Subject: Trombone-l Digest, Vol 12, Issue 29 Date: Monday, January 30, 2006 12:00 PM From: trombone-l-request@samford.edu Reply-To: trombone-l@samford.edu To: Conversation: Trombone-l Digest, Vol 12, Issue 29 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: Time Life records, was OT browsers (Stan Brager) 2. Re: Time Life records, was OT browsers (Chris Tune) 3. interesting trombone and education link! (mcclurefamily) 4. Just right for an orgy!! Trombone news article....don't worry (Cherry-Classics) 5. FAVORITE TRB LITERATURE WITH REC. ACCOMPANIMENT (jimandcat@juno.com) 6. TROMBONE SOLO COLLECTIONS (jimandcat@juno.com) 7. FAVORITE SOLO LITERATURE SURVEY (jimandcat@juno.com) 8. Re: Nashville (Richardson, Timothy Mr. DAC USAG Franconia DPW) 9. Re: Just right for an orgy!! Trombone newsarticle....don't worry (Don Fitzsimons) 10. Re: Just right for an orgy!! (Howard Weiner) 11. OTJ Classifieds Update - 1/30/06 (Chris Waage) 12. Re: Just right for an orgy!! Trombonenewsarticle....don't worry (Adrian Drover) 13. improvisation thoughts (Scott Garlock) 14. Re: improvisation thoughts (Mikel K. Smith) 15. Re: improvisation thoughts (Bruce Faske) 16. Re: improvisation thoughts (Wayne Dyess) 17. Visual evidence of the freebuzzing embouchure (sabutin) 18. Re: Just right for an orgy!!Trombonenewsarticle....don't worry (Chris Tune) 19. Re: Just right for an orgy!!Trombonenewsarticle....don't worry (Todd Slothower) 20. Re: improvisation thoughts (Mike Caton) 21. Re: improvisation thoughts (richard.bartkus@cox.net) 22. Re: improvisation thoughts (thetubameister@adelphia.net) 23. Re: improvisation thoughts (Randy Fendrick) ---------------------------------------------------------------------- Message: 1 Date: Sat, 28 Jan 2006 08:37:07 -0800 From: "Stan Brager" Subject: Re: [Trombone-l] Time Life records, was OT browsers To: "Bonemaster" , "Chris Tune" , "'List Trombone'" Message-ID: <001a01c62429$5ba29ac0$6501a8c0@jazzman> Content-Type: text/plain; charset="iso-8859-1" Bob; There were 2 sets past 41-42 that I know of. The first was 1942-1944 and the second was 1944-1945. I have both. If you need any information about these sets, just let me know. Most of the bands were under the leadership of either Glen Gray or Billy May with many of the same players in both bands. Interestingly, Nat King Cole was the pianist on the Nat King Cole recreations. Other than that, Ray Sherman was the pianist on just about all of the recordings in this series. Ray is still alive and still active today. Stan Stan Brager ----- Original Message ----- From: "Bonemaster" To: "Chris Tune" ; "'List Trombone'" Sent: Sunday, January 29, 2006 9:06 AM Subject: Re: [Trombone-l] Time Life records, was OT browsers > Hey Chris, > > Speaking of the 'Time Life Swing Era Series', does anyone know where the set > past 41-42 can be had? I can't find anything on their website. I have the > 40-41 red and black 'LP' set and the 41-42 yellow and black 'LP' set. The > hardbooks in each have cool info on the original sidemen as well as those > who 're-recorded the T-L sets. > Any additional info is appreciated! > > Bob Devine > Atlanta, GA > An 'All Shires' family > > -----Original Message----- > From: trombone-l-bounces@samford.edu > [mailto:trombone-l-bounces@samford.edu]On Behalf Of Chris Tune > Sent: Saturday, January 28, 2006 10:51 PM > To: Jeff Albert; Larry White > Cc: 'List Trombone'; 'Richard Bartkus' > Subject: Re: [Trombone-l] OT browsers was Re: Wichita Train Whistle > > > Even once you are using MSFT Internet Explorer 6, it still depends upon WHAT > add-in is called upon the browser referring the *.asx page (Active Server > Page). Turns out my browser, and only my browser right now is set to put > the file into an unusual application called VLC Media Player (aka Video LAN. > . .it's interesting because it is Open Source and it supports a lot of > formats. . .it is a DRAG because it has a silly way of adding files to its > playlist which is super awkward and involves a separate sub-application). > > Anyway. . .I'd love to return power to play embedded web mp3 files to either > MSFT Windows Media Player, Musicmatch 8, or Qucktime. . .any of these at > least seem to load up the file and play it. . . > > THE RECORDING: > I got very stuttering audio coming over. . but I heard enough to know what > kind of "ambience" was used on the date. They were experimenting with a > more "classical music" approach to the audio. It works pretty good for > large groups like symphony orchestras (again depending upon the EXACT > technique--one pretty interesting one is called the "Decca Tree"). I'm not > very fond of that EXACT sound for a big band (of course some times you just > have to live with what is available). > > I really like the way they engineered the Time Life "The Swing Era" series > of stereo recordings for traditional big band. . .and I generally have > always liked the way the engineering was done on big bands through CTI > records. (usually I think this was Rudy Van Gelder at his own studio. . .NOT > a totally dry environment, but rather one which "contributes" and doesn't > take away from the ambience). This method is a "mixed method" with plenty > of both focused and ambient, or "room" sound with a high degree of > intelligence used to get full sound out of everything possible. They DO use > baffles to remove leakage but they are not trying to add much outboard > reverb, because the room provides some of its own. . often enough for a > small combo. . .maybe some adding is required for larger groups. > > This subject is complicated and subject to experimentation even now with so > much science available on acoustics. Bruce Swedien discusses this at length > in his recent book "Make Mine Music". For those who are scratching their > heads. . ."Why does THAT NAME sound so familiar. . . ." This guy is nearly > the most famous audio engineer in the world. . certainly the most famous > living and working right now. He was the regular with most Quincy Jones / > Michael Jackson super-big hit stuff from the 1980's. Stuff like Thriller. > He started back in the early 1950's (and worked as an engineer even as a kid > in Minneapolis in the late 1940's). He recorded Count Basie, Duke Ellington, > Stan Kenton and on up to more modern stuff like Jackson and Jones. Swedien > was one of the geniuses behind the renowned Universal Audio Recording in > Chicago. This was a