Subject: Trombone-l Digest, Vol 12, Issue 15 Date: Sunday, January 15, 2006 12:00 PM From: trombone-l-request@samford.edu Reply-To: trombone-l@samford.edu To: Conversation: Trombone-l Digest, Vol 12, Issue 15 Send Trombone-l mailing list submissions to trombone-l@maillists.samford.edu To subscribe or unsubscribe via the World Wide Web, visit http://maillists.samford.edu/mailman/listinfo/trombone-l or, via email, send a message with subject or body 'help' to trombone-l-request@maillists.samford.edu You can reach the person managing the list at trombone-l-owner@maillists.samford.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of Trombone-l digest..." Today's Topics: 1. Re: Stupid human tricks (Corliss) 2. Re: BIAB vs BLOOD (Richard) 3. Re: BIAB vs BLOOD (Richard) 4. BIAB and the like (jazz practice with buddies) (Thomas Ervin) 5. Re: BIAB and the like (jazz practice with buddies) (Eric Edwards) 6. Marriage of Figaro (Pat McFarland) 7. Re: Marriage of Figaro (Howard Weiner) 8. Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra = Magic (Stan Brager) 9. Re: Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra = Magic Now Magic Jr. (Raymond Horton) 10. Re: Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra =Magic (Ken Barnes) 11. Re: Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra =Magic (Michael Millar) 12. Re: Help with Arban exercises (jscot@ucalgary.ca) 13. Re: Stupid human tricks (Earl Needham) ---------------------------------------------------------------------- Message: 1 Date: Fri, 4 Jan 1980 11:46:09 -0600 From: "Corliss" Subject: Re: [Trombone-l] Stupid human tricks To: "Raymond Horton" , "Doug Rowe" Cc: Trombone-L Message-ID: <002c01a8ea90$520270c0$07ebd842@richard> Content-Type: text/plain; charset="iso-8859-1" Yes, I have used Trombotine. Some prefer it; some prefer Super Slick; some prefer Ponds Cold Cream. Some will change what they use based on the instrument they are playing. I have a nonstandard approach because I don't like to use a cream which tends to gum things up. The Slide Doctor says that the most common problem with bad slides is that they are gummed up because of cream. I also think that it is better not to have to use a spray bottle. After thoroughly cleaning a slide I apply a form of silicone - Blue Coral Autofom - to the inner side of the outside slide. This forms a hard surface that lasts for many months. I then put a couple of drops of liquid silicone on each sleave and rub it in. This will last for about four days without the use of any water spray. If the slide gets dry and starts to stick one can use water spray to make it last longer but it is time snake out the slide and reapply the liquid silicone. Unfortanely Blue Coral Autofom is no longer available but I have seen others mention alternatives to it in the Trombone-l forum. One would have to do some checking. Richard Corliss ----- Original Message ----- From: "Raymond Horton" To: "Doug Rowe" Cc: "Trombone-L" Sent: Friday, January 13, 2006 8:59 PM Subject: Re: [Trombone-l] Stupid human tricks > > > a light layer of > >slide cream, pump slide, wipe off excess cream, then a dime sized drop > >of superslick oil, spray water, voila! That's how I do, it and I'm not > >changing until I find something better. Has anyone tried trombotine > >before? Other reccomendations? :) > > > > > Oboy!!!! > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 2 Date: Sat, 14 Jan 2006 10:37:11 -0800 From: "Richard" Subject: Re: [Trombone-l] BIAB vs BLOOD To: Message-ID: <000001c61939$88002920$6402a8c0@COMP6000> Content-Type: text/plain; charset="us-ascii" I know that I am "preaching to the choir" somewhat, and we seem to be in total agreement, but allow me to take the "conversation" metaphor a little further. It is my humble opinion that BIAB allowed me (and still does to a lesser extant) to build my vocabulary. You can't have a conversation with BIAB because it's just a machine, the best you can do is play off some of the comping licks it plays (most of which aren't very complex or interesting). Granted they are very limited, it's a one way conversation, sort of like living with my former wife . It allowed me to try new licks and experiment with stuff that I might have been too embarrassed to try with "live" players. To carry the metaphor a little further, sometimes, depending on the venue, audience and players, a gig can be a real debate. One other comment about BIAB: Although it can be almost turn-key by entering the changes and selecting a groove, it also allows you to create your own styles and customize much of it's performance. But that requires some involved work and the learning curve for me wasn't worth the effort for what I wanted. I will admit to using it for "scratch" tracks when I am experimenting with proof-of-concept ideas with my MBox at home. Richard ------------------------------ Message: 3 Date: Sat, 14 Jan 2006 10:55:17 -0800 From: "Richard" Subject: Re: [Trombone-l] BIAB vs BLOOD To: Message-ID: <000701c6193c$0fd690d0$6402a8c0@COMP6000> Content-Type: text/plain; charset="us-ascii" I may very well have heard this joke on the list, if it has been on the list then please forgive me for repeating it: A very prominent trombonist's son wanted to play Electric Bass, so the trombonist contacted a good friend to give his son lessons. The son attends his first lesson and for the next week he practices for hours a day. E E E E E E E E E E E E This is driving the trombonist crazy, but he figures that at least he's practicing. After the next week's lesson, the son continues his regiment, but now he added another note: E A E A E A E A The trombonist figures that his son needs to get the fundamentals and so he endures. The third week the son adds, you guessed it, a "D" E A D, E A D, E A D He continues paying the open strings for hours and hours a day. The trombonist wants to support his son, so he says nothing and puts on his Bose noise canceling headset and tries to relax. The fourth week the trombonist hears nothing. The fifth and sixth weeks still no practicing. Figuring that his son had lost interest, he approaches his son to give him a pep talk. "Son, for weeks you were practicing for hours and hours a day, but for the past 3 weeks I haven't heard you practice at all. As a young trombone player I know how it is trying to get through exercises like Arbans, but you have to keep practicing if you ever expect to perform in front of people" The son, with a rather puzzled look on his face retorted, "Practicing ? Dad, I don't have time to practice I have too many gigs!" -----Original Message----- From: Adrian Drover [mailto:slide@adios.co.uk] Sent: Saturday, January 14, 2006 1:14 AM Subject: RE: [Trombone-l] BIAB vs BLOOD Yeah, but it's not as easy to get rhythm players as it is blowers to do freebies, 'cos the former get more paid gigs than the latter. A. ------------------------------ Message: 4 Date: Sat, 14 Jan 2006 12:39:58 -0700 From: Thomas Ervin Subject: [Trombone-l] BIAB and the like (jazz practice with buddies) To: trombone-l@server5.samford.edu Message-ID: <872822cd80fdef156095dc027526c014@u.arizona.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed My students all tell me, and I very much agree, that playing with Jamey's CD's, or Smart Music, or BIAB, is immensely more fun with a partner or 2. Buddy practice! Practicing jazz alone I am quite soon tired in the brain, critical, tired in the chops. With partners/friends, we get to spell each other, get ideas from one another, laugh, point to the changes if necessary, and politely point out that "You're missing THAT chord THERE every time" or "You're playing almost entirely eighth notes," "I think it'd be better if you kept conscious about your range/phrase lengths/pitch/spaces." We might even be able to assist each other with some theory nuts and bolts. We might even have a beer or two. Many hours are possible. The partners can be better than you, or the other way around, or even a sax player! Even a singer? Hmm, haven't tried that! Tom Ervin, Professor of Music University of Arizona (Music 133) (alt: with street address) PO Box 210004 MUSIC, Univ Arizona Tucson AZ 85721 1017 North Olive Road Tucson AZ 85719-0506 520/621-7021 ervint@u.arizona.edu tom-ervin.com (website) ------------------------------ Message: 5 Date: Sat, 14 Jan 2006 15:41:48 -0600 From: "Eric Edwards" Subject: Re: [Trombone-l] BIAB and the like (jazz practice with