Subject: TROMBONE-L Digest - 2 Mar 2004 to 3 Mar 2004 (#2004-64) Date: Thursday, March 4, 2004 12:00 AM From: Automatic digest processor Reply-To: "Trombones and related issues forum." To: Recipients of TROMBONE-L digests There are 48 messages totalling 2073 lines in this issue. Topics of the day: 1. Sandblasting horns (9) 2. OT Victory for Public Broadcasting 3. re-subscribing 4. Amati or Wintson alto trombones (2) 5. Solfege (5) 6. Conn 88H Vintage? (2) 7. Victory for Public Broadcasting (5) 8. NPR and Slide lube (3) 9. Off Topic-Victory for Public Broadcasting (2) 10. Info wanted re Albrechtsberger (4) 11. Greg Harper @ Mississippi State 12. Program Notes Info Needed for Rimsky-Korsakov (2) 13. victory for public broadcasting (2) 14. NPR petition 15. alto trombones 16. The good with the bad (2) 17. More New Sheet Music (2) 18. OT - Maybe a Trolling for Victory for Public Broadcasting 19. Need Conn bass trombone valve 20. Fwd: Blue Note Titles Going Out of Print ---------------------------------------------------------------------- Date: Wed, 3 Mar 2004 06:21:45 +0000 From: Daniel Pliskin Subject: Re: Sandblasting horns >Why do people sandblast horns? For looks, sound. Does it have any effect >on the sound or playing characteristics of the horn. Mark, Iād say that the only reason to sandblast a trombone is for looks. Sandblasting cold-works the materiel, leafing the metal with internal stress. If sandblasted unevenly, that stress will warp the bell. But more importantly, pre-stressed metal vibrates less, so a sandblasted trombone will have less life and less character. DanP _________________________________________________________________ Get business advice and resources to improve your work life, from bCentral. http://special.msn.com/bcentral/loudclear.armx ------------------------------ Date: Tue, 2 Mar 2004 23:10:55 -0800 From: Stan Brager Subject: Re: OT Victory for Public Broadcasting To all those who continue this subject: 1) This is surely off-topic to this list and should be so labeled. 2) Judging from Debra Silver's comments, this topic is even more political than whether Pledge or trombontine or whatever is best for your slide. 3) It's interesting that if a broadcaster reports something with which one doesn't agree, that broadcaster is tarred, feathered, and run outta town with scathing epithets ringing in their ears. Of course, one could always turn to one of the journalism schools to do a study on bias. Naturally, if such a study ran counter to what one's preconceived notions were then that school must also be labeled as being biased. In the end, it's better to discuss this issue on one of the political forums where feedback would be as outrageous as some of the comments read on the normally restrained trombone-l. Stan Stan Brager Trombonist-in-Training ----- Original Message ----- From: "Debra Silver" Sent: Tuesday, March 02, 2004 9:30 PM Subject: Re: Victory for Public Broadcasting > Victory? Not for we American taxpayers that pay for the extrememly biased > reporting of NPR. Hard hitting? Most NPR "news" is rehashed Euro-socialist > trash and other propaganda for socialistm. Victory would entail curtailment > of all funding for "public" radio and TV stations. Are you sure we're > listening to the same stations? They broadcast the socialist BBC propaganda > for five hours a day---and even the British found them lax on their > "reporting!" > ----- Original Message ----- > From: "Bill Dinwiddie" > To: > Sent: Tuesday, March 02, 2004 4:21 PM > Subject: [TBN-L] Victory for Public Broadcasting > > > Hi Gang, > > I try to keep my E-mails to the list pretty non-political, but I think you > will all find this link to be very interesting. Public Broadcasting needs > all of our support. If you want to, go to the link below and sign the > petition for Common Cause, then pass it on. Thanks. > > Bill Dinwiddie > > ############################################################################ > ################# > > > Subject: First Victory for Public Broadcasting > > > > A Senate committee will soon be holding its own hearing on public > broadcasting, and once again, the members of the committee need to hear from > you. We have just over a month to gather enough signatures on a petition to > make the case that we value the hard-hitting investigative journalism and > other programming on public television and radio stations. Also, we don't > want to see funding for PBS and NPR jeopardized or its content politicized. > Make sure your voice is heard! > http://www.commoncause.org/action/petition_cpb.cfm > ------------------------------ Date: Wed, 3 Mar 2004 09:18:10 +0200 From: H du Plooy Subject: Re: re-subscribing On Tue, 2004-03-02 at 21:43, Chris Tune wrote: > Anyway, I"m glad your persistence paid off. Looking forward to your posts. Hi Chris, Sorry I won't be posting much for a while - I'm leaving town for a 10-day gig on friday, and I'm only expecting the phone company to fix my line on the 18th of March, so until then I'll keep lurking Sneaking time at work to quickly read through the day's posts.... Hans ------------------------------ Date: Wed, 3 Mar 2004 22:28:33 +1100 From: hlmswlkr@OZEMAIL.COM.AU Subject: Re: Sandblasting horns G'day all, Sandblasting was used a great deal some years ago. Companies like Boosey and Hawkes used to sand blast the "Imperial" line of instruments before they were silver plated (this was used as a marketing point, since the better quality horns were "bright silver", ie not sandblasted, whereas the intermediate imperial were "satin silver") Conn also made horns with the sandblasted silver, but usually on ornately decorated "presentation" instruments. One example is an 88H from '55 with the standard "Elkhart" engraving, but also an engraved line approx 1 inch in from the bell rim, with the main part of the bell satin silver, and the last 1 inch bright silver. Very attractive. the silver 88H played just fine too, nonoticable diff in sound to a lacquered 88H. Cheers Matthew Walker bass Trombonist, Opera Australia Walker's Instrument Repair, "The Brassery" > > From: Daniel Pliskin > Date: 03/03/2004 17:21:45 > To: TROMBONE-L@PO.MISSOURI.EDU > Subject: Re: [TBN-L] Sandblasting horns > > >Why do people sandblast horns? For looks, sound. Does it have any effect > >on the sound or playing characteristics of the horn. > > > Mark, > > Iād say that the only reason to sandblast a trombone is for looks. > Sandblasting cold-works the materiel, leafing the metal with internal > stress. If sandblasted unevenly, that stress will warp the bell. But more > importantly, pre-stressed metal vibrates less, so a sandblasted trombone > will have less life and less character. > > DanP > > _________________________________________________________________ > Get business advice and resources to improve your work life, from bCentral. > http://special.msn.com/bcentral/loudclear.armx > This message was sent through MyMail http://www.mymail.com.au ------------------------------ Date: Wed, 3 Mar 2004 12:32:47 -0000 From: Keith Marr Subject: Re: Amati or Wintson alto trombones I had a Conn 36H alto and decided that the amount of gigs I was getting on it didn't justify having such an expensive instrument. So I sold it and with the proceeds bought the current version of Sibelius software, and an Amati alto. The Amati is very light, but well made for all that. It has a smaller bore than the Conn and I find it plays very well. As an occasional alto player I find it an easier instrument to play than the Conn, particularly in the high register. It comes with a decent lightweight case too. I think you may be right about it being based on the Bach 39, it certainly looks similar. At 350 pounds it is excellent value. Hope that helps. Keith in Bb/F/D (but occasional Eb) ----- Original Message ----- From: "Mark & Ulrike Narins" To: Sent: Tuesday, March 02, 2004 8:22 PM Subject: [TBN-L] Amati or Wintson alto trombones > Does anyone own either an Amati Kraslice or E.M. Winston alto trombone. > How do they play. The Amati is supposed to be like a Bach. I'm > considering these horns only because I'm on an extremely tight budget. I > know there are better ones out there. Thanks for any information. --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.600 / Virus Database: 381 - Release Date: 28/02/2004 ------------------------------ Date: Wed, 3 Mar 2004 12:40:44 +0000 From: "J.c. Sherman" Subject: Re: Amati or Wintson alto trombones Check out the Weril Alto too - very inexpensive, and plays quite well, though expect to send the slide to be re-tooled... J.c.S. > Does anyone own either an Amati Kraslice or E.M. Winston alto trombone. > How do they play. The Amati is supposed to be like a Bach. I'm > considering these horns only because I'm on an extremely tight budget. I > know