sure-fire place to go and set up a recording during > your tour. This was especially so while Swedien was there in part of the > 1950's. > > Swedien describes a whole series of evolutions in fits and starts that > happened as different things were invented. The old studios in the 40's and > 50's were deadened severely but only with regard to the audio frequency > range above a several hundred Hertz. So the mids and lows were not damped at > all and they could create yucky "phase cancellation" effects which seem to > affect sound in making it "muddy" or in sucking up parts of the sound of > individual instruments. Then there was the attempt to put live ambience in: > > Swedien comments "Columbia Records was the first of the major labels to > allow musicians and technicians outside the controlled studio environment > and attempt to get a more 'live' sound on record.". This means there was > an effort in the early fifties to record in concert halls which added > reverberant sound to the orchestras and bands. > > An on goes the changes. Some do not like the isolation of instruments in > modern techniques, but, when done properly it is not noticed and the > reverberant ambience sounds natural. The main reason they don't want other > instruments bleeding into farther away mics is due to the effect when > recombining the sound back into a mix. The effect can be to create a "comb > filter". So-named because the graph of the filter effects looks just like a > comb at times. It is an unpleasant sound for everybody who is exposed to > it and asked . . . > > Interesting that Nesmith did this recording for tax purposes. Shows you > that taxation can cause unusual things. Like Chasen's restaurant catering > for a recording session! > > Chris Tune > > ----- Original Message ----- > From: "Jeff Albert" > To: "Larry White" > Cc: "'List Trombone'" ; "'Richard Bartkus'" > > Sent: Saturday, January 28, 2006 5:43 PM > Subject: [Trombone-l] OT browsers was Re: Wichita Train Whistle > > > > Wow, I wonder how much Microsoft had to pay them to do that? I have > > several browsers on my machine, but none of them are IE. > > > > jva > > On Jan 28, 2006, at 7:36 PM, Larry White wrote: > > > >> Unfortunately this site does not support Netscape, which is really too > >> bad. Just MS Explorer5.5 and above. > >> LJ > >> > >> Jon wrote: > >> > >>> Here ya go: > >>> > >>> http://musicstore.connect.com/album/ > >>> 500/000/000/000/010/136/900/500000000000 > >>> 010136900.html > >>> > >>> > >>> -----Original Message----- > >>> From: trombone-l-bounces@samford.edu [mailto:trombone-l- > >>> bounces@samford.edu] > >>> On Behalf Of Richard Bartkus > >>> Sent: Friday, January 27, 2006 6:18 PM > >>> To: List Trombone > >>> Subject: [Trombone-l] Wichita Train Whistle > >>> > >>> Does any know the personell on this album ? It was post Monkees > >>> Michael > >>> Nesmith. He used a 52 piece orchestra on Nov 18-19 1967 at RCA in > >>> Hollywood > >>> with open mic placement. It is a very bizarre album to listen to, > >>> but it is > >>> alledged that these were all the A-list players in LA on the session. > >>> > >>> I have been looking for something on the internet, figuring that > >>> somebody > >>> must know, but haven't found it yet. > >>> > >>> Thanks in advance > >>> Richard > >>> > >>> > >>> _______________________________________________ > >>> Trombone-l mailing list > >>> Trombone-l@maillists.samford.edu > >>> http://maillists.samford.edu/mailman/listinfo/trombone-l > >>> > >>> > >>> _______________________________________________ > >>> Trombone-l mailing list > >>> Trombone-l@maillists.samford.edu > >>> http://maillists.samford.edu/mailman/listinfo/trombone-l > >>> > >>> > >>> > >> _______________________________________________ > >> Trombone-l mailing list > >> Trombone-l@maillists.samford.edu > >> http://maillists.samford.edu/mailman/listinfo/trombone-l > >> > >> > > _______________________________________________ > > Trombone-l mailing list > > Trombone-l@maillists.samford.edu > > http://maillists.samford.edu/mailman/listinfo/trombone-l > > > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > > > ------------------------------ Message: 2 Date: Sun, 29 Jan 2006 13:06:59 -0800 From: "Chris Tune" Subject: Re: [Trombone-l] Time Life records, was OT browsers To: "Bonemaster" , "'List Trombone'" Message-ID: <000a01c62517$f2626cd0$0400a8c0@athlon2800> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original You "were" able to buy the reissued set in CD form. I'm not sure if Time Life is still offering that. They said to the persons who put on the movement online to get them to reissue, that they would continue to offer the set IF there was good interest in buying. In the new edition, which may be laid out a little different After 1941-1942 there were 1942-1945 and then The Postwar Years and "Into the Fifties". Also there were two "Additional Volumes" "Curtain Call" and "One More Time". The Vinyl was like that too. In all, there were fifteen volumes in the vinyl set, so you can count your albums and see how many are missing. UPDATE: I was able to find the UK site for Time Life currently selling the CD set. They probably will sell it to you in the USA also, but you may have to call them up to figure out how to get it. One thing that is interesting about this series also, is that it was a blend of TWO different sets of sessions. Some were from the Glen Gray Casaloma Orch's early 1960's (maybe mid sixties. . say 64 or 63) stereo recordings of great big band tunes done for Capitol. On these sessions you almost invariably had Joe Howard on lead bone and Conrad Gozzo on lead Trumpet. The other, much more extensive set of sessions were the ones done in 1969 or so, as the idea became a reality to do this massive survey of the Swing Era. This had Billy May as the only band leader on the dates. On these Dick Nash was generally the lead bone, unless he was to be a major soloist and therefore would "step out" to do separate soloing. On lead trumpet in this group you had various players but I know Joe Graves generally acted the part of Harry James. Chris ----- Original Message ----- From: "Bonemaster" To: "Chris Tune" ; "'List Trombone'" Sent: Sunday, January 29, 2006 9:06 AM Subject: RE: [Trombone-l] Time Life records, was OT browsers > Hey Chris, > > Speaking of the 'Time Life Swing Era Series', does anyone know where the > set > past 41-42 can be