TROMBONE-L Digest 1634 Topics covered in this issue include: 1) D Yeo Boston area solo appearance by Douglas Yeo 2) Telemann A minor Sonata by "Donna M. Lafferty" 3) Re: D Yeo Boston area solo appearance by "Dick Sleeman" 4) classical music quotes by David Molter 5) Re: Workloads in music schools by Tbcwes@aol.com 6) Re: jazz/improv by sabutin@mindspring.com 7) Re: Workloads in music schools by sabutin@mindspring.com 8) RE: Workloads in music schools by "Guion, David" <8guion@jmls.edu> 9) RE: classical music quotes by "Guion, David" <8guion@jmls.edu> 10) Small app, Warm Breath, and singing by Scott Moore 11) Re: Mute matters by David Buckley 12) Re: 1998 Julliard Trombone Choir? by "Chuck De Paolo" 13) Re: Galliard Sonatas by "Chuck De Paolo" 14) Re: Telemann A minor Sonata by "Chuck De Paolo" 15) Re: Tempesto? Hurricaneo???? by Wayne Dyess 16) Wagenseil Concerto by Tbcwes@aol.com 17) Re: Galliard Sonatas by Topper 18) Re: Telemann A minor Sonata by Topper 19) Boston Conservatory presents Matthew Vaughn in masterclass by Tbcwes@aol.com 20) Re: Workloads in music schools by "Talley, Brian Lee" 21) Re: Workloads in music schools by Brandan Kraft 22) RE: Warm Breath - Small Aperture by "Wessner, John" 23) Re: jazz/improv--G.S. by Wayne Dyess 24) Re: Finger on the bell by Wayne Dyess 25) Jazz Houston web site info by Wayne Dyess 26) Whatsa Selmer (Paris) M-40 by Jgicking@aol.com 27) Attn. Harry Wootan by Wayne Dyess 28) Re: Workloads in music schools by Wayne Dyess 29) Re: Workloads in music schools by Wayne Dyess 30) Setting Embouchure/Background Vocals by "Daniel P. Sniderman" 31) Re: Workloads in music schools by MBennetts@aol.com 32) Re: Workloads in music schools by "Daniel Pliskin" 33) Re: jazz/improv by "Daniel Pliskin" 34) Re: Workloads in music schools by Angie Brunk 35) yamaha serial numbers, etc... by "Douglas Kilen" 36) Re: Classical Music Quotes by "Adrian Drover" 37) Re: Galliard Sonatas by Beth Lewis 38) RE: classical music quotes by "Andrew Elms" 39) Re: Workloads in music schools by "Rodney Ellard" 40) Re: Whatsa Selmer (Paris) M-40 by Eric and Candice Swanson 41) HS senior/college problems by "Adolphus Sprott" 42) Re: HS senior/college problems by Brandan Kraft 43) Re: Workloads in music schools by "Jeff Albert" 44) Re: Workloads in music schools by "Daniel Pliskin" 45) Re: Workloads in music schools by JennWhaa@aol.com 46) Re: HS senior/college problems by James Scott 47) Re: HS senior/college problems by "Rod Ellard" 48) Re: HS senior/college problems by "Anthony J. Heins" 49) Fw: Just Suppose !!!!! by "Adolphus Sprott" 50) Re: classical music quotes by Jim Seaman 51) religious email by "Adolphus Sprott" 52) Re: HS senior/college problems by Elisabeth Frederick 53) Re: HS senior/college problems by Angie Brunk 54) Re: jazz/improv--G.S. by "Adrian Drover" 55) Re: Mute matters by "Adrian Drover" 56) Re: jazz/improv by "Adrian Drover" 57) Transferring credits by Earl Needham From ???@??? Mon Mar 27 07:43:50 2000 Date: Fri, 24 Mar 2000 07:17:43 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: D Yeo Boston area solo appearance Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Next Wednesday night (March 29) at 7:30 PM, I will be the guest soloist with the Lexington High School Wind Symphony (Lexington, MA). I will be playing "Wildfire" for bass trombone and Wind Ensemble composed by my Boston Symphony bass section colleague, Lawrence Wolfe (www.lawrencewolfe.com) who also composed the "Triptych" which appears on my CD PROCLAMATION. In addition, my daughter Robin, who is a senior trumpet player at Lexington HS (time for dad to brag: Robin last week played as principal trumpet in MA All-State and earlier this month in Washington D.C. as a member of the All-National Honors Orchestra) and I will play Herbert L. Clarke's duet, ""Cousins." For further information, and an email contact for LHS Band Director Jeffrey Leonard (who can give you directions - the school is at 251 Waltham Street in Lexington), see my website Schedule page at http://www.yeodoug.com/yeosched.html The concert is free. -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** From ???@??? Mon Mar 27 07:43:50 2000 Date: Fri, 24 Mar 2000 05:18:49 -0800 (PST) From: "Donna M. Lafferty" To: trombone-l@lists.missouri.edu Subject: Telemann A minor Sonata Message-ID: <20000324131849.18742.qmail@web1705.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Hi. Does anyone know of a recording of Telemann's Sonata in A minor? It doesn't have to be trombone and piano (the piece was originally written for viola de gamba and continuo). I just need to hear what other people have done with it, musically. Thanks! Donna ===== Donna M. Lafferty 1st Trombone Bloomington Brass Band Bloomington, Indiana USA donna_lafferty@yahoo.com http://www.geocities.com/bloomington_brass/ http://www.geocities.com/bquintet/ __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com From ???@??? Mon Mar 27 07:43:50 2000 Date: Fri, 24 Mar 2000 14:33:23 +0100 From: "Dick Sleeman" To: "Trombones and related issues forum" Subject: Re: D Yeo Boston area solo appearance Message-ID: <007401bf9595$8cb681e0$057dadc1@dick> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 8bit Hallo, Doug, You wrote: : For further information, and an email contact for LHS Band Director : Jeffrey Leonard (who can give you directions - I'm sure he can! After all he IS a director :-) BTW I liked your post about the two big B's. I didn't know that there used to be a thread on them; I'll look it up in the index. Dick Sleeman, Lelystad, Holland. From ???@??? Mon Mar 27 07:43:50 2000 Date: Fri, 24 Mar 2000 09:16:29 -0500 (EST) From: David Molter To: trombone-l@lists.missouri.edu Subject: classical music quotes Message-ID: <383050390.953907389404.JavaMail.root@web114-wrb.mail.com> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit This is a great subject. I wish I had more concrete examples to add to it, but it appears to be quite common to quote or downright steal entire melodies, and not only in jazz. I have a CD called "Cartoon Music" that has complete versions of many of the tunes used as background music for Warner Brothers Looney Tunes. Not quite the same thing, but interesting nonetheless. (Another interesting CD: "The Carl Stalling Project," which shows how Stalling appropriated pieces of public domain music for cartoon use because WB wouldn't pay to have things written.) Years ago in the United States -- perhaps 20 or more -- the late British actor George Saunders appeared in a TV commercial for an album that contained excerpts from classical music where themes had been appropriated for popular tunes. "Our Love" from "Romeo and Juliet" was one of those, as was "Stranger in Paradise," which I believe was stolen from Borodin's "Polovstian Dances," and Tchaikovsky's "Piano Concerto in Bb" ("Tonight We Love"), which was done by Tommy Dorsey, Freddy Martin and others. Maybe Doug Yeo or one of our symphony bonists can add more on this subject. Related to this, I am a great fan of quoting pieces of other tunes in solos. For example, on the "Fond Memories of..." Frank Rosolino CD, Conrad Herwig points out that Frank quotes "It Might as Well Be Spring" in one of his improvs (I think it's on "All the Things You Are," but I don't have the CD here. In his solos on Jobim's "Wave," the late Ashley Alexander quotes "Brazil," other Latin tunes and even "Fly Me to the Moon." Just amazing to be able to think that way. About the best I've been able to do in this department was to appropriate a piece of "Rhapsody in Blue" for a rock bass line and a very small piece of "Way Down Yonder in New Orleans" into a solo on "Just Closer Walk with Thee" -- the Canadian Brass Dixieland arrangement, not in church! Dave Molter Pittsburgh, PA From ???@??? Mon Mar 27 07:43:50 2000 Date: Fri, 24 Mar 2000 09:27:36 EST From: Tbcwes@aol.com To: ealewis@indiana.edu, trombone-l@lists.missouri.edu Subject: Re: Workloads in music schools Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/24/00 2:24:47 AM Eastern Standard Time, ealewis@indiana.edu writes: << Something that I've been thinking about lately is the demand that schools sometimes place on music majors. I'll try not to turn this into a 'gripe session,' but I feel it's necessary to share my experiences so that y'all know where I'm coming from. Personally, I have anywhere between three and five hours of homework every day (including the weekend), and I'm a performance major (a program that's supposed to leave time for practice!). That, combined with everything else I have to do, leaves little time to sleep, much less practice as much as I need to, study scores, and expect to make any real, consistent improvement on the horn (forget any semblance of a social life). Add to that the fact that during the week I only have reasonable assurance of finding a practice room at night and in the morning (and of course the buildings conveniently close at 11 or 12 PM). trombone-related content: I miss practicing and studying recordings (that aren't part of a music theory assignment). Do any music perf. majors at other schools have this problem? Are some schools just trying to train "performance majors" to be overeducated concertgoers/CD buyers? This is a source of great frustration for me and I'd really appreciate hearing any experiences anyone may have with this. >> Try doing all that and be elected student body President! Yikes! But this is my life, right? Seriously, a few things you mentioned concern me. I would certainly be considered a good student, but maybe not a model student here is why... If I am seriously covered up with academic stuff (which is certainly important) enough that I cannot practice, my answer is simple - those things do not get done today - I practice. However, usually when I am covered up with those things it is my own fault. I am lucky enough to have professors who are pretty hip (actually they know what they are doing to you, but would usually not let on that they do) and will tolerate this tardiness. Even if I do lose points, they are never enough to bother me. Above both of those things is a social life! You have to make time to get out and do something for two reasons 1) you will go crazy in a concentrated environment like a music school and 2) you need stories. When I go into my lessons, my teacher has a little quote pasted on the stand..."tell a story." That is what we must do. If we have no social life, we have no stories. If we have nothing inside to talk about our music comes out dead or not at all. This is how I get by: Monday-Thurday: academic and practice Friday: practice, lesson, do something with friends (you can always go to a concert and consider it educational, however, if I do go to a concert - I try to make it one outside of my norm - most of my time is spent with "classical" music so when I go out, I go to a jazz club or my personal favorite Latin joint near my house) You might also consider doing something completely outside of music. I like to drive. Sometimes I just drive for hours by myself or with a friend w/o even the radio playing. You do what is good or you, but do something. Saturday: practice pretty much the whole day then out at night - you figure out what to do! Sunday: clean house (very therapeutic) and do whatever - no trombone Obviously, things will come up. I do not think it is possible to live a completely scheduled life, but with a model you will always have guidance. Hope this helps or at least gives you a good laugh at my life! BTW - I am jr. perf. major at the Boston Conservatory -Wes Hopper From ???@??? Mon Mar 27 07:43:51 2000 Date: Fri, 24 Mar 2000 08:37:23 -0500 From: sabutin@mindspring.com To: "Adrian Drover" Cc: trombone-l@lists.missouri.edu Subject: Re: jazz/improv Message-ID: <200003241430.JAA18035@smtp6.mindspring.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 08:08 PM 3/23/00 +0000, you wrote: >----- Original Message ----- >From: >To: Trombones and related issues forum. >Sent: Wednesday, March 22, 2000 7:24 PM >Subject: Re: jazz/improv > >> Actually, "Giant Steps" is one of the LEAST "aimless" chord sequences >in >> all of jazz. >> >> It's based on three major keys a major third apart...hence the "Giant >> Steps" title...in the original key, they are B, G, and Eb. >> >> It's a masterpiece of harmonic construction, first going down in major >> thirds (from B to G to Eb), then up a major third and down again in major >> thirds (G to Eb to B), then going back up in major thirds (Eb to G to B) >> until it comes to a momentary rest at Eb (its ostensible key), and then >the >> whole pattern begins again. > >Maybe "aimless" was a bad choice of word. The fact that it contains a >II-V-I (in fact, six of them) gives it a sense of direction. But as soon as >it hits a cadence, it's off again on another excursion. It's like a bunch >of changes in search of a key. Don't quite understand why you say that Eb >is its ostensible key though. ==================== It just seems (very subjectively, of course) that the Eb maj.7 in the next to the last bar is a more final resolution than any of the others. S. ======================== It rests momentarily (very momentarily) in >all three of its keys. These three keys, being a maj.3rd apart give it the >flavour of an augmented triad, a chord that could have any of three roots. ---snip--- From ???@??? Mon Mar 27 07:43:51 2000 Date: Fri, 24 Mar 2000 09:40:26 -0500 From: sabutin@mindspring.com To: trombone-l@lists.missouri.edu Subject: Re: Workloads in music schools Message-ID: <200003241440.JAA06248@smtp6.mindspring.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 02:24 AM 3/24/00 -0500, you wrote: >Hi all, > >Something that I've been thinking about lately is the demand that schools >sometimes place on music majors. I'll try not to turn this into a 'gripe >session,' but I feel it's necessary to share my experiences so that y'all >know where I'm coming from. Personally, I have anywhere between three and >five hours of homework every day (including the weekend), and I'm a >performance major (a program that's supposed to leave time for practice!). >That, combined with everything else I have to do, leaves little time to >sleep, much less practice as much as I need to, study scores, and expect >to make any real, consistent improvement on the horn (forget any semblance >of a social life). Add to that the fact that during the week I only have >reasonable assurance of finding a practice room at night and in the >morning (and of course the buildings conveniently close at 11 or 12 PM). >trombone-related content: I miss practicing and studying recordings (that >aren't part of a music theory assignment). > >Do any music perf. majors at other schools have this problem? Are some >schools just trying to train "performance majors" to be over-educated >concert-goers/CD buyers? This is a source of great frustration for me and >I'd really appreciate hearing any experiences anyone may have with this. > >Beth Lewis >Freshman, Indiana U. >PS: I know that getting through a degree program is supposed to teach you >a lot about commitment, organization, and all that, but if one's goal >(whether corresponding with one's major or not) is being pushed aside just >to get that piece of parchment, a.k.a. degree, what good is it? ===================== "I know that getting through a degree program is supposed to teach you a lot about commitment, organization, and all that, but if one's goal (whether corresponding with one's major or not) is being pushed aside just to get that piece of parchment, a.k.a. degree, what good is it?" Good question. I have another one...what good is a degree of ANY kind if you are determined to be a performer ? Schools offer several advantages to someone really serious about becoming a performer or composer, and a number of DISadvantages as well. The greatest advantage...ensembles. The next greatest...a group of people who are dedicated to the same goal...and this includes both the students AND the faculty. A third advantage...a structured system of learning. Another...an opportunity to learn about something BESIDES music. The fifth...a structured societal system, which is often very important for people just out of high school. The BIG disadvantage...huge amounts of wasted time and the relative inability to choose with whom you want to study. Ideally, if you wanted to be a trombonist, you would simply go to a major city and study w/the best teachers available there. That way, you could learn at your own pace and choose the right teachers. Say you wanted to study trombone, music history, theory (including harmony and counterpoint) and ear training. That's four lessons/week, even at an exorbitant (but quite likely) $100/lesson, that would be $400/week tuition. If a semester is say 5 months long, that's roughly $8000/semester for tuition. Pretty cheap, and very efficient. Add maybe $1000/month for a decent apartment , another $1000/month for expenses...also exorbitant, but a convenient figure and not that far off the mark when you factor in travel needs, clothes, etc...and you would be paying $18000/semester for a custom tailored education. Probably even less, because I'm overestimating just to be safe. Not a bad rate. How much are Juilliard, Berklee or I.U ??? What would you be lacking...??? Ensembles, the safety of an established social grouping, and the inestimably valuable "old boys (and girls)" network that exists in the music business among people who went to the same schools. If you can REALLY play, the old boys network won't really be that necessary. The social aspects will take care of themselves in a big city full of musicians and students of other disciplines. That leaves ensembles...and that's a BIG consideration. If you're a seriously specialized jazz musician, there are all kinds of playing activities available in a big city...w/in a few months, you'll find rehearsal bands, sessions, and young players who just want to play together...more than you can handle. W/in a year, you'll be working...maybe not at the Village Vanguard, but somewhere... Orchestral playing, however, is another matter...and there a school in almost unavoidable. (Don't get me wrong...schools are great places, especially for young players who aren't ready to handle the outside world yet...I went to school for four years and got at LEAST two years worth of benefit from it. When I left high school, I was in NO way ready for life in the city...not musically, not socially. I'm not sure I am NOW, either, but that's a whole 'nother question...) Schools, however, are often quite impersonal in their demands on the student...as evidenced by your post.The only solution I can see...and this is the way I handled it when I went to school...is to enroll as a performance or composition major, take the bare minimum course load, practice (or write) like mad, and not even CONSIDER graduation as a necessity...more like a perk, if it happens. What you have to do is aim for excellence as a musician, and damn the degree. Once you've got your act together enough to play professionally...and this can be 2, 3, 4, 5 years, even more if necessary...then go out and do so. NO ONE asks me if I have a degree when I take my horn out. (I don't) NO ONE asks me if I understand European literature (I do...I read it myself) or whether I can handle basic math (some days yes, some days no...), and NO ONE cares if I left school early or stayed for 10 years. What they want to know is...can I play this part? If you're SURE you want to be a performer, then don't let the scholastic situation delay you. If you're SURE you have the talent (and a good rough guide to that is...have you been among the best 2 or 3% of the musicians in every scene you've ever been in, including wherever you are now ?), then USE the school for your OWN purposes, don't let it dictate to YOU how much energy you have to devote to what you want to do. If you're NOT sure of these things, then disregard all of this and make sure you have as many degrees as you can possibly get, because you're going to need them to find work. Good luck...it ain't necessarily easy, figuring this out, but is sure is fun. Later... S. From ???@??? Mon Mar 27 07:43:51 2000 Date: Fri, 24 Mar 2000 08:44:54 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Workloads in music schools Message-ID: MIME-Version: 1.0 Content-Type: text/plain Angie Brunk wrote: > I > seriously tried to get a music minor as an undergrad. I was taking > music theory, ear training, and class piano as well as my voice > lessons, ensembles (jazz band and choir). This was on top of my full > load as a poli sci major, editorial position on the newspaper and > various and sundry other small committments. Don't ask me when I > slept. :-/ I ended up dropping the piano and ear training for > several reasons, not the least of which was the fact that I was > spending more time studying (in all its forms) for my minor than I > was spending on the classes in my major, > That is inevitable. The minimum number of hours in music required for a music minor is more than the minimum number of hours required for a major in ANY other subject! I have no particular comment on the question by Beth Lewis that started this thread, but I have advised any number of people not to minor in music. ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloger John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 "Outside of a dog, books are a man's best friend; inside of a dog, it's too dark to read"--Groucho Marx ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ From ???@??? Mon Mar 27 07:43:51 2000 Date: Fri, 24 Mar 2000 08:51:53 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: classical music quotes Message-ID: MIME-Version: 1.0 Content-Type: text/plain This might be a little off the subject, but can anyone explain the little snatch of "Voi che sapete" (Cherubino's aria from The Marriage of Figaro) in Berghmans's "La Femme a Barbe" (The Bearded Lady)? A four-measure quotation appears twice in the piano part, and there is nothing in Mozart's (well, da Ponte's) text that suggests anything to do with a bearded lady. Is there a well known parody text that has somehow escaped my attention? ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloger John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 "Outside of a dog, books are a man's best friend; inside of a dog, it's too dark to read"--Groucho Marx ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ From ???@??? Mon Mar 27 07:43:52 2000 Date: Fri, 24 Mar 2000 08:57:47 -0600 From: Scott Moore To: Subject: Small app, Warm Breath, and singing Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On Thu, 23 Mar 2000, Chris Waage wrote: > Here's an exercize I have used in the past for this one: > > 1. Have him take a deep yawning breath, then exhale it onto the back > of his hand. The air will feel warm. > 2. Have him take another deep yawning breath, then exhale it through > a very small apeture, or even free-buzzing onto the back of his hand. > It will feel cold. > 3. Work for a combination of warm air/small apeture. > > Chris I have worked with a LOT of students and fellow professionals (names withheld to protect the innocent!) with matters related to this phenomenon. What you are looking for is, in the end, a simplification of the way you play. I spend most of my time working on this idea of "stripping away the extra stuff" with so many players! Oh, and this includes myself, as I doubt that any of you have/had any problem I have not needed to solve in my own playing. One important aspect of solving this problem is to remove the stimulus of the horn by using the mouthpiece alone. The key is to find the right trigger. No, not as in F-attachment but in what makes the student play in an entirely "new" way. Teach the student how to play a C in the staff (this is THE problem note for most faced with this issue) on the mouthpiece without stopping the air between inhalation and exhalation, and without the tongue. Though a variety of other "tricks" too numerous to mention here I usually move to the "Leap of Faith" step, where we apply the simple technique to the horn. With practice these steps have never failed. So many issues are related to this one, no? I admit with all humility that had it not been for working with Jacobs and THEN with Ed Truetel (taught at Juilliard, Phil Smith's teacher) I would never have grasped the concepts that lead to an understanding of matters like this. God has mercy on poor souls such as I! Yours, Scott Moore Instructor Gustavus Adolphus College http://www.gac.edu/~dmoore/index.html From ???@??? Mon Mar 27 07:43:52 2000 Date: Fri, 24 Mar 2000 10:01:43 -0500 From: David Buckley To: sharon_rustemier@lineone.net Cc: "Trombones and related issues forum." Subject: Re: Mute matters Message-ID: <38DB8357.AD2A06D9@sympatico.ca> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="------------9B90E6511594CE268C1F4B4A" Not uncommon for composers and arrangers to write things that can't be done. What you suggest works OK for the plunger but probably no good for straight and cup. To facilitate quick changes, keep the mute under your leg so it is close, I insert my mute with the left hand and when quick changes are required, keep my left hand lightly on the mute and don't screw it in too tightly - experiment to make sure the sound is OK. Sometimes you find totally impossible mute changes so don't sweat it - just forget them.

The Salvation Army solo "Concertina for Band and Trombone" by Erik Leidzen, a very experienced arranger, has a mute insertion in 4 1/2 beats at a very quick tempo. I used to have a player hand me the mute but you could also do it from a stand placed high and close. Lots of soloists who have played this piece just leave the mute out.

Probably not the end of the world but we all try to do the best we can can and it can be annoying when someone writes something impossible.

Regards.

Dave.

Sharon Rustemier wrote:

Hi there! I've enjoyed reading the notices on the list and wondered if anyone has any suggestions about the best way to manage quick mute changes? I'm playing in a production of Westside Story which calls for straight, cup, and plunger mutes, sometimes with only a couple of beats (should I say counts?) for the changeover. I'm managing by not quite fixing the mute in the bell but holding it with my left hand so that I can quickly change. However, I'm pretty sure this must affect the sound quality. I'd be grateful for any tips! Sharon RustemierTrombonistUK
 From ???@??? Mon Mar 27 07:43:55 2000 Date: Fri, 24 Mar 2000 10:26:00 -0500 From: "Chuck De Paolo" To: "Trombone List" Subject: Re: 1998 Julliard Trombone Choir? Message-ID: <006501bf95a5$42df82f0$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit This concert was one of the very few I was able to see at the Boulder ITF, since I had to man our booth otherwise. I just had to "skip out" to see these guys perform. The encore was indeed the Gabay "Special". It's available as a trombone solo with piano, which is (I think) a reduction from a solo with orchestra. If I remember correctly, the version played by the Julliard group featured Joe Alessi playing the solo with the ensemble performing a wonderful trombone choir adaptation of the orchestra. Number three on the program was the Ave Maria by Franz Biebl. I mention this only to correct the spelling of the list below. In this work the entire choir alternates between massive cantor unisons (performed flawlessly in this case) and rich chorale sections. I think this will become a standard soon. By the way, the Julliard ensemble is one of the finest trombone choirs I have ever heard. If you ever have an opportunity to hear them, please take advantage of it, you will not be disappointed. ---Chuck > > Subject: Re: 1998 Julliard Trombone Choir? > > Quite a while ago - At 12:36 PM 2/27/00 -0800, Chad Horsley wrote: > > > > What was there program in Boulder? > > > > I found notes from the '98 ITF on the Julliard Bone choir program: > > Julliard Trombone Choir Program 5/28/98: > 1. Ewazen: fantasy & double fugue for octet > 2. John Stevens: The Chief > Dave Taylor - Bass Trombone > 3. Franz Biehl: Ave Maria arr. Lumpkin > 4. Derek Bourgeois: Scherzo Funebre Op 86 > 5. Joseph T. Spaniola: Crossroads w/ Joe Alessi soloist (world premiere) > 6. D. Ellington: Africa Flower (arr Steve Allee) > 7 encore: Gabet? Orig. bone & orch > > - Larry > From ???@??? Mon Mar 27 07:43:56 2000 Date: Fri, 24 Mar 2000 10:30:04 -0500 From: "Chuck De Paolo" To: Subject: Re: Galliard Sonatas Message-ID: <006f01bf95a5$d40a4ad0$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit The only Galliard I'm aware of that has been recorded by a trombonist is Number 1, recorded by Jeff Reynolds sometime in the 60's or 70's. It used to be on LP (what's an LP?!). It's now available only on cassette from Crystal Records (www.crystalrecords.com). ---Chuck ----- Original Message ----- From: Bryce McGrew To: Trombones and related issues forum. Sent: Tuesday, March 21, 2000 10:08 PM Subject: Galliard Sonatas > Can anyone recommend a recording of the Galliard Sonatas? Particularly > #'s 1-3. Looking to perform a one (or a few) sometime soon. > > Bryce McGrew > brycemc@jps.net > > Trombone players do it in 7 positions :) > > From ???@??? Mon Mar 27 07:43:56 2000 Date: Fri, 24 Mar 2000 10:32:21 -0500 From: "Chuck De Paolo" To: Subject: Re: Telemann A minor Sonata Message-ID: <007501bf95a6$25bd0e80$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Check out Tower Records. Select "Classical" and then enter "Telemann Sonata in A minor" in the search box. Or, go to http://www.towerrecords.com/searchresults.asp?urlid=&D=classical&entry=Telem ann+Sonata+in+A+minor where I've already done the work for you. Hope this helps! ---Chuck ----- Original Message ----- From: Donna M. Lafferty To: Trombones and related issues forum. Sent: Friday, March 24, 2000 8:18 AM Subject: Telemann A minor Sonata > Hi. Does anyone know of a recording of Telemann's Sonata in A minor? It doesn't > have to be trombone and piano (the piece was originally written for viola de > gamba and continuo). I just need to hear what other people have done with it, > musically. From ???@??? Mon Mar 27 07:43:56 2000 Date: Thu, 23 Mar 2000 11:03:34 -0600 From: Wayne Dyess To: daniel_pliskin@hotmail.com Cc: Trombone-L Subject: Re: Tempesto? Hurricaneo???? Message-ID: Mime-Version: 1.0 Content-Type: text/plain ; format="flowed" Content-Transfer-Encoding: 8bit >Dear list, > >I was listening to an interview of a Cuban jazz player, who was >talking about that particular form of jazz. In United Statesian >jazz, itās common for a group the play the head, do some jamming in >12-bar blues and only return to the head at the end of the piece. > >In Cuban jazz, tunes are more likes to jam on a two or three chord >riff, that I recall has a name that sounds like some sort of storm, >with an ćoä added to the end. ĪProblem is, I canāt, for the life of >me, recall what storm that was. Now, I know it wasnāt a tornado, >Īcause that already has an ćoä at the end, but was it a ćtempestoä? > Anyone know? Dan, Are you referring to a "montuno"???? My good friend, Shelly Berg (USC, and IAJE), wrote a latin piece filled with latin rhythms that included a fun montuno piano intro. When he first read the piece with his jazz band, a kid came up to him afterward and told him he really enjoyed that "man-tuna" thing! Shelly published the chart, and aptly named it.... "Man Tuna." Isn't that a GREAT story? :-) --Wayne Dyess __________________________ Wayne Dyess, Professor of Music Lamar University P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu From ???@??? Mon Mar 27 07:43:57 2000 Date: Fri, 24 Mar 2000 10:46:48 EST From: Tbcwes@aol.com To: trombone-l@lists.missouri.edu Subject: Wagenseil Concerto Message-ID: <16.1fb0bcb.260ce7e8@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Anyone know where I might find the Wagenseil Concerto for trombone and orchestra? At Chuck's suggestion, I contacted Boosey and Hawks, but they do not carry this work. (They did have the Larsson - thanks Chuck.) Any help would be greatly appreciated! -Wes From ???@??? Mon Mar 27 07:43:57 2000 Date: Fri, 24 Mar 2000 10:49:48 -0500 From: Topper To: "Chuck De Paolo" , "Trombones and related issues forum." Subject: Re: Galliard Sonatas Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" At 10:30 AM -0500 3/24/00, Chuck De Paolo wrote: >The only Galliard I'm aware of that has been recorded by a trombonist is >Number 1, recorded by Jeff Reynolds sometime in the 60's or 70's. It used >to be on LP (what's an LP?!). It's now available only on cassette from >Crystal Records (www.crystalrecords.com). > >---Chuck I bet that would sound good arranged with four recorders (in a vocal booth), soprano clarinet, Alto sax, trumpet and bassoon parts. Cheers, Leo Autions' Underway: http://members.ebay.com/aboutme/leo_g@carroll.com/ "You Take The High Notes" http://helius.carroll.com/p/leo_g/ Our musical instruments, parts, tools, classical LP, 1800's and 1900's piano music and with violin editions. A family collection for sale and auction. Items for sale date from before 1813 to 1987. Please bookmark or link page as new items are catalogued weekly. Links will be exchanged upon request. I am especially interested in Musical Instrument History and technical data. Please email me with interesting links. Thank you:-) Leo From ???@??? Mon Mar 27 07:43:58 2000 Date: Fri, 24 Mar 2000 10:59:00 -0500 From: Topper To: "Chuck De Paolo" , "Trombones and related issues forum." Subject: Re: Telemann A minor Sonata Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" I have alot of old records but they're so high on the shelf I can't reach them. Telemann is on the top since they are arranged in chronological order. I had an index book but it was made with a leather binding from the 1700's and I sold it. Bad move. There are plenty of Telemann recordings on my new albumm by Angel Records, and the new Deuch Gramaphone flexible vinyl. The Musical Heritage Society had alot of re-pressings (I didn't buy them). There are some Victor and Victrola recordings of Telemann Werks available. That was before the wire recorder was replaved by tape so they are not in as good a shape as the flexible records which I recorded once and put on the shelf. Good thing I kept my log of Scotch tape! At 10:32 AM -0500 3/24/00, Chuck De Paolo wrote: >Check out Tower Records. Select "Classical" and then enter "Telemann Sonata >in A minor" in the search box. Or, go to >http://www.towerrecords.com/searchresults.asp?urlid=&D=classical&entry=Telem >ann+Sonata+in+A+minor where I've already done the work for you. Hope this >helps! > >---Chuck > > >----- Original Message ----- >From: Donna M. Lafferty >To: Trombones and related issues forum. >Sent: Friday, March 24, 2000 8:18 AM >Subject: Telemann A minor Sonata > > >> Hi. Does anyone know of a recording of Telemann's Sonata in A minor? It >doesn't >> have to be trombone and piano (the piece was originally written for viola >de >> gamba and continuo). I just need to hear what other people have done with >it, >> musically. From ???@??? Mon Mar 27 07:43:59 2000 Date: Fri, 24 Mar 2000 11:16:18 EST From: Tbcwes@aol.com To: Mbartel@bostonconservatory.edu, kevinbrodeur@hotmail.com, dclemens@newenglandconservatory.edu, Tuba78ac1@aol.com, Subject: Boston Conservatory presents Matthew Vaughn in masterclass Message-ID: <88.1c5f06d.260ceed2@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit The Student Government Association of the Boston Conservatory presents A Masterclass with Matthew Vaughn Trombone March 31, 2000 11AM - 1PM Suelly Hall the Boston Conservatory 8 the Fenway Boston, MA 02215 ----------------------------------------------------------------------- Matthew Vaughn joined the Philadelphia Orchestra in September 1999 as Associate-Principal Trombone. He was Assistant Principal and Acting Principal trombone of the San Antonio Symphony from 1997 through 1999. Prior to joining the San Antonio Symphony, Mr. Vaughn served in the United States Air Force Concert Band in Washington, DC, from 1993-1997. He has performed with the Atlanta Symphony and National Symphony and has been featured as a soloist with the San Antonio Symphony, the United States Air Force Band, the Indiana University Symphony Orchestra, and the Richmond (Indiana) Symphony. Born in Dallas and raised in Richmond, Indiana, Mr. Vaughn earned a Bachelor of Music degree with high distinction and a Performer's Certificate from Indiana University in 1992, continuing with graduate work in conducting at Indiana University and George Mason University. He taught trombone and was a member of the faculty brass quintet at the University of Texas at San Antonio, and currently teaches at Temple University. His former teachers include M. Dee Stewart, Milton Stevens, and David Brumfield. ------------------------------------------------------ How to get to the Boston Conservatory: Walking: (nearest T stop is green line Hynes Convention Center) From the intersection of Massachusetts Ave. and Boylston St., follow Boylston St. outbound to the Fenway. Take a left onto the Fenway. The Conservatory is the first door on the left. for driving or more global directions see: Location (http://www.bostonconservatory.edu/campus_/campus.htm) Please forward this message to your friends and colleagues. Hope to see you there, Wes Hopper President SGA The Boston Conservatory From ???@??? Mon Mar 27 07:43:59 2000 Date: Fri, 24 Mar 2000 10:25:15 -0600 (Central Standard Time) From: "Talley, Brian Lee" To: ealewis@indiana.edu Cc: "Trombones and related issues forum." Subject: Re: Workloads in music schools Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; CHARSET=US-ASCII I'm a senior at Vanderbilt University and my whole college career has been as busy or busier than you've described. I know my first two years here I didn't really ever have time to what I wanted to do because when you're a music major (especially performance) there is always something to do whether you have homework or not. Another issue that goes into this is that you (and I) go to a University and not a Conservatory. At most Universities they try to balance your curriculum between music and liberal arts, where as at a Conservatory you still have to take these liberal arts and science classes but there is not as much of an emphasis on them as there is on your music education. No matter what, being a music major requires a lot of time and effort, but as you progress through your college years you'll learn how to balance some of this stuff with the types of classes you take, ensembles you are in, and extracurricular activities you're a part of. Just remember, don't overburden yourself. Ambition is a good thing in college but make sure you look at the whole picture before you agree or sign up for anything. There's no harm in saying "no". I found that out the hard way last year because I was, at one time, involved in seven different ensembles plus other organizations on campus. Because of this I ended up failing a class and having to postpone my junior recital to the begninning of my senior year, which meant I had to give two recitals this year. College is a learning experience and the quicker and more you can learn at the begninning is an asset. Gook luck with the rest of you school. Brian Talley Bass Trombone Blair School of Music/Vanderbilt University On Fri, 24 Mar 2000 02:24:03 -0500 (EST) Beth Lewis wrote: > Hi all, > > Something that I've been thinking about lately is the demand that schools > sometimes place on music majors. I'll try not to turn this into a 'gripe > session,' but I feel it's necessary to share my experiences so that y'all > know where I'm coming from. Personally, I have anywhere between three and > five hours of homework every day (including the weekend), and I'm a > performance major (a program that's supposed to leave time for practice!). > That, combined with everything else I have to do, leaves little time to > sleep, much less practice as much as I need to, study scores, and expect > to make any real, consistent improvement on the horn (forget any semblance > of a social life). Add to that the fact that during the week I only have > reasonable assurance of finding a practice room at night and in the > morning (and of course the buildings conveniently close at 11 or 12 PM). > trombone-related content: I miss practicing and studying recordings (that > aren't part of a music theory assignment). > > Do any music perf. majors at other schools have this problem? Are some > schools just trying to train "performance majors" to be over-educated > concert-goers/CD buyers? This is a source of great frustration for me and > I'd really appreciate hearing any experiences anyone may have with this. > > Beth Lewis > Freshman, Indiana U. > PS: I know that getting through a degree program is supposed to teach you > a lot about commitment, organization, and all that, but if one's goal > (whether corresponding with one's major or not) is being pushed aside just > to get that piece of parchment, a.k.a. degree, what good is it? > ----------------------------------------------------------------- Talley, Brian Lee Vanderbilt University Email: brian.l.talley@Vanderbilt.Edu From ???