TROMBONE-L Digest 2307 Topics covered in this issue include: 1) Timely quote by "Jeff Albert" 2) RE: Dissention in the ranks by richardt@LEE.ARMY.MIL 3) Zimmer? by "Bill Dinwiddie" 4) RE: That whole Jazz & Orchestra Thing by Steve Gamble 5) FS: '48 'Mercury' model Bach New York trombone by "Michael Bryant" 6) RE: Dissention in the ranks by Craig Parmerlee 7) Re: Dissention in the ranks by Peter Collins & Sara Wilbur 8) let's take a vote by Peter Collins & Sara Wilbur 9) Re: let's take a vote by Craig Parmerlee 10) RE: let's take a vote by "Thomas Smee" 11) Re: let's take a vote by "Daniel Pliskin" 12) Re: let's take a vote by Walter Barrett 13) Re: let's take a vote by Gabriel Langfur 14) RE: let's take a vote by "Wessner, John" 15) RE: let's take a vote by "Jeff Albert" 16) Re: let's take a vote by Bruce Guttman 17) RE: let's take a vote by "Johnson, Scott (TBS)" 18) Kenny G by emrose79@pacbell.net 19) Re: Kenny G by "Richard Zemry Johnson" 20) Re: Kenny G by "Chris Waage" 21) Re: Dissention in the ranks by "Corliss" 22) Jolly Ball by Craig Parmerlee 23) Hard At Work by "Bill Dinwiddie" 24) Radio Free Trombone revisited by Todd Jonz 25) Re: let's take a vote by James Scott 26) Re: mouthpiece materials (glass mouthpiece) by TRBNTERRY@webtv.net (TRBNTERRY) 27) Re: mouthpiece materials (glass mouthpiece) by "Keith Marr" 28) Re: Zimmer? by "Adrian Drover" 29) Re: let's take a vote by "Adrian Drover" 30) Re: let's take a vote by "Adrian Drover" 31) Re: Dissention in the ranks by "Adrian Drover" 32) RE: That whole Jazz & Orchestra Thing by "HICKS, JIM D" 33) 'New' 88HTO for sale by BassBonist@aol.com 34) Solo festival results. by Pat and Joe Chapman ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 12:31:31 -0600 From: "Jeff Albert" To: "Trombones and related Forum." Subject: Timely quote Message-ID: <003801c1ba3c$d1878c10$a6209d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit A friend of mine just sent me his new favorite quote. He knows nothing of the recent list discussions, but I thought the timing was pretty funny. "Jazz, pfffft...They just make it up as they go along." -Homer Simpson- Jeff Albert www.jeffalbert.com ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 13:39:14 -0500 From: richardt@LEE.ARMY.MIL To: TSMee@dwpv.com, trombone-l@po.missouri.edu Subject: RE: Dissention in the ranks Message-ID: <81F62454EA21B94EA95517180D7303730243F894@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1BA3D.E573D6B0" Good grief, Thomas, you have made Diet Pepsi come out my nose. Only a few people share that honor. Thanks for brightening up my day. Yes I recognize myself but it's still funny.Ê -----Original Message----- From: Thomas Smee [mailto:TSMee@dwpv.com] Sent: Wednesday, February 20, 2002 11:51 AM To: Trombones and related issues forum. (E-mail) Subject: Dissention in the ranks Its seems that these days we can't avoid controversy no matter what the topic. Let me share this debate from Spray Bottle-L: Message from Becky: Hi, I am a grade 6 trombone player in the Hoot n'Holler Primary School Band. What kind of slide sprayer do you like? ================= Reply from Bob: I like the kind that has water in it and when you push it, water comes out and goes all over the silver part of your slide. ================ Reply from Snidely Slapdash: What do you mean, "the silver part of the slide"? Has it ever occurred to you that the outer slide might be silver too. You should be careful about misleading young students through poorly thought out answers whipped off and sent into the internet. ============== Reply from Rory Ragemonger: Its nickel silver, you moron. ============ Reply form Sally Sackbutt: When we performed the music of Darius Kasparitis, a little known 14th century composer of music for sackbutt and hockey stick, at the latest three-week all Kasparitis music fest in Lower Upper Schlongwanger this last summer, I insisted that all the sackbutt players refrain from using spray bottles on their slide, and instead expectorate copiously on the inner slide during every rest, as I'm sure was done during the 14c. Also, to get the ultimate in historical accuracy and the proper consistency to our 'expectorant', we ate nothing but rotten food for three weeks and brushed our teeth with poplar twigs imported from the north of Italy, as everyone knows was the practise of brass players of that era. =============== Reply from Ernie Engineer: I'm a trombonist trapped in an engineer's mind and have studied extensively the viscosity of spit in North American climates in a confined space between two moving pieces of metal. I can report that science shows and can clearly