching at the high school (or lower) levels--I have > very little interest in being a band director or a full time feelance > private teacher for the rest of my career. > > ------------------------------ Date: Mon, 23 Feb 2004 16:19:30 -0500 From: Erik Tkal Subject: Blatant plug - horn for sale Posted to the OTJ classifieds, though it's not up yet. Besson Sovereign BE940 .500 bore tenor trombone, w/ case, Denis Wick 12CS mouthpiece, 3 leadpipes. Excellent condition, minor blemishes, very light and responsive, great for lead jazz work. I'm selling because I hardly use it any more and want to get a medium bore horn at some point instead. I will take some pictures and provide upon request. $900 plus shipping. Erik Tkal ------------------------------ Date: Mon, 23 Feb 2004 14:24:05 -0700 From: Steve Gamble Subject: Re: Definition Whatever, Mike. It seems ridiculous to me to decide whether or not something is art based on whether or not you like it. No need to explain yourself. I understood perfectly well. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax (520) 991-7056 cel sgamble@tucsonsymphony.org -----Original Message----- From: MikeSuter@aol.com [mailto:MikeSuter@aol.com] Sent: Monday, February 23, 2004 12:15 PM To: Steve Gamble; MikeSuter@aol.com; TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Definition Steve wrote << Your opinion of classical music says volumes about you and nothing at all about classical music itself or about those that express themselves through it. >> Don't get your panties in a twist. It wasn't an attack on anybody's music. It was a statement of what touches me, and what doesn't. - and to what magnitude. Suter ------------------------------ Date: Mon, 23 Feb 2004 15:57:57 -0600 From: Wayne Dyess Subject: Re: School I agree 100% and wrote Douglas a personal letter... different wording... and Dave said it much better than I. Right on! Wayne Dyess On Monday, February 23, 2004, at 03:05 PM, David Johansen wrote: > Doug, > > Speaking as someone who has served on more search committees than I > care to > think about, I don't think that the "name" is as important to a > committee as > the way in which the applicant presents himself. The things that are > more > likely to catch our attention are the ability to write clearly (in the > cover > letter), the quality of the letters of recommendation, the previous > teaching > experiences, and the quality of the playing offered on the recording. > Now > days, many schools advertising for a position are more concerned about > the > state of the doctorate (if the applicant has a doctorate-in-hand or if > he's > ABD) and not so much about the school from which it is earned. If your > presentation shows you to be competent as a teacher, player and > potential > colleague, you'll do fine. I would suggest that you visit several > schools > that interest you and find a teacher/program with which you feel > compatible > and from which you can learn and grow. > > I see you're from St. Olaf College. My first full time position was > at St. > Olaf and, though it was a one-year position to replace Paul Nemisto > while he > attended UM, it was the best time I've ever had. You're lucky to be > going > to school there. Tell Paul and Tim "hello" for me. > > Sincerely, > > Dave Johansen > > ----- Original Message ----- > From: "Douglas A. Rowe" > To: > Sent: Monday, February 23, 2004 2:02 PM > Subject: [TBN-L] School > > >> I have a question mostly directed toward those of you who actively >> participate as trombone/low brass educators at the college and >> university level, although all opinions are welcome. >> >> I am currently exploring the possibilities of returning to school to >> obtain degrees that may qualify me to become a college/university >> level >> teacher and instructor, with the idea of teaching trombone/low brass >> as >> well as other music related classes (theory, ear training etc.). With >> my current ideas (which, at this stage, could change with the wind) I >> would envision myself teaching full time at a liberal arts type >> college, >> or possibly (after some experience) at the university level. >> >> My question: When I look at grad schools, I am curious as to how >> important the NAME of the school is. I.E.--if I attend XXXX state >> university that isn't renown for music, but I find a teacher whom I'm >> compatible (and learning things) and a program from which I am >> learning, >> will my degrees make me just as hire-able to potential employers as >> degrees from the Eastman's, Julliards, Peabody's, etc.? What if I >> have >> a masters from XXXX and a Ph.D. from Eastman etc.? What about the >> other >> way around? >> >> I'd be curious to know what folks think. >> >> Thanks, >> Doug >> >> P.S. I am fully aware that advanced degrees are expensive, take a lot >> of >> time, work, and (sometimes) hard ship. I also know that htey don't >> necessarily mean a ton when it comes to getting hired for gigs >> etc.