Subject: TROMBONE-L digest 305 Date: Friday, February 11, 2005 12:01 AM From: Multiple recipients of list To: Multiple recipients of list TROMBONE-L Digest 305 Topics covered in this issue include: 1) Re: Instrument Choices by James Scott 2) Re: Instrument Choices by Art Triggs 3) Re: Instrument Choices by Gabriel Langfur 4) Re: Instrument Choices by Raymond Horton 5) Re: Instrument Choices by BJMCHAFFIE@aol.com 6) Re: Instrument Choices by Art Triggs 7) Looking for leadpipe... by bonemstr@america.net 8) Re: Instrument Choices by "Jim Lee" 9) Re: Instrument Choices by Raymond Horton 10) Re: Instrument Choices by "Steve Gamble" 11) Re: Instrument Choices by Raymond Horton 12) New Orleans by lewismm@songs.sce.com 13) Bolero by Jeremy Buckler 14) Re: New Orleans by Jeff Albert 15) Re: Bolero by James Scott 16) Brass Quintet w/Wind Ensemble repertoire? by Greg Bergantz 17) RE: Bolero by "Chris Dearth" 18) RE: Bolero by Jeremy Buckler 19) RE: Bolero by "Chris Tune" From: James Scott Date: Thu, 10 Feb 2005 00:35:14 -0700 To: Cc: Subject: [TROMBONE-L:3967] Re: Instrument Choices Gabe, David, etc. - It's my understanding that Van Haney used a Conn 70H Bass(.547-.562 slide) while playing 2nd trombone in the NY Philharmonic in the 50's. He may not have used this setup all the time, and he was primarily a bass trombonist before getting the job, but it does show that the dual bore phenomenon isn't new. Jim Scott David Guion wrote: >>--- David Guion wrote: >> >> >>>Geezerdom on this list does not go back far enough for >>>increasing bore sizes to be in living memory. >>> >>> >>Sure it does - it's happening right now. I never heard of a >>tenor trombone with a .547-.562 dual bore slide until about >>1991 - about the same time I first became aware of tenor >>players using .562 slides in orhcestras. I tried a >>.562-.578 bass slide for the first time in about 1994. >> >>===== >>Gabe Langfur >>Boston, MA >> >> > >I was in too much of a hurry. What I meant was, no one is old enough to >remember when it started. > >*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* >David Guion > >Who is General Failure? And why is he >reading my hard drive? > >david@trombone.org > > >*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > > > > > > >________________________________________________________________ >Sent via the WebMail system at trombone.org > > > > > > > ............................................................ : An attachment to this post has been stripped by: : : plaintext.pl : : Original idea by Phillip Porch (ppp@theporch.com) : : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : : Modifications by Mearl Danner, (jmdanner@samford.edu) : : All rights reserved. : ............................................................ From: Art Triggs Date: Thu, 10 Feb 2005 06:52:07 -0500 To: Cc: , Subject: [TROMBONE-L:3968] Re: Instrument Choices Van Haney did indeed use a 70h special .547/.562 Bass trombone,(afaik the standard 70h was a straight .562 bore - I've seen both) as did John Clark and a few other bass trombonists of that "era" - it didn't stop him from having a beatiful "clean" sound in the NY Phil, or on the one recording that I know of of the NY Phil Brass quintet. Art Triggs James Scott wrote: > Gabe, David, etc. - > > It's my understanding that Van Haney used a Conn 70H Bass(.547-.562 > slide) while playing 2nd trombone in the NY Philharmonic in the 50's. He > may not have used this setup all the time, and he was primarily a bass > trombonist before getting the job, but it does show that the dual bore > phenomenon isn't new. > > Jim Scott > > David Guion wrote: > >>> --- David Guion wrote: >>> >>> >>>> Geezerdom on this list does not go back far enough for >>>> increasing bore sizes to be in living memory. >>>> >>> >>> Sure it does - it's happening right now. I never heard of a >>> tenor trombone with a .547-.562 dual bore slide until about >>> 1991 - about the same time I first became aware of tenor >>> players using .562 slides in orhcestras. I tried a >>> .562-.578 bass slide for the first time in about 1994. >>> >>> ===== >>> Gabe Langfur >>> Boston, MA >>> >> >> >> I was in too much of a hurry. What I meant was, no