there are better ones out there. Thanks for any information. > > Mark Narins > narins@pacbell.com > 415 928-7464 > > - ------------------------------ Date: Wed, 3 Mar 2004 06:53:55 -0700 From: Steve Gamble Subject: Re: Solfege -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Daniel Pliskin Sent: Tuesday, March 02, 2004 2:37 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Solfege >>Personally, I think that forcing kids to learn Solfege is abusive. > Flame on you: You're extrapolating from a sample of one! > > As I wrote earlier, all my public elementary school classmates could >learn Solfege cheerfully at age eight. Success, of course, depended on an >inspired teacher. No David. I'm extrapolating from a sample of zero. I never had to learn Solfege and don't expect to ever learn Solfege. >all my public elementary school classmates could learn solfege cheerfully >at age eight. But that does not mean that it is a superior way to teach music. >Success, of course, depended on an inspired teacher. Surely to be an inspiring teacher, you have to believe in what you're teaching. So back to the original question, how do you know that kids who learn solfege are better prepared to learn music? And more importantly, are there other uses of that time that would get those students even better equipped to learn music? Inquiring minds... DanP I've taught solfege to college freshman music students and I also teach a basic version to some of my private students, the ones that don't freeze up with embarrassment from trying to sing in front of me. (The kids that are that self conscious usually don't do all that well in the long run anyway.) It has been extremely effective in helping them understand what real listening is, which is my goal. Dan, I'm fairly confident that for some of these kids solfege got them going in the right direction sooner than they would have without it. 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 / ------------------------------ Date: Wed, 3 Mar 2004 09:06:27 -0500 From: Craig Parmerlee Subject: Re: Sandblasting horns At 01:21 AM 3/3/2004, Daniel Pliskin wrote: >>Why do people sandblast horns? For looks, sound. Does it have any effect >>on the sound or playing characteristics of the horn. > > >Mark, > >I'd say that the only reason to sandblast a trombone is for looks. >Sandblasting cold-works the materiel, leafing the metal with internal >stress. If sandblasted unevenly, that stress will warp the >bell. But more >importantly, pre-stressed metal vibrates less, so a sandblasted trombone >will have less life and less character. I don't follow that reasoning. All bells are cold worked, and this is considered a benefit that makes the instruments MORE vibrant, not less so. After all, doesn't Bach talk about all their hand hammering. I don't see how a little surface etching with sand could possibly have as much effect as the heavy hammering and spinning that goes on during the assembly process. ------------------------------ Date: Wed, 3 Mar 2004 06:07:37 -0800 From: David Guion Subject: Re: Solfege Dan Pliskin done writ: >I have to ask one simple question. Did anyone >out there in Trombonelandia had the foresight to cut themselves >in half, >down the middle, before preschool, and have one half learn >solfege and the >other not learn solfege? . . . >I cannot accept any conclusion about >whether learning solfege, early on, has helped or hindered the >musical >talents of those involved. Yes, who knows how many fledgling >musicians >were stifled, early on, by having to learn selfege? Has the >learning of >selfege been responsible for the masses turning to TV, rather >than having >them spend their time playing in classical quartets? No one >knows. I didn't exactly cut myself in half, but my experience is almost as instructive. When I was a freshman, I took the required Sightsinging and Dictation class (at 8:00 in the morning, shudder). We bought a textbook and brought it to class every morning. The professor called on individuals to sing particular things and gave us a starting pitch. We were then expected to sing it using solfege syllables. I had much less trouble with the notes and rhythms than with remembering what syllable to use. I asked him why we had to use the syllables. He answered that "they" have been teaching sight reading that way for a thousand years. The next year, a new theory teacher was hired, and he basically rewrote the freshman curriculum from scratch. The following year, my junior year, he instituted a Board of Tutors. Junior and senior honors students would tutor the bottom half of the freshman class in groups of four. The tutors met as a group once a week to learn the techniques he was using and to compare notes. And what did this new breath of fresh air use for teaching sightreading? Solfege, with movable do. But there was a huge difference. Instead of saying "we've always done it that way", he had a rationale and a method. First off, students were expected to practice and prepare, which seemed novel. There were certain scale and arpeggio exercises that everyone was supposed to practice and perform (singly and as a class) before anyone actually did any sight singing. (Example: Starting from any one pitch, sing the following sequences: do mi sol mi do; mi do mi sol mi; sol mi do mi sol. Another: do the same in minor.) The effect of this isto train the ear to think of an entire scale at once. A succession of syllables would then forever conjure up not a sequence of notes, but of particular intervals in a particular tonal context. It becomes forever impossible to mistake mi fa for a whole step. Do mi is a major third, regardless of what mode the music is in. Etc. Plenty of our students, who would have otherwise floundered for a couple of years and then changed majors, received the jump-start they needed to pass their theory courses and function in ensembles. Is solfege helpful? Absolutely! Provided, of course, that it is taught intelligently. My freshman class was a pointless waste of time. My experience in learning to be a tutor vastly improved my own reading ability, which as I said wasn't to shabby to begin with. *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion Founder, Piedmont Brass Band Who is General Failure? And why is he reading my hard drive? david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* ---------- Original Message ---------------------------------- From: Daniel Pliskin Reply-To: Daniel Pliskin Date: Tue, 2 Mar 2004 17:26:41 +0000 >As one who was not forced to learn solfege, but still had no problem acing >two terms of ear training, > >No, I didnāt think so. As such, > >Thatās right, folks. The statistics are not in yet, as to what the real >effects are, for those who had to learn selfege. Likewise, there is no one >out there who can speak about their has experience of both learning and not >learning selfege. > >Personally, I think that forcing kids to learn selfege is abusive. I >started playing guitar at the age of four and started learning classical >pieces at age seven. So far, the only advantage to learning selfege that I >can come up with is that it gets you started, early, singing scat. > >DanP > >_________________________________________________________________ >One-click access to Hotmail from any Web page ö download MSN Toolbar now! >http://clk.atdmt.com/AVE/go/onm00200413ave/direct/01/ > ______________ ______________ ______________ ______________ Sent via trombone.org ------------------------------ Date: Wed, 3 Mar 2004 07:27:40 -0700 From: Steve Gamble Subject: Re: Conn 88H Vintage? Joe, Don't put too much stock in "no pain no gain." Spend the greatest amount of your time with the horn doing things that you KNOW YOU KNOW are high quality (both technically and musically [with a concentration on musically]). This requires an enormous amount of patience but is absolutely crucial. You may have noticed over the years that the things that you do well and correctly are EASY for you. Trombone playing is no different. If what you are trying to do is too difficult, it is probably because you aren't doing it right, thereby practicing and getting better at doing it wrong (can you say BAD HABIT?). Go back to the things that are easy for you, those are the things that you are good at, the things you can do. Always prioritize your playing putting what you CAN do at the top. So, for instance, if you can make a beautiful tone, be sure to not let yourself produce an inferior sound when you are, say, trying to play a scale at a faster tempo. That will help you know just exactly how much faster you can really be trying to play the scale. It doesn't matter what level of player you happen to be. When you get used to approaching the next step from this sense of being an expert at something, it is very easy to determine exactly where you begin to approach the limits of your skill; that is the point where you notice even the slightest deterioration in your product. That is how you decide what and how much to work on next, something that is often not possible to predict. If you imaginatively apply the concept of always doing what you can first, you will see that it is easy to get trapped into thinking that just because you could do something yesterday, you should be able to do it today. You will make steady, gratifying progress if you apply the concept of doing what you CAN moment by moment, instead. There is no need to experience painful lips. 