TROMBONE-L Digest 2263 Topics covered in this issue include: 1) Re: Paul LaValle (was: City Services) by "Tom C. Shaddox" 2) Band of America thanks by richardt@LEE.ARMY.MIL 3) Re: Left hand tension/Ergobone by "keith.marr" 4) Re: Playing historic brasses by sabutin 5) RE: Goldman Band - Cities Service? by "Guion, David" <8guion@jmls.edu> 6) Re: Goldman Band - Cities Service? by "Emil & Cynthia Orth" 7) RE: Duets by "Marple, Richard L COL BAMC-Ft Sam Houston" 8) Slight vent session... by "Maria Tekle-Wolde" 9) RE: Goldman Band by "Denver D. Seifried" 10) static weight by Dave Tall 11) Re: Slight vent session... by "Richard Johnson" 12) Alexander Lebedev by Daniel Beckley 13) Re: Alexander Lebedev by Douglas Yeo 14) Re: Goldman Band by "Joe L. Norcross" 15) Baritone Bugle Mouthpiece recommendation? by "Kathy-Green -TJ" 16) Glenn Miller Story by "Denver D. Seifried" 17) Re: Glenn Miller Story by Michael & Dava Millar 18) Re: Glenn Miller Story by "Hal Starkey" 19) Re: Glenn Miller Story by Michael & Dava Millar 20) Re: Goldman Band - Cities Service? by "Adrian Drover" 21) Re: static weight by "Adrian Drover" 22) RE: Tips from the World of Sports by richardt@LEE.ARMY.MIL 23) Coal mine band sponsorship by Douglas Yeo 24) Re: static weight by Craig Parmerlee 25) Old recordings by "Berggren, Erik" 26) Leather Trombone Grip by Matthew Woolly 27) Re: Leather Trombone Grip by Chris Waage 28) Re: Glenn Miller Story by Michael Shoshani 29) Re: Leather Trombone Grip by Walter Barrett 30) RE: Senior Female Trombonist? by "Marple, Richard L COL BAMC-Ft Sam Houston" 31) Graduate Study by Karl Hinterbichler 32) RE: Senior Female Trombonist? by Craig Parmerlee 33) RE: Tips from the World of Sports - a possible solution by richardt@LEE.ARMY.MIL ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 07 Jan 2002 12:36:17 -0600 From: "Tom C. Shaddox" To: trombone-l@po.missouri.edu Subject: Re: Paul LaValle (was: City Services) Message-ID: <3C39EAA1.B42C365F@fnc.fujitsu.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Mr. LaValle's "Band of America March" has a spanking trombone part. http://www.dws.org/marches.htm Tom Shaddox, 9th chair tenor ljshaddo@gte.net ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 13:45:10 -0500 From: richardt@LEE.ARMY.MIL To: trombone-l@po.missouri.edu Subject: Band of America thanks Message-ID: <81F62454EA21B94EA95517180D7303730243F751@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C197AB.6F488530" My thanks to everyone for this information. I will say the trombone feature version of Old Oaken Bucket would be on my list of absolute must have trombone music. I wish I could get the arrangement. Maybe that was Mantia and friends playing on my LP.Ê - ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 20:08:26 -0000 From: "keith.marr" To: , "Trombones and related issues forum." Subject: Re: Left hand tension/Ergobone Message-ID: <006101c197b8$c7b9be20$472c3c3e@tiny> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit It looks very much like the handling device Rath created for a guy called Ian Davies. In the Rath version the triggers are worked from a chord extension because the guy has a muscle wasting condition in his left arm. There's a picture on http://www.rathtrombones.com/ under "repairs and customisations". ----- Original Message ----- From: "Douglas Yeo" To: "Trombones and related issues forum." Sent: Monday, January 07, 2002 12:53 PM Subject: Left hand tension/Ergobone > I received an email message overnight from Jouko Antere, a bass > trombonist and inventor in Finland who has developed a new device to > reduce left hand tension and stress while playing trombone. It is > called the "Ergobone." Information may be found on his website at: > > http://www.ergobone.com/ > > The website is quite comprehensive, has many photos and much > commentary. I have not tried it yet but clearly it seems like > something which might be useful to players, not unlike the "Stewart > stand" which many tuba and euphonium players find useful. > > Worth a look, I think.... > > -Doug Yeo > ********************************************** > * Douglas Yeo * > * Bass Trombonist, Boston Symphony Orchestra * > * Music Director, The New England Brass Band * > * yeo@yeodoug.com * > * http://www.yeodoug.com * > * <>< * > ********************************************** > > ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 13:26:27 -0500 From: sabutin To: trombone-l@po.missouri.edu Subject: Re: Playing historic brasses Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Hi all... Regarding Doug's post below...ditto for those of us who are primarily players of "Pan American" musics...jazz, Afro/Cuban/Puerto Rican, pop, etc... You want a real thrill? Try playing Paul Whiteman arrangements or early Duke Ellington in a band of musicians using original equipment or reasonable copies therof....big bass drum, Chinese cymbals, smaller horns + m'pces. A whole 'nother thing, I promise you. Try playing Tommy Dorsey solos on a pre war 2B w/a Mt. Vernon 12C or something similar. So-called "historic brass" can be as little as 30 years old, the way things are moving today. Do you want to understand J.J. Johnson in his prime, Frank Rosolino or Urbie Green ? Play their solos ON SIMILAR EQUIPMENT for a few weeks...you'll never be the same. You may not get "keyhole peeks into heaven", but you will surely get some into the past... Later... S. ====================================== Those who have been on the list for awhile know of my interest in historic brasses, in particular the serpent, ophicleide and bass sackbut. I came to them rather recently, beginning playing serpent in 1994, ophicleide in 2000 and bass sackbut in 2001. But I want to say again that I highly recommend that players explore some of these instruments. It opens a new world. Doubling is often a tricky thing, so I use mouthpieces with inner rim diameters very similar to (or exactly the same as) my regular bass trombone mouthpiece. This way I don't cause any confusion on my chops when I go from one instrument to another. This evening, I played a 3 hour recording session with one of Boston's early music groups, Boston Baroque. We recorded the Handel "Music for the Royal Fireworks" which we had played at concerts on Dec 31 and Jan 1; the album will be filled out with the complete "Water Music" in sessions tomorrow and Friday (it will appear on Telarc). I played serpent. This experience was truly one of the highlights of my life in music. And not a trombone in sight! The whole orchestra was using period instruments, and we played at Baroque pitch at a=415. Playing the Boston Symphony full time, I have a particular orchestral sound in my ear. But with a Baroque period ensemble, a whole new world of sound has opened up to me in recent years with hearing baroque bassoons and oboes, etc. I used my c. 1810 French church serpent in C by Baudouin with a mouthpiece made after a historic model by the Christopher Monk Workshop in London. Fireworks has a great part for the serpent (actually, all the bass instruments in the orchestra - cello, bass, bassoon and serpent - play the same part), and blending with baroque bassoons and low strings is great fun and a whole new experience for me. Of course, the challenge of playing serpent is immense, but it has given me great pleasure over the past 7 years (this March I will begin a recording project of music featuring serpent; a project which will unfold over the next couple of years). Ophicleide presents other challenges, but I've had a great year with that in recent months, playing both the Mendelssohn "Midsummer Night's Dream" complete music and Wagner's Overture to "Das Liebesverbot" with the Boston