one is old enough >> to remember when it started. >> >> *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* >> David Guion >> >> Who is General Failure? And why is he >> reading my hard drive? >> >> david@trombone.org >> >> >> *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* >> >> >> >> >> >> >> ________________________________________________________________ >> Sent via the WebMail system at trombone.org >> >> >> >> >> >> > > > : An attachment to this post has been stripped by: : > : plaintext.pl : > : Original idea by Phillip Porch (ppp@theporch.com) : > : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : > : Modifications by Mearl Danner, (jmdanner@samford.edu) : > : All rights reserved. : > ............................................................ > From: Gabriel Langfur Date: Thu, 10 Feb 2005 05:37:42 -0800 (PST) To: Subject: [TROMBONE-L:3969] Re: Instrument Choices --- Jim Lee wrote: > Correct but at first he wasn't as doctrinaire about their > use. His > greatest student never played on anything bigger than a > 78H. I'm not sure whom you're talking about...and how do you pick one greatest Remington student? There are great bass trombone players (Ray Premru, Bill Reichenbach)...and where would Ralph Sauer fit? ===== Gabe Langfur Boston, MA From: Raymond Horton Date: Thu, 10 Feb 2005 08:45:22 -0500 To: Cc: , Subject: [TROMBONE-L:3970] Re: Instrument Choices He told me he played an 88H. RBH James Scott wrote: > Gabe, David, etc. - > > It's my understanding that Van Haney used a Conn 70H Bass(.547-.562 > slide) while playing 2nd trombone in the NY Philharmonic in the 50's. > He may not have used this setup all the time, and he was primarily a > bass trombonist before getting the job, but it does show that the dual > bore phenomenon isn't new. > > Jim Scott > From: Date: Thu, 10 Feb 2005 09:43:12 EST To: , , Subject: [TROMBONE-L:3971] Re: Instrument Choices This past year after a long long period of not playing out doors, I used my Bach .500 bore tenor for a large gathering outdoors. One of my long time band friends was at the furthest distance from me, almost the distance of a football field indicated that the sound came through very well, and later inside the building with a small group I just played softly and he said blend was excellent. Playing the trombone is a physical activity, like few other instruments and while it is not simple, the physical effort must be modulated to fit the circumstances. beldon wade ............................................................ : An attachment to this post has been stripped by: : : plaintext.pl : : Original idea by Phillip Porch (ppp@theporch.com) : : Written by Stephen Modena, AB4EL (shimshon@theporch.com) : : Modifications by Mearl Danner, (jmdanner@samford.edu) : : All rights reserved. : ............................................................ From: Art Triggs Date: Thu, 10 Feb 2005 09:50:29 -0500 To: Subject: [TROMBONE-L:3972] Re: Instrument Choices That should not be surprising ,I would expect that Van Haney payed more than one instrument at one time or another,(How man trombone ists have more than one trombone for the work they do? ;-))I have seen photos of him in the NY Phil brass, and in the Orchestra with the 70h, and the one conversation about the NY Phil Brass I had was that he used the 70h in it. Knowing that Ostrander played a modified Reynolds, or a 72h at one time or another and that Gordon Pulis used a 78H for most of his career, an 88 in the middle of that makes sense. On the dual bore deal, Conn made a whole group of tenor trombones with various dual bore configurations in the 30's 40's and into the 50's, the surviving ones I have seen were tuning in slide and played great. Art Triggs From: Date: Thu, 10 Feb 2005 10:23:14 -0500 To: "TROMBONE-L@server5.samford.edu" Subject: [TROMBONE-L:3973] Looking for leadpipe... Hello Listers and Fellowtrombonists, I'm looking for a Shires T08 #3 leadpipe for my modified 3B. I would trade B2.5L for it or buy it outright from someone who just won't use it. Please email me directly, off list. Thanks fo rthe ear, guys! Bob Devine Roswell/Atlanta, GA From: Jim Lee Date: Thu, 10 Feb 2005 07:50:17 -0800 