--practice time (and sometimes reputation) probably generally >> weigh >> in more. But I am also aware (or at least under the impression) that >> these degrees ARE important if one wants to teach full time at the >> advanced level. >> >> To me there is definitely something to be said about sharing my love >> of >> music and, specifically, the trombone with students--but I could never >> envision myself teaching at the high school (or lower) levels--I have >> very little interest in being a band director or a full time feelance >> private teacher for the rest of my career. >> >> > ------------------------------ Date: Mon, 23 Feb 2004 16:57:27 -0500 From: John Burton Subject: Re: Just For Laughs I don't think modern Cold Cream has the same Lanolin in it as was in days before, Dan. Stick with Trombotine! (if it's a decision between the two)... Naturally, your mileage may vary... --==jb==-- ~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~= 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 Daniel Pliskin > Sent: Monday, February 23, 2004 1:33 PM > To: TROMBONE-L@PO.MISSOURI.EDU > Subject: Re: [TBN-L] Just For Laughs > > > >>I laugh with joy every time I apply Reka Superslide cause' it's so > >>SUPERIOR > >>to all else out there. Thanks for the laff! Emil > > > >It really is great, isn't it? > > > > Best I've ever used. > > For kicks, more than anything else, I decided to try > Trombotine, again. And you know what? It's pretty good > stuff, too. I find that Super-Slide runs off, if your > trombone has sit on a stand for extended periods of time. > Trombotine doesn't do that. So it has its advantages, as well. > > If cold cream weren't so expensive, I suppose I could get it > to work well, as well. > > DanP > > _________________________________________________________________ > Take off on a romantic weekend or a family adventure to these > great U.S. locations. > http://special.msn.com/local/hotdestinations.a> rmx > ------------------------------ Date: Mon, 23 Feb 2004 17:05:44 -0500 From: tom gibson Subject: Re: School --Apple-Mail-2-482496962 Content-Transfer-Encoding: 7bit Content-Type: text/plain; charset=US-ASCII; format=flowed Douglas, I am sifting through resumes right now as our school searches for a Woodwind teacher. Let me tell you how the board thinks: -as for name of school: more prestigious schools get a closer look, no question. Especially if present faculty are alum of said school. (If the Dean is an alum of said school, you're well on your way to a job......he said half-jokingly:-) This often gets the candidate to the interview. Once on campus and interviewing, the school matters not. Experience means more on the resume than name of school. Consider a Grad School where you are likely to do some studio teaching and, even better, some classroom teaching and/or conducting. -advanced degrees are indeed expensive. They are also required in nearly every instance for a tenure-track position. A Doctorate will soon be EXPECTED from applicants for these positions. Sadly, in my opinion. Incestuous, in my opinion. A reality nonetheless. -often, what matters more than name of school is name of teacher. A well respected teacher of some renown will have contacts throughout the music world which will serve you well. Their letters of recommendation mean a LOT, too. (BTW- all who write a letter of recommendation for you will receive a call from the potential employer. Count on it and bear this in mind.) - and, in the big picture, you're not looking to fill a resume, are you? The real goal is not a JOB. You're looking to become the best pedagogue and player you can be. Real-world experience is what you're seeking. Do as much as you can. Teach, play, write. Go to the school that best enables you to fulfill your potential and gives you opportunity for these things. Keep that in mind, follow that path, and the rest will fall into place. Quality shows when it comes time to interview. Any secondary interests you can develop are good, too: Computer apps, conducting, theory pedagogy, history pedagogy, euphonium chops, alto bone chops, bass bone chops...... -Lastly, throughout the entire process of learning and interviewing, be the most gregarious, helpful, attentive, hard-working, joyful, positive, smiley person you can be. That matters more than anything. And why wouldn't you be, right? You're making music for a living. Don't get any better than that. Dr. Tom Gibson Brass Dept. Coordinator Georgia State University ph: 404-651-1740 tom@trombonelessons.com www.trombonelessons.com --Apple-Mail-2-482496962 Content-Transfer-Encoding: 7bit Content-Type: text/enriched; charset=US-ASCII Douglas, I am sifting through resumes right now as our school searches for a Woodwind teacher. Let me tell you how the board thinks: -as for name of school: more prestigious schools get a closer look, no question. Especially if present faculty are alum of said school. (If the Dean is an alum of said school, you're well on your way to a job......he said half-jokingly:-) This often gets the candidate to the interview. Once on campus and interviewing, the school matters not. Experience means more on the resume than name of school. Consider a Grad School where you are likely to do some studio teaching and, even better, some classroom teaching and/or conducting. -advanced degrees are indeed expensive. They are also required in nearly every instance for a tenure-track position. A Doctorate will soon be EXPECTED from applicants for these positions. Sadly, in my opinion. Incestuous, in my opinion. A reality nonetheless. -often, what matters more than name of school is name of teacher. A well respected teacher of some renown will have contacts throughout the music world which will serve you well. Their letters of recommendation mean a LOT, too. (BTW- all who write a letter of recommendation for you will receive a call from the potential employer. Count on it and bear this in mind.) - and, in the big picture, you're not looking to fill a resume, are you? The real goal is not a JOB. You're looking to become the best pedagogue and player you can be. Real-world experience is what you're seeking. Do as much as you can. Teach, play, write. Go to the school that best enables you to fulfill your potential and gives you opportunity for these things. Keep that in mind, follow that path, and the rest will fall into place. Quality shows when it comes time to interview. Any secondary interests you can develop are good, too: Computer apps, conducting, theory pedagogy, history pedagogy, euphonium chops, alto bone chops, bass bone chops...... -Lastly, throughout the entire process of learning and interviewing, be the most gregarious, helpful, attentive, hard-working, joyful, positive, smiley person you can be. That matters more than anything. And why wouldn't you be, right? You're making music for a living. Don't get any better than that. HelveticaDr. Tom Gibson Brass Dept. Coordinator Georgia State University ph: 404-651-1740 tom@trombonelessons.com www.trombonelessons.com --Apple-Mail-2-482496962-- ------------------------------ Date: Mon, 23 Feb 2004 22:07:46 +0000 From: Daniel Pliskin Subject: Re: Definition > >Whatever, Mike. It seems ridiculous to me to decide whether or not >something is art based on whether or not you like it. > A few years ago my wife and I were at the Museum of Modern Art, in New York. We were tired and sat down in front of a huge Warhol of Campbellâs soup cans. Now, Iâve seen that picture hundreds of times and thought that it was nothing but an appreciation of commercialism. But as we sat there, we started talking about which soup we ate when we were sick, when we got home from school, etc. Pretty soon, it had conjured up all kinds of memories, linked to Campbellâs soup. All we could conclude was that it had worked, as a piece of art. So you just never know when a piece of art will reach out and grab you in some new way. Do I apply that to dear old Kenny G and other forms of ãqueasy listeningä? Well·no! So I guess I, too, reserve the right to be a bigot, when it comes to judging art. DanP _________________________________________________________________ Take off on a romantic weekend or a family adventure to these great U.S. locations. http://special.msn.com/local/hotdestinations.armx ------------------------------ Date: Mon, 23 Feb 2004 17:08:24 -0500 From: David Carter Subject: Report on Sheridan Brass, Bonzilla and Such List members,This past Weekend Sheridan Brass brought their display to the Arkansas State Music convention. The instruments they brought included Shires Trombones, the Bonezilla, the Tubone, and a few Thein trombones and trumpets. Firts of all the Thein bass trombone with inline Hagmann valves. I can tell you it is a very nice playing instrument. It can produce a dark yet resonant sound. The Hagmann valves as used on this instrument work very well. The feel of the instrument is a bit different than American style horns, and in a convention situation it is difficult to evaluate anything new. So, sometimes I just listened as others who came by played on it. Everyone who played it seemed to like it, with several commenting that it was the best horn they had ever played. The Thein slide is a duo bore, .547-.562, and Sheridan brass also had a Shires straight .562 bore slide to go with it for players used to American horns. Will this horn catch on? As interesting as it was, the li! st price of $10,000 means it will be only a dream for many players, including myself. Sheridan also had a Thein tenor with Hagman valve, although I didn't try it. Mr. Sheridan showed me a combination valve for a Thein alto trombone. He had sold the Alto, but the removable valve could function as a whole step trill vavle or with an extra crook as a B flat valve. In contrast to the very nice Thein was the very poor playing Tubone. This instrument is intended to be an instrument that a high school tubist can put his mouthpiece into and play bass trombone parts. To achive a bass trombone type sound a bass trombone bell is used. The horn is made in cimbasso style, with the body in front of the player and resting on a pin to the floor, while the bass bone bell is over the shoulder. the bore is keep small to sound like a bass bone, the vavle bore is .625. The problem is that the bore is so small that the horn is very stuffy. Makes a bass trumpet seem free blowing. Many of the hig! h school tuba players who came by to try it could hardly get much of a sound out of it. I found (with a f tuba mouthpiece) that I could sit on notes and blast them out, but playing any moving part was very hard. In all fairness this horn was the prototype, and really needs more development. I think that the design goal of using a bass trombone bell and small bass trombone like bores, is at odds with the goal of making a easy to play instrument in BB flat. To much straight and realtive the length small bore pipe. I'd personally rather see a good valved BB flat Contrabass trombone, if high schoolers are gonna play it. Sheridan Music brought enough Shires trombone part to build a dozens of trombones. This was my first chance to try out a Shires bass trombone. He also had shires large and small tenors, but I pretty much limited myself to trying the Bass trombones. First I got to play the Bonzilla! Its' made by Shires, and marketed by Innova brass, with Sheridan as a dealer. The bonzilla has a larger than normal slide-.578-.594 and larger rotary va! vle-.624 bore. I found the bonzilla easy to play. The sound was darker or wider than a regular bass. Any Shires bass bell will fit. The response and feel was good, the question is how dark and big do you want to go? I'm sure I could play the instrument no trouble at all, but would it blend in the the groups I regularly play with? I tried the Bonezilla slide with a regular Shires thayer bell section and really like it. This combo was free blowing and still had some focus. The Bonzilla valve section seemed a little to broad in sound when combined with the Bonzilla slide, for my tastes at least. So I compare the Bonzilla vavles with the Shires Thayers, and found the the Thayers still had a more consistant sound on and off the vavles than the Bonzilla, even if the Bonzilla vavles are bigger. I really liked the Bonzilla slide and thought about getting one. The reason I didn't was becuase I wound up getting one of the Shires Bass bones. Sheridan had a Gold brass BII bell in 10 inch diameter that played very nice, Big sound, resonant, wide dynamic range. I tried out other Shires parts untill I wound up with Shires Thayers valves, the B crook, duo bore slide and the 2.5L leadpipe. Mr. Sheridan was very helpful and knowledable about which Shires parts to match up in what direction you want to go. Thank you.Sheridan also had Laskey and Greigo mouthpieces. I really liked the Greigo 1. These mouthpieces seem worth a try!Well I would have like to walked out with a Bonzilla slide, the Greigo 1, and a 9 1/2 bell extra bell, but the Shires bass was all I could swing for now! After playing it for a couple of days I can tell you that it has the most consistant and sound on and off the valve off any horn I've ever played! The Shires Thayers are without fault, and the slide is great. The sound is similar to but broader and fuller than my Bac! h 50T3G, and as big as but more responsive than my Edwards. IMHO. David Carter ------------------------------ Date: Mon, 23 Feb 2004 19:58:20 -0600 From: Bill Dinwiddie Subject: Sad But True A sad article, but I think there is a lot of truth in what he says. Bill Dinwiddie billdin@comcast.net Subject: Longtime jazz great Menza calls it quits! Date: Fri, 20 Feb 2004 08:50:40 -0600 Las Vegas Sun, January 16, 2004 Columnist Jerry Fink: Longtime jazz great Menza calls it quits Don Menza has retired. The 68-year-old genius of jazz, who splits his time between homes in Las Vegas and Los Angeles, says he is finished. He put away his famed saxophone following his last gig -- the annual Desert Big Band and Jazz Party last month in Palm Springs, Calif. "I got into music because it was fun. I enjoyed the challenge of being able to go out and create all this music," Menza said. "But the whole jazz culture suddenly is part of the pop culture. The record business is more concerned about how we look than how we sound. "Music has become part of the visual arts. They ask you, 'What kind of act do you do? What kind of show do you do?' " His has always been a class act, and his shows have been as diverse as the production revue "Splash" and "Jazz on the Strip," a Monday-night jazz showcase in the former Le Bistro Lounge at the Riviera. Menza says his decision to walk away from something that has been a part of his life for so long was not easy. "It was brought about by a series of events," he said. "I've been doing this for 53 years, but that's not the problem. My health is good -- I'm concerned about where music has gone. I'm not at all impressed by the pop/rock culture." He still loves music, but that isn't enough to keep him onstage. "Before I learn to hate music, I would like to go back and listen to it the rest of my life," Menza said. "If I feel the urge, I might play again." But he says that isn't likely. "At this point, I don't even = want=20 to play for pleasure," Menza said. And playing professionally part time is out of the question. He says if you're going to perform at all, you have to practice several hours every day "if you want to stay on top of it. You can't just play on a Saturday or a Tuesday." Menza, a native of Buffalo, N. Y., has been a serious musician since the age of 12, studying saxophone in high school and at the State University of Fredonia. While in the service and stationed in Germany, he played with the 7th Army Jazz Orchestra, a band that included such musical heavyweights as Don Ellis, Leo Wright, Eddie Harris, Cedar Walton and Lanny Morgan. In 1958 he returned to the United States, was discharged and -- for the first time -- quit playing. "In the two or three short years I was gone from this country, I was amazed at how the jazz scene had diminished," Menza said. But then he heard saxophonist Sonny Rollins play. "And I remembered why I wanted to play the saxophone," Menza