Subject: TROMBONE-L digest 193 Date: Friday, October 15, 2004 12:01 AM From: Multiple recipients of list To: Multiple recipients of list TROMBONE-L Digest 193 Topics covered in this issue include: 1) Re:Rosolino Mouthpiece by "Marco Guerrero" 2) Fw: Public Service Announcement for Trombones by "Frank Darmiento" 3) John Wasson contact info by morand@denison.edu 4) long high tones by "Daniel Pliskin" 5) Contrapunctus I(From Art Of The Fugue) by J.S Bach Arranged by Glenn Smith by Mark Bauer 6) Re: emails by Earl Needham 7) Re: long high tones by alex iles From: "Marco Guerrero" Date: Wed, 13 Oct 2004 22:13:38 -0700 To: "Multiple recipients of list" Subject: [TROMBONE-L:2382] Re:Rosolino Mouthpiece I just happen to play on a Warburton Rosolino Mouthpiece and it was one of the first few to come out when i purchased it 3 years ago and it's a hard thing to get used to it's very shallow but really sings in the upper register the low register will take quite some time to get used to although maybe the larger cups that are now available deal with it but it's a really good mouthpiece for lead playing. Marco Guerrero marcoguerrero@musician.org -- ___________________________________________________________ Sign-up for Ads Free at Mail.com http://promo.mail.com/adsfreejump.htm From: "Frank Darmiento" Date: Thu, 14 Oct 2004 11:54:09 -0700 To: Subject: [TROMBONE-L:2383] Fw: Public Service Announcement for Trombones I received this from a keyboard "associate" of mine. Frank T. Darmiento Scottsdale, Arizona frank@darmiento.com www.SackbutMusic.com --------------------------- Frank Darmiento's new jazz CD 'Sudden Impact' is now available from Summit Records at: http://www.summitrecords.com/product.tmpl?SKU=339 ================================================= Applying the same logic that brought us "Guns don't kill people, people do,"we conclude: Trombones don't play out of tune, trombone players do. Come to think of it, there are other similarities as well. In the wrong hands, a trombone can be a dangerous weapon. Each year thousands are people are killed, maimed or annoyed by trombones. Trombones should be stored out of reach of children. There is currently legislation pending in Congress to restrict the sale of trombones and equip them with child-safety devices. The powerful trombone lobby is, of course, opposed to this. There have been various proposals for requiring a so called "trigger lock." Efforts to enact a mandatory 10 day waiting period to purchase a trombone have been heretofore been thwarted. This would allow a period of time for law enforcement to cross check the purchaser's name against a national list of registered trombone offenders. Law enforcement officials are particularly alarmed over the increase in crimes involving use of the "sawed-off" trombone or "sackbut." One response is the increased sentencing for those using a trombone while committing a crime (use a trombone - go to jail). This has been especially effective when used in conjunction with the new "Three sharps, you're out" laws passed in many states. The automatic and semi-automatic models are much more dangerous than the traditional single note trombone. The awesome destructive power of the double trigger bass trombone could never have been imagined by the founding fathers when they granted us the right to keep and arm bears. Remember: When trombones are outlawed, only outlaws will play "I'm Gettin' Sentimental Over You." ________________________________________________________________ Sent via the WebMail system at mail.darmiento.com From: morand@denison.edu Date: Thu, 14 Oct 2004 15:04:28 -0500 (EST) To: Trombone Mailing List Subject: [TROMBONE-L:2384] John Wasson contact info If anyone has contact information for John Wasson I would appreciate a note off list. Thanks, Doug Moran morand@denison.edu From: "Daniel Pliskin" Date: Thu, 14 Oct 2004 23:44:09 +0000 To: trombone-l@server5.samford.edu Subject: [TROMBONE-L:2385] long high tones Yāall, A few years, when I was visiting a friend in Reno, I took a great lesson from Phil Jerome. Phil claimed that playing long tones was like doing isometric exercises. If you wanted to be able to play high stuff, he claimed, you needed to play long high tones, to build those muscles. Well I liked that concept and these days, Iām hoping he was right. A few weeks ago, I started having trouble playing with my reamed out Bach 3 mouthpiece. Iāve since gone back to playing my a Denis Wick 4, which I have no trouble using. But itās fairly deep and doesnāt sound at all appropriate, when Iām honking along with salsa. So I made a radical cup insert, using Sculpey (flexible childrenās clay). This insert gives me a cup with just barely misses my lips and extends the taper of the back-bore back about 3/8ths of an inch. In essence, I get my old familiar rim with a mouthpiece