had? I can't find anything on their website. I have the > 40-41 red and black 'LP' set and the 41-42 yellow and black 'LP' set. The > hardbooks in each have cool info on the original sidemen as well as those > who 're-recorded the T-L sets. > Any additional info is appreciated! > > Bob Devine > Atlanta, GA > An 'All Shires' family > > -----Original Message----- > From: trombone-l-bounces@samford.edu > [mailto:trombone-l-bounces@samford.edu]On Behalf Of Chris Tune > Sent: Saturday, January 28, 2006 10:51 PM > To: Jeff Albert; Larry White > Cc: 'List Trombone'; 'Richard Bartkus' > Subject: Re: [Trombone-l] OT browsers was Re: Wichita Train Whistle > > > Even once you are using MSFT Internet Explorer 6, it still depends upon > WHAT > add-in is called upon the browser referring the *.asx page (Active Server > Page). Turns out my browser, and only my browser right now is set to put > the file into an unusual application called VLC Media Player (aka Video > LAN. > . .it's interesting because it is Open Source and it supports a lot of > formats. . .it is a DRAG because it has a silly way of adding files to its > playlist which is super awkward and involves a separate sub-application). > > Anyway. . .I'd love to return power to play embedded web mp3 files to > either > MSFT Windows Media Player, Musicmatch 8, or Qucktime. . .any of these at > least seem to load up the file and play it. . . > > THE RECORDING: > I got very stuttering audio coming over. . but I heard enough to know what > kind of "ambience" was used on the date. They were experimenting with a > more "classical music" approach to the audio. It works pretty good for > large groups like symphony orchestras (again depending upon the EXACT > technique--one pretty interesting one is called the "Decca Tree"). I'm > not > very fond of that EXACT sound for a big band (of course some times you > just > have to live with what is available). > > I really like the way they engineered the Time Life "The Swing Era" series > of stereo recordings for traditional big band. . .and I generally have > always liked the way the engineering was done on big bands through CTI > records. (usually I think this was Rudy Van Gelder at his own studio. . > .NOT > a totally dry environment, but rather one which "contributes" and doesn't > take away from the ambience). This method is a "mixed method" with plenty > of both focused and ambient, or "room" sound with a high degree of > intelligence used to get full sound out of everything possible. They DO > use > baffles to remove leakage but they are not trying to add much outboard > reverb, because the room provides some of its own. . often enough for a > small combo. . .maybe some adding is required for larger groups. > > This subject is complicated and subject to experimentation even now with > so > much science available on acoustics. Bruce Swedien discusses this at > length > in his recent book "Make Mine Music". For those who are scratching their > heads. . ."Why does THAT NAME sound so familiar. . . ." This guy is > nearly > the most famous audio engineer in the world. . certainly the most famous > living and working right now. He was the regular with most Quincy Jones / > Michael Jackson super-big hit stuff from the 1980's. Stuff like > Thriller. > He started back in the early 1950's (and worked as an engineer even as a > kid > in Minneapolis in the late 1940's). He recorded Count Basie, Duke > Ellington, > Stan Kenton and on up to more modern stuff like Jackson and Jones. Swedien > was one of the geniuses behind the renowned Universal Audio Recording in > Chicago. This was a sure-fire place to go and set up a recording during > your tour. This was especially so while Swedien was there in part of the > 1950's. > > Swedien describes a whole series of evolutions in fits and starts that > happened as different things were invented. The old studios in the 40's > and > 50's were deadened severely but only with regard to the audio frequency > range above a several hundred Hertz. So the mids and lows were not damped > at > all and they could create yucky "phase cancellation" effects which seem to > affect sound in making it "muddy" or in sucking up parts of the sound of > individual instruments. Then there was the attempt to put live ambience > in: > > Swedien comments "Columbia Records was the first of the major labels to > allow musicians and technicians outside the controlled studio environment > and attempt to get a more 'live' sound on record.". This means there was > an effort in the early fifties to record in concert halls which added > reverberant sound to the orchestras and bands. > > An on goes the changes. Some do not like the isolation of instruments in > modern techniques, but, when done properly it is not noticed and the > reverberant ambience sounds natural. The main reason they don't want > other > instruments bleeding into farther away mics is due to the effect when > recombining the sound back into a mix. The effect can be to create a > "comb > filter". So-named because the graph of the filter effects looks just like > a > comb at times. It is an unpleasant sound for everybody who is exposed to > it and asked . . . > > Interesting that Nesmith did this recording for tax purposes. Shows you > that taxation can cause unusual things. Like Chasen's restaurant catering > for a recording session! > > Chris Tune > > ----- Original Message ----- > From: "Jeff Albert" > To: "Larry White" > Cc: "'List Trombone'" ; "'Richard > Bartkus'" > > Sent: Saturday, January 28, 2006 5:43 PM > Subject: [Trombone-l] OT browsers was Re: Wichita Train Whistle > > >> Wow, I wonder how much Microsoft had to pay them to do that? I have >> several browsers on my machine, but none of them are IE. >> >> jva >> On Jan 28, 2006, at 7:36 PM, Larry White wrote: >> >>> Unfortunately this site does not support Netscape, which is really too >>> bad. Just MS Explorer5.5 and above. >>> LJ >>> >>> Jon wrote: >>> >>>> Here ya go: >>>> >>>> http://musicstore.connect.com/album/ >>>> 500/000/000/000/010/136/900/500000000000 >>>> 010136900.html >>>> >>>> >>>> -----Original Message----- >>>> From: trombone-l-bounces@samford.edu [mailto:trombone-l- >>>> bounces@samford.edu] >>>> On Behalf Of Richard Bartkus >>>> Sent: Friday, January 27, 2006 6:18 PM >>>> To: List Trombone >>>> Subject: [Trombone-l] Wichita Train Whistle >>>> >>>> Does any know the personell on