demonstrate that the degree of humidity in the room is a far greater factor than diet or tooth brushing technique in the viscosity of spit between two closely aligned metal structures, one moving and the other in a steady state. To prove the point, I executed the following experiment: I sat alone in a climate controlled tent in my basement with my trombone for three weeks, adjusting the ambient humidity upwards and downwards by increments of .0008 kilofoggs, and applied .006 millilitres of spit to my slide every 14.5 seconds of time spent playing Kopprasch etudes. One interesting observation from this experiment that has eluded me thus far in my life until now: I noticed that the more time I spent playing the trombone instead of measuring everything in sight, the better I got. Anyone else noticed that? ============= Reply from Conspiracy Cary: Hasn't it occurred to you that the slide spray issue is just a problem dreamed up by symphony trombonists as a way to put down non-European tradition non-military/industrial conspiracyÊtrombonists. They just SIT THERE like bumps on a log counting bars rest for hours at a time. Then when they have only 70 bars to go until that all important half note, they try to make themselves look important, like soÊmany peacocks in heat, whipping out the slide sprayer and extravagantly spraying everything in sight, including theÊviola players in front of them. I mean, when you only play two notes all night, exactly HOW is it that your slide gets dry? I think that government funding of ensembles that employ trombone players should be based soley on notes per hour played by the trombones. If that was the case all the government money would flow to the non-European tradition non-military/industrial conspiracyÊtrombonists (especially me) and the tax paying public would get way more bang for their buck. I'm sure thats what my pals, Louis Armstrong, Bird and Gil Evans, would want. ================= Reply from Atilla: Right on, Cary! Just look at those government subsidised trombonists, earning all that government subsidised money, sitting in their government subsidised chairs in their government subsidised tails, with their government subsidised wives and kids, and spraying government subsidised and over regulated water on their government subsidised slides. Let market forces rule! ================= Reply from Weeping Willie: You don't have any idea of whats in the water that you are spraying on your slides. Its the push to obey the call of market forces that has resulted in such slack regulation of our water quality that every virus and bacteria known to man is being sprayed on your slide daily. Every slide spray bottle should come with a government approvedÊwater quality monitor built in and a slide spray bottle tax should beÊimplemented to pay for this extra regulation. ============== Reply from Becky: Thanks so much for all your input. My teacher told me to stop wasting so much time on the internet and to just practice more, so I respectfully withdraw my question. Sorry to waste your time. ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 12:57:32 -0600 From: "Bill Dinwiddie" To: "List Trombone" Subject: Zimmer? Message-ID: <001d01c1ba40$73e75be0$5a34f90c@attbi.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Adrian wrote: "But of course, tho' the only babes that ever come to listen to a band that uses trombones usually have in excess of 70 years of wrinkles, droopy jugs and a zimmer frame, and worst of all, they always insist on another rendition of "Tuxedo Junction"." A zimmer frame? I have some amount of Scottish blood, Adrian, but I don't know that one! I believe I know where you're going, and guessing is fun, but I would really like to know the history of this excellent phrase. Thanks, Bill Dinwiddie (Various ancestors from Dumfries area) bill752d@attbi.com ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 12:09:49 -0700 From: Steve Gamble To: "'daniel_pliskin@hotmail.com'" , "Trombones and related issues forum." Subject: RE: That whole Jazz & Orchestra Thing Message-ID: <01C1BA07.7FDFDF00.sgamble@tucsonsymphony.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Guys 'n' Gals, Do you really think that the average music consumer sits in the audience/listens to the radio or whatever, and thinks about whether or not a particular music has its roots in (name your race, gender, creed, etc.)