Symphony. And I began my sackbut playing career with Boston Baroque last October in Monteverdi's "L'Orfeo." After playing any of these historic instruments, when I return to my modern bass trombone, I feel like Hercules. I have found that my trombone playing improves my historic brass playing and vice versa. And the bonus is that I get to play music I never would have played on the trombone, and to learn a new style and way of playing. Chamber orchestra playing is quite different than full symphony orchestra playing, and I'm much the better for all of this. During our "Fireworks" performances and recording, I got that "rush" a few times when you're really cooking at something and it is going great. The "Fireworks" serpent part is both fast and technical and slow and fluid. Edward Kleinhammer once referred to these kinds of moments - when everything works together just the way you imagine it could/should as "keyhole peeks into heaven." Want a challenge which will be rewarding and fun? Introduce yourself to a historic brass instrument. Study the music, learn the literature, read about the music of the period, make new friends, listen to new sounds. There is life for trombone players before the Mozart Requiem and life can be interesting without playing a Mahler Symphony. I came to serpent because I was just curious. It has turned out to be one of the great joys of my musical life (imagine my surprise in finding myself listed in the New Grove II Dictionary of Music's article on the serpent - you won't find me in their article on the trombone!). Check out the Historic Brass Society - they publish a quality Journal (which is peer reviewed, unlike the International Trombone Society Journal and others...) and interesting Newsletter, sponsor a yearly Festival and the HBS is a great way to meet other like minded people. Visit their website at: http://www.historicbrass.org/ And for more info on the serpent, visit my website at: http://www.yeodoug.com/serpent.html and the serpent website at: http://www.serpentwebsite.com/ I just wanted to share this again - I had so much fun tonight that I wish for others this unusual and enjoyable experience! -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 09:09:37 -0600 From: "Guion, David" <8guion@jmls.edu> To: "Trombones and related issues forum." Subject: RE: Goldman Band - Cities Service? Message-ID: <47763CCCA27C4F4FA4BEF7DDB754A1E7124988@marshall.jmls.edu> MIME-Version: 1.0 Content-Type: text/plain Hector Bourg wrote, > The full name of the band was "Cities Service Band of America" > > The trombone feature on Old Oaken Bucket is really classy, I played > it several times yesterday. > > There is not a clue on the jacket what city the Cities being Served might > be, and I don't know the Paul Lavalle name. > "Cities Service" is the former corporate name of the gasoline company now known as "Citgo". It seems to me that some time before the second world war, corporations sponsored activities for their employees, including orchestras, bands, ball teams, and what not. The Cities Service Band of America may be one of those. Assuming that my impression is correct, it seems that American companies never sponsored bands to the extent that British companies did (do?). Does anyone know anything more about it? ^*^*^*^*^*^*^*^*^*^^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ David Guion, Cataloging Librarian The John Marshall Law School 315 S. Plymouth Ct. Chicago, IL 60604 Voice: (312) 427-2737 x 552 Fax; (312) 427-8307 8guion@jmls.edu Should part-time band directors be called semi-conductors? Quidquid latine dictum sit, profundum viditur. ^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^ ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 15:47:03 -0600 From: "Emil & Cynthia Orth" To: , "Trombones and related issues forum." Subject: Re: Goldman Band - Cities Service? Message-ID: <003e01c197c4$db41eec0$82731818@midsouth.rr.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_003B_01C19792.8D4F7A20" Listers, I believe the name "Cities Service" came from the band's sponsorship. An oil producer by the name of Cities Service Oil Co. ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ Regards, ÊEmil ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 17:29:51 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'timskinner@sympatico.ca'" , "Trombones and related issues forum." Subject: RE: Duets Message-ID: <587F49FABBEDD411A68F00A0C9EA313B5FCFCB@dasmthkhn561.amedd.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C197D3.344279F0" Well Tim, if you enjoy bebop, try Bugs Bower's Bebop Duets. Fun, not too hard, not too easy. Book 3 has changes, you could add a rhythm section and pianist and play on the streets in New Orleans for the SB. Just don't play the SSB, too demanding an audience. Rick Marple San Antonio TX -----Original Message----- From: Tim Skinner [mailto:timskinner@sympatico.ca] Sent: Wednesday, January 02, 2002 5:57 PM To: Trombones and related issues forum. Subject: Duets I am planning on making a recording of my father and I (not a commercial one, just for family) and will be including some duets. I was wondering if anyone knew of some good accompanied duets I could look into. I have read the recent thread on arranging simple duets but am looking for something a bit more involved than that. I will arrange a couple myself but would appreciate any tips you can give in regard to good repertoire. Thanks, Tim Skinner Aurora, Ontario ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 17:26:22 -0600 From: "Maria Tekle-Wolde" To: "Trombones and related issues forum." Subject: Slight vent session... Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_001_0000_01C197A0.6D0218A0" Someone posted on school loans awhile back......... now I know what it's like I would just like to let every college student know.. if you don't have to go private loan, DON'T.. I'm now questioning the financial aid dept in both schools I attended and now see both as, pay us pay us pay us as I was just informed that I have "private" loans I have to pay on, can't consolidate or anything..ÊI was never informed of which these "private" loans were.... The private schol I went to.. I won't even consider anymore as if they are that expensive that I need to get "private" loans, to bad.. I've actually just decided to not return to school... I'm not dealing with the pay us pay us people any longer and I sort of think the way in which this country tries to support it's "younger folk" needs to be looked at.. Expected to have a job, a car, and a college education.. all of which cost money...... and if your family doesn't have the money to give, GET A LOAN! it's what everyone does... No more school for this ex-trombone player... costs to much and the loans I have now have turned into the biggest headache!! Thanks for listening.. now to contact both schools I've attended and ask to be sent a stack of papers to look through.. Maria Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 20:43:07 -0500 From: "Denver D. Seifried" To: "Trombone - List" Subject: RE: Goldman Band Message-ID: <002201c197e5$d2ebfab0$a97f5acf@dseifried> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Another famous band, which may have been a little before the City Service Band of America, was a band from SW Ohio called the Armco Steel Band. Armco Steel is or was a steel manufacturer from Middletown, Ohio and is presently called AK Steel. I believe this band was lead by the famous trumpet/cornet player, Frank Simon. I believe, that possibly Bill Bell may have been a tuba player in this band, also. As a little kid in 5th grade, I could remember listening to the City Service Band of America on the radio. The only player I could remember was trumpet/cornet player, Raymond Crisara. Anybody remember if woodwind artist Alfred Gallidoro may have been in the CSBA, also? Denny Seifried Bass Trombone-Springfield(OH) Symphony & Dayton Jazz Orchestra Adjunct Trombone-Wittenberg Univ. Department of Music ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 07 Jan 2002 19:34:17 -0700 From: Dave Tall To: trombone-l@po.missouri.edu Subject: static weight Message-ID: <3.0.5.32.20020107193417.0132dfd0@mail.albqrq1.nm.home.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Caution: factoids ahead. Yep, bass trombones are heavy. Out of curiousity, I weighed all the instruments I have lying around (with mouthpiece) on a highly scientific digital bathroom scale. The scale measures in .5 pound increments, and is surely not 100% accurate. The measurements should give an idea of relative size, however. Numbers are for comparison purposes only. Your weight may vary. Glassl Alto 2 pounds (the scale wouldn't register this little, but this is the average from several reps of weighing myself, then me holding the alto) Conn 88H 4 pounds Straight .562" trombone 4.5 pounds w/2 counterweights, 9.5" bell Conn 60H double valve inline 5.5 pounds (Minick) Edwards double valve bass 6.5 pounds Besson euphonium 9.5 pounds I was somewhat surprised to find that the euph weighs so much more than the Edwards bass. When I play euph, though, I use a pillow so that the weight of it sits on my leg, rather than being supported by my left arm. This wouldn't pass muster in a military band, or as a soloist, but works for me. This would mean, however, that the euph, not the bass trombone, is the heaviest instrument where the player supports the entire weight unaided for long periods of time. Come to think of it, the brass sousaphone probably holds that "honor". Whatever the weights, we do have to hold up a static weight for a long period of time. I use a strap mechanism to transfer the weight from the two smallest fingers of my left hand to the back of the left hand. This has helped me play bass with less stress and tension, as well as reducing the need for massage to loosen up the "trombone spot" near my left shoulder blade. I also always use a trombone stand and put the instrument on it whenever I have an extended rest. This also allows me to release the tension from holding the instrument. This doesn't bow the slide as resting the weight of the instrument on the slide/slide bumper does. Light weight training, concentrating on the left shoulder, tricep, and forearm, would likely benefit us all. So would swimming or some other form of cardio exercise. Hmm, I think I just spotted a new year's resolution... Dave Tall Bass Trombonist New Mexico Symphony ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 21:00:26 -0600 From: "Richard Johnson" To: "Trombones and related issues forum." Subject: Re: Slight vent session... Message-ID: <001201c197f0$9fd27680$25aa9d42@zemry> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_000F_01C197BE.54DAF260" For the future college students on the list, I would highly recommend going to a public state university. They are a LOT cheaper! In addition, many state universities have programs where you can pay tuition years in advance, This locks you in from inflation. If you have a public university within commuting distance of your home, seriously consider staying with your parents while you attend college! It may not be as exciting as living on your own...but 10-15 years down the road when you see how much others are paying in student loans, you'll be glad that you did! Play in marching band in college, public universities usually pay at least a partial tuition scholarship for playing in marching band. Do college work-study in order to lessen the amounts of loans. I went to undergrad on a combination of scholarships, work-study, grants and loans. In law school, I used scholarships, loans and work-study and military benefits. CHECK WITH YOUR NATIONAL GUARD.....They have a tuition program for those who join the National Guard. Trombone content....You may be able to play trombone in a National Guard band. ****************************************************************************** Richard Zemry Johnson, Jr.ÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊÊ "The Untouchables" Jazz Ensemble Shreveport Metropolitan Concert Band ,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,, "There won't come a time when you won't have to practice anymore." J. J. Johnson ********************************************************************************* I'm not satisfied with anything about my playing. I know what I want. I can hear it; but it will take time and study to get it" -Sonny Rollins (1956) ----- Original Message ----- From: Maria Tekle-Wolde To: Trombones and related issues forum. Sent: Monday, January 07, 2002 5:26 PM Subject: Slight vent session... Someone posted on school loans awhile back......... now I know what it's like I would just like to let every college student know.. if you don't have to go private loan, DON'T.. I'm now questioning the financial aid dept in both schools I attended and now see both as, pay us pay us pay us as I was just informed that I have "private" loans I have to pay on, can't consolidate or anything..ÊI was never informed of which these "private" loans were.... The private schol I went to.. I won't even consider anymore as if they are that expensive that I need to get "private" loans, to bad.. I've actually just decided to not return to school... I'm not dealing with the pay us pay us people any longer and I sort of think the way in which this country tries to support it's "younger folk" needs to be looked at.. Expected to have a job, a car, and a college education.. all of which cost money...... and if your family doesn't have the money to give, GET A LOAN! it's what everyone does... No more school for this ex-trombone player... costs to much and the loans I have now have turned into the biggest headache!! Thanks for listening.. now to contact both schools I've attended and ask to be sent a stack of papers to look through.. Maria Get more from the Web. FREE MSN Explorer download : http://explorer.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 07 Jan 2002 22:14:22 -0500 From: Daniel Beckley To: trombone-l@po.missouri.edu Subject: Alexander Lebedev Message-ID: <1124348290.1010441662@ip253-103.resnet.pc.jmu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; FORMAT=flowed Content-Transfer-Encoding: 7bit I'm preparing program notes for my coming recital... does anyone know where I could find information on Lebedev and his Concert Allegro for Tuba? Thanks Daniel E. Beckley Bass Trombonist Daniel E. Beckley Bass Trombonist ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 22:13:58 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Re: Alexander Lebedev Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" For information about Lebedev, go to: http://www.mosconsv.ru/pers/leb_a/index.html Keep in mind that the Ostrander version of the so called "Concerto in One Movement" (which was not Lebedev's name for the piece) is significantly simplified by Ostrander, also it is missing Lebedev's introduction to the piece, etc. The "authorized" version of the piece as Lebedev intended it is published by Hofmeister - Hickeys has it (it is listed as "Concerto No. 1" as Lebedev subsequently wrote another Concerto). -Doug Yeo ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 19:22:57 -0800 From: "Joe L. Norcross" To: , "Trombones and related issues forum." Subject: Re: Goldman Band Message-ID: <008101c197f3$c61e34c0$0edcaec7@computer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit You are right Frank Simon led ARMCO, LaValle led the City Services Band and Goldman his band. I am sure many players over the years played in all three. The Goldman Band is the only one left Joe L. Norcross Tuba: Visalia CA Sequoia Winds Bass Trombone: Clovis CA Community Band Tuba and Announcer: Kingsburg CA City Band joetuba@lightspeed.net ----- Original Message ----- From: "Denver D. Seifried" To: "Trombones and related issues forum." Sent: Monday, January 07, 2002 5:43 PM Subject: RE: Goldman Band > Another famous band, which may have been a little before the City Service > Band of America, was a band from SW Ohio called the Armco Steel Band. Armco > Steel is or was a steel manufacturer from Middletown, Ohio and is presently > called AK Steel. I believe this band was lead by the famous trumpet/cornet > player, Frank Simon. I believe, that possibly Bill Bell may have been a tuba > player in this band, also. > > As a little kid in 5th grade, I could remember listening to the City Service > Band of America on the radio. The only player I could remember was > trumpet/cornet player, Raymond Crisara. Anybody remember if woodwind artist > Alfred Gallidoro may have been in the CSBA, also? > > Denny Seifried > Bass Trombone-Springfield(OH) Symphony & Dayton Jazz Orchestra > Adjunct Trombone-Wittenberg Univ. Department of Music > > ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 07 Jan 2002 20:04:34 -0800 From: "Kathy-Green -TJ" To: trombone-l@po.missouri.edu Subject: Baritone Bugle Mouthpiece recommendation? Message-ID: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I hope I don't get "blasted" here about this (since this isn't about trombones), but I have recently joined a senior drum corps here in the Seattle area. I have never been in a drum corps and I'm going to enjoy it. I'm playing baritone bugle, a 3 valve DEG. I actually played better on the "euphonium" bugle, but the added weight was too much for my wrists. Has anyone on the list ever marched drum corps? I am playing on a 12C mouthpiece, but actually feel I need something SMALLER. Since they are pitched in G it is sort of messing with my brain about relative pitch and finding the center of the tone. Anyway, I'm playing 2nd part and wanted some recommendations. I have tried to find a listserv or FAQ about baritone bugle, but so far am coming up short. Others in the section are playing anything from a 6.5 AL to an 18. The only small shank mouthpiece I own is a 12C and don't want to spend the money trying out several of them. Any help would be appreciated. Kathy Green, Band Director Thomas Jefferson High School Music has the power of producing a certain effect on the moral character of the soul, and if it has the power to do this, it is clear that the young must be directed to music and must be educated in it. (Aristotle, Politics) ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 23:42:04 -0500 From: "Denver D. Seifried" To: "Trombone - List" Subject: Glenn Miller Story Message-ID: <001301c197fe$d4425990$476b5acf@dseifried> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit List Members, Do any of you members know who actually played the Glenn Miller(Jimmy Stewart) trombone solos on the soundtrack for the movie. We are having a discussion of this topic on the Trombone Forum. I had always thought it was the great LA studio trombone player, Murray McEachern, who was also very fluent on sax, trumpet and violin. Anybody know for sure who it was on the soundtrack? Denny Seifried Bass Trombone-Springfield(OH) Symphony & Dayton Jazz Orchestra Adjunct Trombone-Wittenberg Univ. Music Dept. ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 07 Jan 2002 20:53:23 -0800 From: Michael & Dava Millar To: ddsbstrb@voyager.net Cc: "Trombones and related issues forum." Subject: Re: Glenn Miller Story Message-ID: <3C3A7B43.C3CD668A@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Denny, Murray McEachern on the film, Dick Nash on the soundtrack album. Michael Millar "Denver D. Seifried" wrote: > > List Members, > Do any of you members know who actually played the Glenn Miller(Jimmy > Stewart) trombone solos on the soundtrack for the movie. We are having a > discussion of this topic on the Trombone Forum. I had always thought it was > the great LA studio trombone player, Murray McEachern, who was also very > fluent on sax, trumpet and violin. > > Anybody know for sure who it was on the soundtrack? > > Denny Seifried > Bass Trombone-Springfield(OH) Symphony & Dayton Jazz Orchestra > Adjunct Trombone-Wittenberg Univ. Music Dept. -- ============================================= Michael W. Millar, D.M.A. Dava S. Millar, R.N., M.B.A. 25430 Via Impreso Valencia, CA, 91355 (818) 901-6843 FAX (661) 253-2999 ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 7 Jan 2002 23:26:17 -0600 From: "Hal Starkey" To: "Trombone List" Subject: Re: Glenn Miller Story Message-ID: <001101c19804$ffbaae00$b1e81d41@KSCABLE.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi Denny- I've always heard that Joe Yukl played the Miller solos for the movie. Also, that he acquanted Stewart in the handling of the trombone to make it look natural. You know, so he looked as if he knew what he was doing. Hal ----- Original Message ----- From: "Denver D. Seifried" Sent: January 07, 2002 10:42 PM > List Members, > Do any of you members know who actually played the Glenn Miller(Jimmy > Stewart) trombone solos on the soundtrack for the movie. We are having a > discussion of this topic on the Trombone Forum. I had always thought it was > the great LA studio trombone player, Murray McEachern, who was also very > fluent on sax, trumpet and violin. > > Anybody know for sure who it was on the soundtrack? > > Denny Seifried > Bass Trombone-Springfield(OH) Symphony & Dayton Jazz Orchestra > Adjunct Trombone-Wittenberg Univ. Music Dept. > > ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Mon, 07 Jan 2002 22:36:04 -0800 From: Michael & Dava Millar To: ddsbstrb@voyager.net Cc: "Trombones and related issues forum." Subject: Re: Glenn Miller Story Message-ID: <3C3A9354.4E00447E@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I gave the short answer, here's the longer one, from my 1999 interview with Dick Nash: DN: A thought comes to mind as far as leaders and taking the talents that they have around them. If I have any claim to fame as far as a sound is concerned, I have to attribute that to Hank Mancini because he had done "The Glenn Miller Story" and there was a tune called "Too Little Time," which was the theme running through it. And Murray McEachern had done all the solos behind Glenn -- Jimmy Stewart. And then when Mancini was going to record that, I guess Murray didn't want to do it, he was having tooth problems. But he called me and said, "I'd like you to record 'Too Little Time,' we're going to do it on the album." And I'm rehearsing this tune and playing it a la Tommy Dorsey; and he didn't want to embarrass me and he put down the baton, he came down beside me and put his hand on my shoulder and said, "Dick, can you warm it up a little?" Well, the light went on: "Ah, Murray McEachern!" Well, no one could do it like Murray, all the slurs and bends..... But I tried to put my musical psyche down that road. I just tried to, as Hank said, "warm it up," and that started me doing whatever I do, thanks to Hank. Historical note to the list: at that time soundtrack albums and film scores were recorded separately. Michael Millar "Denver D. Seifried" wrote: > > List Members, > Do any of you members know who actually played the Glenn Miller(Jimmy > Stewart) trombone solos on the soundtrack for the movie. We are having a > discussion