buddies) To: "'Thomas Ervin'" , "Trombone-L" Message-ID: <200601142141.k0ELfjK4000474@server5.samford.edu> Content-Type: text/plain; charset="us-ascii" ?? A sax player?? TOM SAY IT ISN"T SO!!!!!!! :) Just had to give a little dig! Eric -----Original Message----- From: trombone-l-bounces@samford.edu [mailto:trombone-l-bounces@samford.edu] On Behalf Of Thomas Ervin Sent: Saturday, January 14, 2006 1:40 PM To: trombone-l@server5.samford.edu Subject: [Trombone-l] BIAB and the like (jazz practice with buddies) My students all tell me, and I very much agree, that playing with Jamey's CD's, or Smart Music, or BIAB, is immensely more fun with a partner or 2. Buddy practice! Practicing jazz alone I am quite soon tired in the brain, critical, tired in the chops. With partners/friends, we get to spell each other, get ideas from one another, laugh, point to the changes if necessary, and politely point out that "You're missing THAT chord THERE every time" or "You're playing almost entirely eighth notes," "I think it'd be better if you kept conscious about your range/phrase lengths/pitch/spaces." We might even be able to assist each other with some theory nuts and bolts. We might even have a beer or two. Many hours are possible. The partners can be better than you, or the other way around, or even a sax player! Even a singer? Hmm, haven't tried that! Tom Ervin, Professor of Music University of Arizona (Music 133) (alt: with street address) PO Box 210004 MUSIC, Univ Arizona Tucson AZ 85721 1017 North Olive Road Tucson AZ 85719-0506 520/621-7021 ervint@u.arizona.edu tom-ervin.com (website) _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 6 Date: Sat, 14 Jan 2006 15:50:43 -0600 From: "Pat McFarland" Subject: [Trombone-l] Marriage of Figaro To: "'Trombone-L'" , Message-ID: <20060114213709.6690F190184@nothing.midiowa.net> Content-Type: text/plain; charset="us-ascii" Two quick questions... 1. Is there a website that lists instrumentation of classical (orchestral) pieces? 2. Does Mozart's "The Marriage of Figaro" have trombone parts? Pat McFarland ------------------------------ Message: 7 Date: Sat, 14 Jan 2006 23:44:32 +0100 From: Howard Weiner Subject: Re: [Trombone-l] Marriage of Figaro To: "Pat McFarland" , trombone-l@server5.samford.edu Message-ID: <5.1.0.14.0.20060114234150.00a51440@mail.sampo.de> Content-Type: text/plain; charset="us-ascii"; format=flowed At 15:50 14.01.06 -0600, Pat wrote: >Two quick questions... > >1. Is there a website that lists instrumentation of classical >(orchestral) pieces? http://kalmus-music.com/ >2. Does Mozart's "The Marriage of Figaro" have trombone parts? No Howard -- Howard Weiner weiner@privat.toplink.de http://www.odilia.ch/howard-weiner If vegetarians eat only vegetables, what do humanitarians eat? ------------------------------ Message: 8 Date: Sat, 14 Jan 2006 19:46:26 -0800 From: "Stan Brager" Subject: [Trombone-l] Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra = Magic To: "Trombone-L" Message-ID: <000d01c61986$469093b0$6501a8c0@jazzman> Content-Type: text/plain; charset="iso-8859-1" This was posted on the Dixieland Jazz mailing list. It was forwarded from the Sinatra mailing list and contains good trombone content. Stan Stan Brager ----- Original Message ----- Fifty years ago this evening Frank Sinatra entered Capitol's KHJ Studios on Vine St. and from 8 to 11:30 proceeded to record 4 songs. Three of the tunes were done for "Songs for Swingin' Lovers" and one, "Flowers Mean Forgiveness," was laid down for a single release. The session was arranged and conducted by Nelson Riddle. A thirty-four piece orchestra and a chorus of four male singers had been contracted for the evening. The first two tracks done were "It Happened In Monterey" and "Swingin' Down the Lane." The penultimate song was the single ditty with chorus . . . and then Cole Porter's tune "I've Got You Under My Skin" completed the session. During the afternoon rehearsal the musicians gave Riddle a standing ovation after running down the "Skin" chart. Even today it is difficult to fully comprehend the importance of that moment so long ago now. Sinatra and Riddle created a sound that evening destined to be imitated by scores of singers. The urban