? Come on. Sure, there's a few folks out there who very vocally refuse to participate in something because "it's black music" or "white man's religion" or any number of other similar stupid reasons. Those people (ya like that choice of words?) have only as much influence as YOU let them have. If you call giving tax benefits to philanthropists "government subsidies," well, then I guess the government subsidizes the arts. BUT, the percentage of the typical symphony orchestra's budget that comes directly from government agencies, such as the NEA, or the Arizona Commission on the Arts, or the Tucson/Pima Arts Council, is very SMALL. And these agencies fund a huge variety of other things artistic, the vast majority at a tiny fraction of what an artist needs to survive. There are countless charitable causes out there that are funded in much the same way and the benefactor can get some kind of tax break. These are private individual decisions being made here. Not some big government conspriracy. It's hard to believe that 501(C)(3) status is a big conspriracy to oppress some group of people. If we changed the system, it would still boil down to whoever has the money paying whatever they have to to get what they want. Who knows why they like it? If, say, a jazz orchestra for example, isn't getting the funding they need to survive, the reason is most likely going to be one or a combination of these two: 1) the organization isn't playing the game correctly or 2) nobody wants to hear it's product. Racism? Naaahhh! Racists aren't that smart. Steve Gamble Librarian Tucson Symphony Orchestra 2175 N. 6th Ave. Tucson, AZ 85705 (520) 792-9155 x118 (520) 792-9314 fax sgamble@tucsonsymphony.org -----Original Message----- From: Daniel Pliskin [SMTP:daniel_pliskin@hotmail.com] Sent: Wednesday, February 20, 2002 10:26 AM To: Trombones and related issues forum. Subject: Re: That whole Jazz & Orchestra Thing Richard, >I don't see it as being a which is greater, classical or jazz argument. No. I suppose you're right. It's about money. It's about the people who have the money not wanting to share any of it. And it's about racism. In the '60s, we thought we could finally drive the spike in apartheid, here in America. We made some gains, but a lot of it just got covered up with legal icing, while it remained rotten, at the core. It's not surprising that a music with African roots has retained second-class status, while music with European roots is still getting funded. The only surprise that's come out of this little discussion is that we've got educated musicians, here on the list, who support such bigotry. I didn't say that I expected you to like the music. But, just as Stravi nsky got drummed out of Russia, by people that felt that they could define what was and what was not music, we've got people on the list that are claiming higher ground on what music should get funding. Does that mean that Gangsta' Rap should get federal funding, too? I'm afraid it does. And wouldn't that be a strange twist. Do you suppose that a Rap group could maintain its credibility, if it got federal funding? Why...wannabe hoodlums might have to turn to listening to classical. DanP _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 10:19:51 -0800 From: "Michael Bryant" To: Subject: FS: '48 'Mercury' model Bach New York trombone Message-ID: <004801c1ba3b$3085dac0$7b95ccd1@brass> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hi List, This late 40's Bach 'Mercury' trombone plays fine. From the Bronx, prior to Mt. Vernon. My wife liked the narrow left hand grip (about 3.25 inches on center, upper-lower slide tubes), and the bore (about .490"), but settled on a similar vintage, Super Olds for it's faster, multi-sided slide. This Mercury has aged, worn lacquer, especially in the grip area, but is otherwise mostly straight and original. A little flatting on the tuning slide. Possible solder work shows lightly at the slide/bell receivers, but it may be factory. Original case is good. Can't say if the mouthpiece is original. It's a Bach New York 16, probably the one we got with the horn 3 or 4 years ago. Friction fit slide receiver, but has the slide lock. Slide was serviced in mid-2000. Stockings are 100%. Bell engraved... "Mercury Model/Vincent Bach/Corporation (small letters)/New York 67/U.S.A." As far as I know, the Mercury was an intermediate offering from Bach. This is serial #32xx. Did hear once that Frank Holton consulted on the Mercury design. He sold his own company in the late 1930's, according to Richard Dundas' book, Twentieth Century Brass Musical Instruments in the United States. And the Mercury line appeared at Bach in 1939. So it may have been true. If any of you know anything definite about this, I'm interested. Collectable but also ready to play. Feel free to ask any questions, and I have pictures available to email for anyone interested. PRICE: $325. including insured ship in the U.S. Thanks! Mike Bryant brass@sonic.net Sonoma County, California ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 14:52:10 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: RE: Dissention in the ranks Message-ID: <4.3.2.7.2.20020220144207.01e4dc60@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 12:19 PM 2/20/2002 -0500, Thomas Smee wrote: Thanks. My message shows that I too can waste time right up there with the best of them. -----Original Message----- From: Shaun Hillen [mailto:shaun.hillen@visd.com] Sent: February 20, 2002 12:35 PM To: Trombones and related issues forum. Subject: Re: Dissention in the ranks Bravo Thomas! Braaavo!! I think you spent a little too much time with it though. =) --Shaun (very annoyed by all of the bickering too) Hillen Frankly I didn't see a lot of bickering in the threads you are lampooning. There are significant differences and the arguments on all sides were presented well and usually with respect for decorum. Along the way I gained a lot of insight and I hope others did as well. Are you suggesting that this forum be nothing but a place for people to pile on 30 messages a week about Guinness beer? Do you think the list is well served by 25 posts on the subject of what some random number generator on an internet site says is better, choice A or choice B? Would you rather see that 1000th post about the best way to carry a trombone on board an airplane or which gig bag is better looking? I believe the recent discussions addressed a serious issue -- how the arts are funded and what the jazz community might look forward to in the future it it wants to achieve better funding for its part of the music universe. It is a subject that anybody aspiring to be a professional trombonist in any field had better understand well. The answer to your concern, it seems to me, is that it is a big world and people come from a variety of viewpoints and interests. If you don't enjoy reading a particular thread, simply delete the messages. They were all clearly marked with appropriate subject lines. To diversity, Craig ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 15:16:05 -0500 From: Peter Collins & Sara Wilbur Cc: "Trombones and related issues forum." Subject: Re: Dissention in the ranks Message-ID: <3C740405.5587DE04@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all, > The answer to your concern, it seems to me, is that it is a big world and > people come from a variety of viewpoints and interests. If you don't enjoy > reading a particular thread, simply delete the messages. They were all > clearly marked with appropriate subject lines. This was exactly Tom's point. All I think Tom was trying to do--if I may say so, Tom--was to just have everybody step back and look at the discussion from another angle. It is an important discussion. There were _very_ good points made on all sides. Sometimes it is fun to just poke a little fun at one's self and to take a few breaths of fresh air. Off we go... Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 15:21:52 -0500 From: Peter Collins & Sara Wilbur To: "Trombones and related issues forum." Subject: let's take a vote Message-ID: <3C740560.6773A2F7@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all, And now for something completely different... I have a new music concert coming up next week and I have come across a classic new music composer characteristic. I have a piece that is not very difficult (at least at first glance) but contains plunger work down into the valve register (low C's to be specific). Should I: 1. Approach the composer or conductor and tactfully suggest some other options and simply explain the difficulties with said writing. Or, 2. Figure out a way to do it, i.e., attach plunger to stand, attach plunger to stick attached to leg (a la somebody's post from last week), have the second player work the plunger for me, etc., Or, 3. Both. Thanks for all your input, I will be taking tabs of all votes that come in whether they go to the list or to me personally. I will post the results before the first rehearsal which is on Sunday afternoon. Yours in good fun (but with a hint of seriousness...) Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 15:54:00 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: let's take a vote Message-ID: <4.3.2.7.2.20020220154518.00b2dfc8@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed Two words: Cim Basso I never really thought about it, but you can do low plunger work on a cimbasso as long as you don't need to use the left handed valves. On most F cimbassi, the right hand can take you down to that C (actually B natural). Of course, you will need a mighty big plunger, which leads to 2 more words: Jolly Ball but that is another thread. Cheers, Craig As far as the Miss Manners question goes, I'd definitely let the arranger know that on just about every slide trombone ever made, if the C can be played at all it requires the left hand to push the trigger, but with a little practice, a bass trombonist can make a pretty convincing "wah" attack using nothing but his lips. I'd try that or use a plunger while playing the fake C without the trigger. At 03:21 PM 2/20/2002 -0500, Peter Collins & Sara Wilbur wrote: Hi all, And now for something completely different... I have a new music concert coming up next week and I have come across a classic new music composer characteristic. I have a piece that is not very difficult (at least at first glance) but contains plunger work down into the valve register (low C's to be specific). Should I: 1. Approach the composer or conductor and tactfully suggest some other options and simply explain the difficulties with said writing. Or, 2. Figure out a way to do it, i.e., attach plunger to stand, attach plunger to stick attached to leg (a la somebody's post from last week), have the second player work the plunger for me, etc., Or, 3. Both. Thanks for all your input, I will be taking tabs of all votes that come in whether they go to the list or to me personally. I will post the results before the first rehearsal which is on Sunday afternoon. Yours in good fun (but with a hint of seriousness...) Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 15:48:54 -0500 From: "Thomas Smee" To: "Trombones and related issues forum." Subject: RE: let's take a vote Message-ID: <454FC5BC266BDB4BBA26E5BBF2F73FEF28CE41@torxchng1.dwpv.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" content-class: urn:content-classes:message Content-Transfer-Encoding: 8bit Peter, I'd go for Option 1, and if you still have the stick that came with your plunger, hold it menacingly as you speak politely to the composer. Tom -----Original Message----- From: Peter Collins & Sara Wilbur [mailto:sarapete@sympatico.ca] Sent: February 20, 2002 3:22 PM To: Trombones and related issues forum. Subject: let's take a vote Hi all, And now for something completely different... I have a new music concert coming up next week and I have come across a classic new music composer characteristic. I have a piece that is not very difficult (at least at first glance) but contains plunger work down into the valve register (low C's to be specific). Should I: 1. Approach the composer or conductor and tactfully suggest some other options and simply explain the difficulties with said writing. Or, 2. Figure out a way to do it, i.e., attach plunger to stand, attach plunger to stick attached to leg (a la somebody's post from last week), have the second player work the plunger for me, etc., Or, 3. Both. Thanks for all your input, I will be taking tabs of all votes that come in whether they go to the list or to me personally. I will post the results before the first rehearsal which is on Sunday afternoon. Yours in good fun (but with a hint of seriousness...) Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 20:53:25 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: let's take a vote Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Peter, Iâd certainly let the composer and conductor know that the part is impossible to play, in a conventional way. But I wouldnât try to do the plunger work, using a plunger on a stick, held between my knees. Instead, Iâd try to come up with a way to actuate the attachment with me a string, tied to a board that I could step on with my foot. DanP _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 16:06:33 -0500 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: let's take a vote Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit On 2/20/02 3:21 PM, Peter Collins & Sara Wilbur expounded thusly... > Hi all, > > And now for something completely different... > > I have a new music concert coming up next week and I have come across a > classic new music composer characteristic. I have a piece that is not > very difficult (at least at first glance) but contains plunger work down > into the valve register (low C's to be specific). Should I: > > 1. Approach the composer or conductor and tactfully suggest some other > options and simply explain the difficulties with said writing. > > Or, > > 2. Figure out a way to do it, i.e., attach plunger to stand, attach > plunger to stick attached to leg (a la somebody's post from last week), > have