of this topic on the Trombone Forum. I had always thought it was > the great LA studio trombone player, Murray McEachern, who was also very > fluent on sax, trumpet and violin. > > Anybody know for sure who it was on the soundtrack? > > Denny Seifried > Bass Trombone-Springfield(OH) Symphony & Dayton Jazz Orchestra > Adjunct Trombone-Wittenberg Univ. Music Dept. -- ============================================= Michael W. Millar, D.M.A. Dava S. Millar, R.N., M.B.A. 25430 Via Impreso Valencia, CA, 91355 (818) 901-6843 FAX (661) 253-2999 ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 09:52:14 -0000 From: "Adrian Drover" To: <8guion@jmls.edu>, "Trombones and related issues forum." Subject: Re: Goldman Band - Cities Service? Message-ID: <009901c1982a$4a9212e0$fd9afc3e@homedmpbgvaomg> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Guion, David" <8guion@jmls.edu> > Assuming that my impression is correct, it seems that American companies > never sponsored bands to the extent that British companies did (do?). Does > anyone know anything more about it? Probably the largest supporter of brass bands was the British coal mining industry before it was dismantled by Margaret Thatcher. It was discovered that of all the men who worked on the coal face, those who also played in the bands lived longer. Adrian ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 09:52:38 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: static weight Message-ID: <00a201c1982a$c41ae5b0$fd9afc3e@homedmpbgvaomg> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Dave Tall" > Yep, bass trombones are heavy. Out of curiousity, I weighed all the > instruments I have lying around (with mouthpiece) on a highly scientific > digital bathroom scale. Fully clothed or unclothed? > I was somewhat surprised to find that the euph weighs so much more than > the Edwards bass. True, but the euph (and tuba) are better balanced and all of their weight is held close to the torso and sits on your lap. > I also always use a trombone stand and put the instrument on it > whenever I have an extended rest. This is the best advice I would give to any bass 'bone player. And as soon as you have discarded the 'bone, stretch and relax the fingers of both hands. Having said this, it seems to me that I get less tension from my trombone trigger hand than I do from my computer mouse hand, and that weighs only a few ounces and I don't need to lift it. Adrian ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 08:00:25 -0500 From: richardt@LEE.ARMY.MIL To: sabutin@mindspring.com, trombone-l@po.missouri.edu Cc: fetterbrass@toad.net Subject: RE: Tips from the World of Sports Message-ID: <81F62454EA21B94EA95517180D7303730243F75A@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C19844.705AC700" Good analysis, and to extend it one step. It seems likely to me that the individual difference is not so much in recovery ability as in strength,Êbut that what we notice most is not the effect on strength but endurance. I certainly notice endurance fade if I do not play daily, or if I do not run near daily.Ê To take an example from running, it is common for amateur runners to read the workouts of the top performers and misapply them. For example, fast runners may do easy days of 6:30 miles to rest and recover. Recreational runners will burn out and/or injure themselves quickly on "easy" days of 6:30 miles - our easy days are more like 11:00 minutes miles.Ê Similarly, Sam mentioned in a recent post that he generally plays all night in the range from 6th partial F to 9th partial C. For him that is a comfortable range that demands endurance rather than strength (in the way athletics would define endurance and strength). I would expect his recovery from that to be similar to the recovery from long term low intensity exercise - jogging rather than sprinting. For me, with less strength, that would be a speed work day, and recovery would be slower. I shouldn't really do it more than once a week. The equivalent range for me might be, say, Ab below middle C to Eb above it. Playing in that range I might expect to recover daily, and skipping days might lead to loss of endurance. Playing much above that range I might expect several days of recovery time would be needed, and not only would daily work not help, it would hurt me. Next year that comfortable range may be a note, or several, higher. (and if I don't alter my practice regimen to match, I'll lose it)Ê Of course, you can push the athletic analogies too far. But in very few sports do you do workouts of the same intensity all week. In most you have an intense day per week, a moderate day, and several easy days. In music it's a little harder to define intensity and I suggest it varies widely between individuals, probably more so than recovery ability does.Ê -----Original Message----- From: sabutin [mailto:sabutin@mindspring.com] Sent: Monday, January 07, 2002 12:51 PM To: trombone-l@po.missouri.edu Cc: fetterbrass@toad.net Subject: Re: Tips from the World of Sports At a music medicine conference some years ago here in Baltimore, I heard a lecture by a sports physician. What caught my interest most among his stipulations was the "48 hour rule" - that one should rest 48 hours after strenuous activity. Of course, orchestra musicians often see much shorter periods of rest. Could it be that the typical orchestra routine of playing heavily every day is counterproductive? Could it be that heavy concerts and/or rehearsals scheduled every other day with at least 46 hours between would produce better performances and longer careers? Do opera singers and baseball pitchers, who routinely rest 4 days or more between performances, have something valuable to teach us? Sitting here in my easy chair, 15-16 years after orchestra duty, hindsight says yes. David Fetter ---snip--- =================== David et al... Personally, I have tried EVERYTHING w/respect to this, and have come up with...daily practice and/or performance almost (but not quite) to the point of muscular exhaustion works best for me. This is of course purely personal, and no doubt at least partially predicated on my work situations and what is required of me when I do work.( What is required of a working trombonist who plays mostly American idioms is quite different from that required of an orchestral trombonist....many more notes, generally higher notes, less rest and more sheer horn on the face playing time, more solos, less emphasis on refinement and some sort of never-miss-a-note perfection, just for starters...) If I take off for even 24 hours, I am usually neither strong enough nor balanced enough when I come back to truly play at my peak. I mean, I can get BY, but...not like I want to. 48 hours destroys me. Really. If I do play past the point of exhaustion...if I begin to lose my balance in some way due to overplaying...THEN sometimes I'll lay off a day. I think this OVER-playing is analogous to what really strenuous opera roles or pitch-'til-you-drop pitching assignments might do to singers + athletes. Most of what we do is NOT that strenuous...closer to the one inning reliever,the basketball player or shortstop who gets quite a bit of rest during the course of a game, or perhaps a member of an operatic chorus. Again...each individual's recovery time will be different. Some pitchers have "rubber arms", for instance. Others need five days between starts. Same number of pitches...different stresses, different metabolisms. Some boxers swell and cut at the first jab...others can fight all night and barely show a bruise. They used to say that the heavyweight Chuck Wepner (aka "The Bayonne Bleeder") needed ice on his face before the fight even