Subject: TROMBONE-L digest 306 Date: Saturday, February 12, 2005 12:01 AM From: Multiple recipients of list To: Multiple recipients of list TROMBONE-L Digest 306 Topics covered in this issue include: 1) Re: Bolero by Robert Sanders 2) Re: Bolero Redux by Robert Sanders 3) Bolero Re-Re-Redux by Robert Sanders 4) How do I unsubscribe? by Robert Sanders 5) Re: Instrument Choices by "Richardson, Timothy Mr. DAC 417 BSB DPW - ERMD" 6) RE: Bolero by "Bill Redgate" 7) Re: Bolero by BITEensemble@aol.com 8) FS: Shires tuning slide by "posaune rex" 9) could use some help here by "Paul Kemp" From: Robert Sanders Date: Fri, 11 Feb 2005 00:37:02 -0800 To: Trombone-L Subject: [TROMBONE-L:3986] Re: Bolero * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ---REMAINDER OF MESSAGE TRUNCATED--- * * A portion of this post has been stripped by: * * plaintext.pl * * If the text does not appear please repost without * * the attachment * * 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: Robert Sanders Date: Fri, 11 Feb 2005 00:46:16 -0800 To: Trombone-L Subject: [TROMBONE-L:3987] Re: Bolero Redux On Feb 10, 2005, at 2:06 PM, 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: Robert Sanders Date: Fri, 11 Feb 2005 00:48:15 -0800 To: Trombone-L Subject: [TROMBONE-L:3988] Bolero Re-Re-Redux * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ---REMAINDER OF MESSAGE TRUNCATED--- * * A portion of this post has been stripped by: * * plaintext.pl * * If the text does not appear please repost without * * the attachment * * 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: Robert Sanders Date: Fri, 11 Feb 2005 00:57:27 -0800 To: Trombone-L Subject: [TROMBONE-L:3989] How do I unsubscribe? OK, I give up. How do I unsubscribe? Thanks, Bob Sanders From: "Richardson, Timothy Mr. DAC 417 BSB DPW - ERMD" Date: Fri, 11 Feb 2005 10:59:32 +0100 To: , Subject: [TROMBONE-L:3990] Re: Instrument Choices beldon, Could it be that this outdoor large gathering you are just a bit mysterious about, with football field distances built in, actually... was... ...a football game? Don't be embarassed. I played two this summer, sat in with the local high school band to help them out. It was great fun!!! And, I brought a .500 bore tenor just like you did, and I thought it worked fine. yours, Tim -----Original Message----- From: BJMCHAFFIE@aol.com [mailto:BJMCHAFFIE@aol.com] Sent: Thursday, February 10, 2005 15:43 To: weiner@privat.toplink.de; glangfur@yahoo.com; TROMBONE-L@server5.samford.edu 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: Bill Redgate Date: Fri, 11 Feb 2005 07:17:38 -0500 To: Chris Tune , , , 'Trombone-L' Subject: [TROMBONE-L:3991] RE: Bolero Chris Tune Wrote; 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. . . Which points up I think the main problem facing live music today - That being that there is almost always an accepted "THE way" As illustrated by and in this thread, it would appear that there grow fewer and fewer articles of artistry every day. The recent discussion of equipment points up the mass fervour to attain "the sound." This conversation discusses "the Way" to articulate a particular passage. Blame be where it may, the idea that there is only ONE right sound or ONE right articulation - is thievery. It robs our society of the chance to hear DIFFERENCE. We speak a lot of diversity in our society, yet here we see another vestige of the march of homogenisation. In this instance, the problem is because the question is no longer correctly , " How do I play this particular passage?" The question has become, "What can I do with this passage to please the audition committee?" Given that the folks that the questioner is attempting to please and or impress are the most educated or should I say "most trained" musicians of our day, the above is especially troubling to me. Education should give one the tools with which to think and make decision. Training teaches one a set of skills and pre set concepts. The current circumstance is only one instance yet it illustrates what I see over and over again here. The idea prevails that there is a concept of empirical "rightness." I would like to challenge us all to discard that concept. Be in the moment and appreciate the MUSIC - not the notes and articulation and what not - produced by the musician. Give to any musician you hear the utmost freedom. Take every freedom your heart and ear suggests. We'll each hear a lot of stuff that just doesn't "do it" for us. But we will also hear gorgeous beauty that we would never have otherwise experienced. Give the musician the opportunity - and you WILL be rewarded. Have faith. As performers - take that chance. "Nothing ventured - nothing gained." I can tell you it feels GREAT when you fully satisfy yourself - and people notice. Sorry to be a bit off topic - but my best example of this came during a try out camp for the Phillies - many years ago. I handled a ground ball in a very unusual way and was rewarded by RIchie Ashburn himself pulling me aside a while later and telling me how much he appreciated my effort. It's a feeling I hope you each get someday. So let your own concept of the music and beauty be your guide - and realize it changes every day and moment. Be Free. Be YOU. Bring YOURSELF to every thing you do and you cannot help but succeed. Bill Redgate Atlanta Georgia Wildly unsuccessful recovering truck driver And itinerant Musician From: Date: Fri, 11 Feb 2005 07:39:47 EST To: , Cc: Subject: [TROMBONE-L:3992] Re: Bolero In a message dated 2/10/2005 5:36:45 P.M. Eastern Standard Time, jscot@ucalgary.ca writes: 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. I was a filter down student of Ed Herman as well. I say re-attack. That's what the composer said too (according to the music). I don't think the flow is altered by this articulation if done with care and style. I never really learned the Bolero until I dated am Argentinean lady in college who actually danced a bolero as I practiced it [ah, the memories ;-)]. Well, perhaps that was too much info. Nevertheless, I say get a mental image happening of what a bolero should be and then decide if you want to rearticulate. For me, the articulation adds a very sexy attitude to the solo. Later, Wes ............................................................ : 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: posaune rex Date: Fri, 11 Feb 2005 13:13:52 +0000 To: Subject: [TROMBONE-L:3993] FS: Shires tuning slide For Sale: Shires Tuning Slide Shires tenor trombone yellow brass "B" style tuning slide. Some small scratches, one teeny ding. New is $280 + s/h, will sell for $200 incl. s/h (firm). stacy werblin swerblin@hotmail.com http://remember.to/practice From: Paul Kemp Date: Fri, 11 Feb 2005 09:19:09 -0500 To: Subject: [TROMBONE-L:3994] could use some help here Dear listers, I am under attack by the conductor of the orchestra here. I'd prefer not to go into the details, but let it suffice to say that if the conductor has his way, I will not be in the orchestra next season. The same thing is happening to 2 other brass players in the orchestra as well. The union is involved, and everyone from the AFM that I've spoken to about my case agrees that due process hasn't been followed. I have a strong case, and I feel confident that I will be victorious through all of this. However, a few encouraging words and e-mails concerning my seriousness about music and the trombone would be of great help. I don't keep anything that I write. If any of you feel so inclined, please e-mail me privately. In solidarity, Paul D Kemp Jr. 2nd Trombone Chattanooga Symphony & Opera * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ---REMAINDER OF MESSAGE TRUNCATED--- * * A portion of this post has been stripped by: * * plaintext.pl * * If the text does not appear please repost without * * the attachment * * 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. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *