Subject: Trombone-l Digest, Vol 26, Issue 12 Date: Monday, March 12, 2007 12:00 PM From: trombone-l-request@maillists.samford.edu Reply-To: trombone-l@maillists.samford.edu To: Conversation: Trombone-l Digest, Vol 26, Issue 12 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: The Substitute Conductor (Eric & Candice Swanson) 2. intonation (Jeff Adams) 3. Re: intonation (Adrian Drover) 4. intonation/reply to Adrian (Charles Levine) 5. Re: intonation (John Burton) 6. Pryor's Fantastic Polka (James Winchell) 7. Re: Intonation (Craig Parmerlee) 8. Re: Intonation (Craig Parmerlee) 9. Lawrence Welk (off-topic tangent) (Bill Langston) 10. Re: Pryor's Fantastic Polka (Jim Hale) 11. Re: Intonation (Joshua Hauser) 12. Re: Lawrence Welk (off-topic tangent) (ALEX ILES) 13. Re: Intonation (Chris Tune) 14. School information (Jon Bohls) 15. Re: School information (Jeff Albert) 16. OTJ Classifieds Update - 3/12/07 (Chris Waage) 17. Re: Intonation (Steve Gamble) ---------------------------------------------------------------------- Message: 1 Date: Sun, 11 Mar 2007 12:22:01 -0500 From: Eric & Candice Swanson Subject: Re: [Trombone-l] The Substitute Conductor To: List Trombone Message-ID: <45F43AB9.5000905@earthlink.net> Content-Type: text/plain; charset=us-ascii; format=flowed Bill Dinwiddie wrote: >A conductor became ill one evening and the band had to find a substitute >conductor. The only person available was the second trombone player.... > > Come on, this is an old viola joke from way back! ------------------------------ Message: 2 Date: Sun, 11 Mar 2007 12:40:19 -0500 From: Jeff Adams Subject: [Trombone-l] intonation To: trombone-l@server5.samford.edu Message-ID: <20DCE71B-ADC0-4925-9AAB-AD74B96585D7@cablespeed.com> Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed On Mar 11, 2007, at 12:00 PM, trombone-l- request@maillists.samford.edu wrote: > "I think using a tuner wisely and occasionally can be helpful, > using one too > much can be detrimental. I often find the people who have tuners > on their > stands the most are the people with the worst intonation." > I really like this line! I suspect the truth in it is due to those > with > tuners on their stands the most are using their eyes to tune their > instruments rather than their ears. I just want to add a bit to this discussion from my experience. Honestly, I wish people would throw out all the personal tuners. I'm sure we all know this but it always bears repeating. These devices are all equal temperament, which means equally out of tune--all a compromise so that piano keyboard instruments could play in all key signatures. When playing with any type of ensemble which has one fixed pitch instrument you must "get in the ballpark" pitch of that instrument-- but that is the extent to which that instrument "owns the pitch." Especially since it will frequently not be playing. Since I'm playing in a big band 90% of the time, we get in the ballpark of the piano, as does the bass player. For the rest of each performance though, we are attempting (with very good success most of the time) to tune chords vertically with the Bass player as our root reference. People who practice with/rely on personal tuners or piano all the time, and who also develop their pitch center based on these, are the worst to work with in an ensemble setting because they do not have the concept of correct vertical harmonic construction. They play equally out of tune on every note just like a piano does. "For music to modulate freely, and for all intervals to remain in perfect harmonic relationship, the actual frequency of all notes must be flexible. Furthermore, to be practical, the changes must be instantaneous in real time." Musicians who are chained to the intonation they have become accustomed to in a practice room with a piano or a tuner are generally incapable of playing in tune in an ensemble where these instantaneous adjustments must be made immediately and instinctively, without conscious thought. Being a trombonist puts one in a prime position to be able to make these adjustments since we are holding a tuning slide in our right hand. My $.02 from the middle of our current tour (schedule on my website) Best regards to ya'll (in Oklahoma now and heading to Texas in two days LOL!) Jeff Adams www.SlideAdams.com A Kanstul Artist/Clinician www.Kanstul.com ------------------------------ Message: 3 Date: Sun, 11 Mar 2007 17:53:47 -0000 From: "Adrian Drover" Subject: Re: [Trombone-l] intonation To: "'Jeff Adams'" , Message-ID: <001001c76406$38966430$0600a8c0@Adrian> Content-Type: text/plain; charset="US-ASCII" > From: Jeff Adams > > > > "For music to modulate freely, and for all intervals to remain in > perfect harmonic relationship, the actual frequency of all notes must > be flexible. Furthermore, to be practical, the changes must be > instantaneous in real time." Musicians who are chained to the > intonation they have become accustomed to in a practice room with a > piano or a tuner are generally incapable of playing in tune in an > ensemble where these instantaneous adjustments must be made > immediately and instinctively, without conscious thought. Being a > trombonist puts one in a prime position to be able to make these > adjustments since we are holding a tuning slide in our right hand. Excellent post, Jeff. Makes you wonder why so much orchestral and big band music is written on the piano. A. ------------------------------ Message: 4 Date: Sun, 11 Mar 2007 18:26:30 -0500 From: "Charles Levine" Subject: [Trombone-l] intonation/reply to Adrian To: Message-ID: <001c01c76434$b4139e10$76b01ad1@upstairs> Content-Type: text/plain; charset="iso-8859-1" I'm sure some is written on desks. cl ------------------------------ Message: 5 Date: Sun, 11 Mar 2007 20:39:16 -0400 From: "John Burton" Subject: Re: [Trombone-l] intonation To: "Jeff Adams" , Message-ID: <2C761FD6AEB2B640BF5524B1DD167C9D0A1A21@centralstorage.johnburton.local> Content-Type: text/plain; charset="us-ascii" Jeff... There's the secret I've always used, not always in Big Band, but nearly any music type. Quote -- > Since I'm playing in a big band 90% of the time, we get in > the ballpark of the piano, as does the bass player. For the > rest of each performance though, we are attempting (with very > good success most of the time) to tune chords vertically with > the Bass player as our root reference. UnQuote -- That's the secret. Play with your ears. This rule is sometimes difficult to apply when I'm playing the bass line on a Bass Trombone, or Contra-Bass trombone. Then, I play the note with assertiveness and confidence born of years of wrong notes. Remember you're only a half-step away from the right note.... ~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~= john burton Bach 50B3 Bass Trombone Kanawha Valley Community Band / Slide-by-Slide South Charleston, West Virginia > -----Original Message----- > From: trombone-l-bounces@maillists.samford.edu > [mailto:trombone-l-bounces@maillists.samford.edu] On Behalf > Of Jeff Adams > Sent: Sunday, March 11, 2007 12:40 PM > To: trombone-l@server5.samford.edu > Subject: [Trombone-l] intonation > > On Mar 11, 2007, at 12:00 PM, trombone-l- > request@maillists.samford.edu wrote: > > "I think using a tuner wisely and occasionally can be > helpful, using > > one too much can be detrimental. I often find the people who have > > tuners on their stands the most are the people with the worst > > intonation." > > I really like this line! I suspect the truth in it is due to those > > with tuners on their stands the most are using their eyes to tune > > their instruments rather than their ears. > > I just want to add a bit to this discussion from my experience. > Honestly, I wish people would throw out all the personal > tuners. I'm sure we all know this but it always bears > repeating. These devices are all equal temperament, which > means equally out of tune--all a compromise so that piano > keyboard instruments could play in all key signatures. > > When playing with any type of ensemble which has one fixed > pitch instrument you must "get in the ballpark" pitch of that > instrument-- > but that is the extent to which that instrument "owns the pitch." > Especially since it will frequently not be playing. > > Since I'm playing in a big band 90% of the time, we get in > the ballpark of the piano, as does the bass player. For the > rest of each performance though, we are attempting (with very > good success most of the time) to tune chords vertically with > the Bass player as our root reference. > > People who practice with/rely on personal tuners or piano all > the time, and who also develop their pitch center based on > these, are the worst to work with in an ensemble setting > because they do not have the concept of correct vertical > harmonic construction. They play equally out of tune on > every note just like a piano does. > > "For music to modulate freely, and for all intervals to > remain in perfect harmonic relationship, the actual frequency > of all notes must be flexible. Furthermore, to be practical, > the changes must be instantaneous in real time." Musicians > who are chained to the intonation they have become accustomed > to