BEGAN...he used to swell just from the stare-downs at the introductions...but Roberto Duran never seemed to have a mark on him even though he wasn't much of a defensive fighter. We're the same way...some need more rest than others. So it goes... Later... S. _________________________________________________________________________ This mail sent via toadmail.com, web e-mail @ ToadNet - want to go fast? http://www.toadmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 08:28:56 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Coal mine band sponsorship Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Below is a bit of a post I made in 1998, quoting the beginning of a wonderful story about a young boy and his trombone. In fact, it was in response to another post of Adrian's that I posted this the first time. Should have sent this boy down to Parliament, Adrian! -Doug Yeo +++++++++++++++ +++++++++++++++ BTW, speaking of fathers and trombones, I wonder how many people recall what I have for years thought to be the most marvelous story about the trombone, "Playing Trombone," a short story by Nicholson Baker (a bassoon player who went to Eastman and played with the Rochester Philharmonic) which appeared in the "Atlantic Monthly" magazine in March 1982. I've tried without success to get the ITA Journal to get the rights to reprint it, but it is truly a wonderful story, I recommend you go to your local library and dig it out, you will really be in stitches laughing and it is a fine, well written piece of work which covers everything from auditions to performance anxiety and opens with this wonderful description of a young boy's first encounter with a trombone and his father (the story runs about 20 pages in the magazine, I would post it but without copyright permission, only a few paragraphs can be posted legally). Enjoy.... -Doug Yeo +++++++++ Here goes, just a taste of a wonderful read....... +++++++++ Playing Trombone A Short Story by Nicholson Baker The Atlantic Monthly March 1982, pages 39 - 58 There once was a miner who lived in Bang County with his wife and son. The miner was very poor, but he made some extra cash evenings and weekends by playing the trombone for weddings and funerals. He kept the trombone locked in a trunk when he wasn't using it. One night the miner came back drunk from a wedding he had played for and went to sleep without putting away his trombone. Early the next morning he went straight off the work at the strip mine. When the boy saw that his father had forgotten to lock up the instrument, he said, "Mother, could I please play the trombone?" At first his mother hesitated, but finally she said, "All right, but don't tell your father." So the boy, whose name was Zeno, took the old instrument out of the trunk, along with a worn copy of Andre Lafosse's "Methode Complete pour trombone a coulisse." His mother read Lesson one to him: "The slide being pushed home (first position), put the instrument to your lips as directed in paragraphs IV, V, VII, XI of the forward. Then, pronouncing the syllable 'TU' (which is the natural reflex of a person wishing to expel from the tip of his tongue a small foreign body, a bit of thread or a chip of tobacco) make the instrument speak" Zeno obediently put the instrument to his lips and said, "TU." The ensuing note was so loud that a squash on the windowsill exploded. He blew a second note: the dog, whimpering, wet the rug. He blew a third note: it whipped all the feathers off the chicken his mother was plucking. When the feathers had settled, his mother said softly, "Son, how could you blast that squash, embarrass Zip, and denude my roaster with that trombone?" Zeno said, "I had a feel for it." And all day long he played strange tunes his mother had never heard before. When his father came home that evening he was peeved. "Someone was playing my trombone," he said. "I could hear it clear over at the mine." Zeno said, "You left the trombone trunk unlocked last night and I admit I played trombone all day." To show him, Zeno picked up the instrument and hit a note so pure that the big boulder out in their front yard split in half with a great crack, revealing a seam of coal running right through the middle. The father stood with his hands over his ears and his mouth open. Then he said, "We can use him in the strip mine!" So Zeno went to work in the mine. He learned to get just the right pitch to turn a whole rock face into rubble. With a certain kind of glissando he could turn it into fine powder. He got two merit raises in one month. At first his father still played the trombone for weddings and funerals, but soon he got tired of people asking about his son....... +++++++++ ********************************************** * Douglas Yeo * * Bass Trombonist, Boston Symphony Orchestra * * Music Director, The New England Brass Band * * yeo@yeodoug.com * * http://www.yeodoug.com * * <>< * ********************************************** ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 08 Jan 2002 10:37:08 -0400 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: static weight Message-ID: <4.3.2.7.2.20020108102919.00b7b198@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:52 AM 01/08/2002 +0000, Adrian Drover wrote: > I was somewhat surprised to find that the euph weighs so much more than > the Edwards bass. True, but the euph (and tuba) are better balanced and all of their weight is held close to the torso and sits on your lap. I use two different bells with my Edwards bass. One is their thickest yellow brass bell ("symphonic power"). The other is their thinnest red brass bell ("commercial punch"). I have used only the heavy one for a few months. Last evening I had a reason to use the red bell. The difference in comfort was really apparent. The thing feels noticeable lighter. I didn't put the bells on a scale to measure them, but the horn is much more comfortable to hold with the light bell. People who are suffering joint stress from playing bass may want to consider playing a more comfortable instrument. That second valve is a luxury -- it isn't worth killing yourself over. And while the heavy bell may get a few extra decibels out of the horn, the world won't come to an end if a bass player comes out with a little less volume using a lighter bell. Those accommodations are better than giving up the bass trombone altogether, IMHO. ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 08:52:28 -0600 From: "Berggren, Erik" To: "'Trombone-L'" Subject: Old recordings Message-ID: <72F9096757B3D51186C500E01828EA70029608@BKXCHUSR01> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C19854.17AAF840" Hey! I want to transfer some old LPs, reel-to-reel tapes, cassette tapes, and some VHS recordings (all trombone related events, of course!