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 Joe Jacob Sent: Tuesday, March 02, 2004 7:18 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Conn 88H Vintage? I recently bought a used Conn 88H, hoping to play again after thirty years. The serial number on the bell section is 5-591831, and the one on the slide is E4147. If I read the Conn serial number chart correctly, that puts the manufacture date in the late 1980's? The horn looks brand new. It came with a Conn 5GR mouthpiece, and I also have a Bach4G and a Wick 4AL. The Wick seems to give me a little more upper range, and the Bach seems to help the lower register. I won't be able to tell much at all, though, until after a few more weeks of a painful lip. Joe Jacob ------------------------------ Date: Wed, 3 Mar 2004 08:36:40 -0600 From: Wayne Dyess Subject: Re: Victory for Public Broadcasting On Tuesday, March 2, 2004, at 11:30 PM, Debra Silver wrote: > They broadcast the socialist BBC propaganda > for five hours a day---and even the British found them lax on their > "reporting!" > Not our NPR station! I'm sure it depends on who your station manager is. Write a letter of complaint! These stations depend greatly on public funding, regardless of the funding they get from our taxes. They still couldn't make it without the LOCAL contributions. So write. Make your voice heard. Programming CAN be changed. Our local public radio station broadcasts a good mix of jazz and classical music. And how 'bout Car Talk with Click and Clack? Love those guys! --Wayne Dyess ------------------------------ Date: Wed, 3 Mar 2004 09:44:18 -0500 From: walter barrett Subject: NPR and Slide lube On 3/3/04 2:10 AM, Stan Brager smote the keyboard with... > Judging from Debra Silver's comments, this topic is even more political > than whether Pledge or trombontine or whatever is best for your slide. Oops, better not use Trombotine if you're concerned about socialist tendencies; it comes from England. Hey, doesn't Slide-o-Mix come from Germany? That's in Europe, where all that Euro-socialist trash comes from, right? Hmmm, how to make a "Fair and Balanced" choice of which slide lube to use? I wouldn't want to "Rush" into a decision. Hey, the Pledge can says to apply "liberally!" ;-P Walter Barrett "Any who act as if freedom's defenses are to be found in suppression and suspicion and fear confess a doctrine that is alien to America." - Dwight D. Eisenhower Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Wed, 3 Mar 2004 09:59:29 -0500 From: walter barrett Subject: Re: Off Topic-Victory for Public Broadcasting On 3/3/04 12:30 AM, Debra Silver smote the keyboard with... > Not for we American taxpayers that pay for the extrememly biased > reporting of NPR. Ms. Silver is misinformed. Here is the word, direct from NPR's website... > NPR (National Public Radio) is a private, self-supporting nonprofit media > company with hundreds of independent radio stations as members. NPR receives > no direct federal funding for general support. NPR supports its operations > through a combination of membership dues and programming fees from stations, > contributions from private foundations and corporations, and revenue from the > sales of transcripts, books, CDs, and merchandise. A very small percentage - > between 1-2 percent of NPR's annual budget - comes from competitive grants > sought by NPR from federally funded organizations, such as the Corporation for > Public Broadcasting, National Science Foundation and the National Endowment > for the Arts. > > NPR member stations are autonomous entities and are not owned or operated by > NPR, nor does NPR fund member stations. Instead, station revenues come from a > variety of other sources. In 2004, public radio stations and producers will > receive $86 million from the Corporation for Public Broadcasting, which is > funded by Congress (that amounts to only 30 cents per American to support > local public radio stations). If Ms. Silver will send me her address privately, I will personally send her a check for $3, which should cover 10 years worth of her taxpayer contributions. Then she can listen to whatever media she cares to with a clear conscience, if not an open mind. Walter Barrett "Patriot: The person who can holler the loudest without knowing what he is hollering about." -Mark Twain Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Wed, 3 Mar 2004 10:02:28 -0500 From: Steve Carr Subject: Re: NPR and Slide lube Walter, Welcome back! Steve Carr ----- Original Message -----=20 From: walter barrett=20 To: TROMBONE-L@PO.MISSOURI.EDU=20 Sent: Wednesday, March 03, 2004 9:44 AM Subject: [TBN-L] NPR and Slide lube On 3/3/04 2:10 AM, Stan Brager smote the keyboard with... > Judging from Debra Silver's comments, this topic is even more = political > than whether Pledge or trombontine or whatever is best for your = slide. Oops, better not use Trombotine if you're concerned about socialist tendencies; it comes from England. Hey, doesn't Slide-o-Mix come from Germany? That's in Europe, where all that Euro-socialist trash comes = from, right? Hmmm, how to make a "Fair and Balanced" choice of which slide = lube to use? I wouldn't want to "Rush" into a decision. Hey, the Pledge can = says to apply "liberally!" ;-P Walter Barrett "Any who act as if freedom's defenses are to be found in suppression = and suspicion and fear confess a doctrine that is alien to America." - Dwight D. Eisenhower Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Wed, 3 Mar 2004 16:41:26 -0000 From: Keith Marr Subject: Info wanted re Albrechtsberger I've been playing Albrechtsberger's concerto for a couple of years now, and it gets a very favourable response from audiences. It has come to my attention that there is a chamber piece written by he, for alto trombone and various solo strings I think. Can anyone supply more information on this, in particular where one might get the sheet music and whether or not it's available on recording? It would be nice to offer another example of this more or less unknown composer's work on future concerts. Cheers! Keith in Bb/F/D --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.600 / Virus Database: 381 - Release Date: 28/02/2004 ------------------------------ Date: Wed, 3 Mar 2004 10:46:28 -0600 From: "Douglas A. Rowe" Subject: Re: Off Topic-Victory for Public Broadcasting Generally I will sit back and enjoy this debate on public radio's virtues vs. non-virtues vs. whatever. However, I figured I might chime in with some NPR Radio Station data in regards to funding, format, etc. (as an employee of an NPR affiliated station, I get to see a lot of this first hand). [LECTURE MODE ON] First, a little about my station: We are a classical format (no Jazz with the exception of one program on Saturday mornings), although we do air the news at the top of most hours during the day. We are live hosted from 0600-1900, then we air NPR's Performance Today and Eveningsong, a locally produced program that incorporates our college Chapel Service and sacred classical music. It is important to realize that NPR is NOT a radio station--NPR is a non-profit corporation of which individual radio stations can become affiliates. As an affiliate, a local station pays fees to do a few things: 1. Air Nationally distributed NPR programs (this includes, but is not limited to NPR news, All Things Considered, Morning Edition, Performance Today, Marian McPartlands Piano Jazz, Car Talk, etc. etc.--a wide variety of programming). 2. "Wave" the NPR flag on air--which gets listeners attention. 