To: Subject: [TROMBONE-L:3974] Re: Instrument Choices Gabe asks: > > Correct but at first he wasn't as doctrinaire about their use. His > > greatest student never played on anything bigger than a 78H. > > I'm not sure whom you're talking about... Gordon Pulis and how do you pick > one greatest Remington student? When one of the students was Pulis, it's easy. There are great bass trombone > players (Ray Premru, Bill Reichenbach)...and where would > Ralph Sauer fit? Ask Ralph what he thought of Gordon. ------------------ jimlee@cttsweb.com From: Raymond Horton Date: Thu, 10 Feb 2005 14:44:13 -0500 To: Cc: Subject: [TROMBONE-L:3975] Re: Instrument Choices I could be wrong about Haney saying he used an 88H. Maybe he said "back when I played in the Philharmonic on the Conn," and I just assumed he meant an 88H. That was in 1976 or 1977. My memory is wavering. RBH Art Triggs wrote: >That should not be surprising,I would expect that Van Haney >payed more than one instrument at one time or another,(How >man trombone ists have more than one trombone for the work >they do? ;-))I have seen photos of him in the NY Phil brass, >and in the Orchestra with the 70h, and the one conversation >about the NY Phil Brass I had was that he used the 70h in it. >Knowing that Ostrander played a modified Reynolds, or a 72h >at one time or another and that Gordon Pulis used a 78H for >most of his career, an 88 in the middle of that makes sense. >On the dual bore deal, Conn made a whole group of tenor >trombones with various dual bore configurations in the 30's >40's and into the 50's, the surviving ones I have seen were >tuning in slide and played great. > >Art Triggs > > > > From: Steve Gamble Date: Thu, 10 Feb 2005 13:21:24 -0700 To: , Cc: Subject: [TROMBONE-L:3976] Re: Instrument Choices Sorry there isn't much detail here. But according to our bass trombonist, Van Haney used a bass trombone to play second when he played in the Tucson Symphony for two seasons. And he played REALLY loud. 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: owner-TROMBONE-L@listproc.samford.edu [mailto:owner-TROMBONE-L@listproc.samford.edu] On Behalf Of Raymond Horton Sent: Thursday, February 10, 2005 12:44 PM To: atriggs@rcn.com Cc: TROMBONE-L@server5.samford.edu Subject: [TROMBONE-L:3975] Re: Instrument Choices I could be wrong about Haney saying he used an 88H. Maybe he said "back when I played in the Philharmonic on the Conn," and I just assumed he meant an 88H. That was in 1976 or 1977. My memory is wavering. RBH Art Triggs wrote: >That should not be surprising,I would expect that Van Haney >payed more than one instrument at one time or another,(How >man trombone ists have more than one trombone for the work >they do? ;-))I have seen photos of him in the NY Phil brass, >and in the Orchestra with the 70h, and the one conversation >about the NY Phil Brass I had was that he used the 70h in it. >Knowing that Ostrander played a modified Reynolds, or a 72h >at one time or another and that Gordon Pulis used a 78H for >most of his career, an 88 in the middle of that makes sense. >On the dual bore deal, Conn made a whole group of tenor >trombones with various dual bore configurations in the 30's >40's and into the 50's, the surviving ones I have seen were >tuning in slide and played great. > >Art Triggs > > > > From: Raymond Horton Date: Thu, 10 Feb 2005 16:15:26 -0500 To: Steve Gamble Cc: , Subject: [TROMBONE-L:3977] Re: Instrument Choices I don't imagine your music director back then (who shall remain nameless) ever had the balls to say anything to him, either! RBH Steve Gamble wrote: >Sorry there isn't much detail here. But according to our bass >trombonist, Van Haney used a bass trombone to play second when he played >in the Tucson Symphony for two seasons. And he played REALLY loud. > >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: owner-TROMBONE-L@listproc.samford.edu >[mailto:owner-TROMBONE-L@listproc.samford.edu] On Behalf Of Raymond >Horton >Sent: Thursday, February 10, 2005 12:44 PM >To: atriggs@rcn.com >Cc: TROMBONE-L@server5.samford.edu >Subject: [TROMBONE-L:3975] Re: Instrument Choices > >I could be wrong about Haney saying he used an 88H. Maybe