@??? Mon Mar 27 07:43:59 2000 Date: Fri, 24 Mar 2000 10:30:41 -0600 (CST) From: Brandan Kraft To: "Trombones and related issues forum." Subject: Re: Workloads in music schools Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII I would definitely agree with you on this matter. The degree means NOTHING in my opinion. I am not a professional performer. My degree is in Computer Science with an emphasis in electrical engineering. All that degree did for me is buy me my first interviews, and I know so many people in my field that do not have a degree. As for most professional performers that I know... they do not have a degree either. I did not learn from going to class and listening to a boring prefessor speak. I learned by being around other people with my interests and being introduced to new concepts. For example, I was a Microsoft nut going into school. Coming out of school, I learned that Unix was a better OS to suit my skills. I probably would have never picked up certain programming techniques if it weren't for school. I hated my classes though. I didn't like going to class and listening to the professors speak. I didn't care about my grades. I just cared about learning, and I learned more from my peers and on my own than through school. But school introduced me to new concepts, and I have a feeling it can do that for young musicians also. Schools may not educate you, but they can introduce you to new forms of improv, jazz theory, other students, etc.... After that, it's up to you to learn. -- Brandan Kraft http://bornagain.net On Fri, 24 Mar 2000 sabutin@mindspring.com wrote: > > "I know that getting through a degree program is supposed to teach you > a lot about commitment, organization, and all that, but if one's goal > (whether corresponding with one's major or not) is being pushed aside just > to get that piece of parchment, a.k.a. degree, what good is it?" > > Good question. > > I have another one...what good is a degree of ANY kind if you are > determined to be a performer ? > > Schools offer several advantages to someone really serious about > becoming a performer or composer, and a number of DISadvantages as well. > > The greatest advantage...ensembles. > > The next greatest...a group of people who are dedicated to the same > goal...and this includes both the students AND the faculty. > > A third advantage...a structured system of learning. > > Another...an opportunity to learn about something BESIDES music. > > The fifth...a structured societal system, which is often very important > for people just out of high school. > > The BIG disadvantage...huge amounts of wasted time and the relative > inability to choose with whom you want to study. > > Ideally, if you wanted to be a trombonist, you would simply go to a > major city and study w/the best teachers available there. That way, you > could learn at your own pace and choose the right teachers. > > Say you wanted to study trombone, music history, theory (including > harmony and counterpoint) and ear training. That's four lessons/week, even > at an exorbitant (but quite likely) $100/lesson, that would be $400/week > > tuition. If a semester is say 5 months long, that's roughly $8000/semester > for tuition. Pretty cheap, and very efficient. Add maybe $1000/month for a > decent apartment , another $1000/month for expenses...also exorbitant, but > a convenient figure and not that far off the mark when you factor in travel > needs, clothes, etc...and you would be paying $18000/semester for a custom > tailored education. Probably even less, because I'm overestimating just to > be safe. > > Not a bad rate. How much are Juilliard, Berklee or I.U ??? > > What would you be lacking...??? Ensembles, the safety of an > established social grouping, and the inestimably valuable "old boys (and > girls)" network that exists in the music business among people who went to > the same schools. > > If you can REALLY play, the old boys network won't really be that > necessary. The social aspects will take care of themselves in a big city > full of musicians and students of other disciplines. That leaves > ensembles...and that's a BIG consideration. > > If you're a seriously specialized jazz musician, there are all kinds of > playing activities available in a big city...w/in a few months, you'll find > rehearsal bands, sessions, and young players who just want to play > together...more than you can handle. W/in a year, you'll be working...maybe > not at the Village Vanguard, but somewhere... > > Orchestral playing, however, is another matter...and there a school in > almost unavoidable. > > (Don't get me wrong...schools are great places, especially for young > players who aren't ready to handle the outside world yet...I went to school > for four years and got at LEAST two years worth of benefit from it. When I > left high school, I was in NO way ready for life in the city...not > musically, not socially. I'm not sure I am NOW, either, but that's a whole > 'nother question...) > > Schools, however, are often quite impersonal in their demands on the > student...as evidenced by your post.The only solution I can see...and this > is the way I handled it when I went to school...is to enroll as a > performance or composition major, take the bare minimum course load, > practice (or write) like mad, and not even CONSIDER graduation as a > necessity...more like a perk, if it happens. > > What you have to do is aim for excellence as a musician, and damn the > degree. Once you've got your act together enough to play > professionally...and this can be 2, 3, 4, 5 years, even more if > necessary...then go out and do so. > > NO ONE asks me if I have a degree when I take my horn out. (I don't) > > NO ONE asks me if I understand European literature (I do...I read it > myself) or whether I can handle basic math (some days yes, some days > no...), and NO ONE cares if I left school early or stayed for 10 years. > > What they want to know is...can I play this part? > > If you're SURE you want to be a performer, then don't let the scholastic > situation delay you. > > If you're SURE you have the talent (and a good rough guide to that > is...have you been among the best 2 or 3% of the musicians in every scene > you've ever been in, including wherever you are now ?), then USE the school > for your OWN purposes, don't let it dictate to YOU how much energy you have > > to devote to what you want to do. > > If you're NOT sure of these things, then disregard all of this and make > sure you have as many degrees as you can possibly get, because you're going > to need them to find work. > > Good luck...it ain't necessarily easy, figuring this out, but is sure is > fun. > > Later... > > S. > > From ???@??? Mon Mar 27 07:43:59 2000 Date: Fri, 24 Mar 2000 11:30:31 -0500 From: "Wessner, John" To: "Trombones and related issues forum." Subject: RE: Warm Breath - Small Aperture Message-ID: <38074DD5B6CCD2119C8F0000D11C17BD024C0900@exchange.towson.edu> MIME-Version: 1.0 Content-Type: text/plain I think a little physics might be in order here. Your skin temperature is about 90 degrees. If something is warmer than that it will feel warm, if colder, then colder. If you touch a piece of metal at room temperature, it feels colder than a piece of wood at the same temperature. This is because the metal conducts heat away from your hand faster than the wood. When you blow air from your lungs onto your hand, it is at about body temperature (98.6) and if you breathe softly it will feel warm. The air produced by a heat pump is about 100 degrees or about the same as the body. If you place your hand in front of the vent, the air feels cold (unless the auxillary heating is on). The air feels cold because the moving air removes moisture from your hand which is then chilled by the evaporation. If it moved very slowly, it would feel warm, just like your breath. This means that there is a balancing between the evaporative cooling and the direct warming. This explains why the aperature affects the apparent temperature of the air. You are focusing air on a small area and the evaporation will create a chill. Breathing on the hand means that more heat is transferred from the air than lost from the hand. Your tone depends on the total amount of air put into the horn _and_ on the velocity with which it is transferred. (Trust me, these are two different quantities.) If you want a "cutting" tone you need high velocity. If you want a "warm, fat" tone you need to increase the volume of air while reducing the velocity so that the upper overtones do not dominate the sound. (By the way, a "rich, full" sound contains more upper harmonics that a "bright" tone and a hell of a lot more lower harmonics. It's the distribution that counts.) I hope this helps. The aphorism forces the player to focus on balancing the volume and velocity of the air. John Wessner - From ???@??? Mon Mar 27 07:43:59 2000 Date: Thu, 23 Mar 2000 11:48:02 -0600 From: Wayne Dyess To: slide.rule@adios.co.uk Cc: Trombone-L Subject: Re: jazz/improv--G.S. Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 2:17 PM +0000 3/22/00, Adrian Drover wrote: >But I made the mistake of thinking of standard songs that are used in jazz >improv. When I looked through the Real Book, I was quite amazed at just how >many jazz-specific compositions do Not contain a single II-V-I or >substitute, though there are others like "Giant Steps" that have a whole >bunch of them, wandering apparently aimlessly from one key to another. Ugh. "Giant Steps" is going off the hardest slope!!!! It, like "Cherokee", should not be attempted by beginners. Take the beginner's slope. Please. Blues is a great place to start, and the aforementioned ii-V-I progression. I can't stress enough the importance of LISTENING to jazz!!! :-) --Wayne P.S. I didn't intend to imply that I don't enjoy practice nor the trombone when I said something about "hard work" was needed. But you knew that, right? __________________________ Wayne Dyess, Professor of Music Lamar University P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu From ???@??? Mon Mar 27 07:43:59 2000 Date: Thu, 23 Mar 2000 11:59:56 -0600 From: Wayne Dyess To: wbarrett@bestweb.net Cc: Trombone-L Subject: Re: Finger on the bell Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > >I was reminded of a story that one of my old teachers, Fred "Moe" Snyder, told >me about a year or two ago... >It seems that a certain junior high (about 11-13 years old, for our non-US >listers) student was having trouble finding positions, so he enlisted the help >of Mr. Snyder. He got Fred to play his(the student's) horn, and the kid marked >on the inner slide with a waterproof marker where the outer slide was! (Wait, >it gets better!!!) >The next lesson, the kid comes in, and he had taken a hacksaw, and lightly >scored the inner slide with it!!! "The marks were wearing off, and this way, I >don't have to look at the slide!" >You can't make stories like this up!!! >Walter Barrett >Yamaha Artist/Clinician hahahah. Great story. I saved that one. when I taught jr. high band, I had a student to come into school with an old horn of his dad's -- must have been in the attic forever. After a couple of weeks of school, and we had gotten past the "get a good sound" syndrome, I started working and teaching about intonation. This one kid sounded so terribly out of tune. We were going down the line, as teachers are wont to do from time to time -- and I came to this kid and told him to push in. "I can't," was his reply. I asked him why not, and he said, "this was Daddy's horn, and he welded in tune when he was in band." "Oh. Next." What else could I do???? Just gotta love teachin! --Wayne Dyess __________________________ Wayne Dyess, Professor of Music Lamar University P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu From ???@??? Mon Mar 27 07:44:00 2000 Date: Thu, 23 Mar 2000 13:46:08 -0600 From: Wayne Dyess To: Trombone-L Subject: Jazz Houston web site info Message-ID: Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="============_-1258206633==_ma============" Jazz Houston web site info