this album ? It was post Monkees >>>> Michael >>>> Nesmith. He used a 52 piece orchestra on Nov 18-19 1967 at RCA in >>>> Hollywood >>>> with open mic placement. It is a very bizarre album to listen to, >>>> but it is >>>> alledged that these were all the A-list players in LA on the session. >>>> >>>> I have been looking for something on the internet, figuring that >>>> somebody >>>> must know, but haven't found it yet. >>>> >>>> Thanks in advance >>>> Richard >>>> >>>> >>>> _______________________________________________ >>>> Trombone-l mailing list >>>> Trombone-l@maillists.samford.edu >>>> http://maillists.samford.edu/mailman/listinfo/trombone-l >>>> >>>> >>>> _______________________________________________ >>>> Trombone-l mailing list >>>> Trombone-l@maillists.samford.edu >>>> http://maillists.samford.edu/mailman/listinfo/trombone-l >>>> >>>> >>>> >>> _______________________________________________ >>> Trombone-l mailing list >>> Trombone-l@maillists.samford.edu >>> http://maillists.samford.edu/mailman/listinfo/trombone-l >>> >>> >> _______________________________________________ >> Trombone-l mailing list >> Trombone-l@maillists.samford.edu >> http://maillists.samford.edu/mailman/listinfo/trombone-l >> > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > > ------------------------------ Message: 3 Date: Sun, 29 Jan 2006 20:51:18 -0600 From: "mcclurefamily" Subject: [Trombone-l] interesting trombone and education link! To: trombone-l@server5.samford.edu Message-ID: <43dd7f26.2a5.603c.24432@srt.com> I've been teaching elementary music and this year, my school has the "reading first" block grants. I've always had fun researching homemade music activities by Phil Tulga. But tonight, I just figured out he plays trombone, too. Check out this link his jazz group, and the second one, one of his projects of science, math, & music...too cool. http://www.philtulga.com/JellyRoll.html http://www.philtulga.com/subtraction.html Now if I could just get CA to slide over next door to ND for a school presentation...wow! Anyway, something fun to fiddle with! Chris Ann ------------------------------ Message: 4 Date: Sun, 29 Jan 2006 19:12:29 -0800 From: Cherry-Classics Subject: [Trombone-l] Just right for an orgy!! Trombone news article....don't worry To: TROMBONE-L@server5.samford.edu Message-ID: Content-Type: text/plain; charset="us-ascii" ; format="flowed" Just right for an orgy Despite its reputation, the trombone is a fine and noble instrument David McKie Thursday December 29, 2005 The Guardian These final days of 2005 must have been an anxious time for trombonists. Just before Christmas, a spate of reports appeared which suggested a looming risk to the reputation of their chosen instrument. One in the Times, which some still regard as a newspaper of record, was typical. The Christmas Day edition of Doctor Who, it warned, would feature the doctor saving the world from "a sinister band of masked alien Santa Clauses armed with lethal trombones". Why on earth, real-life trombonists may well have wondered, was Russell T Davies, the creator of the new Dr Who and the writer of this episode, picking on them? Why couldn't the alien miscreants be armed with trumpets, or violins, or possibly that epitome of the innocuous, the harp? One sometimes detects among trombonists a sense that the world is doing them down. In a book called The Orchestra, Danny Danziger reports the musings of a professional trombonist called Colin Busby: "In the hands of the right person, the trombone is a super instrument. In the hands of a bad person, it's the laughable instrument that people have joked about for years." Why is it joked about? And why was it picked on for Dr Who? Perhaps because there's sometimes an air of comic menace about it, due less to the sound it makes than to its appearance. The trombone is in essence the equivalent if a trumpet, but serving the lower registers, and that's why it looks as it does. The trumpet is a dapper affair, which gets its effects from a deft depressing of valves on the top. The trombone depends on a slide; to vary the sound you have to push the thing out and pull it back, a somewhat cumbersome spectacle, and one which can sometimes even suggest an attempt to invade the territory of neighbouring performers. In the kind of confined space in which players are sometimes required to operate, especially when playing jazz in a pub with a very small stage, there must sometimes be fears, as the slide protrudes towards the players in front, that by the end of the night the trombonist might have qualified for an Asbo. None of this is to diminish the instrument's high significance both in classical music and jazz. In his Treatise on Modern Orchestration, Hector Berlioz described it as "the true chief of wind instruments designated as epic. It possesses both nobilty and grandeur in an eminent degree. It has all the deep and powerful accents of high musical poetry, from the calm and imposing sounds of religion to the wild clamour of the orgy." Yet Berlioz, like Busby, knew how much depended on the way it was played - even more so after the series of concerts he conducted in Germany the following year. At Mannheim the trombonist's struggles during rehearsals with the orgy scene at the end of Harold in Italy persuaded the composer to ditch that final movement when the work was played in the concert hall. There must also, I suspect, be some feeling of grievance among trombonists that they've never got as rich a share of the standard solo repertoire as their trumpeter colleagues. Berlioz himself gave them some fine exposure in his Symphonie Funebre et Triomphale, yet he never honoured them as he did that other sometimes disparaged breed, the players of the viola, in Harold in Italy, with a concerto all of their own. And a list in Robin Gregory's book The Trombone shows very few great composers trying to repair this neglect. There is one by Rimsky-Korsakov, another (too late for the book) by Mark-Anthony Turnage, but few of the other names in this catalogue make one long to get hold of the music. As it transpired, the Christmas Day Dr Who was not the further dent in their image trombonists must have feared. Once we'd witnessed huge alien ships hovering like clouds from Hemel Hempstead, though rather more solid, over the House of Commons, and everyone in the world with an A-positive blood group poised on the top of high