ethos "Skin" would personify became the single most identifiable Sinatra sound. There were 22 takes done before Frank and Nelson reached the level of excellence that would become the legendary recording. Here is guitarist Bob Bain's recollection of that evening: BB: I was sitting right next to Milt Bernhart. Milt was just terrified. The work was so demanding. And they would say we?ve got to do another one. He would look at me and say, ? I don?t have another one left.? The take they finally took was the best solo he did all night. EOB. There were 22 takes. I should mention the date was 1-12-56 BB. There was a lot of tension building up. Nelson was getting impatient. Frank was getting impatient. Milt had to play that solo on top of the brass. He had to really blow hard. EOB. Do you remember anything else about that session ? It was really a historic session. BB. This is what I remember: I was very close to Doreen Riddle, Nelson?s first wife. A few days after the sessions, Frank invited Nelson and Doreen down to Palm Springs. The evening they were there at Frank?s house, he just kept playing ?I?ve Got You Under My Skin? over and over and over again. He kept saying, ?You mother, you really wrote your ass off on this one.? He just kept making comments to them on how great the arrangement was. Doreen told me she got sick of listening to the song. He would play it and then go play it again. And play it again. EOB. I think it is without question his single greatest recording. BB. Yes, it is. George Roberts, bass trombonist, had some fascinating background. EOB: Can you give me some background on the recording of ?I?ve Got You Under My Skin?? GR: The song was a big, big thing for me. The Afro-Cuban rhythmical piece in the center of the song. He called me up about a month or month and a half in front of that session. He said that Frank wanted a long crescendo in the middle. Nelson did it with trombones. It set up a pattern of five different contrapella lines going at the same time. And it started with bass trombone. Being on that tune, it was just about the biggest single record Nelson ever did, really opened things up for me. Sinatra sang the songs thousands of times in concert and often told his audience it was Nelson Riddle's finest hour. ------------------------------ Message: 9 Date: Sat, 14 Jan 2006 23:23:47 -0500 From: Raymond Horton Subject: Re: [Trombone-l] Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra = Magic Now Magic Jr. To: Stan Brager Cc: Trombone-L Message-ID: <43C9CE53.7060905@insightbb.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed That was great, Stan. Several years ago, a bit after Frank Sr. died, Frank Jr. did a tribute tour, singing all Riddle arrangements. He did one concert with us in Louisville on our pops series, and was really in great voice. It was really a treat to play. (I did my best to channel George R. on those great parts.) At one portion of the concert, Frank Jr. talked about being a young lad accompanying his dad to a session, watching him do four classic recordings in one take each, perfectly, (I remember one was "Old Man River") and then deciding that was enough for one night. And Jr. recreated the moment beautifully. He is an under appreciated talent. (When he did a cameo on "The Sopranos" on of the mobsters called him "Chairboy of the Board"!) I guess some orchestras had seemed less than excited about the concert before he got to us, because he took some time during the rehearsal to say how special the arrangements were, and that we should cherish playing them - which most of us already were, I believe. (Then again, we had played Mahler 9th the week before, so there is a balance to such things.) I still like to imitate his closing sentence from that little pep talk: "Enjoy Dis!' Raymond Horton Bass Trombonist Louisville Orchestra Stan Brager wrote: >This was posted on the Dixieland Jazz mailing list. It was forwarded from >the Sinatra mailing list and contains good trombone content. > >Stan >Stan Brager >----- Original Message ----- >Fifty years ago this evening Frank Sinatra entered Capitol's KHJ Studios on >Vine St. and from 8 to 11:30 proceeded to record 4 songs. Three of the >tunes were done