in a practice room with a piano or a tuner are generally > incapable of playing in tune in an ensemble where these > instantaneous adjustments must be made immediately and > instinctively, without conscious thought. Being a trombonist > puts one in a prime position to be able to make these > adjustments since we are holding a tuning slide in our right hand. > > My $.02 from the middle of our current tour (schedule on my > website) Best regards to ya'll (in Oklahoma now and heading > to Texas in two days LOL!) > > Jeff Adams > www.SlideAdams.com > A Kanstul Artist/Clinician > www.Kanstul.com > > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 6 Date: Sun, 11 Mar 2007 17:39:02 -0800 From: James Winchell Subject: [Trombone-l] Pryor's Fantastic Polka To: Trombone-l@server5.samford.edu Message-ID: <24271665.1173663542479.JavaMail.root@fed1wml01.mgt.cox.net> Content-Type: text/plain; charset=utf-8 Hi all, I am hoping to play Arthur Pryor's Fantastic Polka for my school band's final concert, but I only have the solo trombone part. To the best of my knowledge, the band arrangement of this work is out of print. If anyone happens to have the band accompaniment parts to this, and is willing to let me borrow, rent, or buy them, please let me know. Thank you! -James Winchell ------------------------------ Message: 7 Date: Sun, 11 Mar 2007 22:00:29 -0400 From: Craig Parmerlee Subject: Re: [Trombone-l] Intonation To: clayton murphy Cc: jamesmeador@hotmail.com, trombone-l@server5.samford.edu Message-ID: <45F4B43D.1020101@acticalc.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed clayton murphy wrote: > "I think using a tuner wisely and occasionally can be helpful, using > one too much can be detrimental. I often find the people who have > tuners on their stands the most are the people with the worst > intonation." > > I really like this line! I suspect the truth in it is due to those > with tuners on their stands the most are using their eyes to tune > their instruments rather than their ears. That much would be forgivable, and easy to write off as a crutch needed by a developing musician. It seems to me, however, that in some cases, the folks with the tuners running constantly are using it reinforce an attitude like "See, I'm the one with the 'right' pitch. Everyone else is wrong." ------------------------------ Message: 8 Date: Sun, 11 Mar 2007 22:02:09 -0400 From: Craig Parmerlee Subject: Re: [Trombone-l] Intonation To: Stephen Troy Cc: trombone-l@server5.samford.edu Message-ID: <45F4B4A1.4020601@acticalc.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Stephen Troy wrote: > Any group I've ever played in always tunes to the keyboard when the > keyboard is the featured instrument. I've also never seen a professional > orchestra do otherwise. > I've played in groups where the oboe has the responsibility to tune to the piano, then the orchestra tunes to the oboe. That has the advantage of not changing the orchestra's normal routine. ------------------------------ Message: 9 Date: Sun, 11 Mar 2007 21:38:48 -0500 From: Bill Langston Subject: [Trombone-l] Lawrence Welk (off-topic tangent) To: trombone-l@samford.edu Message-ID: <45F4BD38.9070803@langstonfamily.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed I caught part of a Lawrence Welk special on PBS last night. What was a middle-aged computer programmer doing at home on Saturday night watching PBS, you might ask? Well, that's just how exciting my life has become. Normally I'd be watching recorded episodes of something called "Wow Wow Wubzy" with my son, but he and my wife were out of town visiting relatives. If I understand correctly, the would record the audio track one night, then use the tape for rehearsals and taping the actual show. I was just curious if anyone knew to what extent they did this. Was it literally the whole show, so the taping before the audience was a matte or choreography and not playing? Did they just blow air through the horns and bask in their pastel radiance? (Don't get me wrong - I love the show, if not the costumes). I know it was common at the time (probably much more so now) to use a tape track (sometimes just an album recording) for variety shows, talk shows, etc., - somewhere I have an article with Daryl Dragon talking about how hard they worked on The Captain and Tennille Show to get the audio bugs out so they could tape the actual performances, but that the editing process mangled them anyway. With a band that large, though, (from what I remember, a full big band, with a pile of others, and it grew as the show went on), it seems like it