Ê J - to meet the "trombone content" requirement for postings). Do any of you have any experience or advice on what hardware and software needs to be added to my PC to enable me to transfer these analog recordings to CDs (I have already added a burner). Since I am a "digest" subscriber, would you please respond "off List" so I can chat with you today and so we don't clutter the List? Thanks! Erik Berggren, AAA (Always An Amateur) ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 08 Jan 2002 09:19:00 -0600 From: Matthew Woolly To: "Trombones and related issues forum." Subject: Leather Trombone Grip Message-ID: <3C3B0DE4.2D2701D0@ddci.net> MIME-Version: 1.0 Content-Type: text/html; charset=us-ascii Content-Transfer-Encoding: 7bit I have been looking for a leather trombone grip and possibly a leather slide grip too. I have a Yamaha YSL 446G. Does anybody know someplace online where I could purchase these grips? Thanks, Matt ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 09:24:35 -0600 From: Chris Waage To: Trombone-L Subject: Re: Leather Trombone Grip Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" http://www.hickeys.com/pages/tnguard.htm I have been looking for a leather trombone grip and possibly a leather slide grip too. I have a Yamaha YSL 446G. Does anybody know someplace online where I could purchase these grips? Thanks, Matt -- ________________________________________________ Chris Waage, Associate Webmaster chris@trombone.org http://www.trombone.org - A web site for trombonists ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 08 Jan 2002 09:29:37 -0600 From: Michael Shoshani To: trombone-l@po.missouri.edu Subject: Re: Glenn Miller Story Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 8bit "Hal Starkey" wrote: >Hi Denny- > >I've always heard that Joe Yukl played the Miller solos for the movie. >Also, that he acquanted Stewart in the handling of the trombone to make it >look natural. You know, so he looked as if he knew what he was doing. > We're having this discussion on the Online Trombone Journal Forum, from which Denny migrated the question. The Joe Yukl comes from George T. Simon's "Glenn Miller & His Orchestra"; I have scanned (but not yet posted to the OTJ Forum) a picture Simon has of Stewart, trombone in hand, standing next to Joe Yukl, also holding a horn, and surrounded by the likes of Ben Pollack, Gene Krupa, Louis Armstrong, and others. Simon captions his pic with the names, and lists "Jimmy Stewart", then "Joe Yukl, who played while Stewart posed". However, that doesn't mean that Yukl played on the soundtrack, does it? For all I know, that means that Yukl stood in the wings and played the songs, to give Stewart a cue as to when to move his slide. Because no playing during filming would wind up on the actual soundtrack anyway. I'll present my own counter-argument later on the OTJ Forum :) Michael Shoshani Chicago IL ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 08 Jan 2002 10:30:00 -0500 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: Leather Trombone Grip Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit on 1/8/02 10:19 AM, Matthew Woolly at bandboy089@ddci.net sent forth into the cosmos: > I have been looking for a leather trombone grip and possibly a leather slide > grip too. I have a Yamaha YSL 446G. Does anybody know someplace online where > I could purchase these grips? > > Thanks, > Matt Matt- Try Hickey's, at www.hickeys.com . I got some pencil holders from there a while back, and they also carry the grips. You probably won't find the 446 listed, but you may find the YSL 683, which is the pro version of the 446. Walter Barrett "REAL trombonists play EXERCISES. Woodwind players and French Hornists play ETUDES." - Wayne Dyess Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 09:54:55 -0600 From: "Marple, Richard L COL BAMC-Ft Sam Houston" To: "'Trombones and related issues forum.'" Subject: RE: Senior Female Trombonist? Message-ID: <587F49FABBEDD411A68F00A0C9EA313B5FCFD0@dasmthkhn561.amedd.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1985C.D157A600" Craig & Adrain: What will you guys do when the nude scene comes up? STAND-IN (with a moustache??) Rick Marple San Antonio TX > At 08:58 PM 1/3/2002 -0500, David Fetter wrote: > > >Re: Casting Call - Senior Female Trombonist? Subject: Re: Senior Female Trombonist? From: "Craig Parmerlee" > If I put on some lipstick and a mumu, I'm not bad. Keep me in mind. I'm > not sure I'm willing to shave my legs though. I'll do it, but I'm not shaving my moustache. Adrian ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 08 Jan 2002 09:06:12 -0800 From: Karl Hinterbichler To: Subject: Graduate Study Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Tenor and Bass Trombonists Graduate Fellowships, Teaching Assistantships and Tuition Waivers The University of New Mexico Music Department and the UNM Wind Symphony and Orchestra are looking for excellent students and performers on both tenor and bass trombone wishing to study for a Master's Degree. Continue your education in beautiful Albuquerque, New Mexico. Clear blue skies, fabulous sunsets, along with the spectacular Sandia Mountains make Albuquerque an ideal place to enjoy learning. Coupled with an excellent faculty and a great facility, what better place to get a Master's Degree? Karl Hinterbichler, Professor of Trombone Dr. Hinterbichler holds a BM degree in Music History and Literature and a MM in Wind Instruments, both from the University of Michigan and a DMA in Trombone from the University of North Texas. He has also studied with Donald Miller, former bass trombonist of the Buffalo Philharmonic, Edward Kleinhammer, retired bass trombonist of the Chicago Symphony, Dennis Smith, former principal trombonist of the Los Angeles Philharmonic and Armin Rosin, noted German soloist. He has performed as principal trombone with the National Repertoire Orchestra, the New Mexico Symphony Orchestra, Opera Southwest, the Orchestra of Santa Fe and as bass trombonist with the Flint Symphony. He was also a member of the Florida Symphony for two seasons and has performed with the Dallas Symphony (on bass trumpet and tenor tuba), the Eric Hawkins Dance Company and the Santa Fe Opera. He is currently principal trombone in the Santa Fe Symphony and New Mexico Brass Quintet. The latter ensemble is one of the most active and well known of its kind in the nation, having toured throughout the world and recently released its fourth CD. As a pedagogue Dr. Hinterbichler has given masterclasses, lectures and lessons throughout the United States, in Germany, Austria, Switzerland, Finland, Russia, Hungary, Italy, Australia and China. He has published arrangements, editions and various articles and is currently an assistant editor for the INTERNATIONAL TROMBONE ASSOCIATION JOURNAL, in charge of new music listings, and programs. University of New Mexico Wind Symphony, Chamber Winds & Orchestra Under the direction of Prof. Eric Rombach-Kendall, the UNM Wind Symphony has been selected to perform for the Southwest Conference of the College Band DirectorÕs Association and the National Conference of the CBDNA. Comprised of approximately 45 musicians, these ensembles perform the very best in wind repertoire, routinely feature world class guest artist and commission and premiere new works. Most recently the Wind Symphony completed a recording project with NY Philharmonic principal trumpeter Phil Smith and principal trombonist Joe Alessi. The CD is available on the Summit label. The University of New Mexico Orchestra under the direction of Dr. Jorge Perez Gomez presents an average of nine concerts per academic year, including major symphonic repertoire, choral/orchestral works, and a major operatic production. A sampling of repertoire with prominent low brass parts that the orchestra has performed in past seasons: Brahms - Sym. No. 2, Wagner - Meistersinger Prelude, Rimsky-Korsakov - Russian Easter Overture, Respighi - The Pines of Rome, Beethoven - Sym. No. 9, Mozart - Requiem, Revueltas - Sensemaya, Mussorgsky - Pictures at an Exhibition, Night on Bald Mountain, Tchaikovsky - Symphony No. 5, Shostakovich Sym. No.. 9, Kodaly - Hary Janos and Orff - Carmina Burana. The Orff has been recorded on CD and is available for purchase through the Music Department. The orchestra is also currently involved in a long term project to record the orchestral music of Revueltas. For further information please contact: Dr. Karl Hinterbichler, Professor of Trombone Department of Music University of New Mexico Albuquerque, NM 87131 Telephone: (505) 277-4331 