3. Allows the radio station to apply for other funding sources, primarily grants. Note that as a local radio station, we receive NO funding from NPR--we actually pay NPR for the programs we carry and for the affiliation. This independence means that station managers and programming directors can promote any agenda they want to--although there may be some guidelines from NPR about what is appropriate vs. inappropriate (for instance, I think NPR discourages affiliates from doing things like Clear Channels "Opus and Andy" show--you know, the show that challenged couples to copulate in public places in New York--gives broadcasting a bad name). These guidelines are actually not that much different than the guidelines from the FCC--if you're interested in seeing what the FCC has to say about fairness on air, visit http://www.fcc.gov (I'll note, as a tidbit of humor, because of the FCC's fairness laws most broadcast TV stations in California did NOT air any Arnold Schwarzenegger movies, as the law states that they would then have to allow each of the other 135 candidates for governor equal amounts of air time). With all of this in mind, the question is where DO we (an NPR station) get our money? The two primary income sources are: 1. Listener contributions (you know--the silly pledge weeks that happen 2 or 3 times a year). 2. Corporation for Public Broadcasting (CPB). As was stated in the Quote that Walter included (see below), the CPB is funded by congress. However, for most stations (and this important), the vast majority of income comes from listener contributions. As part of the listening public it is important to remember this--your input (of money or of opinions) will have influence with the station. If you don't like their programming, format, choices in music, write a letter. Don't contribute. Get friends to write letters. These things do actually make a difference--as a public radio station, we have to serve the public that exists in our area in order to make ends meet--with out listener contributions, we'd all be sunk. I should also mention (again, with no intention of politicizing things) that I have visited NPR in Washington DC a number of times. During my week long internship there politics did come up a number of times. I can assure that there is NO political agenda at NPR. The people I met had views from (what I, as generally a moderate everything in politics) extremely conservative to extremely liberal. I met some folks who voted for Ralph Nader, I met some folks who voted for Pat Buchanan. I think the idea of the 1970's "far out" liberal think tank that many people associate with NPR has carried over from when (so I hear) at one time it may have been a 1970's "far out" liberal think tank (kind of). Granted, most of the 1970's predated me, so I have no tangible experience with that time in America. [LECTURE MODE OFF] [MANDATORY TROMBONE CONTENT] At my station, I work as an engineer (basically I fix electronics, computers, etc.). Most everyone knows I am a trombone/low brass kind of guy. I have offered suggestions for programming, usually involving either solo trombone or (as my tastes run) LARGE orchestral works with good low brass parts. They don't listen to me very often. I hope that this has at least been a little informative. If anyone has further questions about the working of NPR, feel free to e-mail me. Thanks, Doug walter barrett wrote: > On 3/3/04 12:30 AM, Debra Silver smote the keyboard with... > > >>Not for we American taxpayers that pay for the extrememly biased >>reporting of NPR. > > > Ms. Silver is misinformed. Here is the word, direct from NPR's website... > > >>NPR (National Public Radio) is a private, self-supporting nonprofit media >>company with hundreds of independent radio stations as members. NPR receives >>no direct federal funding for general support. NPR supports its operations >>through a combination of membership dues and programming fees from stations, >>contributions from private foundations and corporations, and revenue from the >>sales of transcripts, books, CDs, and merchandise. A very small percentage - >>between 1-2 percent of NPR's annual budget - comes from competitive grants >>sought by NPR from federally funded organizations, such as the Corporation for >>Public Broadcasting, National Science Foundation and the National Endowment >>for the Arts. >> >>NPR member stations are autonomous entities and are not owned or operated by >>NPR, nor does NPR fund member stations. Instead, station revenues come from a >>variety of other sources. In 2004, public radio stations and producers will >>receive $86 million from the Corporation for Public Broadcasting, which is >>funded by Congress (that amounts to only 30 cents per American to support >>local public radio stations). > > > If Ms. Silver will send me her address privately, I will personally send her > a check for $3, which should cover 10 years worth of her taxpayer > contributions. Then she can listen to whatever media she cares to with a > clear conscience, if not an open mind. > > Walter Barrett > > "Patriot: The person who can holler the loudest without knowing what he is > hollering about." > -Mark Twain > > > Yamaha Artist/Clinician > Tenor, Alto, Bass Trombones > Euphonium > Bass Trumpet > Tuba -- * * * * * * * * * * * * * * * * * * * * * * * Douglas Rowe * * Systems Specialist * * Classical 89.3 WCAL/St. Olaf College * * 1520 St. Olaf Avenue * * Northfield, MN 55057 * * Telephone: 612-798-8617 * * Fax: 612-798-8614 * * E-mail: rowed@stolaf.edu * * http://www.wcal.org * * * * * * * * * * * * * * * * * * * * * * * ------------------------------ Date: Wed, 3 Mar 2004 11:52:01 -0500 From: "John J. Jenkins" Subject: Re: Info wanted re Albrechtsberger Hey Keith. This might be what you're looking for: http://www.andrews.edu/~mack/pnotes/feb192.html Regards, John Jenkins >===== Original Message From Keith Marr ===== >I've been playing Albrechtsberger's concerto for a couple of years now, and >it gets a very favourable response from audiences. > >It has come to my attention that there is a chamber piece written by he, for >alto trombone and various solo strings I think. Can anyone supply more >information on this, in particular where one might get the sheet music and >whether or not it's available on recording? > >It would be nice to offer another example of this more or less unknown >composer's work on future concerts. > >Cheers! > >Keith in Bb/F/D > > >--- >Outgoing mail is certified Virus Free. >Checked by AVG anti-virus system (http://www.grisoft.com). >Version: 6.0.600 / Virus Database: 381 - Release Date: 28/02/2004 "I have opinions of my own - strong opinions - but I don't always agree with them." - George Bush ------------------------------ Date: Wed, 3 Mar 2004 09:05:38 -0800 From: Chris Tune Subject: Re: Greg Harper @ Mississippi State Interesting. Looks like a clear plastic barrier between the harpist and the bone section. Perhaps this helps her filter out the louder trombone sound a little better and hear her harp. Chris ----- Original Message ----- From: "David Oliver" To: Sent: Tuesday, March 02, 2004 9:31 PM Subject: Re: [TBN-L] Greg Harper @ Mississippi State > I am guilty of posting that message originally. I've found the rehearsal > photo after some looking around and will attach it (just 113K). I > thought it was pretty cool that the Denver Post had a shot where half > the photo included the Colo. Symph. trombones. When you watch symphony > concerts on TV the trombones are barely shown - but maybe I'm biased... > > The photo was run in the paper almost exactly one year ago and I think > was also in color in the paper. > > >From left to right, the CSO trombone section is: > > John Daley, Principal > Paul Naslund, 2nd > Greg Harper, Bass > > Greg got me tickets to one CSO concert after I sent him an e-mail to > simply say hello. He used to be on the t-list some years ago, but mainly > to sell equipment here and there. He was a self admitted "equipment > junky" and was teased about it a bit (in a good way) by the other guys > at a masterclass at the Boulder, Colorado ITF in 1998 (hosted by Bill > Stanley of Colorado University). > > Better run. Another long day. > > David Oliver > Broomfield, Colorado USA > President/Trombone, Denver Concert Band > http://www.denverconcertband.org > Bass Trombone, Swing Inc. > > > Jeff Oien wrote: > > > > This is from a post from March 13, 2003. The article isn't there > > anymore. Did anyone happen to keep the picture? > > Jeff Oien > > > > --------------- > > No, not that CSO (or the other CSO), but the Colorado Symphony > > Orchestra! There was a good picture in the Denver Post today of the CSO > > trombone section during a rehearsal, so I thought I'd send along the > > link: > > > > http://www.denverpost.com/Stories/0,1413,36%257E33%257E1240199%257E,00.html > > ----------------- > > D ---------------------------------------------------------------------------- ---- ------------------------------ Date: Wed, 3 Mar 2004 11:09:33 -0600 From: Kevin Saunders Subject: Program Notes Info Needed for Rimsky-Korsakov Colleagues: I am performing the Rimsky-Korsakov Concerto with the San Antonio Municipal Band this weekend and wonder if anyone has program note info on this piece? Thanks in advance for your help. Kevin Saunders ------------------------------ Date: Wed, 3 Mar 2004 16:38:55 +0000 From: Daniel Pliskin Subject: Re: Solfege >>>>Personally, I think that forcing kids to learn Solfege is abusive. >>> Flame on you: You're extrapolating from a sample of one! >>I'm extrapolating from a sample of zero. I never had to learn Solfege >>and don't expect to ever learn Solfege. >It has been extremely effective in helping them >understand what real listening is, which is my goal. Dan, I'm fairly >confident that for some of these kids solfege got them going in the >right direction sooner than they would have without it. I stand corrected. DanP _________________________________________________________________ Get business advice and resources to improve your work life, from bCentral. http://special.msn.com/bcentral/loudclear.armx ------------------------------ Date: Wed, 3 Mar 2004 17:33:55 -0000 From: Adrian Drover Subject: Re: Solfege I never became fluent in solfege, either at school or afterwards. I just learnt to hear and recognise intervals. Is that not basically the same thing? A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Wed, 3 Mar 2004 10:36:05 -0700 From: Steve Gamble Subject: Re: Program Notes Info Needed for Rimsky-Korsakov Kevin, Check this out: http://www.allclassical.com/cg/acg.dll?p=acg&sql=2:53233 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 Kevin Saunders Sent: Wednesday, March 03, 2004 10:10 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Program Notes Info Needed for Rimsky-Korsakov Colleagues: I am performing the Rimsky-Korsakov Concerto with the San Antonio Municipal Band this weekend and wonder if anyone has program note info on this piece? Thanks in advance for your help. Kevin Saunders ------------------------------ Date: Wed, 3 Mar 2004 16:55:30 +0000 From: Daniel Pliskin Subject: Re: Victory for Public Broadcasting >Victory? Not for we American taxpayers that pay for the extrememly biased >reporting of NPR. Hard hitting? Most NPR "news" is rehashed Euro-socialist >trash and other propaganda for socialistm. Victory would entail >curtailment >of all funding for "public" radio and TV stations. Are you sure we're >listening to the same stations? They broadcast the socialist BBC >propaganda >for five hours a day---and even the British found them lax on their >"reporting!" I agree. Thatās why I donāt believe in all that 9/11 crap. I also donāt believe that Schwartzeneger is governor of California. And I donāt believe that Bush is president of the USA. I donāt like what they said on the radio, TV and in the newspaper and choose not to believe it. DanP _________________________________________________________________ Find things fast with the new MSN Toolbar ö includes FREE pop-up blocking! http://clk.atdmt.com/AVE/go/onm00200414ave/direct/01/ ------------------------------ Date: Wed, 3 Mar 2004 09:58:46 -0800 From: Steve Ferguson Subject: Re: victory for public broadcasting Date: Wed, 3 Mar 2004 00:30:39 -0500 From: Debra Silver Subject: Re: Victory for Public Broadcasting Debra wrote: Victory? Not for we American taxpayers that pay for the extrememly biased reporting of NPR. Hard hitting? Most NPR "news" is rehashed Euro-socialist trash and other propaganda for socialistm. Victory would entail curtailment of all funding for "public" radio and TV stations. Are you sure we're listening to the same stations? They broadcast the socialist BBC propaganda for five hours a day---and even the British found them lax on their "reporting!" Steve writes: If I'm going to tune into a news broadcast, I would like it to be an alternative to what the government is feeding me. And currently, the government is feeding me a lot of suspicious half truths. Do you really actually listen to NPR? Or are you just repeating the Republican party line? I haven't owned a TV for 5 years, and my entertainment includes a bunch of NPR programs: This American Life, Car Talk, Prairie Home Companion, various new shows, new music in classical and dance styles, Joe Frank. There's a lot of good stuff on there. No, it doesn't toe the party line either, but so what. There's nothing wrong with a dissenting voice, even if it's just to spark discussion. Listen to the NPR morning news. On my local station, around 9am, they almost always have a long article about music and art and what's new. I'd certainly rather hear about that than what movie star is hot today. If you don't like the BBC broadcasts, tune into another NPR station. They are not all the same. The best IMHO is KCRW (dot com) which allows listening of broadcasts either live or archived. Does CBS do that? Regarding political talk on this list: It's a fine idea to limit discussion here to only trombone related topics, but....we don't live in a cement box. What goes on in government, politics, whatever, is important to us as artists and musicians. Sabutin occasionally gets into hot water because of his passion for the world outside the practice room and its importance to us as citizens as well as artists, but I believe he's right on. Steve Ferguson ------------------------------ Date: Wed, 3 Mar 2004 10:12:05 -0800 From: Steve Ferguson Subject: Re: NPR petition Bill wrote: I try to keep my E-mails to the list pretty non-political, but I think you will all find this link to be very interesting. Public Broadcasting needs all of our support. If you want to, go to the link below and sign the petition for Common Cause, then pass it on. Thanks. Bill Dinwiddie Steve writes: Please save the useless petition signing. These e-petitions just direct well meaning individuals away from making more meaningful contributions. Internet petitions are easy to start, but become meaningless to policy makers. If you really want to make a statement, write a HANDWRITTEN letter to the legislator of your choice. Statistically, anything handwritten represents a much larger group of people than does some e-petition. Typing is OK, but the handwritten notes get noticed a lot more. Steve Ferguson ------------------------------ Date: Wed, 3 Mar 2004 16:50:17 +0000 From: Daniel Pliskin Subject: Re: Sandblasting horns >I don't follow that reasoning. All bells are cold worked, and this is >considered a benefit that makes the instruments MORE vibrant, not less so. >After all, doesn't Bach talk about all their hand hammering. I don't see >how a little surface etching with sand could possibly have as much effect >as the heavy hammering and spinning that goes on during the assembly >process. Just because a bell is hand hammered doesnāt mean that itās cold worked. And even if it was worked cold, itās impossible to hammer out a bell without annealing the metal numerous times, in the process. Annealing metal, removes the internal stresses, so that the metal doesnāt remain brittle after cold working. But annealing temperatures are way higher than the temperatures needed to melt solder. So I assume that a trombone, which was sandblasted after it was assembled, had not been completely disassembled, annealed and reassembled. If you had ever seen what sandblasting does to a piece of flat sheet metal, youād know how much stress it puts on the metal. DanP _________________________________________________________________ Learn how to help protect your privacy and prevent fraud online at Tech Hacks & Scams. http://special.msn.com/msnbc/techsafety.armx ------------------------------ Date: Wed, 3 Mar 2004 10:15:48 -0800 From: Steve Ferguson Subject: Re: alto trombones Mark wrote: Does anyone own either an Amati Kraslice or E.M. Winston alto trombone. How do they play. The Amati is supposed to be like a Bach. I'm considering these horns only because I'm on an extremely tight budget. I know there are better ones out there. Thanks for any information. Mark Narins narins@pacbell.com Steve writes: Those horns are the same except for the label I believe. They're small bore, with a more trumpet-like sound, yes, very similar to the Bach. Most likely the slide will need some tuning up right out of the box. I'm holding off on selling more Weril altos for a while. They just have too many blems, though the design is valid. Jinbao in China now markets a nice alto trombone that looks to be similar to the fine Kuhnl & Hoyer Slokar alto. This Chinese one is the first horn from there I've seen with nice workmanship, and the list price is around $600. I ordered two, but have no ETA yet. Steve Ferguson dot net ------------------------------ Date: Wed, 3 Mar 2004 13:28:58 -0500 From: Steve Carr Subject: Re: Sandblasting horns is 'sandblasting' really the method used to get the satin finish on = horns? Somewhere I got the idea that the metal was just buffed differently = before plating or lacquering. Of course "somewhere" could have be my = imagination. Steve Carr ------------------------------ Date: Wed, 3 Mar 2004 14:01:19 -0500 From: Craig Parmerlee Subject: Re: Sandblasting horns At 11:50 AM 3/3/2004, Daniel Pliskin