for "Songs for Swingin' Lovers" and one, "Flowers Mean >Forgiveness," was laid down for a single release. The session was arranged >and conducted by Nelson Riddle. > > ------------------------------ Message: 10 Date: Sat, 14 Jan 2006 22:49:06 -0600 From: "Ken Barnes" Subject: Re: [Trombone-l] Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra =Magic To: "Stan Brager" , Message-ID: <001f01c6198f$04514310$6601a8c0@D5RNQT71> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Great, interesting vignette on Nelson Riddle, Frank Sinatra and "... Under My Skin"... ... and Milt Bernhardt, whose memory every trombone picker should cherish...but wow, it says "Milt was just terrified." Who'da thunk it. Thanks for sending that ... ----- Original Message ----- From: "Stan Brager" To: "Trombone-L" Sent: Saturday, January 14, 2006 9:46 PM Subject: [Trombone-l] Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra =Magic This was posted on the Dixieland Jazz mailing list. It was forwarded from the Sinatra mailing list and contains good trombone content. Stan Stan Brager ----- Original Message ----- Fifty years ago this evening Frank Sinatra entered Capitol's KHJ Studios on Vine St. and from 8 to 11:30 proceeded to record 4 songs. Three of the tunes were done for "Songs for Swingin' Lovers" and one, "Flowers Mean Forgiveness," was laid down for a single release. The session was arranged and conducted by Nelson Riddle. A thirty-four piece orchestra and a chorus of four male singers had been contracted for the evening. The first two tracks done were "It Happened In Monterey" and "Swingin' Down the Lane." The penultimate song was the single ditty with chorus . . . and then Cole Porter's tune "I've Got You Under My Skin" completed the session. During the afternoon rehearsal the musicians gave Riddle a standing ovation after running down the "Skin" chart. Even today it is difficult to fully comprehend the importance of that moment so long ago now. Sinatra and Riddle created a sound that evening destined to be imitated by scores of singers. The urban ethos "Skin" would personify became the single most identifiable Sinatra sound. There were 22 takes done before Frank and Nelson reached the level of excellence that would become the legendary recording. Here is guitarist Bob Bain's recollection of that evening: BB: I was sitting right next to Milt Bernhart. Milt was just terrified. The work was so demanding. And they would say we?ve got to do another one. He would look at me and say, ? I don?t have another one left.? The take they finally took was the best solo he did all night. EOB. There were 22 takes. I should mention the date was 1-12-56 BB. There was a lot of tension building up. Nelson was getting impatient. Frank was getting impatient. Milt had to play that solo on top of the brass. He had to really blow hard. EOB. Do you remember anything else about that session ? It was really a historic session. BB. This is what I remember: I was very close to Doreen Riddle, Nelson?s first wife. A few days after the sessions, Frank invited Nelson and Doreen down to Palm Springs. The evening they were there at Frank?s house, he just kept playing ?I?ve Got You Under My Skin? over and over and over again. He kept saying, ?You mother, you really wrote your ass off on this one.? He just kept making comments to them on how great the arrangement was. Doreen told me she got sick of listening to the song. He would play it and then go play it again. And play it again. EOB. I think it is without question his single greatest recording. BB. Yes, it is. George Roberts, bass trombonist, had some fascinating background. EOB: Can you give me some background on the recording of ?I?ve Got You Under My Skin?? GR: The song was a big, big thing for me. The Afro-Cuban rhythmical piece in the center of the song. He called me up about a month or month and a half in front of that session. He said that Frank wanted a long crescendo in the middle. Nelson did it with trombones. It set up a pattern of five different contrapella lines going at the same time. And it started with bass trombone. Being on that tune, it was just about the biggest single record Nelson ever did, really opened things up for