aimed at playing high stuff and with really fast attacks. So, now that I have less trouble playing high stuff, Iām wondering whether those high-stuff muscles, Iām now using, will carry over, a few months from now, when I take the insert out? Any comments? DanP From: Mark Bauer Date: Thu, 14 Oct 2004 18:20:36 -0600 To: TROMBONE-L@server5.samford.edu Subject: [TROMBONE-L:2386] Contrapunctus I(From Art Of The Fugue) by J.S Bach Arranged by Glenn Smith My trombone quartet is looking for the Glenn Smith Arrangement of Contrapunctus I from Art of The Fugue by Bach. Does anyone know where I can get this? I already checked hickeys. MB -- "The most important thing in communication is to hear what isn't being said." From: Earl Needham Date: Thu, 14 Oct 2004 19:47:33 -0700 To: TROMBONE-L@server5.samford.edu Subject: [TROMBONE-L:2387] Re: emails At 06:53 PM 10/12/2004, Roger Carmichael wrote: >Anyone having trouble receiving emails from the Trombone-L list besides me? I'm not sure if it's a problem or not, but I've only received about 15 or 16 emails in the past two days or so. Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk From: alex iles Date: Thu, 14 Oct 2004 22:07:22 -0800 To: daniel_pliskin@hotmail.com Cc: trombone-l@server5.samford.edu Subject: [TROMBONE-L:2388] Re: long high tones Dan, I have a good giggle every time I read one of your posts describing your latest mouthpiece experiments. I gotta say [and please don't take this as a flame!!], you do/think about stuff that NONE of the professional bone players I know would ever DREAM about doing/thinking [and I have known some pretty "experimental" players!]. But maybe thanks to people like you, new ideas and products eventually find their way into the trombone "mainstream" like Thayer valves, lightweight slides, the Sauer brace, or even cold cream. There is no harm in TRYING something "out there" or thinking "outside of the box". In my opinion, though, a lot of players in an extreme version of this mindset can spend a lot of time trying to reinvent the wheel. Depends what you mean by "long tones". I would consider "long tone" practice would be something like held notes with a duration of more than eight beats at quarter=60 or so [maybe even slower like Phil Teele's routine!!]. Most of the brass players I know who CLAIM to have practiced LOTS of high long tones that way end up developing a thinner and stiffer sound to my ear [especially in their middle/"money" registers]. This result might be due to reinforcing incorrect playing habits. I have never known a brass player with a great upper register who claimed to have practiced "long tones" up there the way I just described [if this is what in fact you are suggesting]. Most brass players I know with good high chops spend more time playing things like slower slurs, flexibility exercises, scales, arpeggios, and slow melodies up into that register. It is probably more about COORDINATION than STRENGTH. The range development comes from using the middle register as a model for how the upper register should sound and then going up there to pay a visit on a regular basis. In the process, you teach yourself not to make too many radical chop shifts going in and out of different registers [or at least CONTROL the shifts you DO make]. As far as your final question, I imagine only YOU will find the answer after messing around with your equipment so radically. A question to consider...will EVERY small bore tenor bone player who usually plays a 7C NECESSARILY have better "high chops" on a 1G than EVERY bass bone player who plays a 1G all the time? Good luck with this lastest endeavour! Alex Daniel Pliskin wrote: > Yāall, > > A few years, when I was visiting a friend in Reno, I took a great lesson > from Phil Jerome. Phil claimed that playing long tones was like doing > isometric exercises. If you wanted to be able to play high stuff, he > claimed, you needed to play long high tones, to build those muscles. > > Well I liked that concept and these days, Iām hoping he was right. > > A few weeks ago, I started having trouble playing with my reamed out Bach 3 > mouthpiece. Iāve since gone back to playing my a Denis Wick 4, which I have > no trouble using. But itās fairly deep and doesnāt sound at all > appropriate, when Iām honking along with salsa. So I made a radical cup > insert, using Sculpey (flexible childrenās clay). This insert gives me a > cup with just barely misses my lips and extends the taper of the back-bore > back about 3/8ths of an inch. In essence, I get my old familiar rim with a > mouthpiece aimed at playing high stuff and with really fast attacks. > > So, now that I have less trouble playing high stuff, Iām wondering whether > those high-stuff muscles, Iām now using, will carry over, a few months from > now, when I take the insert out? > > Any comments? > > DanP