would be a pretty surreal experience, and make improvising solos difficult, since you'd have to go back and re-create the slide positions so you didn't look silly. I've never done any pro gigs, though - that may be the norm for all I know. It just struck me as kind of weird. Do any of you have entertaining stories about such a situation? Is anyone intimately familiar with the Lawrence Welk show (statistically, I'd think to odds are good someone here probably saw a live taping, or even played some of the shows - there were over 1000 episodes, after all). Bill Langston ------------------------------ Message: 10 Date: Sun, 11 Mar 2007 21:53:33 -0600 From: "Jim Hale" Subject: Re: [Trombone-l] Pryor's Fantastic Polka To: Message-ID: <200703120251.l2C2pcOe029823@server5.samford.edu> Content-Type: text/plain; charset="us-ascii" You can check this one... http://www.barnhouse.com/product.php?id=012-3396-00AR Jim -----Original Message----- From: trombone-l-bounces@maillists.samford.edu [mailto:trombone-l-bounces@maillists.samford.edu] On Behalf Of James Winchell Sent: Sunday, March 11, 2007 7:39 PM To: Trombone-l@server5.samford.edu Subject: [Trombone-l] Pryor's Fantastic Polka Hi all, I am hoping to play Arthur Pryor's Fantastic Polka for my school band's final concert, but I only have the solo trombone part. To the best of my knowledge, the band arrangement of this work is out of print. If anyone happens to have the band accompaniment parts to this, and is willing to let me borrow, rent, or buy them, please let me know. Thank you! -James Winchell _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 11 Date: Sun, 11 Mar 2007 22:34:50 -0500 From: Joshua Hauser Subject: Re: [Trombone-l] Intonation To: Cc: Joshua Hauser Message-ID: Content-Type: text/plain; charset="US-ASCII" I have hesitated to jump into this discussion in an effort not to continue to stir up the can of worms that has been opened, but my spring break (and therefore my silence) is now at an end... I have believed for a long time that there are distinct differences between what we refer to as intonation, meaning being able to stop a tuner in place in a proscribed location depending on the chord tone we are playing or whether we are performing with a piano or not and the blend that is required of us as musicians. Given that, I have redefined the term(s) for my use as follows: InTONEation = tone, sound, blend, balance, etc. InTUNEation = playing in tune with a tuner or fixed pitch instrument To paraphrase someone, but I forget who, the trombone is the best wind instrument because it is the only one that can be played in tune without compromising tone. Unfortunately, we often do compromise our TONE by lipping things in TUNE. Some of the best exercises that I have found for this problem are slow glissandos such as the "embouchure wakeup call" in Michael Davis' 15 minute warm-up. Scott Hartman also has some great gliss exercises on his website called Gliss-slurs that also work very well. The idea behind how I do these myself and with students is to try to keep the same tone and focus of sound through an entire glissando regardless of where I am on the slide. That way I can concentrate on separating the inTONEation from the inTUNEation, maintaining a consistent sound throughout the entire range of the horn and letting the tuner tell me when to stop. By separating these elements, I have found that the use of a tuner in short bursts while doing these glisses will help to locate the correct position for each note (at least that day). If you do this kind of practice for 5-10 minutes a day, after a couple of weeks you tend to figure out where 5th position really is, all while maintaining that good TONE that we often sacrifice to play in TUNE. Basically, if it doesn't SOUND good, it doesn't sound GOOD. Regardless of whether or not we are in tune. I also advocate the use of an intonation chart a few times right after getting new equipment and/or whenever any other significant change in playing happens. It is often very interesting to see what the tendencies are in partials vs. hearing intervals. I had a student a week or two ago who started off 20 cents sharp and managed to keep almost every pitch he played 15-25 cents sharp. He had a good sense of pitch, but he started from a fallacy, so his tone suffered as he went on, trying to put the slide in the normal position, but lipping everything that he played. If you are interested in checking out the intonation chart that I use, it is online at: http://iweb.tntech.edu/jhauser/media/warmupplayalongs/Trombone/TbnIntonation Chart.pdf Add more