wrote: >If you had ever seen what sandblasting does to a piece of flat sheet >metal, >you'd know how much stress it puts on the metal. Come, now. It doesn't take much force or duration to rough up the surface for a satin look. It isn't like cleaning bridge trusses. Surely the effect is orders of magnitudes less than the work hardening that comes from hammering and spinning. And I correct me if I'm wrong, but there is no annealing stage after hammering. That would defeat the whole purpose of hammering, it seems to me. Hardness is not a bad thing, IMHO ------------------------------ Date: Wed, 3 Mar 2004 20:07:42 +0000 From: musichub@COMCAST.NET Subject: The good with the bad Greetings, As someone who reads a daily log of tbn-L notes without submitting much at all in the past, I'm feeling compelled to write today for some reason. What I think is getting to me is the subject matter that seems to motivate most, even close to all, of the response and discussion on this list. The various cremes & lubes out there for we trombonistas still bring a host of perspectives from all directions, seemingly endless... blah, blah.... Even a whiff of politics within a message is guaranteed to paint an eternal bullseye on that lister for straying from the more "appropriate" discussions at hand - cremes and lubes, laquer vs no-laquer, bore sizes in a big band, classical vs jazz as art music, whether solfege is valuable, what grammatical errors have been made.... I take the time to wade through so much blather to get to what seems like fewer and fewer thoughtful postings about MUSIC, using this lovely word in its largest definition, perhaps something like Ellington's definition. Where does our instrument of choice fit into MUSIC, and whom out there is making compelling MUSIC with our beloved slush pump. With this in mind, I'll ask the following: did anyone out there happen to get the chance to hear the contributions to IAJE of such stalwarts as Robin Eubanks, Slide Hampton, Mike Fahn, John Fedchock, Bob Brookmeyer, Chris Washburne....if so, does anyone want to talk about your reaction to each? Did anyone venture out of the host hotels to catch nearby club gigs for Josh Roseman, David Gibson, the bones of The Chico O'Farrell band, the bones of The Vanguard Jazz Orchestra...the rest of NYC....? I'm not sure exactly what my point is with all of this, but I thought I'd put this out there to see what comes back. I have to say that there is not a moment in the day when I feel more like a stereotypical trombone "geek" as the moments I scroll down my daily email summary of this list to look for kernals of inspiration rather than the typical journey back to yesteryear of college trombone teachers in polyester hyping their years with the Kenton band and a mid-Oklahoma philharmonic (am I getting this cyber joke right? Sorry Okla, but I have family roots there to grant me permission)... Ready....take aim....fire! Cheers, Chip Tingle SF bay area freelancer ------------------------------ Date: Wed, 3 Mar 2004 19:38:51 +0000 From: Daniel Pliskin Subject: Re: Sandblasting horns Craig, >Come, now. It doesn't take much force or duration to rough up the surface >for a satin look. No, just enough to warp the bell. >And I correct me if I'm wrong, but there is no annealing stage after >hammering. That would defeat the whole purpose of hammering, it seems to >me. You're wrong. Hammering is to take a piece of flat stock and turn it into a bell. Yes, there are probably a dozen annealing stages, in the process of hand hammering out a bell. And a pre-stressed, that is a cold-worked bell, will not vibrate as well. Now that may be a good thing, for some and a bad thing for others, depending on what you like to listen to. DanP _________________________________________________________________ Learn how to help protect your privacy and prevent fraud online at Tech Hacks & Scams. http://special.msn.com/msnbc/techsafety.armx ------------------------------ Date: Wed, 3 Mar 2004 21:11:17 +0100 From: Howard Weiner Subject: Re: Info wanted re Albrechtsberger At 16:41 03.03.04 +0000, Keith Marr wrote: >I've been playing Albrechtsberger's concerto for a couple of years now, and >it gets a very favourable response from audiences. > >It has come to my attention that there is a chamber piece written by he, for >alto trombone and various solo strings I think. Can anyone supply more >information on this, in particular where one might get the sheet music and >whether or not it's available on recording? No, there is no other instrumental piece by Albrechtsberger employing trombone, solo or otherwise. The piece you've become aware of is likely a version of the concerto done with solo strings, or possibly an instrumental version of a vocal piece. Howard -- Howard Weiner weiner@privat.toplink.de http://www.odilia.ch/howard-weiner If vegetarians eat only vegetables, what do humanitarians eat? ------------------------------ Date: Wed, 3 Mar 2004 12:24:08 -0800 From: Matthew Stoecker Subject: Re: Sandblasting horns Actually, Conn used the satin finish on a lot of their horns between the = 20s and 50s, not just trombones, but trumpets and, notably, saxophones. = Frequently, the silver and gold plated saxes were finished in = contrasting sections of satin and bright, and is makes for a VERY = attractive horn.=20 Matt Stoecker ----- Original Message -----=20 From: hlmswlkr@OZEMAIL.COM.AU=20 To: TROMBONE-L@PO.MISSOURI.EDU=20 Sent: Wednesday, March 03, 2004 3:28 AM Subject: Re: [TBN-L] Sandblasting horns G'day all, Sandblasting was used a great deal some years ago. Companies like = Boosey and Hawkes used to sand blast the "Imperial" line of instruments = before they were silver plated (this was used as a marketing point, = since the better quality horns were "bright silver", ie not sandblasted, = whereas the intermediate imperial were "satin silver") Conn also made horns with the sandblasted silver, but usually on = ornately decorated "presentation" instruments. One example is an 88H = from '55 with the standard "Elkhart" engraving, but also an engraved = line approx 1 inch in from the bell rim, with the main part of the bell = satin silver, and the last 1 inch bright silver. Very attractive. the silver 88H played just fine too, nonoticable diff in sound to a = lacquered 88H. Cheers Matthew Walker bass Trombonist, Opera Australia Walker's Instrument Repair, "The Brassery" > > From: Daniel Pliskin = > > Date: 03/03/2004 17:21:45 > To: TROMBONE-L@PO.MISSOURI.EDU > Subject: Re: [TBN-L] Sandblasting horns > > >Why do people sandblast horns? For looks, sound. Does it have any = effect > >on the sound or playing characteristics of the horn. > > > Mark, > > I'd say that the only reason to sandblast a trombone is for looks. > Sandblasting cold-works the materiel, leafing the metal with = internal > stress. If sandblasted unevenly, that stress will warp the bell. = But more > importantly, pre-stressed metal vibrates less, so a sandblasted = trombone > will have less life and less character. > > DanP > > _________________________________________________________________ > Get business advice and resources to improve your work life, from = bCentral. > = http://special.msn.com/bcentral/loudclear.armx > This message was sent through MyMail = http://www.mymail.com.au ------------------------------ Date: Wed, 3 Mar 2004 19:48:13 +0000 From: Daniel Pliskin Subject: Re: Solfege >I never became fluent in solfege, either at school or afterwards. I just >learnt to hear and recognise intervals. Is that not basically the same >thing? Adrian, They're saying that learning solfege somehow helps, though I'm still not convinced. There are all sorts of things I learned as a child that I would never have the patience to learn as an adult. Playing guitar, skiing and roller skating come to mind. I am willing to concede that learning solfege as a child might have been an acceptable pass time. Iām even willing to believe that it might have helped me learn ear training. But when you use, as an example, a do-so interval, rather than just saying that itās a perfect fifth, then all I see is the perpetuation of some archaic gibberish. Sure, some set of distinctions need to be learned, in order to then talk about and study pitches, but why not teach the names that are used in harmony and jazz, rather than using terms that will be useless, later on? Why not sing ćone, two, three, four, five, six, seven, eightä? Those are the names they will need to know later on, if they do study music. DanP _________________________________________________________________ Fast. Reliable. Get MSN 9 Dial-up - 3 months for the price of 1! (Limited-time Offer) http://click.atdmt.com/AVE/go/onm00200361ave/direct/01/ ------------------------------ Date: Wed, 3 Mar 2004 12:30:22 -0800 From: Gabriel Langfur