Subject: Trombone-l Digest, Vol 13, Issue 10 Date: Friday, February 10, 2006 12:00 PM From: trombone-l-request@samford.edu Reply-To: trombone-l@samford.edu To: Conversation: Trombone-l Digest, Vol 13, Issue 10 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: Grammys Who Dunnit (Michael Millar) 2. Practice with the experts (Randy Fendrick) 3. Re: Wedding Music for Bones (Charles De Paolo) 4. Re: Vibrato - yeah or nay (ALEX ILES) 5. Vibrato - British Brass bands (David W. Buckley) 6. Fwd: Vibrato - British Brass bands (BJMCHAFFIE@aol.com) 7. Re: Vibrato - British Brass bands (Steve Beck) 8. Re: Vibrato - yeah or nay (J & D Sellmansberger) 9. Trombania (emrose79) 10. Re: Practice with the experts (Fred Hudson) 11. Opportunities for Performers (Retired Prof 55) ---------------------------------------------------------------------- Message: 1 Date: Thu, 9 Feb 2006 10:13:49 -0800 From: "Michael Millar" Subject: Re: [Trombone-l] Grammys Who Dunnit To: "List Trombone" , "Daryl Burch" Message-ID: <004a01c62da4$94017dd0$6401a8c0@michaelmmgb3j7> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original I'll get you halfway: Art Velasco on trombone, Rickey Woodard on tenor sax. I don't know the trumpet or bari players. Michael Millar Valencia, CA ----- Original Message ----- From: "Daryl Burch" To: "List Trombone" Sent: Thursday, February 09, 2006 12:12 AM Subject: [Trombone-l] Grammys Who Dunnit > Soooooooooo...... Who was the horn section backing up the New Orleans > tribute at the end o' the night? > > The tribute itself was much less your typical star-studded wank-fest. > (Those things tend to get wayYYYyy out of hand.) And the horn section > seemed pretty solid. > > Cheers! > -D- > www.radionoise.com <- Rock star by night > www.burchinteractive.com <- Tech-nerd by day #;-) > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 2 Date: Thu, 9 Feb 2006 11:05:30 -0800 From: Randy Fendrick Subject: [Trombone-l] Practice with the experts To: trombone-L Message-ID: <25d37b2f9cfb34417f3b6a68bb785740@bak.rr.com> Content-Type: text/plain; charset=US-ASCII; format=flowed Several weeks ago, someone posted the name of a music store in Texas that had a new version of Paul Tanners "Practice with the Experts." I thought I ordered the book for my grandson, but it hasn't arrived and I have misplaced the name of the place. If anyone remembers the name would they email me off list? Thanks, Randy Fendrick, Southside Chicago Seven Bakersfield Symphony Orchestra ------------------------------ Message: 3 Date: Thu, 9 Feb 2006 14:52:23 -0500 From: "Charles De Paolo" Subject: Re: [Trombone-l] Wedding Music for Bones To: "Trombone List" Message-ID: <01b101c62db2$5df39170$1e00a8c0@Road1> Content-Type: text/plain; format=flowed; charset="UTF-8"; reply-type=original > > Hmmm... Web link doesn't seam to work..(www.enspub.com) > Looks like AOL is having problems today. That's where the site is hosted. Hopefully it will clear up in a few hours. --Chuck ----- Original Message ----- From: thetubameister@adelphia.net To: Charles De Paolo Sent: Thursday, February 09, 2006 2:03 PM Subject: Re: [Trombone-l] Wedding Music for Bones Hmmm... Web link doesn't seam to work... J.c. ---- Charles De Paolo wrote: > Funny you should ask! > > Holst: Jupiter Chorale - ENS435 (Ensemble Publications, www.enspub.com) > Handel: Largo from Xerxes - LPP010 (Lyceum Press, via Ensemble Publications) > Praetorius: 2 Ancient Carols - ENS428 (EP) > Haydn: Achieved - ENS406 (EP) > Speer: Sonata - ENS409 (Miller) or ENS443 (Weiner) (both EP) > Debussy: 3 Chansons - V008 (Virgo Music) > > In the interest of full disclosure, I should point out that I am the > publisher of the Ensemble and Lyceum charts. > > --Chuck > > > ----- Original Message ----- > From: thetubameister@adelphia.net > To: Charles De Paolo > Cc: trombone-l@samford.edu > Sent: Thursday, February 02, 2006 1:21 PM > Subject: Re: [Trombone-l] Wedding Music for Bones > > > Any of these published? > > J.c.S. > > > ---- Charles De Paolo wrote: > > OK, this will be a little biased, but I do have a few suggestions. > > > > At my first wedding, I hired a trombone quartet. I had my arrangement of > the Handel "Largo from Xerxes" played for the processional, and the Haydn > "Achieved is the Glorious Work" (Miller) as the recessional. I chose my > arrangement over the Marcellus in that it is more like a stately march, as > John's setting is more chorale like. It was fantastic. Some of the > intermediary music was the Praetorius "Two Ancient Carols" (Miller) and the > Debussy "Three Chansons "(Levine). > > > > At my second wedding (yes, the first crashed), I arranged the Jupiter > Chorale from Holst's Planets for the processional. It's a quartet > arrangement that was performed by an octet. It has