to the top or bottom of the range as needed to fit your needs. As a side note, I rarely have the guys tune up in trombone choir. The only times that I tend to tune are right before a gig to make sure we are in the same basic ballpark or when we are in recording mode in order to make sure we don't drift so that we can edit later if needed. If they are listening and blending, then they will move their slides and, when they figure out that all of their positions are a bit higher or lower than usual, they move their tuning slides accordingly. That's the theory anyway. Just my $.02. I guess I really need to get back to lessons after break... Josh ______________________________________________ Joshua Hauser, Associate Professor of Trombone Box 5045, Department of Music and Art Tennessee Tech University Cookeville, TN 38505 931/372-6086 jhauser@tntech.edu http://iweb.tntech.edu http://www.tntech.edu/brass http://www.tntech.edu/baq ------------------------------ Message: 12 Date: Sun, 11 Mar 2007 21:08:57 -0700 From: ALEX ILES Subject: Re: [Trombone-l] Lawrence Welk (off-topic tangent) To: Bill Langston Cc: trombone-l@samford.edu Message-ID: <29f3e65130576952371f1969549bf240@earthlink.net> Content-Type: text/plain; charset=US-ASCII; format=flowed Hi BIll, I believe the band numbers were usually performed live on the LW show. They might have pre-recorded [then "side lined" or pretend-played] when they backed up singers or dancers occasionally--although I am not sure...? Many of the numbers were recorded live, but perhaps not in front of an audience. That way, they could pick the best "takes" for use on the show. Remarkably, the things they did play rarely ever had many noticeable clams or glaring performance problems. The sound quality was pretty good too. Well balanced and full--the sound folks usually knew what a band was supposed to sound like. Unlike the Neanderthal sound men working in most live TV today [Tonight Show, Conan, etc...most of the time, just disappointing audio, IMO]. Bob Havens trombone solos on the Welk show were always spot on and SWINGING...every show!! I don't remember him ever sidelining one of his incredible solos...and you can almost always tell when even the best players are sidelining!! Most of the live TV shows you see today [even dubious shows like "American Idol" and "Dancing with the Stars"] are performed LIVE by LIVE musicians. Once in a while, something is pre-recorded. It might be the opening title music and a few "bumpers"--the music used to take the show in/out of commercial breaks-- and maybe some of the music for the [non-competing] guest acts. I get to sub once in a while on "Dancing with the Stars" and that is almost ALL live music. The only pre-recorded material might be the opening credits. LX ======================= On Mar 11, 2007, at 7:38 PM, Bill Langston wrote: > I caught part of a Lawrence Welk special on PBS last night. What was a > middle-aged computer programmer doing at home on Saturday night > watching > PBS, you might ask? Well, that's just how exciting my life has become. > Normally I'd be watching recorded episodes of something called "Wow Wow > Wubzy" with my son, but he and my wife were out of town visiting > relatives. If I understand correctly, the would record the audio track > one night, then use the tape for rehearsals and taping the actual show. > I was just curious if anyone knew to what extent they did this. Was it > literally the whole show, so the taping before the audience was a matte > or choreography and not playing? Did they just blow air through the > horns and bask in their pastel radiance? (Don't get me wrong - I love > the show, if not the costumes). > > I know it was common at the time (probably much more so now) to use a > tape track (sometimes just an album recording) for variety shows, talk > shows, etc., - somewhere I have an article with Daryl Dragon talking > about how hard they worked on The Captain and Tennille Show to get the > audio bugs out so they could tape the actual performances, but that the > editing process mangled them anyway. With a band that large, though, > (from what I remember, a full big band, with a pile of others, and it > grew as the show went on), it seems like it would be a pretty surreal > experience, and make improvising solos difficult, since you'd have to > go > back and re-create the slide positions so you didn't look silly. I've > never done any pro gigs, though - that may be the norm for all I know. > It just struck me as kind of weird. > > Do any of you have entertaining stories about such a situation? Is > anyone intimately