said. He joined the Al Belletto sextet and then, in 1960, toured with Maynard Ferguson. He performed briefly with Stan Kenton, led a quintet in Buffalo for a couple of years and then, in 1963, moved back to Germany. A lifelong fondness for Europe had developed during his tour of duty with the military. Now that he's retired, he may spend even more time overseas. "It was the first time I was treated like an artist, with respect," Menza said. "It's a whole other lifestyle. The rest of the world looks at jazz as a true art form, but not in this country. "When I came back from a five-year stint in Europe in '68, I couldn't buy car insurance in this country because I was a jazz musician and jazz musicians were in a high-risk pool. It was insanity." After his return, he toured briefly with the Buddy Rich band and then settled in L. A. and became a musician with the three major television networks and several recording companies. He performed with productions in Las Vegas until he began to burn out on commercial gigs in the late '80s. A yearlong position as artist in residence at UNLV may have hastened the burn. It was in 1990. "It was a stretch for those people -- they don't want someone like me, someone who has been on the buses on the road, showing kids how it really was," Menza said. "I don't teach out of the book. "I told them how it is and how it was, but those people don't want to hear about that. I feel bad for kids going to school. They all come out sounding the same, like coming out of a Chevy plant -- the more I talk about it, the more I'm convinced I don't want to play anymore." It was about that time, more than 10 years ago, that he was with the orchestra in "Splash." "That was my last commercial gig," he said. "After that, I said no more. When that gig ended, I promised that would be the end of it -- from then on I would only do jazz gigs." For the most part, he has been true to = his word. "I've survived 53 years in the business, most of the time calling my own shots," Menza said. "I wasn't an innovator or a trailblazer or world beater -- I was a traditional, mainstream player, sometimes high energy, sometimes not. "There are so many things I haven't done, like writing for an orchestra, but I'm tired and I don't want to do it now. I ran out of energy -- I wasted so much energy on bad gigs. We all did. If you are going to be conscientious about playing, you're going to spend a lot of time doing it -- it's hazardous to jazz playing." He says he isn't bitter about anything. "I just don't want to have to deal with it anymore," Menza said. "I have no regrets. It was wonderful. I gave a lot. I gave it willingly -- all the playing, all the writing, the teaching." Last week he came to Las Vegas for a few days from his home in Los Angeles. "For the first time, I didn't have my saxophone with me, " Menza said. "It was like I had left a friend behind -- a good friend. But I didn't miss him." ------------------------------ Date: Mon, 23 Feb 2004 21:39:42 EST From: Matmutt@AOL.COM Subject: Missing part, Traces of Love Hi folks; I'm missing the second page of the 1st alto sax part for the Dave Wolpe arrangement of "Traces of Love" ( trombone feature). I'd be very grateful if someone could fax the page to me. I need the chart for this Sunday. Regards, Larry Priori Fax 610-269-0739 ------------------------------ Date: Mon, 23 Feb 2004 19:45:58 -0800 From: Chris Tune Subject: Re: Just For Laughs Funny. I did about the same thing the other day and came up with the same results. Stays put really well. I may resume using the Trombotine for a while. The one tube is probably a lifetime supply for all three of my horns. Chris Tune ----- Original Message ----- From: "John Burton" To: Sent: Monday, February 23, 2004 1:57 PM Subject: Re: [TBN-L] Just For Laughs > I don't think modern Cold Cream has the same Lanolin in it as was in days > before, Dan. > > Stick with Trombotine! (if it's a decision between the two)... > > Naturally, your mileage may vary... > > --==jb==-- > > ~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~= > > 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 Daniel Pliskin > > Sent: Monday, February 23, 2004 1:33 PM > > To: TROMBONE-L@PO.MISSOURI.EDU > > Subject: Re: [TBN-L] Just For Laughs > > > > > > >>I laugh with joy every time I apply Reka Superslide cause' it's so > > >>SUPERIOR > > >>to all else out there. Thanks for the laff! Emil > > > > > >It really is great, isn't it? > > > > > > Best I've ever used. > > > > For kicks, more than anything else, I decided to try > > Trombotine, again. And you know what? It's pretty good > > stuff, too. I find that Super-Slide runs off, if your > > trombone has sit on a stand for extended periods of time. > > Trombotine doesn't do that. So it has its advantages, as well. > > > > If cold cream weren't so expensive, I suppose I could get it > > to work well, as well. > > > > DanP > > > > _________________________________________________________________ > > Take off on a romantic weekend or a family adventure to these > > great U.S. locations. > > http://special.msn.com/local/hotdestinations.a> rmx > > > ------------------------------ End of TROMBONE-L Digest - 22 Feb 2004 to 23 Feb 2004 (#2004-55) ****************************************************************