buildings and ready to jump, and a Punch and Judy parliament of Sycoraxes baying for earthling blood, death-dealing trombones (some of which didn't look at all like trombones) seemed the least of the doctor's worries. And just possibly (let us end the year on a positive note) the evening's pre-teen audience may have started to look on trombones in a new, more exciting light. If in 10 years' time the doors of our music colleges are being besieged by hordes of young people set on a life of tromboning, we may well have Russell T Davies to thank for it. ------------------------------ Message: 5 Date: Sun, 29 Jan 2006 21:49:48 -0800 From: jimandcat@juno.com Subject: [Trombone-l] FAVORITE TRB LITERATURE WITH REC. ACCOMPANIMENT To: trombone-l@server5.samford.edu Message-ID: <20060129.215213.2188.7.Jimandcat@juno.com> Content-Type: text/plain; charset=us-ascii For a workshop I will be doing in February, I am asking teachers and students to recommend their FAVORITE TROMONE LITERATURE WITH RECORDED ACCOMPANIMENT (either CD, tape, MP3, or other). Not just a list of them, but the ones you recommend because you (or your students) like to play them or to hear them. Duplications of other's suggestions are perfectly okay, in fact, requested. The more people that recommend a recorded accompaniment solo or collection, moves that higher on the survey list. You can list just one, but please, no more than 5-10, really trying to be selective. Anything goes. Brass quintets, solos, Music Minus One, Smart Music, anything with which you have personal experience. That is the main criteria. Not something you heard about, but something you know about from personal experience. Something you have, something your students have, something your friends have that you witnessed. EXAMPLES: Editor or publisher-Title- format-(comments) Keith Brown, MMO-Advanced Contest Solos, Vol 2-3-CD-(all classical) George Roberts-Unsung Heroes-tape-(jazz ballads, for either tenor or bass) Jack Gale-Jazz Duets-CD-(Rhythm section acc., L/R channel to play either duet part) Canadian Brass-Play Along with the Canadian Brass [trombone book]-CD-(trb part of brass quintet, 17 pcs) Thank you very much. I plan to end the survey by February 20, and post the compiled results here. If you are a member of the OTJ Forum, I would prefer it if you went there http://forum.trombone.org/viewtopic.php?t=22067 to post your opinions, it would help me consolidate the information. But, I will check replies here as well. Remember, please list your recommended music with recorded acc. even if you see them already mentioned by someone else. There is a lot out there for all instruments (like the Aebersole products). Please focus on trombone materials. Thank you. ------------------------------ Message: 6 Date: Sun, 29 Jan 2006 21:52:13 -0800 From: jimandcat@juno.com Subject: [Trombone-l] TROMBONE SOLO COLLECTIONS To: trombone-l@server5.samford.edu Message-ID: <20060129.215213.2188.8.Jimandcat@juno.com> Content-Type: text/plain; charset=iso-8859-1 For a workshop I will be doing in February, I am asking teachers and students to recommend their favorite published TROMBONE SOLO COLLECTIONS (publications with several solos). Not just a list of them, but the ones you recommend. Duplications of other's suggestions are perfectly okay, in fact, requested. The more people that recommend a particular collection, moves that collection higher on the survey list. You can list just one, but please, no more than 5-10, really trying to be selective. Please indicate in (comments) if there is accompaniment. PLEASE DO NOT LIST COLLECTIONS WITH RECORDED ACCOMPANIMENT. THERE IS A SURVEY PARTICULARLY FOR THAT EXAMPLES: Editor or Publisher-Title-(comments) Henry C. Smith ? First Solos For The Trombone Player-(several classical solos with piano accomp.) Hal Leonard Pub.-The Best Songs Ever-(popular melodies from the mid 20th century, no accomp.) A. Raph-44 Recital Pieces-(beginning to advanced, piano accomp.) Thank you very much. I plan to end the survey by February 20, and post the compiled results here. If you are a member of the OTJ Forum, I would prefer it if you went there http://forum.trombone.org/viewtopic.php?t=22067 to post your opinions, it would help me consolidate the information. But, I will check replies here as well. Remember, please list your recommendations even if you see them already mentioned by someone else. ------------------------------ Message: 7 Date: Sun, 29 Jan 2006 21:48:40 -0800 From: jimandcat@juno.com Subject: [Trombone-l] FAVORITE SOLO LITERATURE SURVEY To: trombone-l@server5.samford.edu Message-ID: <20060129.215213.2188.6.Jimandcat@juno.com> Content-Type: text/plain; charset=us-ascii For a workshop I will be doing in February, I am asking teachers and students to recommend their favorite published trombone SOLOS (both tenor and bass ). Not just a list of solos, but the ones you recommend because you (or your students) like to play them or to hear them. Duplications of other's suggestions are perfectly okay, in fact, requested. The more people that recommend a particular solo, moves that solo higher on the survey list. You can list just one, but please, no more than 10-15, really trying to be selective. They can be beginning (easy and limited range), advanced (college/professional level) or intermediate (between beginning and advanced). If the style is particularly different (jazz, avante garde, etc.), please indicate that as well. Short comments are appreciated. Transcriptions as well as original compositions for trombone are fine. All solos, but please only list ones available for purchase. EXAMPLES: Composer-Title- tenor/bass -level-(comments) Guilmant-Morceau Symphonique-tenor-adv Bernstein-Elegy for Mippy II-tenor-adv-(unacc/slightly jazzy) Hoffman-Trigger Treat-bass-int Berio-Sequenza V-tenor-adv-(unacc/av. gard. techniques) Mendelssohn-If With All Your Heart-tenor-beginning-(Ostrander) Thank you very much. I plan to end the survey by February 20, and post the compiled results here. If you are a member of the OTJ Forum, I would prefer it if you went there http://forum.trombone.org/viewtopic.php?t=22067 to post your opinions, it would help me consolidate the information. But, I will check replies here as well. Remember, please list your recommended solos even if you see them already mentioned by someone else. ------------------------------ Message: 8 Date: Mon, 30 Jan 