me. Sinatra sang the songs thousands of times in concert and often told his audience it was Nelson Riddle's finest hour. _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 11 Date: Sat, 14 Jan 2006 23:25:28 -0800 From: "Michael Millar" Subject: Re: [Trombone-l] Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra =Magic To: "Stan Brager" , "Trombone-L" Message-ID: <005a01c619a4$dcba0fb0$6401a8c0@michaelmmgb3j7> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original Milt gave some additional info on the "Got You Under My Skin" solo - I believe it was in the Will Friedwald book on Sinatra. There weren't individual mics on this session, but rather overall band mics placed rather high overhead. During these multiple takes, it was determined that Milt's solo wasn't strong enough in the mix. Sinatra pulled in orange crates from the hall, and Milt performed his famous solo while standing upon them! Milt was a very interesting and knowledgeable guy, and certainly a terrific player. The book on the history of studio brass players in LA that Malcolm McNab and I are finishing up has an interview that I did with Milt. Michael Millar Valencia, CA ----- Original Message ----- From: "Stan Brager" To: "Trombone-L" Sent: Saturday, January 14, 2006 7:46 PM Subject: [Trombone-l] Fw: [Dixielandjazz] Nelson Riddle + Frank Sinatra =Magic This was posted on the Dixieland Jazz mailing list. It was forwarded from the Sinatra mailing list and contains good trombone content. Stan Stan Brager ----- Original Message ----- Fifty years ago this evening Frank Sinatra entered Capitol's KHJ Studios on Vine St. and from 8 to 11:30 proceeded to record 4 songs. Three of the tunes were done for "Songs for Swingin' Lovers" and one, "Flowers Mean Forgiveness," was laid down for a single release. The session was arranged and conducted by Nelson Riddle. A thirty-four piece orchestra and a chorus of four male singers had been contracted for the evening. The first two tracks done were "It Happened In Monterey" and "Swingin' Down the Lane." The penultimate song was the single ditty with chorus . . . and then Cole Porter's tune "I've Got You Under My Skin" completed the session. During the afternoon rehearsal the musicians gave Riddle a standing ovation after running down the "Skin" chart. Even today it is difficult to fully comprehend the importance of that moment so long ago now. Sinatra and Riddle created a sound that evening destined to be imitated by scores of singers. The urban ethos "Skin" would personify became the single most identifiable Sinatra sound. There were 22 takes done before Frank and Nelson reached the level of excellence that would become the legendary recording. Here is guitarist Bob Bain's recollection of that evening: BB: I was sitting right next to Milt Bernhart. Milt was just terrified. The work was so demanding. And they would say we?ve got to do another one. He would look at me and say, ? I don?t have another one left.? The take they finally took was the best solo he did all night. EOB. There were 22 takes. I should mention the date was 1-12-56 BB. There was a lot of tension building up. Nelson was getting impatient. Frank was getting impatient. Milt had to play that solo on top of the brass. He had to really blow hard. EOB. Do you remember anything else about that session ? It was really a historic session. BB. This is what I remember: I was very close to Doreen Riddle, Nelson?s first wife. A few days after the sessions, Frank invited Nelson and Doreen down to Palm Springs. The evening they were there at Frank?s house, he just kept playing ?I?ve Got You Under My Skin? over and over and over again. He kept saying, ?You mother, you really wrote your ass off on this one.? He just kept making comments to them on how great the arrangement was. Doreen told me she got sick of listening to the song. He would play it and then go play it again. And play it again. EOB. I think it is without question his single greatest recording. BB. Yes, it is. George Roberts, bass trombonist, had some fascinating background. EOB: Can you give me some background on the recording of ?I?ve Got You Under My Skin?? GR: The song was a big, big thing for me. The Afro-Cuban rhythmical