familiar with the Lawrence Welk show (statistically, > I'd think to odds are good someone here probably saw a live taping, or > even played some of the shows - there were over 1000 episodes, after > all). > > Bill Langston > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > ------------------------------ Message: 13 Date: Sun, 11 Mar 2007 22:21:10 -0700 From: "Chris Tune" Subject: Re: [Trombone-l] Intonation To: "Joshua Hauser" , Message-ID: <16e201c76466$3f656580$0200a8c0@athlon2800> Content-Type: text/plain; format=flowed; charset="iso-8859-1"; reply-type=original If you want a bit more on this subject a couple of searches would be in order: Search-- acoustics pitch tempered also-- acoustics pitch just intonation [these would give you material on how tuning systems work] Then search-- barbershop intonation [this discusses the unusual methods used by these -- origins mostly USA -- groups of four singers] This should give you quite a few things to look at. Basically there is the science or acoustics info - but there is much more stuff having to do with practical matters of how closely persons in choirs might actually get to each other in pitch and how barbershop is done (where the emphasis is upon just intoned dominant seventh chords) and similar. >From that search, I think you would begin to see that this is a never ending topic. [I could see hundreds if not thousands of links going every which way - many of these are scholarly things -- there is some Wikipedia coverage on the history of barbershop , etc.] Chris ----- Original Message ----- From: "Joshua Hauser" To: Cc: "Joshua Hauser" Sent: Sunday, March 11, 2007 8:34 PM Subject: Re: [Trombone-l] Intonation >I have hesitated to jump into this discussion in an effort not to continue > to stir up the can of worms that has been opened, but my spring break (and > therefore my silence) is now at an end... > > I have believed for a long time that there are distinct differences > between > what we refer to as intonation, meaning being able to stop a tuner in > place > in a proscribed location depending on the chord tone we are playing or > whether we are performing with a piano or not and the blend that is > required > of us as musicians. > > Given that, I have redefined the term(s) for my use as follows: > > InTONEation = tone, sound, blend, balance, etc. > > InTUNEation = playing in tune with a tuner or fixed pitch instrument > > To paraphrase someone, but I forget who, the trombone is the best wind > instrument because it is the only one that can be played in tune without > compromising tone. Unfortunately, we often do compromise our TONE by > lipping things in TUNE. > > Some of the best exercises that I have found for this problem are slow > glissandos such as the "embouchure wakeup call" in Michael Davis' 15 > minute > warm-up. Scott Hartman also has some great gliss exercises on his website > called Gliss-slurs that also work very well. > > The idea behind how I do these myself and with students is to try to keep > the same tone and focus of sound through an entire glissando regardless of > where I am on the slide. That way I can concentrate on separating the > inTONEation from the inTUNEation, maintaining a consistent sound > throughout > the entire range of the horn and letting the tuner tell me when to stop. > > By separating these elements, I have found that the use of a tuner in > short > bursts while doing these glisses will help to locate the correct position > for each note (at least that day). If you do this kind of practice for > 5-10 > minutes a day, after a couple of weeks you tend to figure out where 5th > position really is, all while maintaining that good TONE that we often > sacrifice to play in TUNE. > > Basically, if it doesn't SOUND good, it doesn't sound GOOD. Regardless of > whether or not we are in tune. > > I also advocate the use of an intonation chart a few times right after > getting new equipment and/or whenever any other significant change in > playing happens. It is often very interesting to see what the tendencies > are in partials vs. hearing intervals. I had a student a week or two ago > who started off 20 cents sharp and managed to keep almost every pitch he > played 15-25 cents sharp. He had a good sense of pitch, but he started > from > a fallacy, so his tone suffered as he went on, trying to put the slide in > the normal position, but lipping everything that he played. > > If you are interested in checking out the intonation chart that I use, it > is > online at: > http://iweb.tntech.edu/jhauser/media/warmupplayalongs/Trombone/TbnIntonation > Chart.pdf > Add more to the top or bottom of the range as needed to fit your needs. > > As a side note, I rarely have the guys tune up in trombone choir. The > only > times that I tend to tune are right before a gig to make sure we are in > the > same basic ballpark or when we are in recording mode in order to make sure > we don't drift so that we can edit later if needed. If they are listening > and blending, then they will move their slides and, when they figure out > that all of their positions are a bit higher or lower than usual, they > move > their tuning slides accordingly. That's the theory anyway. > > Just my $.02. I guess I really need to get back to lessons after break... > > Josh > > ______________________________________________ > Joshua Hauser, Associate Professor of Trombone > Box 5045, Department of Music and Art > Tennessee Tech University > Cookeville, TN 38505 > 931/372-6086 > jhauser@tntech.edu > http://iweb.tntech.edu > http://www.tntech.edu/brass > http://www.tntech.edu/baq > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l ------------------------------ Message: 14 Date: Mon, 12 Mar 2007 08:51:52 -0500 From: Jon Bohls Subject: [Trombone-l] School information To: Trombone-l Message-ID: Content-Type: text/plain; charset="US-ASCII" Listers, I have an ex-student that is starting to look at colleges. He is in his Jr. year of HS right now. He wants to major in Composition and Sound Engineering. The Sound Engineering would be to learn to produce recordings. What schools would you recommend he look at? Thanks, Jon ------------------------------ Message: 15 Date: Mon, 12 Mar 2007 09:02:08 -0500 From: "Jeff Albert" Subject: Re: [Trombone-l] School information To: "Jon Bohls" Cc: Trombone-l Message-ID: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Loyola University New Orleans has a Music Industry Studies program that he should check out. There is a track that focuses on engineering, and the program is headed by John Snyder who produced records for Mel Lewis, Gerry Mulligan, Ornette Coleman, Sun Ra and all sorts of other people, so there is a great producer to learn from. http://music.loyno.edu/musicindustry/index.html Loyola also has several good composition teachers to study with. Full disclosure: I am an adjunct instructor there. I teach the Intro to Music Technology class that the Music Industry Studies majors take. Peace, Jeff On 3/12/07, Jon Bohls wrote: > > Listers, > > I have an ex-student that is starting to look at colleges. He is in his > Jr. > year of HS right now. He wants to major in Composition and Sound > Engineering. The Sound Engineering would be to learn to produce > recordings. > What schools would you recommend he look at? > > Thanks, > Jon > > > _______________________________________________ > Trombone-l mailing list > Trombone-l@maillists.samford.edu > http://maillists.samford.edu/mailman/listinfo/trombone-l > -- www.jeffalbert.com www.scratchmybrain.com www.pepperenterprises.com ------------------------------ Message: 16 Date: Mon, 12 Mar 2007 06:31:38 -0500 From: Chris Waage Subject: [Trombone-l] OTJ Classifieds Update - 3/12/07 To: Trombone-L Message-ID: Content-Type: text/plain; charset="US-ASCII" The Online Trombone Journal Classifieds - http://www.trombone.org/classifieds - have been updated as of 6:30 AM CDT on March 12, 2007. 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Chris Waage -- Chris Waage, Bass Trombonist The Online Trombone Journal www. trombone.org ------------------------------ Message: 17 Date: Mon, 12 Mar 2007 08:06:28 -0700 From: "Steve Gamble" Subject: Re: [Trombone-l] Intonation To: "Joshua Hauser" , Message-ID: <0B5C87139BED1C49B4CFA3563492DD812AFA67@srv01.tso.local> Content-Type: text/plain; charset="us-ascii" Couldn't agree more with Josh. ...InTONEation = tone, sound, blend, balance, etc. InTUNEation = playing in tune with a tuner or fixed pitch instrument... Back in my brass quintet days we used to call good pitch "playing in tone." As I said (or inferred) in my previous post, good intonation is as much (or more!) an exercise in proper tone color and balance as it is playing the correct frequency. Steve Gamble, Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 520-792-9155 x118 office 520-792-9314 fax 520-991-7056 cell sgamble@tucsonsymphony.org www.tucsonsymphony.org ------------------------------ _______________________________________________ Trombone-l mailing list Trombone-l@maillists.samford.edu http://maillists.samford.edu/mailman/listinfo/trombone-l End of Trombone-l Digest, Vol 26, Issue 12 ******************************************