Lovin' every minute of Spring Break... but working some, too.  I just received a news flash from webmaster Kelly Dean about the JazzHouston website.  If you aren't interested, just hit the ole DELETE key.

That's what it's for.

If any of you are from the Houston area, though, come on out to the GCIC (Jr. College) Jazz Fest on Saturday.  I'll be there, and I'd love to meet some of my trombone-L buddies!

Best always,
--Wayne Dyess


-------------JAZZ HOUSTON----------------->
from Kelly Dean:

Greetings everyone!  Welcome to our first publication of 2000.  We'll be trying out some different looks with this mailout.  Let us know your likes/dislikes, and we'll try to incorporate your ideas in future issues.

"There ain't no jazz in Houston."

This is true....if you lock yourself up in a closet and suture your ears shut!  Check out the incredible lineup of live jazz coming up as we present:

Week-At-A-Glance

Thursday (03/23/00):  Tim Hagans, Mike Wheeler, Malcolm Pinson's Jazz Warriors, Paul English

Friday (03/24/00):  Tex Allen, Ahmad Jamal, Tim Hagans w/ the HSPVA Jazz Orchestra, Houston Jazz Trio, Paul English

Saturday (03/25/00):  Tex Allen, Gulf Coast Intercollegiate Conference Jazz Festival (featuring John Adams, Tom Borling, & Wayne Dyess), Tim Hagans w/ the HSPVA Jazz Orchestra, Malcolm Pinson's Jazz Warriors, Paul English, Houston Jazz Trio

Sunday (03/26/00):  The Tom Borling BeBop Band, Blue Monks, Poncho Sanchez, Tex Allen

Monday (03/27/00):  Richard Brown Swing Orchestra

Tuesday (03/28/00):  Mark Dini Group

Wednesday (03/29/00):  Harry Sheppard, Steve Newsome, Gordon Marsh

Thursday (03/30/00:  Necessary Tension, David Caceres, Kevon Edmonds, Millenium Extravaganza II (featuring Joe Sample, Debbie Allen, Phylicia Allen Rashad, Tex Allen, Conrad Johnson Orchestra, Liz Gray Vicki Davis, Charles Denman)

For all the where's and when's, visit our Upcoming Shows page:  http://jazzhouston.com/ucshows.html


News Briefs

Guitarist David Wheeler Dies:  http://www.jazzhouston.com/news/2000/03/17/317.html

Find out more about Blue Note Recording Artist Tim Hagans:  http://www.jazzhouston.com/news/2000/03/22/321.html

Dave Dove's Avant Garde Report:  http://www.jazzhouston.com/news/2000/03/19/320.html

Dr. Wayne Dyess discusses the pros & cons of a music education at college:  http://www.jazzhouston.com/news/2000/03/17/318.html

Scott Gertner's SKYBAR presents 2000 National Jazz & R&B Series:  http://www.jazzhouston.com/news/2000/02/28/313.html

And of course, the ever-present Humor Alerts:

The Book of Jobbing Part IV:  http://www.jazzhouston.com/news/2000/03/18/319.html

Country-Western Music Dictionary:  http://www.jazzhouston.com/news/2000/03/09/316.html

Steve Gadd Urban Legends (True?  Who Cares?):  http://www.jazzhouston.com/news/2000/03/08/315.html

Steven Wright'isms:  http://www.jazzhouston.com/news/2000/02/02/314.html

Revenge of the Disgruntled Musician:  http://www.jazzhouston.com/news/2000/01/21/213.html


Self-Indulgence

In this portion of the newsletter, it's all about me, me, me.  Hey wait, don't hit the delete button yet!

I've decided to throw my hat in the bandleading ring.  I've had a very successful run as a sideman here in Houston, and as I looked around for new challenges, doin' my thing seemed the next logical step.  You can see my promo pack & download my demo here:  http://jazzhouston.com/kellydean/

I'd like to thank Tony Taboada & the members of Commercial Art, who have been a tremendous help to me as I've started the sideman-to-leader transformation.  They've let me play with their group whenever I've had openings, and let me sub out when my group got calls.  Thanks to all of ya'!

I'd also like to thank the members of my group:  Vernon Daniels, Felix Luna, Gilbert Sedeno, & John Calderon.  We're just getting warmed up!

Finally, thanks to Scott Mochon, who engineered & produced my demo ( http://www.millennia-music.com ); Todd Harrison, Keith Vivens, John Calderon, & Gilbert Sedeno, who played on the demo;  and Greg Carrillo for his great photography work (  http://www.vorphoto.com/  ).  