2006 08:17:14 +0100 From: "Richardson, Timothy Mr. DAC USAG Franconia DPW" Subject: Re: [Trombone-l] Nashville To: Adrian Drover , "'emrose79'" , trombone-l@server5.samford.edu Message-ID: Content-Type: text/plain While this does not have quite the same shock appeal, there is something actually available in Germany that seems almost as incongruous. At the local McDonald's here you can buy deep fried chocolate filled mashed potatoes. -----Original Message----- From: Adrian Drover [mailto:slide@adios.co.uk] Sent: Thursday, January 26, 2006 19:40 To: 'emrose79'; trombone-l@server5.samford.edu Subject: Re: [Trombone-l] Nashville > From: emrose79 > > Well, Adrian... would that be deep fried in the same oil they used for > the Haggis? > O-BOY!!!!! Sure Ed. The sheep's brains and guts give the chocolate bar a distinct Scottish flavour. You think McDonald's and KFC are bad? You ain't had real food. A. ------------------------------ Message: 9 Date: Mon, 30 Jan 2006 04:16:38 -0500 From: "Don Fitzsimons" Subject: Re: [Trombone-l] Just right for an orgy!! Trombone newsarticle....don't worry To: , "Cherry-Classics" Message-ID: <002101c6257d$e11ef540$47d29e04@yoursz6x6sefxo> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original ----- Original Message ----- From: "Cherry-Classics" To: Sent: Sunday, January 29, 2006 10:12 PM Subject: [Trombone-l] Just right for an orgy!! Trombone newsarticle....don't worry > Just right for an orgy > Despite its reputation, the trombone is a fine and noble instrument I rather thought that the subject line revealed the unspoken (in polite company) symbolic nature of the trombone. The changing shape of the trombone would be "just right for an orgy" especially because it phallically lengthens. The undeniable sexual aspects of the trombone, furthermore, match the increasing length of the instrument with lower notes, i.e., getting down. In my opinion, Mr. Davies shows remarkable reserve. Remember: Trombones slide in and out where others can only finger. :) don fitzsimons ------------------------------ Message: 10 Date: Mon, 30 Jan 2006 10:59:33 +0100 From: Howard Weiner Subject: Re: [Trombone-l] Just right for an orgy!! To: Message-ID: <5.1.0.14.0.20060130105311.00a3d2b0@mail.sampo.de> Content-Type: text/plain; charset="us-ascii"; format=flowed For an upcoming cornett and sackbut symposium sponsored by the Historic Brass Society and the ensemble Sacqueboutiers de Toulouse http://www.les-sacqueboutiers.com/index.php?rubrique=49&id_mv=42&idsess=fr Stew Carter has announced a paper with the intriguing title "Sex and the Sackbut." I can't imagine what it's about, but I'm sure it will be good. Howard -- Howard Weiner weiner@privat.toplink.de http://www.odilia.ch/howard-weiner If vegetarians eat only vegetables, what do humanitarians eat? ------------------------------ Message: 11 Date: Mon, 30 Jan 2006 06:30:21 -0600 From: Chris Waage Subject: [Trombone-l] OTJ Classifieds Update - 1/30/06 To: Trombone-L , brass_list Message-ID: Content-Type: text/plain; charset="US-ASCII" The Online Trombone Journal Classifieds - http://www.trombone.org/classifieds - have been updated as of 6:28 AM CST on January 30, 2006. Scam/Fraud Alert: Please be cautious of offers by distant strangers to send you a high value (but counterfeit) cashier's check, and then have you wire the balance to them. The primary warning signs are e-mails sent with very poor grammar asking if you will consider shipping the item overseas. Banks will cash these counterfeit checks, but then hold you responsible for the funds when the check fails to clear. If you have been victimized, you can contact the FTC toll-free at 1-877-FTC-HELP (1-877-382-4357) or use the complaint form at www.ftc.gov, or contact your local law enforcement agency. - - - - - Thank you for using the OTJ Classifieds! - - - - - OTJ Classifieds Frequently Asked Questions http://www.trombone.org/classifieds/faq.asp OTJ Gift Shoppe: http://www.cafepress.com/cp/store/store.aspx?storeid=trombones If you have any questions or comments about the Online Trombone Journal Classifieds, please contact me at chris@trombone.org. Chris Waage -- Chris Waage, Bass Trombonist The Online Trombone Journal www. trombone.org ------------------------------ Message: 12 Date: Mon, 30 Jan 2006 13:06:20 -0000 From: "Adrian Drover" Subject: Re: [Trombone-l] Just right for an orgy!! Trombonenewsarticle....don't worry To: "'Don Fitzsimons'" , , "'Cherry-Classics'" Message-ID: <001e01c6259d$f6ee1890$0100a8c0@Adrian> Content-Type: text/plain; charset="us-ascii" > From: Don Fitzsimons > > The undeniable sexual aspects of the trombone, > furthermore, match the increasing length of the instrument with lower > notes, > i.e., getting down. In my opinion, Mr. Davies shows remarkable reserve. > > Remember: > > Trombones slide in and out where others can only finger. Does this mean that a massed trombone choir should hereafter be called a gang-bang? A. ------------------------------ Message: 13 Date: Mon, 30 Jan 2006 08:28:06 -0500 From: Scott Garlock Subject: [Trombone-l] improvisation thoughts To: Trombone-L Message-ID: Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed Greetings all! say, just gave a talk at the state music convention here on beginners and improvisation and it occurred to me in the preparation of this that a topic of interest might be to discuss what people think of in the moments/seconds before they take a chorus. While I know what I think and I've got some material from my compadres on this and have collected a few thoughts from folks like Dizzy on this, my study is by no means comprehensive. Can I convince some folks to share what they think? thanks, S. ------------------------------ Message: 14 Date: Mon, 30 Jan 2006 09:10:05 -0500 From: "Mikel K. Smith" Subject: Re: [Trombone-l] improvisation thoughts To: "Scott Garlock" , "Trombone-L" Message-ID: Content-Type: text/plain; charset=us-ascii As one of >extremely< limited improvisation ability (I can't read and think chords fast enough to follow them as I play; what little I accomplish is done simply by ear); my thoughts going into a solo are 1) jazz scale for the key signature and first chord of the solo - what are the 'key' notes I want to land on (4th, flatted 5th, 7th, 9th, stay away from root and 5th, etc.), and how to start the first riff - if I can get off to a good start, it generally goes well. If it's a train wreck out of