E-mail: khtbn@unm.edu Check out the University of New Mexico website: www.unm.edu ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 08 Jan 2002 12:27:18 -0400 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: RE: Senior Female Trombonist? Message-ID: <4.3.2.7.2.20020108122532.01baf128@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed It will never happen. Everybody knows trombone players never have dates. :) Hey, maybe a shemale mature trombone player would be a good angle to sell a few tickets. At 09:54 AM 01/08/2002 -0600, Marple, Richard L COL BAMC-Ft Sam Houston wrote: Craig & Adrain: What will you guys do when the nude scene comes up? STAND-IN (with a moustache??) Rick Marple San Antonio TX > At 08:58 PM 1/3/2002 -0500, David Fetter wrote: > > >Re: Casting Call - Senior Female Trombonist? Subject: Re: Senior Female Trombonist? From: "Craig Parmerlee" > If I put on some lipstick and a mumu, I'm not bad. Keep me in mind. I'm > not sure I'm willing to shave my legs though. I'll do it, but I'm not shaving my moustache. Adrian ----__ListProc__NextPart____TROMBONE-L__digest_2263 Date: Tue, 8 Jan 2002 11:19:03 -0500 From: richardt@LEE.ARMY.MIL To: trombone-l@po.missouri.edu Subject: RE: Tips from the World of Sports - a possible solution Message-ID: <81F62454EA21B94EA95517180D7303730243F75E@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C19860.2FFD5B20" -----Original Message----- From: Richardson, Tim Sent: Tuesday, January 08, 2002 11:02 AM To: 'trombone-l@po.missouri.edu' Cc: 'fetterbrass@toad.net' Subject: RE: Tips from the World of Sports - a possible solution Actually, I have figured out the answer to the overwork and fatigue problem. Low and mid range we can play for long periods of time without difficulty, it is high range that wears us out. Of course what is low, middle and high are different for individuals, but ignore that for a second. So, simply swap. Play one day on first, the next day on third, the next day on second.Ê Why not? It would solve everything. It would upset some traditional ways of doing things and maybe some egos, but hey, it should work.Ê -----Original Message----- From: Richardson, Tim Sent: Tuesday, January 08, 2002 8:00 AM To: 'sabutin'; trombone-l@po.missouri.edu Cc: fetterbrass@toad.net Subject: RE: Tips from the World of Sports Good analysis, and to extend it one step. It seems likely to me that the individual difference is not so much in recovery ability as in strength,Êbut that what we notice most is not the effect on strength but endurance. I certainly notice endurance fade if I do not play daily, or if I do not run near daily.Ê To take an example from running, it is common for amateur runners to read the workouts of the top performers and misapply them. For example, fast runners may do easy days of 6:30 miles to rest and recover. Recreational runners will burn out and/or injure themselves quickly on "easy" days of 6:30 miles - our easy days are more like 11:00 minutes miles.Ê Similarly, Sam mentioned in a recent post that he generally plays all night in the range from 6th partial F to 9th partial C. For him that is a comfortable range that demands endurance rather than strength (in the way athletics would define endurance and strength). I would expect his recovery from that to be similar to the recovery from long term low intensity exercise - jogging rather than sprinting. For me, with less strength, that would be a speed work day, and recovery would be slower. I shouldn't really do it more than once a week. The equivalent range for me might be, say, Ab below middle C to Eb above it. Playing in that range I might expect to recover daily, and skipping days might lead to loss of endurance. Playing much above that range I might expect several days of recovery time would be needed, and not only would daily work not help, it would hurt me. Next year that comfortable range may be a note, or several, higher. (and if I don't alter my practice regimen to match, I'll lose it)Ê Of course, you can push the athletic analogies too far. But in very few sports do you do workouts of the same intensity all week. In most you have an intense day per week, a moderate day, and several easy days. In music it's a little harder to define intensity and I suggest it varies widely between individuals, probably more so than recovery ability does.Ê -----Original Message----- From: sabutin [mailto:sabutin@mindspring.com] Sent: Monday, January 07, 2002 12:51 PM To: trombone-l@po.missouri.edu Cc: fetterbrass@toad.net Subject: Re: Tips from the World of Sports At a music medicine conference some years ago here in Baltimore, I heard a lecture by a sports physician. What caught my interest most among his stipulations was the "48 hour rule" - that one should rest 48 hours after strenuous activity. Of course, orchestra musicians often see much shorter periods of rest. Could it be that the typical orchestra routine of playing heavily every day is counterproductive? Could it be that heavy concerts and/or rehearsals scheduled every other day with at least 46 hours between would produce better performances and longer careers? Do opera singers and baseball pitchers, who routinely rest 4 days or more between performances, have something valuable to teach us? Sitting here in my easy chair, 15-16 years after orchestra duty, hindsight says yes. David Fetter ---snip--- =================== David et al... Personally, I have tried EVERYTHING w/respect to this, and have come up with...daily practice and/or performance almost (but not quite) to the point of muscular exhaustion works best for me. This is of course purely personal, and no doubt at least partially predicated on my work situations and what is required of me when I do work.( What is required of a working trombonist who plays mostly American idioms is quite different from that required of an orchestral trombonist....many more notes, generally higher notes, less rest and more sheer horn on the face playing time, more solos, less emphasis on refinement and some sort of never-miss-a-note perfection, just for starters...) If I take off for even 24 hours, I am usually neither strong enough nor balanced enough when I come back to truly play at my peak. I mean, I can get BY, but...not like I want to. 48 hours destroys me. Really. If I do play past the point of exhaustion...if I begin to lose my balance in some way due to overplaying...THEN sometimes I'll lay off a day. I think this OVER-playing is analogous to what really strenuous opera roles or pitch-'til-you-drop pitching assignments might do to singers + athletes. Most of what we do is NOT that strenuous...closer to the one inning reliever,the basketball player or shortstop who gets quite a bit of rest during the course of a game, or perhaps a member of an operatic chorus. Again...each individual's recovery time will be different. Some pitchers have "rubber arms", for instance. Others need five days between starts. Same number of pitches...different stresses, different metabolisms. Some boxers swell and cut at the first jab...others can fight all night and barely show a bruise. They used to say that the heavyweight Chuck Wepner (aka "The Bayonne Bleeder") needed ice on his face before the fight even BEGAN...he used to swell just from the stare-downs at the introductions...but Roberto Duran never seemed to have a mark on him even though he wasn't much of a defensive fighter. We're the same way...some need more rest than others. So it goes... Later... S. _________________________________________________________________________ This mail sent via toadmail.com, web e-mail @ ToadNet - want to go fast? http://www.toadmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2263--