That's it for now.  Can they actually produce another newsletter next week?  Tune in.....
__________________________
Wayne Dyess, Professor of Music
  Lamar University
  P. O. Box 10044
  Beaumont, Texas  77710
409-880-8146
FAX:  409-880-8143
dyessjw@hal.lamar.edu
http://www.lamar.edu
 From ???@??? Mon Mar 27 07:44:01 2000 Date: Fri, 24 Mar 2000 11:32:27 EST From: Jgicking@aol.com To: trombone-l@lists.missouri.edu Subject: Whatsa Selmer (Paris) M-40 Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Please email me privately if you can tell me anything about this model. I'd particularly like to know about the bore size. I have a Selmer "Bolero" which is .508 or so which I like very much. Thanks. Jim From ???@??? Mon Mar 27 07:44:01 2000 Date: Thu, 23 Mar 2000 14:02:50 -0600 From: Wayne Dyess To: Trombone-L Subject: Attn. Harry Wootan Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Sorry friends. Just looking for a former (?) lister. --Wayne __________________________ Wayne Dyess, Professor of Music Lamar University P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu From ???@??? Mon Mar 27 07:44:01 2000 Date: Fri, 24 Mar 2000 09:01:02 -0600 From: Wayne Dyess To: ealewis@indiana.edu Cc: Trombone-L Subject: Re: Workloads in music schools Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" At 2:24 AM -0500 3/24/00, Beth Lewis wrote: >and I'm a >performance major (a program that's supposed to leave time for practice!). Hi Beth, I feel your pain. (grin). Actually, I can see why you feel like you do. Except that I do take exception with the above comment. Music degrees are NEVER designed for the student. Don't you know that yet? :-) You have to just MAKE time for practice -- just like in the REALWORLD! Best of luck, --Wayne Dyess Professor of Music Trombone/Lamar University Beaumont, Texas From ???@??? Mon Mar 27 07:44:01 2000 Date: Fri, 24 Mar 2000 09:36:13 -0600 From: Wayne Dyess To: angie@cybersolvers.com Cc: Trombone-L Subject: Re: Workloads in music schools Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" >At 3:35 AM -0600 3/24/00, Angie Brunk wrote: >I don't know how the music majors, especially ed majors, did it >without having a nervious breakdown. Unfortunately, many schools >still expect students to complete a music degree in four years, >usually by cutting off all financial aide at that time. If it is >possible for you to stretch it out over five years, consider it. >You might be able to carry a more human workload and practice. Music degrees do seem to require an inordinate number of HIGH hours, whether the degree is an "ed" degree or performance related. There is so much to learn and so little time. It is difficult to finish a music degree in the customary 4 years. Customary, that is, for OTHER majors! I think it is the "norm" for a music degree to consume 4.5 or 5 years of one's life. EASY to do. I can only speak for our school, of course, but we really don't expect a student to complete a music degree in four years. We like to see it happen, of course... There is a political move in Texas to require students to finish their college education in a timely manner. I have forgotten the number imposed by this law... but if a student doesn't finish his/her degree after having attempted "X" number of hours, they have to start paying out-of-state tuition. We have been discussing this dilemma in our fall faculty meetings for the past couple of years, and it has a GREAT impact on our music students. It is not the number of hours in the degree -- it is the number of hours attempted! But "attempted" hours do not accrue if the student drops the class before the 12th class day. Students in Texas should plan their degrees carefully. The days of the "decade plan" are over. No more "career students"! That's not a bad thing... My point is this: schools in Texas (at least Lamar University) are taking action and re-evaluating our degree requirements. We are eliminating some courses (like Advanced Marching Methods) and trying very hard to get more in line with other degrees on campus. We are looking carefully at what the state's requirements are, and how our degree program fits into what we believe the students needs are. High school seniors who are looking at schools need to get a copy of the school's catalog and read it carefully. What are the total number of hours required? What will be my OUT-OF-POCKET expenses? A scholarship is great, and the dollar amounts can sometimes look very impressive... but it can be confusing and even unrealistic. What you REALLY want to know is this: what is "college" going to cost me AFTER the scholarship? How many hours will I need to take each semester if I am to graduate in 4 years? Can I do it in 4 years at this school? Should I stretch it out and plan a 5-year degree plan? Can I realistically go to school and work? Do I REALLY need that new car? On and on... Maybe I ought to just marry some millionaire and make music my past-time. Yeah! That's it. Ain't the internet wunnerful???? --Wayne Dyess, Ed.D. Professor of Music __________________________ Wayne Dyess, Professor of Music Lamar University P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu From ???@??? Mon Mar 27 07:44:02 2000 Date: Fri, 24 Mar 2000 10:28:25 -0600 From: "Daniel P. Sniderman" To: "Trombone List" Subject: Setting Embouchure/Background Vocals Message-ID: <001b01bf95ad$fb25c2e0$6911e3d8@dsl.telocity.com> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit I'm wondering if anyone has any tips for this. I've been increasingly attempting to improve my singing ability to be able to do a passing job doing background vocals on gigs. In addition to improving my singing ability (separate issue of course) - I find a difficulty in setting my embouchure in time when there's a fast switch between the singing passages and coming back in. Either I miss a few notes (either side) or have an attack or pitch problems. Any ideas or suggestions? Thanks Dan Sniderman From ???@??? Mon Mar 27 07:44:02 2000 Date: Fri, 24 Mar 2000 12:53:32 EST From: MBennetts@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Workloads in music schools Message-ID: <12.28fd1e5.260d059c@aol.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 03/24/00 10:38:50 AM Central Standard Time, DyessJW@hal.lamar.edu writes: > You have to just MAKE time for practice -- just like in the REALWORLD! As my daughter's solo contest accompanist told her last Saturday: a professional musician has to practice 24 hours a day. And also must take care of business during the other hours. But there's another side: he and his wife (my daughter's flute teacher) are leaving in two weeks for a four-month around-the-world cruise, where they'll be practicing their musical professions on the high seas. Trombone content: My daughter's father plays trombone (though not professionally). Mike Bennett From ???@??? Mon Mar 27 07:44:02 2000 Date: Fri, 24 Mar 2000 09:57:57 PST From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: Workloads in music schools Message-ID: <20000324175757.16149.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed Two things come to mind. First, it was harder for me to get my AA ( two year degree) in music composition than it was for me to get a BS in electrical engineering. Yes, music school is difficult, no question. Second, I quickly learned, when designing arcade games 12 to 16 hours a day, seven days a week, that any infinitesimal chink in you life can bring you render you totally ineffective. I found that I could work very, very hard, as long as I also ate hard, slept hard, exercised hard, loved hard...everything in my life had to be in excess, in order to be able to work in excess. And any little chink could bring everything down. I suppose this could be considered the core of the yuppie belief system, but thatās not where I intended to go, here. Hereās what I get out of college: If it looks as if you have a good chance of getting an A, go for it. Otherwise, a B takes half the effort. Always ask the teacher how much homework assignments count. Sometimes doing the homework takes a lot of time and teaches you almost nothing. If you can get away with doing only some of the homework or with handing it in late, that may few up some time. This only works with some teachers, so always ask, at the beginning of the term. Always, always do the assigned reading. Invariably, that reading is going to be discussed the next day. If you didnāt do the reading, itās all new to you and you are forced to take copious notes, during which you miss half of whatās being said. If you did the reading then itās all review and you can easily put a few marks in the book, to indicate what the teacher thinks is important. Thatās right, I said put marks in the book. Why rewrite something that you already have, why carry around two copies of the same information. Be willing to drop any class if: 1) the teacher is a jerk, 2) the text wonāt be in the book store for two more months, but theyāre going to teach the class anyway, 3) the class totally screws up your schedule (like itās the only reason you would have to go in to school on Tuesdays and Thursdays). I used to sign up for about 30 units and drop back to about 20 units (yes 20 units), the first week of school. The computer would get that there was no way to schedule it all in, but by the time that information got mailed back to me, I would have already dropped a bunch of classes. I guess I was fortunate to have worked and gone to night school. When I get to engineering school, I took on that same schedule. I was either in class, in the library doing homework, or drinking double espressos, for eight hours a day and four hours a night, five days a week. Did I have a social life? Well, do nerds ever really have social lives? DanP ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Mon Mar 27 07:44:02 2000 Date: Fri, 24 Mar 2000 10:02:08 PST From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: jazz/improv Message-ID: <20000324180208.82417.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed > It just seems (very subjectively, of course) that the Eb maj.7 in the >next to the last bar is a more final resolution than any of the others. Thatās because the major 7th ruins the whole piece and thereās nothing more to say. Now, if had been a minor chord with a major seventh, that would have been different. DanP ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Mon Mar 27 07:44:03 2000 Date: Fri, 24 Mar 2000 12:21:30 -0600 From: Angie Brunk To: trombone-l@lists.missouri.edu Subject: Re: Workloads in music schools Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" > A list member who wished to remain anonymous asked me to pass >this on. I'll comment later thought I think this person has the >right of it.---ab > >Beth complained about the workload in school as a performance major, >and points out that there are "reasons" for the workload. She's right, >but several of the reasons are hidden from view. Having seen this from >the other side of the desk, I want to clarify them, and maybe even suggest >a solution. > >1. University general education requirements. >Students must accumulate a set of box-tops from various and sundry >departments around campus. The intent here is generally good -- we >want you to be a well-rounded person. The effect is felt in all the >areas that do not fit well into your school's definition of "well-rounded >person." Students in math have their math G.E. requirement waived (there's >no point in teaching someone who can do ODE's in her head how to appreciate >counting on her fingers and toes), but they have to take an arts/humanities >requirement. Students in music get their arts/humanities requirements waived >(usually), but that amounts to 6 hours at most schools. Math GE requirements >for students who turn up poorly prepared (like most music students, I am sad >to report) can amount to 15 or more hours. > >2. Optimistic Admission Assumptions >The schedules set out by faculties have to show baccalaureate requirements >fulfillable in four years. But I've seen programs that assume students have >completed AP credits ... poor form, and more than a little dishonest. > >3. Clueless plans of study >The only requirements at most schools is that the department show >that the plan of >study be: (1) completed in eight academic semesters, and (2) have >courses properly >sequenced (you can't take counterpoint until you've completed the >required theory >courses, so they must precede counterpoint in the plan). Outside of >that, the sky >is the limit. But the reality is that most students are not >polymath prodigies, and >even polymath prodigies have some things they find hard. Plans of >study don't take >those individual differences into account. That's one of the >reasons you have >advisors, but advisors don't always take it into account, either. > >A (partial) solution: >1. Know why you're in school. >There are all manner of reasons to be in school, but you need to >understand why >YOU are there. Some are good reasons, some are bad, and some just are. > >2. Know your own strengths and weaknesses. >If writing is a problem for you, and you don't get on well with >algebra, either, >then scheduling English Comp II and College Algebra in the same >semester is NOT >a good idea. When you have to something that's going to be hard, schedule the >rest of your term around that -- load up on gut courses that term. > >3. Practice smart: don't practice hard. >Most instrumental music students spend too much time in the practice room, and >waste most of it. Even as adults, our concentration span is >limited. Figure out >how you spend your practice time by taping yourself, and then >logging the tape. >I had a student who insisted that he practiced five hours a day. >When we scanned >through a day's worth of tape, he found that he spent about twenty >minutes a day >practicing. The rest was wasted time talking with friends, noodling on his >instrument (noodling doesn't qualify as practicing), and dinking around. When >he was practicing, he wasn't particularly focussed. Time is precious -- don't >waste it and claim you're practicing. IMO, 1 1/2 to 2 hours >(generally spread >through the day) is the most you can practice with intensity. If >you've learned >to be able to focus on the necessary, you've learned an important lesson. -- Angie Brunk MLS Indiana University 1999 "For years, we've been bludgeoned with the cliche "infrmation is power." But information isn't power. After all, who's got the most information in your neighborhood? Librarians. And they're famous for having no power at all. And who has the most power in your community? Politicians. And they're notorious for being ill-informed."--Clifford Stoll From ???@??? Mon Mar 27 07:44:03 2000 Date: Fri, 24 Mar 2000 12:33:43 -0600 From: "Douglas Kilen" To: "trombone-L" Subject: yamaha serial numbers, etc... Message-ID: <004601bf95bf$7c9b2de0$3d12e0d1@mark> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0043_01BF958D.30D29E20"
Me again!  I just traded off my 3B valve trombone for a yamaha 682G.  It play wonderfully!  What have others experience with this horn been?  Also, does anyone know where to date yamaha horns by serial #?   it's got 003135 on the bell section, and IL on the slide section.  So far I absolutely love the horn, except I think there's a loose piece of solder or something in the main tuning slide brace.  Thanks for any info!
Douglas Kilen
Superior WI
 From ???@??? Mon Mar 27 07:44:03 2000 Date: Fri, 24 Mar 2000 07:59:40 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Classical Music Quotes Message-ID: <000001bf95bf$df04f740$fb419fd4@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: To: Trombones and related issues forum. Sent: Friday, March 24, 2000 12:26 AM Subject: Re: Classical Music Quotes > While it might be a stretch to call it jazz, I have always wondered why "I'm > Always Chasing Rainbows" is credited to Harry Carroll (1918) with no mention > of the fact that the melody is lifted straight out of Chopin's Fantasy > Impromptu op. 66. > > In the '40's, I remember a popular song called "Our Love" which was taken > from the love theme of Tschaikowsky's "Romeo and Juliet". Of course, the > original question pertained to quoting of classical works, as opposed to > wholesale appropriation. > Allen When a composition becomes public domain (70 year rule, or as any Russian music used to be in the West), you can make your own arrangement of it, add words, put your own title on it, sit back and collect the royalties. The arrangement then becomes your own property, A. Adrian Drover (ADIOS Scotland) Personal: adrian@adios.co.uk Business: studio@adios.co.uk http://www.adios.co.uk From ???@??? Mon Mar 27 07:44:04 2000 Date: Fri, 24 Mar 2000 14:19:20 -0500 (EST) From: Beth Lewis To: trombone-l@lists.missouri.edu Subject: Re: Galliard Sonatas Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Last year in a music library I came across an LP that looked like it was from the 70s with Don Knaub playing (I think) the 1st sonata. I can't really give any details, but I'm sure someone on the list has this record. There may be some recordings on tuba also, since I've also heard the sonatas played that way. Beth Lewis From ???@??? Mon Mar 27 07:44:04 2000 Date: Fri, 24 Mar 2000 14:40:20 -0500 From: "Andrew Elms" To: , "Trombones and related issues forum." Subject: RE: classical music quotes Message-ID: MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Just a quick note: a LOT of Carl Stalling's music was actually written and performed by Raymond Scott. Scott, however, did not intend for his music to be performed as cartoon music. He was performing it as serious jazz music. Anyway, Stalling kept the titles, such as 'Powerhouse,' 'The Penguin,' and 'Dinner Music for a Pack of Hungry Cannibals.' On an interesting note, Scott's original music was used for the Ren and Stimpy cartoons. To hear Scott's wonderful music as it was recorded, get his recording "Reckless Nights and Turkish Twilights." Marvelous CD. Andy -----Original Message----- From: owner-trombone-l@lists.missouri.edu [mailto:owner-trombone-l@lists.missouri.edu]On Behalf Of David Molter Sent: Friday, March 24, 2000 9:16 AM To: Trombones and related issues forum. Subject: classical music quotes This is a great subject. I wish I had more concrete examples to add to it, but it appears to be quite common to quote or downright steal entire melodies, and not only in jazz. I have a CD called "Cartoon Music" that has complete versions of many of the tunes used as background music for Warner Brothers Looney Tunes. Not quite the same thing, but interesting nonetheless. (Another interesting CD: "The Carl Stalling Project," which shows how Stalling appropriated pieces of public domain music for cartoon use because WB wouldn't pay to have things written.) Years ago in the United States -- perhaps 20 or more -- the late British actor George Saunders appeared in a TV commercial for an album that contained excerpts from classical music where themes had been appropriated for popular tunes. "Our Love" from "Romeo and Juliet" was one of those, as was "Stranger in Paradise," which I believe was stolen from Borodin's "Polovstian Dances," and Tchaikovsky's "Piano Concerto in Bb" ("Tonight We Love"), which was done by Tommy Dorsey, Freddy Martin and others. Maybe Doug Yeo or one of our symphony bonists can add more on this subject. Related to this, I am a great fan of quoting pieces of other tunes in solos. For example, on the "Fond Memories of..." Frank Rosolino CD, Conrad Herwig points out that Frank quotes "It Might as Well Be Spring" in one of his improvs (I think it's on "All the Things You Are," but I don't have the CD here. In his solos on Jobim's "Wave," the late Ashley Alexander quotes "Brazil," other Latin tunes and even "Fly Me to the Moon." Just amazing to be able to think that way. About the best I've been able to do in this department was to appropriate a piece of "Rhapsody in Blue" for a rock bass line and a very small piece of "Way Down Yonder in New Orleans" into a solo on "Just Closer Walk with Thee" -- the Canadian Brass Dixieland arrangement, not in church! Dave Molter Pittsburgh, PA From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 12:05:03 -0800 From: "Rodney Ellard" To: "Trombones and related issues forum." Subject: Re: Workloads in music schools Message-ID: <001501bf95cc$6b3585c0$49e994d1@rod> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit My comments: 1. There always are "bird courses", i.e. courses such as "Popular Culture" or "History of Film", which are not too demanding. Ask an engineer for suggestions. (Engineers seemed to know how to make their arts elective requirements with a minimum of effort. Good for them. No slight intended). 