optional cuts and > repeats designed to tailor the length of the work to match the length of the > processional. The chaser was once again the Haydn, followed by the Speer > Sonata. > > > > Both the Holst and the Handel are grand, stately processionals (the > Handel is in 3, but it still works very well). Both have strong endings > that especially reinforce the bride's arrival at the altar. > > > > I did program the Praetorius at a Catholic wedding once with my own > quartet, but the music director at the church ixnayed it (on the wedding day > no less) because it was "Christmas" music. Instead, she played some > mindless rambling mess of a Bach-based "improvisation" that sounded alot > like "Halloween" music to us in the band. She was too closed minded to > accept that "Lo How a Rose E'er Blooming" could be played outside the > confines of the first three weeks of December. > > > > FIWI, YMMV > > > > ---Chuck > > > > > > ----- Original Message ----- > > From: Brian > > To: trombone-l@samford.edu > > Sent: Wednesday, February 01, 2006 9:21 PM > > Subject: [Trombone-l] Wedding Music for Bones > > > > > > I have asked the trombone choir that I play with if they can play at > my > > wedding ceremony. So. anyone know where I can get some music suitable > for > > processional/recessional suitable for trombone choir? As for number of > > players, we usually have about 10-12 players. I already picked up an > > arrangement of Pachelbel's Canon. > > > > Thanks! > > > > Brian > > _______________________________________________ > > 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: 4 Date: Thu, 9 Feb 2006 12:05:44 -0800 From: ALEX ILES Subject: Re: [Trombone-l] Vibrato - yeah or nay To: "Adrian Drover" Cc: 'Trombone-L' , "'Richardson, Timothy Mr. DAC USAG Franconia DPW'" Message-ID: <743E85FE-99A7-11DA-8BD8-000D93C8F54C@earthlink.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Makes sense, Adrian. I remember the late Tommy Pederson saying that's what he was going for on trombone--a string-like vibrato which was popular in the 30's through the 50's. I seem to remember at least one author describing Tommy Dorsey's vibrato as "cello like". Alex ============================ On Feb 9, 2006, at 9:30 AM, Adrian Drover wrote: > Listen to the amount of vibrato used in > the Glenn Miller saxes with clarinet lead of the '40s. Were they > trying to > emulate strings? ------------------------------ Message: 5 Date: Thu, 9 Feb 2006 15:29:30 -0500 From: "David W. Buckley" Subject: [Trombone-l] Vibrato - British Brass bands To: "Adrian Drover" , "'Richardson, Timothy Mr. DAC USAG Franconia DPW'" , "'Trombone-L'" Message-ID: <001001c62db7$87d6bc60$094f8d18@hama2.on.cogeco.ca> Content-Type: text/plain; charset="iso-8859-1" As Adrian says, the modern British Brass band uses a lot less vibrato than even only 40-50 years ago. However you will still hear at times excess vib especially from soprano cornet players and sometimes solo cornet and euphonium. In the early brass band days in the UK all players were total amateurs including usually the instructors. Vibrato both gave the illusion of a larger sound and also served to make up for poor tuning. Russell Gray, a top UK cornet player, gave a clinic on vib at a NABBA contest a few years ago in which he mentioned the tuning issue. He gave a demonstration of several types of vib with a very bizarre explanation as to how he did it. Interestingly in his solo performance later in the day, he did not use any of the vib techniques he had described making me think that his understanding of the process may have been faulty but his use of it was instinctive and musical. I can still hear Ray Premru's voice on the adjudication tape at a Nabba contest. Our band -Weston Silver- had at that time a welsh solo cornet player with a vib that was totally out of control. Ray's comments frequently were "Too much veebrato". That was how he pronounced it! The cornet player never did get the hint. His vib caused numerous splits when he played but he did epitomize the stubborn welshman. Interestingly when he warmed up it was apparent that he could play without vib but he felt it was the right way to play. One of the best SA cornet soloists of the 40's, 50's and 60's was Roland Cobb, principal with the International Staff Band for many years. Roland had a beautiful relaxed vib which made his playing of simple melodies very poignant. In the late 70's he was my guest soloist at Hamilton and told me that his sons made him change the way he played by reducing the vib. He then only used it sparingly but to good effect. I once asked Alain Trudel about how to study vib. His reply was to just do whatever is musical and forget about studying how - let it be natural. I certainly use vib on the high