the second player work the plunger for me, etc., > > Or, > > 3. Both. Peter- Depending on the passage in question, you might be able to somehow hold the thumb lever down with a rubber band, and play it all with the F att. Alternatively, you could try using "false" positions (no valves) to play those notes. Another choice would be to play the piece on an F bass trombone, or a cimbasso. You could also just play it up in a practical octave, and hope that nobody notices. Whatever you work out, definitely take the opportunity to educate the composer so he doesn't do it again. Who knows, an offer to demonstrate what's possible on the bass trombone might perhaps lead to the composer writing something for you. At the least, he should buy you a Guinness! So, I guess my vote is for BOTH... -- Walter Barrett "The basic difference between classical music and jazz is that in the former the music is always greater than its performance." -Andre Previn Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 13:24:18 -0800 (PST) From: Gabriel Langfur To: "Trombones and related issues forum." Subject: Re: let's take a vote Message-ID: <20020220212418.71026.qmail@web10302.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I vote 1 all the way And then if it's really necessary, try to figure out a solution...but make it clear that most players will simply ignore it. gabe __________________________________________________ Do You Yahoo!? Yahoo! Sports - Coverage of the 2002 Olympic Games http://sports.yahoo.com ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 16:24:05 -0500 From: "Wessner, John" To: "Trombones and related issues forum." Subject: RE: let's take a vote Message-ID: content-class: urn:content-classes:message MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 8bit It has seemed to me for a number of years that people write for trombone because it's there, but they don't necessarily like its sonority. To get around that, they have us using all kinds of mutes, plungers, voice-overs and frog costumes. Since the composer didn't want a trombone sound at that point anyway, just throw the slide out to 7th position and make the CC come out. False position CCs aren't that hard. Forget the trigger, the composer did. Unfortunately, I don't have a solution if there are trigger notes leading up to or from the plunger point. jw ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 16:32:55 -0600 From: "Jeff Albert" To: , "'Trombones and related issues forum.'" Subject: RE: let's take a vote Message-ID: <004b01c1ba5e$8a8b9460$a6209d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I think number 1, BUT not until after the first performance. In the rehearsals and the first performance, do whatever works to get close to the notated sound in a manner that is feasible on the trombone. I have a strong feeling no one will notice that you aren't doing exactly what is written. After the first performance ask the composer and/or conductor if they noticed anything different. They will not have, and then you can tell them that what is written is impossible, and obviously not important enough to make a difference. My undergraduate 20th Century Music teacher was the daughter of the second trumpet with the Minnesota Symphony. She told us a story about them in rehearsal doing a new rather out piece, and the composer was present at the rehearsal. The principle trumpet was late (there was a blizzard or something), so her father was sight-reading the first trumpet part for the rehearsal. Apparently it was quite a prominent part, and at least once, the conductor made comments to him regarding articulation, dynamics, etc. The principle arrived shortly before the first break, so he heard a few minutes of rehearsal. On the break he complemented the second player on how good he sounded, "except it's a Bb part." He had been playing it untransposed on his C trumpet...and no one, not even the composer noticed. Now this is a third hand story, but I did hear it in a music history class, so it must be true. Jeff Albert www.jeffalbert.com -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Peter Collins & Sara Wilbur Sent: Wednesday, February 20, 2002 2:22 PM To: Trombones and related issues forum. Subject: let's take a vote Hi all, And now for something completely different... I have a new music concert coming up next week and I have come across a classic new music composer characteristic. I have a piece that is not very difficult (at least at first glance) but contains plunger work down into the valve register (low C's to be specific). Should I: 1. Approach the composer or conductor and tactfully suggest some other options and simply explain the difficulties with said writing. Or, 2. Figure out a way to do it, i.e., attach plunger to stand, attach plunger to stick attached to leg (a la somebody's post from last week), have the second player work the plunger for me, etc., Or, 3. Both. Thanks for all your input, I will be taking tabs of all votes that come in whether they go to the list or to me personally. I will post the results before the first rehearsal which is on Sunday afternoon. Yours in good fun (but with a hint of seriousness...) Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 17:56:09 -0500 From: Bruce Guttman To: "Trombones and related issues forum." Subject: Re: let's take a vote Message-ID: <200202201756_MC3-F2DF-B9F1@compuserve.com> MIME-Version: 1.0 Content-Type: text/plain; charset=ISO-8859-1 Content-Disposition: inline Content-Transfer-Encoding: 8bit Message text written by INTERNET:sarapete@sympatico.ca >contains plunger work down into the valve register (low C's to be specific). < I would tactfully try to explain to the composer what the problem is with triggers and plungers. Maybe with a small demonstration. I have a King 7B, and was able to attach a length of fishing line to the F valve with a loop for my thumb. Thus I was able to trip the valve with my left thumb while it was at the bell. The bell rested in the heel of my hand, and the plunger was manipulated by the remaining 4 fingers. Can't quite do this with a derby, though. And the fishing line hurts after a while. Still, I wish I could find a larger plunger than the standard "toilet" size. I'm sure they exist, but I can't find one. Bruce Guttman Solo Trombone, Hollis Town Band Section Leader, Merrimack Valley Philharmonic Bass Trombone, Moe Breton Big Band. ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 18:07:19 -0500 From: "Johnson, Scott (TBS)" To: "'BGuttman@compuserve.com'" , "Trombones and related issues forum." Subject: RE: let's take a vote Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1BA63.588319C0" Bruce, For plunger-like mutes of different sizes, check the archives for Jolly Ball. Someone on the list (Craig P., perhaps?) came up with these. Regards, Scott Johnson Conyers, GA USAÊ -----Original Message----- From: Bruce Guttman [mailto:BGuttman@compuserve.com] Sent: Wednesday, February 20, 2002 5:56 PM To: Trombones and related issues forum. Subject: Re: let's take a vote Message text written by INTERNET:sarapete@sympatico.ca >contains plunger work down into the valve register (low C's to be specific). < I would tactfully try to explain to the composer what the problem is with triggers and plungers. Maybe with a small demonstration. I have a King 7B, and was able to attach a length of fishing line to the F valve with a loop for my thumb. Thus I was able to trip the valve with my left thumb while it was at the bell. The bell rested in the heel of my hand, and the plunger was manipulated by the remaining 4 fingers. Can't quite do this with a derby, though. And the fishing line hurts after a while. Still, I wish I could find a larger plunger than the standard "toilet" size. I'm sure they exist, but I can't find one. Bruce Guttman Solo Trombone, Hollis Town Band Section Leader, Merrimack Valley Philharmonic Bass Trombone, Moe Breton Big Band. ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 15:10:22 -0800 From: emrose79@pacbell.net To: trombone-l@po.missouri.edu Subject: Kenny G Message-ID: <3C742CDE.DA4A35DC@pacbell.net> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT OK..here's one for you.....did anyone (besides me) see the current issue of The National Enquirer...in the middle is a feature about "I went to school with so-and-so"..this week is someone who went to school with Kenny G, and there is a picture of Kenny in 1973 playing a trombone, although no mention of it in the story..... Ed ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 17:17:02 -0600 From: "Richard Zemry Johnson" To: , "Trombones and related issues forum." Subject: Re: Kenny G Message-ID: <00cc01c1ba64$b461f8a0$10af9d42@zemry> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: To: "Trombones and related issues forum." Sent: Wednesday, February 20, 2002 5:10 PM Subject: Kenny G > OK..here's one for you.....did anyone (besides me) see the current issue > of The National Enquirer...in the middle is a feature about "I went to > school with so-and-so"..this week is someone who went to school with > Kenny G, and there is a picture of Kenny in 1973 playing a trombone, > although no mention of it in the story..... > Ed > > Gotta go and buy a copy of the National Enquirer now! **************************************************************************** ** Richard Zemry Johnson, Jr. "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) ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 15:20:29 -0800 From: "Chris Waage" To: Subject: Re: Kenny G Message-ID: <200202201520.AA35193158@trombone.