he said "back > >when I played in the Philharmonic on the Conn," and I just assumed he >meant an 88H. That was in 1976 or 1977. My memory is wavering. > >RBH > >Art Triggs wrote: > > > >>That should not be surprising,I would expect that Van Haney >>payed more than one instrument at one time or another,(How >>man trombone ists have more than one trombone for the work >>they do? ;-))I have seen photos of him in the NY Phil brass, >>and in the Orchestra with the 70h, and the one conversation >>about the NY Phil Brass I had was that he used the 70h in it. >>Knowing that Ostrander played a modified Reynolds, or a 72h >>at one time or another and that Gordon Pulis used a 78H for >>most of his career, an 88 in the middle of that makes sense. >>On the dual bore deal, Conn made a whole group of tenor >>trombones with various dual bore configurations in the 30's >>40's and into the 50's, the surviving ones I have seen were >>tuning in slide and played great. >> >>Art Triggs >> >> >> >> >> >> > > > > From: Date: Thu, 10 Feb 2005 13:47:35 -0800 To: Subject: [TROMBONE-L:3978] New Orleans I'll be in New Orleans for the first time this Sat-Thurs, Feb. 12-17. Staying in the French Quarter area. I enjoy trad. jazz bands and trombone, of course. Recommendations? Thanks, Mark L. From: Jeremy Buckler Date: Thu, 10 Feb 2005 17:06:51 -0500 To: Trombone-L Subject: [TROMBONE-L:3979] Bolero I wanted to hear thoughts on how people thought the 7th measure of the excerpt should be played, whether or not the grace note going into the gliss from Bb to Db should be re-tongued. I have not heard a recording where it is re tongued and was not taught to play it that way. it seems more and more though that teachers are starting to teach it to be re-tongued. some friends of mine auditioned at schools over the weekend and the professor at the school had him re-tongue the Bb. thoughts on either way of performing it? jeremy From: Jeff Albert Date: Thu, 10 Feb 2005 16:26:22 -0600 To: Cc: Subject: [TROMBONE-L:3980] Re: New Orleans There are a couple of good trad jazz clubs. The Palm Court on Decatur St, the Maison Bourbon on Bourbon and (I forget the cross street), and Preservation Hall. I think Delfeayo Marsalis will be at The Funky Butt on Mondays in February. The FB is on N. Rampart across from Armstrong Park. There is another cool club a block down from the Butt called Donna's. There are several clubs on Frenchmen St, which is just outside of the quarter across Esplanade. Snug Harbor is the classy modern jazz room. I am playing with a jazztronica trio called Quantum Blender on Tuesday at the Dragon's Den, which is on Esplanade near Frenchmen. On Saturday the 12th, a fabulous trombonist named Rick Trolsen will be at Dos Jefes Cigar Bar, which is pretty far uptown on Tchopitoulas. Rick has a band that is doing brazillian choro music, and it is wonderful. There is a music mag called offBeat that has good listings, or you can check them out at www.offbeat.com. Give me a call when you get in if you want directions to the good poboys too. Jeff -- Jeff Albert P.O. Box 8645 Mandeville, LA 70470 (504) 782-5835 www.jeffalbert.com jeff@jeffalbert.com From: James Scott Date: Thu, 10 Feb 2005 15:35:59 -0700 To: Cc: Trombone-L Subject: [TROMBONE-L:3981] Re: Bolero Jeremy - I had a teacher at Manhattan School of Music and Juilliard (Ed Herman, the former NY Phil. Principal) that taught us to re-attack the B flat grace note for the gliss. His reasoning was that Ravel went to the trouble of writing it that way, and if you look carefully at all of the solo passages in the 1st Trombone, they're all a bit different. However, when I went to the Alessi Seminar in Italy, Joe told me to not re-attack, as he thought it took away from the flow, and he characterized that approach as "old-fashioned". I find myself agreeing with Joe now, but I think it's a good idea to learn the other way as well, because it's a bit hard to do that re-attack if you haven't practiced it, and you never know what a conductor might ask. There are a lot of passages like that in the orchestral literature, where having a couple of different ways of playing it under your belt could be a real "life-saver" when