Subject: Re: Conn 88H Vintage? --- Steve Gamble wrote: > You will make steady, gratifying progress if > you apply the > concept of doing what you CAN moment by moment, instead. > There is no > need to experience painful lips. Great post Steve. Norman Bolter said to me over and over in my lessons: "Always start with what you CAN do." ===== Gabe Langfur Boston, MA ------------------------------ Date: Wed, 3 Mar 2004 12:35:02 -0800 From: Gabriel Langfur Subject: Re: NPR and Slide lube --- walter barrett wrote: > Hey, the > Pledge can says to > apply "liberally!" > > ;-P > LOL! Nice to have you back Walter! Slide-O-Mix doesn't come right out and say it, but the message is clear: it needs to be applied conservatively. No wonder it doesn't mix with Pledge at all. As in most things, I prefer to take a moderate stance, using a little more SOM than I need and watering it down. With most things I come from the liberal side though. Hmmm... ===== Gabe Langfur Boston, MA ------------------------------ Date: Wed, 3 Mar 2004 14:55:49 -0600 From: Trombonus Rex Subject: Re: Info wanted re Albrechtsberger Hi Howard-Go to www.hickeys.com Albrechtsberger Passione Domine For alto vocalist, alto trombone, 2 violins, cello, organ. Item: 20165 Best, JB Jon Brummel Alto, Tenor, Bass Trombones, and Euphonium trex@summermusic.us 925-768-2949 Mobile & Voicemail ----- Original Message ----- From: "Howard Weiner" To: Sent: Wednesday, March 03, 2004 2:11 PM Subject: Re: [TBN-L] Info wanted re Albrechtsberger > At 16:41 03.03.04 +0000, Keith Marr wrote: > >I've been playing Albrechtsberger's concerto for a couple of years now, and > >it gets a very favourable response from audiences. > > > >It has come to my attention that there is a chamber piece written by he, for > >alto trombone and various solo strings I think. Can anyone supply more > >information on this, in particular where one might get the sheet music and > >whether or not it's available on recording? > > No, there is no other instrumental piece by Albrechtsberger employing > trombone, solo or otherwise. The piece you've become aware of is likely a > version of the concerto done with solo strings, or possibly an instrumental > version of a vocal piece. > > Howard > > > > -- > Howard Weiner > weiner@privat.toplink.de > http://www.odilia.ch/howard-weiner > > If vegetarians eat only vegetables, what do humanitarians eat? > > > ------------------------------ Date: Wed, 3 Mar 2004 14:25:04 -0800 From: Galen McQuarrie Subject: Re: victory for public broadcasting Debra wrote: Victory? Not for we American taxpayers that pay for the extrememly biased reporting of NPR. Hard hitting? Most NPR "news" is rehashed Euro-socialist trash and other propaganda for socialistm. ... Comment: I have always considered NPR news balanced. They seem to go to some lengths to present both sides of the issue. They are certainly NOT socialist. ---GSM Steve writes: .....Do you really actually listen to NPR? Or are you just repeating the Republican party line? I haven't owned a TV for 5 years, and my entertainment includes a bunch of NPR programs: This American Life, Car Talk, Prairie Home Companion, various new shows, new music in classical and dance styles, Joe Frank. There's a lot of good stuff on there. No, it doesn't toe the party line either, but so what. There's nothing wrong with a dissenting voice, even if it's just to spark discussion. Listen to the NPR morning news. On my local station, around 9am, they almost always have a long article about music and art and what's new. I'd certainly rather hear about that than what movie star is hot today. If you don't like the BBC broadcasts, tune into another NPR station. They are not all the same. The best IMHO is KCRW (dot com) which allows listening of broadcasts either live or archived. ...Steve Ferguson I'm with you 100% here, Steve, my local public radio station is the ONLY station I listen to. I never watch TV (My own personal preference, I'm not touting it as a virtue, so please no flames.) Manditory Trombone content: I doubt Steve would have a place to put a TV with all the Trombones, parts and accessories he has lying around. \ Best, Galen McQuarrie ------------------------------ Date: Wed, 3 Mar 2004 15:28:25 -0800 From: Robert Elkjer Subject: More New Sheet Music *********Just in time for recital season*************: Mozart Rondo Alla Turk. Arranged for trombone and piano. "Very well arranged, and fun to play. Exciting and virtuostic, but it also lays well on the horn." -Mark Lawrence, principal tbn, SF Symphony Visit Elkjer Music http://home.pacbell.net/melkjer for more info and a complete audio demo. Thanks! ------------------------------ Date: Wed, 3 Mar 2004 15:00:00 -0800 From: Gabriel Langfur Subject: Re: Victory for Public Broadcasting --- Debra Silver <> wrote: > Victory? Not for we American taxpayers that pay for the > extrememly biased > reporting of NPR. Debra, if you have something to say about the trombone, please share it with us. If not, please take the political arguments somewhere else. I can't remember you contributing anything trombone-related, ever. I'm sure you must have at some point, but I'm also sure it wasn't much and hasn't been often. The only posts I can remember from you are this one and the attack on DJ Kennedy. Granted, DJ's original comment was inappropriate at this time in history in the culture I, personally, find myself living in. And I tried to say that in as gentle and comrehensive a way as possible. You simply called him a racist and practically demanded that he be removed from the list. He ultimately removed himself, and a lot of people here miss him. I couldn't disagree with you more about NPR (and you're wrong about the funding), but that's really not the point. Respectfully, Gabe Langfur ------------------------------ Date: Wed, 3 Mar 2004 23:46:51 -0000 From: Adrian Drover Subject: Re: Victory for Public Broadcasting From: "Gabriel Langfur" > The only posts I can remember from you are this > one and the attack on DJ Kennedy. > > Granted, DJ's original comment was inappropriate at this > time in history in the culture I, personally, find myself > living in. And I tried to say that in as gentle and > comrehensive a way as possible. You simply called him a > racist and practically demanded that he be removed from the > list. He ultimately removed himself, and a lot of people > here miss him. Yes Gabriel, I miss DJ's posts, and a lot of other ex-contributor's too. This list is beginning to get extremely boring. If it doesn't liven up soon, I'm outa here too. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Wed, 3 Mar 2004 23:34:54 -0000 From: Adrian Drover Subject: Re: More New Sheet Music From: "Robert Elkjer" > > Mozart Rondo Alla Turk. Arranged for trombone and piano. Mozart? Is that by any chance the same tune as the Dave Brubeck piece in 9/8 (3/4 + 3/8)? Nah, can't be. Mozart never messed around with time, did he? A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ------------------------------ Date: Wed, 3 Mar 2004 17:58:28 -0600 From: Eric & Candice Swanson Subject: Re: Sandblasting horns Steve Carr wrote: >is 'sandblasting' really the method used to get the satin finish on horns? > > > Steve, That is correct. Now they call it glass bead blasting, because they don't actually use sand anymore. Some of the instrument companies are doing a finish where they scratchbrush (just what it sounds like--polishing the horn with a wire brush) the horn and then lacquer or plate it, and call it a satin finish but it looks different, kind of like if you steel wooled the whole horn. I think I read years ago that the satin finish was cheaper to do than a highly polished finish, I assume because it only took a few minutes to sandblast a horn whereas it would take hours to buff a tuba for instance. Eric ------------------------------ Date: Wed, 3 Mar 2004 18:07:56 -0600 From: Jeff Oien Subject: Re: Victory for Public Broadcasting Adrian Drover wrote: > Yes Gabriel, I miss DJ's posts, and a lot of other ex-contributor's too. > This list is beginning to get extremely boring. If it doesn't liven up > soon, I'm outa here too. I hope not! I was thinking of trying an experiment where I would use flammable slide lube instead of the safer non-flammable. Then playing a hot bebop riff (or whatever term you jazz musicians like to use {notice I didn't use the term "jazzer" so as not to offend anybody}) and seeing if my slide catches on fire. Only problem is I don't have a digital video camera. Would that keep you on the list? Jeff Oien ------------------------------ Date: Wed, 3 Mar 2004 19:57:29 -0500 From: DSlide13@AOL.COM Subject: Re: The good with the bad I hear you loud and clear. I was listening to a John Swana cd today. I bought the disc a year prior to moving to NYC. Steve Davis is