2. Knock off some electives in the spring or summer and reduce your course load during Sept - April. The spring/summer courses were usually billed as "intense" but were actually much lighter. Less competitive and more fun too, as I recall. 3. Prioritize - be careful, though, your profs might not agree with your priorities. I prioritized lunch over trombone choir three times and was failed by the instructor. I also prioritized typing an overdue paper over an ensemble rehearsal and eventually made an enemy of the conductor. (But I got 90% on the paper) 4. Music and university is your social life. If you want more, maybe you should be somewhere else. Friends and spouses (unless they are musicians) may not understand nor appreciate the time and effort you put into playing and practising. 5. When I read about such things as taping yourself and playing it back at 1/2 speed, read Doug Yeo's comments regarding various scores, and, generally, reflect on the level of committment it takes to make a living as a professional musician, I think one really has to seriously ask oneself whether one is prepared and capable of making such a committment. Be realistic about your level of talent. Maybe a couple of hours a day of practicing will do it - I doubt it. It's possible that no amount of practicing will overcome a lack of talent. There are easier ways to make a better living. Rod Ellard From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 16:07:30 +0000 From: Eric and Candice Swanson Cc: "Trombones and related issues forum." Subject: Re: Whatsa Selmer (Paris) M-40 Message-ID: <38DB92C0.AADF287D@worldnet.att.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Jgicking@aol.com wrote: > Please email me privately if you can tell me anything about this model. I'd particularly like to know about the bore size. I have a Selmer "Bolero" which is .508 or so which I like very much. > > Thanks. > > Jim Jim, I found a model #74 Bolero trombone in a Selmer catalog from the mid to late 1970s. It was .509" bore and had an 8" bell. It was available with F attachment too, as model 78. Couldn't find anything close to "M-40" relating to a trombone. Maybe yours is an older horn. Eric Swanson From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 16:33:02 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: HS senior/college problems Message-ID: <008301bf95e0$ec84c3c0$6ff6490c@default> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Listers, At the moment, I am experiencing a major conflict with my college decisions. Personally, I want to be a performance major at Indiana, Michigan, or Maryland. I consider my talent level to be well above the average and I can see myself being very successful in the near future. The problem is, my parents are against me being a music major. They want me to major in something more "concrete", like business, and go to an in state school. They say they are not paying a lot of money for me to go far away from home "and blow on my instrument all day long", because no matter where I go, when I get out of school I'll be on the streets with no job. So to them, an education at Juilliard is no different than one at a community college if I'm majoring in music. How should I go about handling this situation. On one hand, I am extremely confident because I have gotten great response from many high level professional players with bigtime orchestral experience. On the other hand, I have to fear that my parents are right in their assumptions. With a music performance degree, is there a way to make a living if you haven't made a symphony orchestra? Will I be just another intelligent kid who went into music and ended up pushing grocery carts during the day and playing at night clubs on the weekends? Would I be able to make as much progress as a musician by majoring in business while minoring in music and practicing my butt off? So, at the moment, I am in a war with myself and my parents. I've been accepted to some of the country's finest musical institutions and I have parents that don't want me going to them. Any suggestions or thought on my situation and my questions would be greatly appreciated. BTW, I will have to make my college decision within the next 3-4 weeks, so prompt responses would be most helpful. From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 16:44:42 -0600 (CST) From: Brandan Kraft To: Adolphus Sprott Cc: "Trombones and related issues forum." Subject: Re: HS senior/college problems Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Try a double major. Do Performance and Music Education, or just music education. ;-) On Fri, 24 Mar 2000, Adolphus Sprott wrote: > Listers, > At the moment, I am experiencing a major conflict with my college > decisions. Personally, I want to be a performance major at Indiana, > Michigan, or Maryland. I consider my talent level to be well above the > average and I can see myself being very successful in the near future. The > problem is, my parents are against me being a music major. They want me to > major in something more "concrete", like business, and go to an in state > school. They say they are not paying a lot of money for me to go far away > from home "and blow on my instrument all day long", because no matter where > I go, when I get out of school I'll be on the streets with no job. So to > them, an education at Juilliard is no different than one at a community > college if I'm majoring in music. How should I go about handling this > situation. On one hand, I am extremely confident because I have gotten > great response from many high level professional players with bigtime > orchestral experience. On the other hand, I have to fear that my parents > are right in their assumptions. With a music performance degree, is there a > way to make a living if you haven't made a symphony orchestra? Will I be > just another intelligent kid who went into music and ended up pushing > grocery carts during the day and playing at night clubs on the weekends? > Would I be able to make as much progress as a musician by majoring in > business while minoring in music and practicing my butt off? So, at the > moment, I am in a war with myself and my parents. I've been accepted to > some of the country's finest musical institutions and I have parents that > don't want me going to them. Any suggestions or thought on my situation and > my questions would be greatly appreciated. BTW, I will have to make my > college decision within the next 3-4 weeks, so prompt responses would be > most helpful. > -- Brandan Kraft http://bornagain.net From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 16:55:24 -0600 From: "Jeff Albert" To: ellard@sprint.ca, "Trombones and related issues forum." Subject: Re: Workloads in music schools Message-ID: <200003242255.RAA12642@mail1.mco.bellsouth.net> Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit We all must remember that we aren't supposed to sound like J.J. Johnson or Joe Alessi when we get out of school. School is there to assist us in learning things to help us eventually be great players, and to make us educated humans. -- Jeff Albert Trombone & Bass Trombone From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 15:26:05 PST From: "Daniel Pliskin" To: trombone-l@lists.missouri.edu Subject: Re: Workloads in music schools Message-ID: <20000324232606.47730.qmail@hotmail.com> Mime-Version: 1.0 Content-Type: text/plain; format=flowed There was mention about how engineering students know how to minimize the work needed to satisfy their liberal arts requirements. WHY, I resemble that REMARK! Thereās also another thing you can do, which greatly reduces your work load. Take a whole bunch of courses that basically cover the same subject, but from slightly different slants. For instance, take Elizabethan music, Elizabethan literature and Elizabethan history, all in the same term. In the beginning of the term, youāll have a lot of work to do, but as the term goes on, things that are covered in one course, will start to be covered in another, so youāll already know it. OK, maybe that was a bad example, but I was able to take, basically, the same computer courses in the math, computer science and engineering departments, all for senior level credit, all in the same term. Thatās how to take 20 units per term. And I should give credit where credit is due. If not for Professor Catalano, who didnāt know $#!+ about electronics, and for whom I was head of the student committee to make sure that he DIDNāT get tenure and from whom I got Cs, for that little escapade, I owe a debt of gratitude. To avoid taking any more courses from him, I wound up transferring a bunch of units from other departments. I also wound up learning about bit-slice processors, in the process. Years later, I designed a bit-slice processor into the arcade games Battle Zone and Tempest, which did perspective calculations. And I owe it all to you, Catalano. Oh, yea, donāt forget to have a double espresso before every test. And, have fun·.. DanP ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 18:45:00 EST From: JennWhaa@aol.com To: trombone-l@lists.missouri.edu Subject: Re: Workloads in music schools Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I went to a junior college (2 year school) and spent 3 years there. Why? I was a music major taking music requirements and core classes to transfer to a music conservatory and working. It took 3 years of over 20 credits a semester and 2 summers to graduate and be eligible for transfer. When I transferred, I could only transfer 60 of the credits that I had (over 100). So, when I got here, I had to complete the entire 2 years of sightsinging courses and theory and history even though I had classes that should have transferred. It was basically like being a freshman again. If I had to do it all over again, I would have transferred to a big school - not a music conservatory -to finish my undergrad degree. Then I would have applied to a conservatory for my Master's. At a big school, state or university, you get a much better academic education and you don't have to go to school with a bunch of crazy musicians who have never been outside of a practice room. If you want the! ! piece of paper, it is cheaper and the academic classes/teachers are WAY better....at least in my opinion. But I still like the marrying a millionaire idea. JEN From ???@??? Mon Mar 27 07:44:05 2000 Date: Fri, 24 Mar 2000 16:47:29 -0700 (MST) From: James Scott To: Adolphus Sprott Cc: "Trombones and related issues forum." Subject: Re: HS senior/college problems Message-ID: MIME-Version: 1.0 Content-Type: TEXT/PLAIN; charset=US-ASCII Weston- I had a similar situation when I was your age - my parents said they would help me financially if I got an "Education degree", but not for performance. I went for the performance degree, and payed for it myself. Of course, tuition fees were lower then (I don't know how much if you consider inflation), and I had some scholarships, etc. I also lived in a fifth floor walk-up in Harlem w/3 roommates, ate macaroni & cheese or the like for dinner, and had very little social life outside of school. The plus was that I was completely dedicated to getting as far as I could as a player, and I took school seriously since it was on my own tab. My advice would be to decide if playing the trombone for a living is what you want more than anything, and if so, do WHATEVER it takes to get into the situation that will provide the best chance of that happening. If a part of you wants to play it safe like your parents want you to do, then, by all means, take a "safer alternative". If you "go for it", and don't end up as a full-time player, you would be surprised to know how many people in the same situation have found out that a music degree from Eastman or Curtis is respected in the business community because of the work ethic that is associated with serious musicians. The worst-case in that situation would be that you might have to get another degree (either a master's or even a bachelor's where you transfered most of your music credits over). Good luck! Jim Scott On Fri, 24 Mar 2000, Adolphus Sprott wrote: > > > Listers, > At the moment, I am experiencing a major conflict with my college > decisions. Personally, I want to be a performance major at Indiana, > Michigan, or Maryland. I consider my talent level to be well above the > average and I can see myself being very successful in the near future. The > problem is, my parents are against me being a music major. They want me to > major in something more "concrete", like business, and go to an in state > school. They say they are not paying a lot of money for me to go far away > from home "and blow on my instrument all day long", because no matter where > I go, when I get out of school I'll be on the streets with no job. So to > them, an education at Juilliard is no different than one at a community > college if I'm majoring in music. How should I go about handling this > situation. On one hand, I am extremely confident because I have gotten > great response from many high level professional players with bigtime > orchestral experience. On the other hand, I have to fear that my parents > are right in their assumptions. With a music performance degree, is there a > way to make a living if you haven't made a symphony orchestra? Will I be > just another intelligent kid who went into music and ended up pushing > grocery carts during the day and playing at night clubs on the weekends? > Would I be able to make as much progress as a musician by majoring in > business while minoring in music and practicing my butt off? So, at the > moment, I am in a war with myself and my parents. I've been accepted to > some of the country's finest musical institutions and I have parents that > don't want me going to them. Any suggestions or thought on my situation and > my questions would be greatly appreciated. BTW, I will have to make my > college decision within the next 3-4 weeks, so prompt responses would be > most helpful. > > From ???@??? Mon Mar 27 07:44:06 2000 Date: Fri, 24 Mar 2000 16:21:49 -0800 From: "Rod Ellard" To: "Trombones and related issues forum." Subject: Re: HS senior/college problems Message-ID: <001301bf95f0$792c4fa0$efe294d1@ellard> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Weston wrote: > The problem is, my parents are against me being a music major. They want me to > major in something more "concrete", like business, and go to an in state > school. They say they are not paying a lot of money for me to go far away > from home "and blow on my instrument all day long", because no matter where > I go, when I get out of school I'll be on the streets with no job. " Well, it's your parents' money. Get a job, save money, take lessons from the best guy within driving distance. When you've got some dough, you call you're own shots. But if you're real good, shouldn't you have a full ride scholarship to one of these schools? Rod From ???@??? Mon Mar 27 07:44:06 2000 Date: Fri, 24 Mar 2000 19:46:26 -0500 From: "Anthony J. Heins" To: Trombones and related issues forum Subject: Re: HS senior/college problems Message-ID: <38DC0C62.9C64B6D7@stratos.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hey Wes, Your parents can't predict your future livelyhood any more than you can, but they certainly have a lot more experience at living than you have. They will never seem wise until you yourself become a parent and have to deal with your own children who will probably be a carbon copy of you! Without getting "preachy", the Bible has a lot to say about honoring your parents. If that proves to be false advice, then God help us all! Think it over, Tony Heins Adolphus Sprott wrote: > Listers, > At the moment, I am experiencing a major conflict with my college > decisions. Personally, I want to be a performance major at Indiana, > Michigan, or Maryland. I consider my talent level to be well above the > average and I can see myself being very successful in the near future. The > problem is, my parents are against me being a music major. They want me to > major in something more "concrete", like business, and go to an in state > school. They say they are not paying a lot of money for me to go far away > from home "and blow on my instrument all day long", because no matter where > I go, when I get out of school I'll be on the streets with no job. So to > them, an education at Juilliard is no different than one at a community > college if I'm majoring in music. How should I go about handling this > situation. On one hand, I am extremely confident because I have gotten > great response from many high level professional players with bigtime > orchestral experience. On the other hand, I have to fear that my parents > are right in their assumptions. With a music performance degree, is there a > way to make a living if you haven't made a symphony orchestra? Will I be > just another intelligent kid who went into music and ended up pushing > grocery carts during the day and playing at night clubs on the weekends? > Would I be able to make as much progress as a musician by majoring in > business while minoring in music and practicing my butt off? So, at the > moment, I am in a war with myself and my parents. I've been accepted to > some of the country's finest musical institutions and I have parents that > don't want me going to them. Any suggestions or thought on my situation and > my questions would be greatly appreciated. BTW, I will have to make my > college decision within the next 3-4 weeks, so prompt responses would be > most helpful. From ???@??? Mon Mar 27 07:44:06 2000 Date: Fri, 24 Mar 2000 23:18:21 -0600 From: "Adolphus Sprott" To: "Wanda Shariff" , "Trombone-L" , Subject: Fw: Just Suppose !!!!! Message-ID: <001b01bf9619$965d29e0$0ee2490c@default> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_000C_01BF95E7.3EFE4B20"
 