the gate, it's hard for me to pull it back together. Probably not what you want to teach, but it usually keeps me from embarrassing myself too badly. Mikel -----Original Message----- From: trombone-l-bounces@samford.edu [mailto:trombone-l-bounces@samford.edu]On Behalf Of Scott Garlock Sent: Monday, January 30, 2006 8:28 AM To: Trombone-L Subject: [Trombone-l] improvisation thoughts Greetings all! say, just gave a talk at the state music convention here on beginners and improvisation and it occurred to me in the preparation of this that a topic of interest might be to discuss what people think of in the moments/seconds before they take a chorus. While I know what I think and I've got some material from my compadres on this and have collected a few thoughts from folks like Dizzy on this, my study is by no means comprehensive. Can I convince some folks to share what they think? thanks, S. _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 15 Date: Mon, 30 Jan 2006 06:05:56 -0800 (PST) From: Bruce Faske Subject: Re: [Trombone-l] improvisation thoughts To: sgarlock@ashland.edu, trombone-l@samford.edu Message-ID: <20060130140556.10727.qmail@web50111.mail.yahoo.com> Content-Type: text/plain; charset=iso-8859-1 I'd be happy to submit my thoughts, but it would be so heavily edited for content that it wouldn't be worth mentioning! Maybe that's more DURING the solo than before.... -B.F. --- Scott Garlock wrote: > Greetings all! > say, just gave a talk at the state music convention > here on beginners > and improvisation and it occurred to me in the > preparation of this > that a topic of interest might be to discuss what > people think of in > the moments/seconds before they take a chorus. While > I know what I > think and I've got some material from my compadres > on this and have > collected a few thoughts from folks like Dizzy on > this, my study is > by no means comprehensive. Can I convince some folks > to share what > they think? > thanks, > S. > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 16 Date: Mon, 30 Jan 2006 08:21:15 -0600 From: Wayne Dyess Subject: Re: [Trombone-l] improvisation thoughts To: Bone List Message-ID: <8e2060b95f12fe06ca4a909edea23c55@gt.rr.com> Content-Type: text/plain; charset=US-ASCII; format=flowed What am I thinking just before a jazz chorus? Well, my solo work is usually within the context of a big band -- so I want to blow above the band. I might be looking at that chord and picking a "color" tone... 3rd, 7th, or 9th... or a flashy technical start. Sometimes I'll have something worked out before hand if the band isn't sight-reading. Essentially, I want a flashy catchy beginning -- a GREAT ending that makes 'em wanna applaud -- and between those two ends I want everything in the middle to make sense. But mostly, I'm thinking that beginning and trying to adjust a mic if needed. Just tongue and blow, mon. And remember Ellington's words: "if it sounds good, it is." Much fun! --Wayne Dyess P.S. On a similar note, my thinking process is much different before a solo with a concert band, wind ensemble, or orchestra. In that environment, I'm thinking BREATHE!!!!!! Take a DEEP breath, and tongue & blow baby. > --- Scott Garlock wrote: > >> Greetings all! >> say, just gave a talk at the state music convention >> here on beginners >> and improvisation and it occurred to me in the >> preparation of this >> that a topic of interest might be to discuss what >> people think of in >> the moments/seconds before they take a chorus. While >> I know what I >> think and I've got some material from my compadres >> on this and have >> collected a few thoughts from folks like Dizzy on >> this, my study is >> by no means comprehensive. Can I convince some folks >> to share what >> they think? >> thanks, >> S. ------------------------------ Message: 17 Date: Mon, 30 Jan 2006 09:29:08 -0500 From: sabutin Subject: [Trombone-l] Visual evidence of the freebuzzing embouchure To: TROMBONE-L@server5.SAMFORD.EDU Message-ID: Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi all... I just posted an article on my forum that I cannot easily reprint here because it uses photos. I played a concert in Holland last week and several photos were taken that really emphasize in an easily seen manner the embouchure muscles that I have developed over a decade or so of assiduous frebuzzing-based embouchure practice. If you are interested in this subject, please go here......to check it out. Later... Sam Burtis ------------------------------ Message: 18 Date: Mon, 30 Jan 2006 06:41:51 -0800 From: "Chris Tune" Subject: Re: [Trombone-l] Just right for an orgy!!Trombonenewsarticle....don't worry To: "Adrian Drover" , "'Don Fitzsimons'" , , "'Cherry-Classics'" Message-ID: <00c001c625ab$4f350d30$0400a8c0@athlon2800> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original No, but it DOES add another dimension to my oft-repeated motto: "It is only NATURAL. . ." Nature is at work everywhere and in everyway. . I'm sorry I missed this TV show. . .sounds as if it was pretty entertaining. Incidentally, I went back to the "EDutainment" site and played the trumpet duet again this morning. I guess my eyes are sharper this morning, because I could see him (the Amazing ED) pull the trumpets off his embouchure a split second before the players making the trumpet sound actually performed the "release" of the sound. It was very subtle, but obvious to me this morning. Funny. . .now I wonder more what the rest of his show involves. Certainly SOME actual trumpet playing. . .the trumpet mime only makes sense if you actually CAN play. Chris ----- Original Message ----- From: "Adrian Drover" To: "'Don Fitzsimons'" ; ; "'Cherry-Classics'" Sent: Monday, January 30, 2006 5:06 AM Subject: Re: [Trombone-l] Just right for an orgy!!Trombonenewsarticle....don't worry > > >> From: Don Fitzsimons >> >> The undeniable sexual aspects of the trombone, >> furthermore, match the increasing length of the instrument with lower >> notes, >> i.e., getting down. In my opinion, Mr. Davies shows remarkable reserve. >> >> Remember: >> >> Trombones slide in and out where others can only finger. > > > > Does this mean that a massed trombone choir should hereafter be called a > gang-bang? > > A. > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 19 Date: Mon, 30 Jan 2006 09:04:52 -0600 From: "Todd Slothower" Subject: Re: [Trombone-l] Just right for an