notes in Adrian's arrangement of My Funny Valentine! ( the illusion of a bigger sound and to cover up tuning problems). Anyone wanting a nice program piece for either brass band or concert band would do well to buy this from Adrian. Although it started life as a brass band piece, I think the concert band version is even more interesting because of the greater colours and textures available. Bravo Adrian. Dave Buckley. > > > > From: Richardson, Timothy Mr. DAC USAG > > > > In all the discussions of performance practice so far, I haven't seen the > > British brass band tradition mentioned. > > > > I've never played in one (have sat in with a US version of one once and > > enjoyed it) but the recordings I've heard have featured quite a large > > amount > > of constant vibrato across the different sections. > > > > Can anyone offer insight into this one? How long, did it derive from or > > affect nonbrassband practice, etc.? Or is this just one of those unique > > "Mad Dogs and Englishman" mysteries? > > > > I would say that the modern brass band sounds a lot different today than it > did when I was a kid. The amount of vibrato used now is very much less than > on old recordings. Styles evolve. > > A. > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 6 Date: Thu, 9 Feb 2006 16:34:25 EST From: BJMCHAFFIE@aol.com Subject: [Trombone-l] Fwd: Vibrato - British Brass bands To: trombone-l@samford.edu Message-ID: Content-Type: text/plain; charset="us-ascii" In a message dated 2/9/2006 4:31:50 PM US Eastern Standard Time, BJMCHAFFIE writes: In a message dated 2/9/2006 4:28:22 PM US Eastern Standard Time, BJMCHAFFIE writes: The generally messed up standards of what tuning an instrument may have been manufactured to could have led to vibrato usage on instruments being used in the same musical organization. This would have covered the different off pitch tones produced by the different standard instruments. My wife was the owner of a flute that was used in the Sousa band and it was subsequently "worked" on by some one or more repairmen and never did function on pitch. Had she used vibrato the pitch would have been disguised. As it was she was constantly playing the instrument off pitch to keep in tune with the other flutists. One of my friends in the repair business in Indianapolis, told me about the flute which had a very checkered history amongst instrument sellers. One of those generous people gave her $19.00 to take it off her hands. Later she acquired a new instrument and had intense difficulty with pitch until she finally rationalized that she did not have to bend her notes to stay in tune. I had a baritone from 1910 or so that required pitch bending to play in tune also, however that may have just been the nature of the beast. beldon wade ----------------- Forwarded Message: Subj:Re: [Trombone-l] Vibrato - British Brass bands Date:2/9/2006 4:28:22 PM US Eastern Standard Time From:BJMCHAFFIE To:davebuckley@cogeco.ca, trombone-l-bounces@samford.edu The generally messed up standards of what tuning an instrument may have been manufactured to could have led to vibrato usage on instruments being used in the same musical organization. This would have covered the different off pitch tones produced by the different standard instruments. My wife was the owner of a flute that was used in the Sousa band and it was subsequently "worked" on by some one or more repairmen and never did function on pitch. Had she used vibrato the pitch would have been disguised. As it was she was constantly playing the instrument off pitch to keep in tune with the other flutists. One of my friends in the repair business in Indianapolis, told me about the flute which had a very checkered history amongst instrument sellers. One of those generous people gave her $19.00 to take it off her hands. Later she acquired a new instrument and had intense difficulty with pitch until she finally rationalized that she did not have to bend her notes to stay in tune. I had a baritone from 1910 or so that required pitch bending to play in tune also, however that may have just been the nature of the beast. beldon wade ------------------------------ Message: 7 Date: Thu, 09 Feb 2006 18:04:21 -0500 From: Steve Beck Subject: Re: [Trombone-l] Vibrato - British Brass bands To: "David W. Buckley" Cc: 'Trombone-L' , "'Richardson, Timothy Mr. DAC USAG Franconia DPW'" Message-ID: <43EBCA75.1000800@comcast.net> Content-Type: text/plain; charset=ISO-8859-1; format=flowed David W. Buckley wrote: "Too much veebrato". That was how he (Ray Premru) pronounced it! Funny but that is how my dictionary pronounces it - at last as an acceptable alternative. > > ------------------------------ Message: 8 Date: Thu, 9 Feb 2006 17:49:19 -0600 From: "J & D Sellmansberger" Subject: Re: [Trombone-l] Vibrato - yeah or nay To: Message-ID: <011201c62dd3$72b51fe0$6401a8c0@joe> Content-Type: text/plain; charset="iso-8859-1" A lot of vibrato that I've heard sounds much more like a "nay" than a "yeah". ;^/ ------------------------------ Message: 9 Date: Thu, 09 Feb 2006 16:04:53 -0800 From: emrose79 Subject: [Trombone-l] Trombania To: trombone-l@server5.samford.edu Message-ID: <43EBD8A5.3090908@sonic.net> Content-Type: text/plain; charset=ISO-8859-1; format=flowed I just received (ok, a few days ago) my Trombania cd. Excellent! Being fond of bass trombone, and especially fond of contra-bass (translation for Tom: VLB tenor, and true bass), I found Mike Suter's playing to be quite exhilerating!. Now.. I know that Mike doesn't seem to like to talk about equiptment in public, but... I am curious as to what contra he was using.. Mike? Ed ------------------------------ Message: 10 Date: Thu, 9 Feb 2006 18:09:27 -0600 From: "Fred Hudson" Subject: Re: [Trombone-l] Practice with the experts To: "trombone-L" , "Randy Fendrick" Message-ID: <001f01c62dd6$441adbe0$dce7eb3f@s0024172501> Content-Type: text/plain; charset="iso-8859-1" The new publisher is RBC Publications in San Antonio http://www.rbcmusic.com/index.htm I ordered the book and received it in a couple of days. Fred H ----- Original Message ----- From: "Randy Fendrick" To: "trombone-L" Sent: Thursday, February 09, 2006 1:05 PM Subject: [Trombone-l] Practice with the experts > Several weeks ago, someone posted the name of a music store in Texas > that had a new version of Paul Tanners "Practice with the Experts." I > thought I ordered the book for my grandson, but it hasn't arrived and I > have misplaced the name of the place. If anyone remembers the name > would they email me off list? > Thanks, > > 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 > > ------------------------------ Message: 11 Date: Fri, 10 Feb 2006 10:16:45 -0500 From: Retired Prof 55 Subject: [Trombone-l] Opportunities for Performers To: TROMBONE-L@server5.SAMFORD.EDU Message-ID: <3FA20A6F-9A48-11DA-84DC-000A9594F836@suscom.net> Content-Type: text/plain; charset=WINDOWS-1252; format=flowed Are you interested in commission a piece written especially for you? Would you like to provide educational outreach opportunities where your audiences and students can learn form an experienced composer, performer, author and educator? Are you interested in producing a CD for distribution to the public and for sale to your audiences? Co-op Press is dedicated to fostering audience appreciation and understanding of "Mainstream Literary Music", which is art music that is based on musical traditions established prior to the mid-20th century. Our grant programs offer you the opportunity to work closely with award-winning composer, Sy Brandon to achieve your goals of reaching out to your audiences to share your enthusiasm for your art. The Commission Assistance Grant enables performers to have a piece composed especially for them by Sy Brandon in order to generate audience and performer excitement about a world premiere. The Commission Assistance Grant includes a residency where the composer works with the musicians and speaks to the audience. This grant is available to performers (elementary through professional) in the continental United States. Deadlines for application are in April and October of each year. The Residency Assistance Grant enables performers to have composer Sy Brandon work closely with them on a pre-existing composition of his, to speak to audiences and instruct in individual and group settings. This grant is available to performers (elementary through professional) in CT, DE, MA, ME, NH, NJ, NY, OH, PA, RI, VA, VT, and WV. Applications are accepted throughout the year. The Recording Grant enables talented performers to produce a professional quality CD through Emeritus Recordings. The CD will receive commercial distribution through physical and digital retail outlets and promotion through broadcast, advertisement and reviews. The CD will also be made available to the artists on a consignment basis for sale to their audiences. The CD must include at least one composition of composer, Sy Brandon, and can include a piece written by him especially for this recording. This grant is available to performers throughout the world and has deadlines for application in April and October of each year. For application, further information, and to sample Sy Brandon?s music, visit http://cooppress.hostrack.net or contact: Co-op Press Grant Programs P.O. Box 204 Wrightsville, PA 17368-0204 ------------------------------ _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l End of Trombone-l Digest, Vol 13, Issue 10 ******************************************