-----Original Message-----
From: Brian Truscott <tromboneman@earthlink.net>
To: Jared Worsham <jworsham@n2mail.com>; Mark Wilson <flood@n2danger.com>; daniel f vencil <tepmurt1@juno.com>; Jacob Ulynczki <Kurtis15@aol.com>; Allyn Sutton <allyn512@hotmail.com>; Amie Street <A.R.Street@delta.is.tcu.edu>; Sharon Steiner <shsteiner@hotmail.com>; Weston Sprott <weslanke@worldnet.att.net>; Kari Salvesen <KASalvesen@n2mustangs.com>; Jonathan Rogers <rogers2002@hotmail.com>; Grace Reiley <star81381@hotmail.com>; Christi Reid <Christi@n2camping.com>; Wayne Reed <gatsby9772@aol.com>; Paige Powell <paigepalma@aol.com>; Janna Pate <sportyjbanana15@yahoo.com>; Lisa Osterhout <Lisa2917@aol.com>; Colleen O'Maine <Saxy65@hotmail.com>; Lisa Nield <gnield@earthlink.net>; Erin Nield <Erin.E.Nield@wheaton.edu>; Beth Moore <BethM@n2books.com>; Mom and Dad <Slowdown45@aol.com>; Brian Molinar <chong3894@yahoo.com>; Tiffany Mehling <TappinTiff@aol.com>; Josh Mehling <Jsmehling@aol.com>; Sarah Lutz <HipEchick1@aol.com>; Rachel Lindenborn <rachel@n2snow.com>; Patrick Lewis <bluefables@hotmail.com>; Austin Lewis <BlueShark1@aol.com>; Leanna Lehmer <GABY2000@aol.com>; Ashley Anne Kutz <ashkutz@n2.com>; Ajay Kalia <akalia@csi.com>; Emily Jeffcoat <Walter467@aol.com>; Jay Idriss <TOOL1075@aol.com>; Kelly Iacono <Elissacrew@aol.com>; Jared Henderson <hindotx@yahoo.com>; Adrienne Guzman <aguzman99@hotmail.com>; Chrissy Grabouski <chrissyg@n2animals.com>; Nick Gardner <ngardner@n2.com>; Candace Freeman <Twirl51352@aol.com>; Ben Fergeson <BenjaminAF@aol.com>; Tiffany Edge <roxy03star@hotmail.com>; Angela Dorsey <ADorsey@n2Music.com>; Holly Diehl <roxy_cavalier@hotmail.com>; Nathan Deal <ndeal007@aol.com>; Chris David <Chris_David@hotmail.com>; John Curry <tobias1492@yahoo.com>; Brian Crisp <b_crisp@hotmail.com>; Trent Cooper <Tcooper38@aol.com>; Casey Christie <cajo88@yahoo.com>; Jeff Carroll <JeffCarroll90@hotmail.com>; Krystal Carlton <slickchick@hotmail.com>; David Buchanan <saleen_02@hotmail.com>; Jeff Brumbaugh <jhb99@hotmail.com>; Lauren Brown <LURBchick@n2track.com>; Amber Brown <Tigress306@aol.com>; Tara Brennan <tbrennan@mail.utexas.edu>; Bob Borths <percman3@yahoo.com>; Chris Berry <CLewisB@aol.com>; Jennie Bernotus <jencapt@n2mail.com>; Mike Becker <mbecker13@hotmail.com>; Bonnie Balch <MARRRINA@aol.com>; Carlo Ayuste <Carlo_Ayuste@hotmail.com>; Michael Attaway <michael_attaway@hotmail.com>; Renee Anderson <SBKiddo156@aol.com>; Erin Alderman <Erin@n2California.com>
Date: Friday, March 24, 2000 8:40 PM
Subject: Just Suppose !!!!!