piece in the center of the song. He called me up about a month or month and a half in front of that session. He said that Frank wanted a long crescendo in the middle. Nelson did it with trombones. It set up a pattern of five different contrapella lines going at the same time. And it started with bass trombone. Being on that tune, it was just about the biggest single record Nelson ever did, really opened things up for me. Sinatra sang the songs thousands of times in concert and often told his audience it was Nelson Riddle's finest hour. _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 12 Date: Sun, 15 Jan 2006 00:58:48 -0700 (MST) From: jscot@ucalgary.ca Subject: Re: [Trombone-l] Help with Arban exercises To: derek@easeandluxury.com Cc: trombone-l@server5.samford.edu Message-ID: <1116.68.146.218.18.1137311928.squirrel@68.146.218.18> Content-Type: text/plain;charset=iso-8859-1 >Derek - You've already received some good advice about the tonguing notation and how to interpret it. I would only add that any exercises in the Arban's book can be practiced in different tonguing styles with an objective of keeping the style consistent throughout the exercise as you move between different slide positions and registers. As far as the slurring exercises - there are 2 schools of thought on how to perform slurs on the trombone. Some prefer to use natural slurs (lip slurs) whenever possible, while some use legato tongue exclusively ("da" or "du" vs. "ta" or "tu" in staccato). You might try using both methods when you practice that section, to see what suits you best at this point. Like some of the others that have responded to your post, I'd suggest that going back to a teacher will speed your progress and help provide direction to your practice. Ask around about which teachers in your area have the best studios. Best of luck! Jim Scott Calgary Philharmonic I've been playing the trombone for a year and a half or so, first with > an instructor, but now on my own. I just picked up the relatively new > edition of the Arban method book, and had some questions (reflecting > my inexperience). > > - The first section seems to be about tonguing and attack. There's a > lot of the common accent symbol that's like a greater-than sign- > this means sharp attack? > > - The next section, starting at #9, says to use natural slurring. Does > this mean NOT tonguing, but using breath control and embouchure to > separate notes? > > - Starting on #11 the passages have both the greater-than sign accent, > as well as a small upside down filled-in triangle. What does that > one mean? > > - The introduction to the section starting at #28 says it's about > "coordinating" movements of slide and embouchure, and are mostly > runs of eighth notes. Is this meant to be played "normally" (no sharp > attack and no slurring), to work on playing cleanly? > > Thanks for any assistance! > > For the record, this is the Arban info, that I found via the archives > in an older post: > > Complete Method for Trombone & Euphonium > ARBAN > by Joseph Alessi and Dr. Brian Bowman > copyright 2000 > > ENCORE MUSIS PUBLISHERS > P. O. Box 786 > Troy, Michigan 48099-0786 > www.encoremupub.com > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 13 Date: Sun, 15 Jan 2006 08:21:15 -0700 From: Earl Needham Subject: Re: [Trombone-l] Stupid human tricks To: trombone-L@server5.samford.edu Message-ID: <6.1.0.6.2.20060115082044.02703428@email.plateautel.net> Content-Type: text/plain; charset="us-ascii"; format=flowed At 10:46 AM 1/4/1980, Corliss wrote: >After thoroughly >cleaning a slide I apply a form of silicone - Blue Coral Autofom - to the >inner side of the outside slide. This forms a hard surface that lasts for >many months. You better hang on to that stuff and ration it as far as you can -- that's been out of production for several years now. Earl Earl Needham, KD5XB, Clovis, New Mexico DM84jk Looking for one MasterMobile 20-meter coil (might say "Davis Electronics" on it) Say NO to unbranded junk -- insist on an original TRISTAR! ------------------------------ _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l End of Trombone-l Digest, Vol 12, Issue 15 ******************************************