you least expect it. Jim Scott Calgary Philharmonic Jeremy Buckler wrote: > I wanted to hear thoughts on how people thought the 7th measure of the > excerpt should be played, whether or not the grace note going into the > gliss from Bb to Db should be re-tongued. I have not heard a recording > where it is re tongued and was not taught to play it that way. it > seems more and more though that teachers are starting to teach it to > be re-tongued. some friends of mine auditioned at schools over the > weekend and the professor at the school had him re-tongue the Bb. > > > thoughts on either way of performing it? > > jeremy > From: Greg Bergantz Date: Thu, 10 Feb 2005 16:03:44 -0800 To: Subject: [TROMBONE-L:3982] Brass Quintet w/Wind Ensemble repertoire? Hey TROMBONE-L, My brass quintet has been invited to share a concert with a local wind ensemble. It would be most helpful to have a listing of music written for quintet and band, but I only know of a couple. Can anyone out there help me out? I'm aware of Eric Ewazen's "Shadowcather." From the clip, it sounds like it might work...any recommendations yay or nay from the trombone masses? Others? Thanks, Greg Bergantz Trombone, Oxford Street Brass and several other groups here and there From: Chris Dearth Date: Thu, 10 Feb 2005 19:56:16 -0500 To: , 'Trombone-L' Subject: [TROMBONE-L:3983] RE: Bolero Jeremy, I don't think I've yet encountered a teacher or conductor who has requested it to be rearticulated. I've studied with Per Brevig and Ray Premru (at Oberlin), Gail Eugene Wilson (Arizona State), M. Dee Stewart (Indiana), Keith Brown (Indiana), Carl Lenthe (Indiana), Scott Hartman (Indiana), and various other teachers. Not one has even brought it up. I personally don't rearticulate and wouldn't give it a second glance on an audition (whether on the audition or committee side). I agree with the Alessi philosophy Jim mentioned that it helps the flow. I do agree with Jim Scott, though, that you should be able to do it either way (just like how you should be able to play a given passage at several different tempos). :-) For giggles, I pulled my CSO/Solti recording out and listened to it (whole thing) to see what the other instruments did on this list. It was kind of mixed. The bassoon did it, the clarinet didn't. The saxes didn't, trombone didn't, first tutti passage didn't, second tutti passage didn't, and so on. Chris Dearth Principal Trombone, West Virginia Symphony Adjunct Instructor of Trombone, West Virginia Wesleyan Coll. OC'91 -----Original Message----- From: owner-TROMBONE-L@listproc.samford.edu [mailto:owner-TROMBONE-L@listproc.samford.edu] On Behalf Of Jeremy Buckler Sent: Thursday, February 10, 2005 5:07 PM To: Trombone-L Subject: [TROMBONE-L:3979] Bolero I wanted to hear thoughts on how people thought the 7th measure of the excerpt should be played, whether or not the grace note going into the gliss from Bb to Db should be re-tongued. I have not heard a recording where it is re tongued and was not taught to play it that way. it seems more and more though that teachers are starting to teach it to be re-tongued. some friends of mine auditioned at schools over the weekend and the professor at the school had him re-tongue the Bb. thoughts on either way of performing it? jeremy From: Jeremy Buckler Date: Thu, 10 Feb 2005 21:21:57 -0500 To: Cc: 'Trombone-L' Subject: [TROMBONE-L:3984] RE: Bolero Chris, I have been on the same page as you. ive never heard it rearticulated myself and DeSano has never taught it rearticulated here at oberlin. My friend was asked to rearticulate it at his audition at Rice university. We were discussing it during our studio class and i figured id ask the greater email oriented trombone community what they felt about it. On Feb 10, 2005, at 7:56 PM, Chris Dearth wrote: > Jeremy, > I don't think I've yet encountered a teacher or conductor who has > requested > it to be rearticulated. I've studied with Per Brevig and Ray Premru > (at > Oberlin), Gail Eugene Wilson (Arizona State), M. Dee Stewart (Indiana), > Keith Brown (Indiana), Carl Lenthe (Indiana), Scott Hartman (Indiana), > and > various other teachers. Not one has even brought it up. I personally > don't > rearticulate and wouldn't give it a second glance on an audition > (whether on > the audition or committee side). I agree with the Alessi philosophy > Jim > mentioned that it helps the flow. > > I do agree with Jim Scott, though, that you should be able to do it > either > way (just like how you should be able to play a given passage at > several > different tempos). :-) > > For giggles, I pulled my CSO/Solti recording out and listened to it > (whole > thing) to see what the other instruments did on this list. It was > kind of > mixed. The bassoon did it, the clarinet didn't. The saxes didn't, > trombone > didn't, first tutti passage didn't, second tutti passage didn't, and > so on. > > > Chris Dearth > Principal Trombone, West Virginia Symphony > Adjunct Instructor of Trombone, West Virginia Wesleyan Coll. > OC'91 > > > -----Original Message----- > From: owner-TROMBONE-L@listproc.samford.edu > [mailto:owner-TROMBONE-L@listproc.samford.edu] On Behalf Of Jeremy > Buckler > Sent: Thursday, February 10, 2005 5:07 PM > To: Trombone-L > Subject: [TROMBONE-L:3979] Bolero > > I wanted to hear thoughts on how people thought the 7th measure of the > excerpt should be played, whether or not the grace note going into the > gliss from Bb to Db should be re-tongued. I have not heard a recording > where it is re tongued and was not taught to play it that way. it seems > more and more though that teachers are starting to teach it to be > re-tongued. some friends of mine auditioned at schools over the weekend > and the professor at the school had him re-tongue the Bb. > > > thoughts on either way of performing it? > > jeremy > > From: Chris Tune Date: Thu, 10 Feb 2005 19:02:36 -0800 To: , , 'Trombone-L' Subject: [TROMBONE-L:3985] RE: Bolero It's funny. . it almost seems that once something is very firmly established as THE WAY to play something. . .along comes someone who asks that it be done some other way. . .it's as if those folk are trying to "make their mark". Mebbe not. . . Chris Tune ----- Original Message ----- From: "Chris Dearth" To: ; "'Trombone-L'" Sent: Thursday, February 10, 2005 4:56 PM Subject: [TROMBONE-L:3983] RE: Bolero > Jeremy, > I don't think I've yet encountered a teacher or conductor who has > requested > it to be rearticulated. I've studied with Per Brevig and Ray Premru (at > Oberlin), Gail Eugene Wilson (Arizona State), M. Dee Stewart (Indiana), > Keith Brown (Indiana), Carl Lenthe (Indiana), Scott Hartman (Indiana), and > various other teachers. Not one has even brought it up. I personally > don't > rearticulate and wouldn't give it a second glance on an audition (whether > on > the audition or committee side). I agree with the Alessi philosophy Jim > mentioned that it helps the flow. > > I do agree with Jim Scott, though, that you should be able to do it either > way (just like how you should be able to play a given passage at several > different tempos). :-) > > For giggles, I pulled my CSO/Solti recording out and listened to it (whole > thing) to see what the other instruments did on this list. It was kind of > mixed. The bassoon did it, the clarinet didn't. The saxes didn't, > trombone > didn't, first tutti passage didn't, second tutti passage didn't, and so > on. > > > Chris Dearth > Principal Trombone, West Virginia Symphony > Adjunct Instructor of Trombone, West Virginia Wesleyan Coll. > OC'91 > > > -----Original Message----- > From: owner-TROMBONE-L@listproc.samford.edu > [mailto:owner-TROMBONE-L@listproc.samford.edu] On Behalf Of Jeremy Buckler > Sent: Thursday, February 10, 2005 5:07 PM > To: Trombone-L > Subject: [TROMBONE-L:3979] Bolero > > I wanted to hear thoughts on how people thought the 7th measure of the > excerpt should be played, whether or not the grace note going into the > gliss from Bb to Db should be re-tongued. I have not heard a recording > where it is re tongued and was not taught to play it that way. it seems > more and more though that teachers are starting to teach it to be > re-tongued. some friends of mine auditioned at schools over the weekend > and the professor at the school had him re-tongue the Bb. > > > thoughts on either way of performing it? > > jeremy > > >