playing trombone. I listened to Steve weave his way through the changes and play beautiful melodies while manipulating the verbage of the language we call "jazz", and I realized that I had never heard it that way before. I realized that prior to moving to this wonderful city, I was hearing his playing in "black and white". It's easy to hear the tone and attacks and technical playing, but it's hard to hear the message, the music. When explaining the importance of vocabulary to my 8 year old daughter, I told her that having a vast vocabulary was like giving someone the ability to read your mind. If you can use the appropriate word at the appropriate time to describe the idea that is in your own mind, you can transfer that idea into the mind of someone who shares your language. Unfortunately, most kids become dependent upon phrases like "you know what I'm saying", or "know what I mean". My answer is, "No, I don't know what you mean. You have to tell me what you mean." When I hear Steve play, I feel like I have an understanding of his mind. I'm no more concerned about the sound of the trombone than I am when I hear the sound of Katherine Hepburn's voice in On Golden Pond. "Do I understand the music?" is the question I ask myself. Hepburn won an Oscar for her role in On Golden Pond, and I don't recall anyone having issues with her voice. I'm not saying that Steve's voice isn't pure and beautiful, but only that we often get stuck on any given player's voice instead of their message. We as trombones get so caught up in our voice and what timbre of voice is the proper one, and which equipment is the right equipment to achieve that timbre. Even if we achieve this perfect voice, what are we saying. At least there is literature to play, but many times we still get so caught up in our voice that we don't do anything with it. A piece of music should be our script. If we were actors, the majority of us would be out of work because we don't "interpret" the music. We simply play the notes with technical perfection and leave it there. And, jazz trombonists are the worst offenders of all. Without a script to guide us, we're left to focus completely on technique and use our powers for the dark side. The dark side would be host to our own fragile egos that need to be propped up with the highest and fastest notes that we can imagine. A good friend of mine, a non-trombonist, asks frequently, "Would you make love to your wife the way you play your instrument?" The real question is, "Would she like it?" I'm guessing that in the majority of cases, she would not. When are we, as a community, going to start listening to the music? You are now free to flame me too!!! Ouch, that burns....... DG In a message dated 3/3/2004 3:07:42 PM Eastern Standard Time, musichub@COMCAST.NET writes: > I take the time to wade through so much blather to get to what seems like fewer and fewer thoughtful postings about MUSIC, using this lovely word in its largest definition, perhaps something like Ellington's definition. Where does our instrument of choice fit into MUSIC, and whom out there is making > compelling MUSIC with our beloved slush pump. ------------------------------ Date: Wed, 3 Mar 2004 17:04:47 -0800 From: Chris Tune Subject: Re: OT - Maybe a Trolling for Victory for Public Broadcasting I couldn't help but notice just the same phenomenon. Coincidence . . .that one person is only heard in certain circumstances. I remember Harry. . . I understood that the incident with DJ was checked out and there was no troll involved. But the behavior of only sending messages when they are filled with criticism without temperance or constructive comment, is one sign of well, TROLL like behavior. A couple of constructive suggestions to innoculate against just such a possibility: KEEP TO MUSIC AND TROMBONE! This is important. I like an occasional joke (and dig DJ and Sam, etc.) and the interesting comment or philosophical note and perhaps those are some of the best threads in the long run, but we've had a few whole threads lately (I checked and the vast majority ARE trombone and music) where they are serious threads, but useful for some other forum. The way lists work there is always a momentum with the possibility that more and more off topic messages will come in and the OT threads will just go on and on. Good idea to think twice before sending messages about: New viruses or worms (these are usually proven false anyway. . .this is just what the maker WANTS you to do) Political matters (I know this is hard to believe, but we all have different views. . .that's just the way it is) Religious matters (remember, GOD wants us to keep sticking to trombone, HIS favorite instrument! Oh! thanks to whoever got us the cute cartoon with trombones in heaven and accordians in hell) Grass roots petitions, etc. IGNORE FLAMES! If someone is tasteless enough to get really insulting, there is always a chance they are doing it on purpose (Troll). Just forget it and don't get mad. Once again, it is pretty sure strategy to stick to trombone matters because trombone yack is resistant to being put in hurtful terms (how do you get someone really angry when discussing silicone lubricants? In-slide tuning? I think we'd have less DJ, NPR type situations if this were mostly trombone stuff and the occasional joke). Sorry to pontificate like this, but I hate to think of everybody having a bad time on the list. . . seems maybe there are some who are not of the same mind. Chris Tune Los Angeles, CA ----- Original Message ----- From: "Gabriel Langfur" To: Sent: Wednesday, March 03, 2004 3:00 PM Subject: Re: [TBN-L] Victory for Public Broadcasting > --- Debra Silver <> wrote: > > Victory? Not for we American taxpayers that pay for the > > extrememly biased > > reporting of NPR. > > Debra, if you have something to say about the trombone, > please share it with us. If not, please take the political > arguments somewhere else. I can't remember you contributing > anything trombone-related, ever. I'm sure you must have at > some point, but I'm also sure it wasn't much and hasn't > been often. The only posts I can remember from you are this > one and the attack on DJ Kennedy. > > Granted, DJ's original comment was inappropriate at this > time in history in the culture I, personally, find myself > living in. And I tried to say that in as gentle and > comrehensive a way as possible. You simply called him a > racist and practically demanded that he be removed from the > list. He ultimately removed himself, and a lot of people > here miss him. > > I couldn't disagree with you more about NPR (and you're > wrong about the funding), but that's really not the point. > > Respectfully, > Gabe Langfur > ------------------------------ Date: Wed, 3 Mar 2004 19:27:05 -0600 From: Eric & Candice Swanson Subject: Need Conn bass trombone valve Gang, Anybody out there have a good used Conn bass trombone valve or F attachment? Like maybe you had Thayer valves put on or something, and you have the old valve section laying around. Prefer 60H, 62H, 71H, 72H, 73H, something like that. If you have something, send me a message off-list. Thanks, Eric Swanson ------------------------------ Date: Wed, 3 Mar 2004 22:57:00 -0700 From: Mark Bauer Subject: Fwd: Blue Note Titles Going Out of Print I thought this might be of some interest to some of our list members. If you like any of these titles to soon be discontinued, you got until May 1st to order them. ----------------------------------- Dear Jazz Lover, We regret to inform you that the following CD titles are being discontinued on May 1, 2004. If you have been contemplating any of these titles for your collection, we suggest that you purchase them now through your local retailer or the Blue Note Web Site at (http://www.bluenote.com/specials.asp). Until April 10, they are being offered at a special low price on the Blue Note Web Site and can be found clicking on the WEEKLY SPECIALS button. Track listings and other information about these recordings are also available on the site. CDs ART BLAKEY & THE JAZZ MESSENGERS Africaine (Connoisseur Series) DON BYRON Romance With The Unseen RON CARTER When Skies Are Grey STAN GETZ & ALBERT DAILEY Poetry THE JAZZ MANDOLIN PROJECT Xenoblast RODNEY JONES Soul Manifesto JACKIE McLEAN Nature Boy (with the Cedar Walton trio) LONNIE PLAXICO Melange JEAN LUC PONTY The Best Of The Pacific Jazz Years ERIK TRUFFAZ Revisite ERIK TRUFFAZ The Mask SARAH VAUGHAN Sweet 'N' Sassy DON WILKERSON Complete Blue Note Sessions (2 CDs) (Connoisseur Series) VARIOUS Calle 54 (Deluxe 2-CD Limited Edition) VARIOUS Roots Of Afro Cuban Jazz LP SOULIVE Clap! (12" single) ------------------------------ End of TROMBONE-L Digest - 2 Mar 2004 to 3 Mar 2004 (#2004-64) **************************************************************