orgy!!Trombonenewsarticle....don't worry To: , , , Message-ID: ------------------------------ Message: 20 Date: Mon, 30 Jan 2006 11:13:22 -0500 (Eastern Standard Time) From: Mike Caton Subject: Re: [Trombone-l] improvisation thoughts To: Trombone-L , Scott Garlock Message-ID: <43DE3B22.000005.00820@UNDERCOV-700393> Content-Type: Text/Plain; charset=iso-8859-1 Hi Scott, I'm assuming that you are just as interested in hearing from amateurs (part time pro?) as you are from the Pros on this list. I have to say that my thoughts a situational; If I am sightreading the chorus, my thoughts going into it are analytical. Whats the tonal center, what modality will work best? What is the basic style of the arrangment? I try to ask myself all the "basic questions that will hep me shape the best solo for that particular "spot". If it's a solo I've already preped and played, then I try to get myself relaxed and in a "good place", focusing mainly on playing and chaseing away stray thoughts. Oh sometimes I wonder if that $%&#^#! idiot is going to move the mic or am I going to have to blow my guts out over the shout. Mike -------Original Message------- From: Scott Garlock say, just gave a talk at the state music convention here on beginners and improvisation and it occurred to me in the preparation of this that a topic of interest might be to discuss what people think of in the moments/seconds before they take a chorus. ------------------------------ Message: 21 Date: Mon, 30 Jan 2006 11:34:23 -0500 From: Subject: Re: [Trombone-l] improvisation thoughts To: "Trombone-L" Message-ID: <20060130163424.TGEZ25099.fed1rmmtao09.cox.net@[172.18.180.8]> Content-Type: text/plain; charset=ISO-8859-1 Scott, I have found, for myself, that reading the changes as I perform doesn't work. Again, I am speaking only for myself. The reason for me is not that I cannot successfully navigate the changes, it's that I am not able to integrate the part of my brain that analyzes the changes with the part of my brain that creates. Thus, if it's a 12 bar blues there's no analysis to do I just blow. If the changes are especially challenging, I try to do my analytical thinking as far ahead as is possible. However, during my performance I rely on my ear and hearing the line over the changes in my head. If I find that I have stepped in a hole (or pile), I try to maintain composure until I can find my way out. I recall being told once that you are never more than a half pitch to a picth away from the right note. I recall one time that I was reading a new piece by a friend, had a "senior moment" and lost my place in the changes. I hit a serious "klunker" and could not immediately figure out how to get out of it. Out of the terror of abject embarassment, I decided to pretend that I meant to hit that note and played the klunker again and using my "pitch approximation tool" (slide) did a slightly nasty slide down until the pitch resolved the line. I won't say that it was the greatest, but I got out of 3-0 basses loaded spot and I did get one comment from someone who liked it. I think that the worst thing you can do in that situation is make a face, groan or telegraph to the listener that you are not happy with your playing. I believe that the key to improvisation is confidence. Richard Caveat: You must play most of the improvisation inside or it doesn't work. Of course that doesn't explain William Hung ------------------------------ Message: 22 Date: Mon, 30 Jan 2006 12:14:59 -0500 From: thetubameister@adelphia.net Subject: Re: [Trombone-l] improvisation thoughts To: richard.bartkus@cox.net Cc: Trombone-L Message-ID: <11491665.1138641299512.JavaMail.root@web27> Content-Type: text/plain; charset=utf-8 I've never forgotten the words of my mentor, Charlie Teske, who said (with a menthol in his lips, "Don't worry about the changes, man - you can see those or not. Remember the tune!" I try to focus on the tune; the show-off ending comes naturally :-D J.c.S. ---- richard.bartkus@cox.net wrote: > Scott, > > I have found, for myself, that reading the changes as I perform doesn't work. Again, I am speaking only for myself. The reason for me is not that I cannot successfully navigate the changes, it's that I am not able to integrate the part of my brain that analyzes the changes with the part of my brain that creates. Thus, if it's a 12 bar blues there's no analysis to do I just blow. If the changes are especially challenging, I try to do my analytical thinking as far ahead as is possible. However, during my performance I rely on my ear and hearing the line over the changes in my head. > > If I find that I have stepped in a hole (or pile), I try to maintain composure until I can find my way out. I recall being told once that you are never more than a half pitch to a picth away from the right note. > > I recall one time that I was reading a new piece by a friend, had a "senior moment" and lost my place in the changes. I hit a serious "klunker" and could not immediately figure out how to get out of it. Out of the terror of abject embarassment, I decided to pretend that I meant to hit that note and played the klunker again and using my "pitch approximation tool" (slide) did a slightly nasty slide down until the pitch resolved the line. I won't say that it was the greatest, but I got out of 3-0 basses loaded spot and I did get one comment from someone who liked it. > > I think that the worst thing you can do in that situation is make a face, groan or telegraph to the listener that you are not happy with your playing. I believe that the key to improvisation is confidence. > > Richard > > Caveat: You must play most of the improvisation inside or it doesn't work. Of course that doesn't explain William Hung > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 23 Date: Mon, 30 Jan 2006 09:21:28 -0800 From: Randy Fendrick Subject: Re: [Trombone-l] improvisation thoughts To: richard.bartkus@cox.net Cc: trombone-L Message-ID: <275dff3afd2aeff3524f85688ba34e0f@bak.rr.com> Content-Type: text/plain; charset=US-ASCII; format=flowed > and using my "pitch approximation tool" (slide) Is this what composers mean when they ask for approximato? :):) Randy Fendrick, Southside Chicago Seven Bakersfield Symphony Orchestra ------------------------------ _______________________________________________ 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 29 ******************************************