JUST SUPPOSE:
 
  Just suppose that at every ball game, graduation, prom, etc., someone who
  has had enough of stupid, anti-historical court decisions had the guts to
  start reciting the Lord's Prayer loudly, and others joined in, then more,
  until hundreds participated.
 
  And JUST SUPPOSE this spread all over our land until this became standard
  practice in hundreds of schools - then thousands - then tens of thousands.
 
  Just what would local school boards do? Expel half the student body? (They
  need their jobs and federal funding far too much to do that.) What would a
  Federal District Court do? Order hundreds of non-violent, decent minors
  jailed? Or thousands?
 
  Just what would the Supreme Court do about it - issue more edicts? What if
  millions decided the Supreme Court was out of its league and said "So what?"
 
  JUST SUPPOSE hundreds of brave school board members, local judges,
  prosecutors, and others, each in their own area of authority, refused to
  intervene, realizing that we have already tried it the other way, and the
  result was a modern-day Sodom and Gomorrah of immorality and senseless
  violence.
 
  JUST SUPPOSE this then spread next into classroom after
  classroom, and either a brave student or a brave teacher started the Lord's
  Prayer (or Psalm 100, or a Bible reading, etc.) each morning, until hundreds
  of thousands stood up and did their part and stopped cowering before the
  destructive, God-hating secular attitudes of the pagan minority who parrot
  the media line.
 
  JUST SUPPOSE every God-fearing Christian participated -
  peacefully, non-violently, but firmly and continually. Where would they get
  enough jails to hold us all? How would they prosecute hundreds of thousands?
 
  It is far more than the government can do even to stop the flow of illegal
  drugs, despite their best efforts, and overcrowded jails. Hardened criminals
  walk after doing only half of their sentence to ease jail crowding. Even if
  they try to pick on a handful to make examples of them, what if hundreds of
  thousands stood up to the tyranny of the minority and demanded their freedom
  of religion back? They can't build enough jails or courts to begin to deal
  with such a movement.
 
  During the Civil Rights battles of the 60's, some of the black people
  decided they had enough and stood up to the system-a few dozen here, a few
  hundred there-and eventually the whole country heard, and repented, and
  changed.
 
  Racial repression was an evil whose time was over. But now, there is another
  battle-and the stakes are even higher. The future of all our children,
  white, black, and otherwise, is at stake.
 
  No other country on earth allows a tiny minority of impractical
  anti-religious bigots to censor their people's right to free religious
  expression. Even Russian public schools show videos of the life and
  teachings of Jesus now. We tend to get exactly the kind of government we
  deserve.
 
  If you make a time line on a graph, you will see that the exponential
  increase in public school violence, pregnancy, and foul language all started
  at exactly the time the Supreme Court threw prayer and Bible reading out of
  the schools. We told God we didn't need Him, and the results speak for
  themselves.
 
  JUST SUPPOSE hundreds of Christians passed this message on to all their
  friends, leaders, and contacts.
 
  JUST SUPPOSE hundreds of churches, organizations and ministries passed this
  message on to their constituencies with a request to reprint, repost , and
  repeat it wherever possible.
 
  JUST SUPPOSE - What do you suppose you should do?
 
  YOU MAY NOT KNOW WHAT THE FUTURE HOLDS, BUT KNOWING WHO HOLDS THE FUTURE
 MAKES ALL THE DIFFERENCE.
 From ???@??? Mon Mar 27 07:44:07 2000 Date: Sat, 25 Mar 2000 00:46:25 +0000 From: Jim Seaman To: kingbone@earthlink.net Cc: "Trombones and related issues forum." Subject: Re: classical music quotes Message-ID: <38DC0C5E.A91271B7@igs.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Related to this topic. Our dixieland band has a Dutch piano player who plays all the dixie tunes by ear in any key and during his comping and solos inveriably weaves in and out the theme to other songs. Interesting tidbit pointed out to me recently was the fact that the changes to Round Midnight are used in the TV series theme in Perry Mason. jim -------------------------------------------------------- David Molter wrote: > This is a great subject. I wish I had more concrete examples to add to it, but it appears to be quite common to quote or downright steal entire melodies, and not only in jazz. I have a CD called "Cartoon Music" that has complete versions of many of the tunes used as background music for Warner Brothers Looney Tunes. Not quite the same thing, but interesting nonetheless. (Another interesting CD: "The Carl Stalling Project," which shows how Stalling appropriated pieces of public domain music for cartoon use because WB wouldn't pay to have things written.) > > Years ago in the United States -- perhaps 20 or more -- the late British actor George Saunders appeared in a TV commercial for an album that contained excerpts from classical music where themes had been appropriated for popular tunes. "Our Love" from "Romeo and Juliet" was one of those, as was "Stranger in Paradise," which I believe was stolen from Borodin's "Polovstian Dances," and Tchaikovsky's "Piano Concerto in Bb" ("Tonight We Love"), which was done by Tommy Dorsey, Freddy Martin and others. Maybe Doug Yeo or one of our symphony bonists can add more on this subject. > > Related to this, I am a great fan of quoting pieces of other tunes in solos. For example, on the "Fond Memories of..." Frank Rosolino CD, Conrad Herwig points out that Frank quotes "It Might as Well Be Spring" in one of his improvs (I think it's on "All the Things You Are," but I don't have the CD here. In his solos on Jobim's "Wave," the late Ashley Alexander quotes "Brazil," other Latin tunes and even "Fly Me to the Moon." Just amazing to be able to think that way. About the best I've been able to do in this department was to appropriate a piece of "Rhapsody in Blue" for a rock bass line and a very small piece of "Way Down Yonder in New Orleans" into a solo on "Just Closer Walk with Thee" -- the Canadian Brass Dixieland arrangement, not in church! > > Dave Molter > Pittsburgh, PA > From ???@??? Mon Mar 27 07:44:08 2000 Date: Fri, 24 Mar 2000 23:47:11 -0600 From: "Adolphus Sprott" To: "Trombone-L" Subject: religious email Message-ID: <002101bf961d$93cbfae0$0ee2490c@default> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit Sorry for the religious email that I forwarded to the trombone list. The forward to the list was a sincere accident. I hope no one was offended by the religious beliefs presented. This will not happen again. Weston Sprott From ???@??? Mon Mar 27 07:44:08 2000 Date: Fri, 24 Mar 2000 22:36:55 -0800 From: Elisabeth Frederick To: Adolphus Sprott Cc: "Trombones and related issues forum." Subject: Re: HS senior/college problems Message-ID: <38DC5E87.E5E9B6CC@nctimes.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Adolphus, I have seen it metioned many times on the list, and heard it from many people. A degree is a degree is a degree. It dosen't really matter what you major in. Many firms enjoy having music students/graduates work for them becuase we have a different (better?) work ethic; we are more self motivated, focused, and can just do SO many things(?). If you go a college that is a good school, if you later decided to go into a different field, it wouldn't matter, you still graduated from college. Good Luck, Elisabeth PS. I know that this is a hard decision. But remember that you are still young and you can change what you want to do/be until the day you die. ;^) From ???@??? Mon Mar 27 07:44:08 2000 Date: Sat, 25 Mar 2000 03:04:27 -0600 From: Angie Brunk To: "Adolphus Sprott" Cc: "Trombones and related issues forum." Subject: Re: HS senior/college problems Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Personally, I consider being forced to major in business a fate worse than death. (I took *a* business class a couple of years ago, I still have nightmares.) The purpose of education, especially undergraduate education, is to prepare you to a be a thinking well informed person. A degree in a specific subject might get you in the door, but if you don't keep your skills current it won't help you keep a job. Even a professional degree (BM/MM, JD, MLS, MBA etc) does not gaurantee a job. You are the only one who knows whether or not you want to take the risk of trying to "make it" in the music world. Think realistically about all the factors involved. As for the in state tuition thing.... Think about this, I went to a small private liberal arts college for my undergrad degree-you know those colleges that are allegedly really expensive. I paid out of state tuition at Indiana for my graduate degree. My total student loan debt from four years of undergrad is equal to one year of debt for graduate school. As an undergrad, you're student loans do not cover the cost of out of state tuition. If you're parents cut you off financially, paying for undergrad will be extremely difficult. (Unless you get a small fortune in scholarships.) One final thought. I know several people with music degrees who have done fairly well for themselves as programmers. One of my cousins has a Bachelors in Business and will finish his MBA in May. He manages a Quick Trip. As I said, even a "useful" degree is no gaurantee that you won't end up as "another bright kid pushing a gorcery cart." -- Angie Brunk MLS Indiana University 1999 "For years, we've been bludgeoned with the cliche "infrmation is power." But information isn't power. After all, who's got the most information in your neighborhood? Librarians. And they're famous for having no power at all. And who has the most power in your community? Politicians. And they're notorious for being ill-informed."--Clifford Stoll From ???@??? Mon Mar 27 07:44:09 2000 Date: Sat, 25 Mar 2000 08:54:35 -0000 From: "Adrian Drover" To: "Wayne Dyess" Cc: "Trombone-L" Subject: Re: jazz/improv--G.S. Message-ID: <00c901bf963d$27a10a20$bf449fd4@v4v3j2> MIME-Version: 1.0 Content-Type: text/plain Content-Transfer-Encoding: 7bit ----- Original Message ----- From: Wayne Dyess To: Cc: Trombone-L Sent: Thursday, March 23, 2000 5:48 PM Subject: Re: jazz/improv--G.S. > P.S. I didn't intend to imply that I don't enjoy practice nor the > trombone when I said something about "hard work" was needed. B