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii >----- Original Message ----- >From: >To: "Trombones and related issues forum." >Sent: Wednesday, February 20, 2002 5:10 PM >Subject: Kenny G > > >> OK..here's one for you.....did anyone (besides me) see the current issue >> of The National Enquirer...in the middle is a feature about "I went to >> school with so-and-so"..this week is someone who went to school with >> Kenny G, and there is a picture of Kenny in 1973 playing a trombone, >> although no mention of it in the story..... >> Ed >> ---------- Original Message ---------------------------------- From: "Richard Zemry Johnson" Reply-To: zemry@bellsouth.net Date: Wed, 20 Feb 2002 17:17:02 -0600 >Gotta go and buy a copy of the National Enquirer now! Don't do that! Just do what everybody else does. Read it while you stand in line at the grocery checkout. Be sure to move your lips while you read . . . . Chris ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 17:31:29 -0600 From: "Corliss" To: , "Trombones and related issues forum." Subject: Re: Dissention in the ranks Message-ID: <003001c1ba66$b96acfa0$39cb5340@richard> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Craig Parmerlee" To: "Trombones and related issues forum." Sent: Wednesday, February 20, 2002 1:52 PM Subject: RE: Dissention in the ranks > At 12:19 PM 2/20/2002 -0500, Thomas Smee wrote: > > >Thanks. My message shows that I too can waste time right up there with > >the best of them. > > > >-----Original Message----- > >From: Shaun Hillen [mailto:shaun.hillen@visd.com] > >Sent: February 20, 2002 12:35 PM > >To: Trombones and related issues forum. > >Subject: Re: Dissention in the ranks > > > > > >Bravo Thomas! Braaavo!! > >I think you spent a little too much time with it though. =) > >--Shaun (very annoyed by all of the bickering too) Hillen > > Frankly I didn't see a lot of bickering in the threads you are > lampooning. There are significant differences and the arguments on all > sides were presented well and usually with respect for decorum. Along the > way I gained a lot of insight and I hope others did as well. I fully agree, and let me add my two cents to the discussion: I'm interested in the line of argument which says that the success of classical music over a significant period of time shows that it has value whereas jazz has not had that time. This reminds me of an argument that I have come across many times. It is sometimes said that the success of the Christian faith or "the Church" over time shows that it has value and truth whereas the various sects and heresies have had short lives. The argument is not completely void of substance. There appear to be things that are attractive to Christian which are reasons for its success, but one also must look at the various institutional powers that have played a role in the success - such as the emperors of Rome which backed it the Church and the various nation states that gave support and backed the Protestant Reformation. In a similar way classical music clearly has values which are one reason for its success over time but at the same time one must look at the institutions - states and religious institutions - which are also a reason it has survived through time. Sam was saying that at this point in time jazz has not had that institutional support. Richard Corliss ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 18:35:58 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Jolly Ball Message-ID: <4.3.2.7.2.20020220183036.01e8ec78@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 06:07 PM 2/20/2002 -0500, Johnson, Scott (TBS) wrote: Bruce, For plunger-like mutes of different sizes, check the archives for Jolly Ball. Someone on the list (Craig P., perhaps?) came up with these. Yeah, even if you can get the CC out by using a wad of Bazooka gum on the trigger, it isn't going to sound like much if you use a regular plumber's plunger. They are WAY too small to do justice to a bass trombone. I have used the Jolly Ball a lot since I originally posted that information. I am more convinced than ever that it is the way to go. If you get the dimensions of the JB right, that thing can bark like crazy, even in the very low register. When plunging, style (aka savoir faire) is far more important than the actual notes. The Jolly ball definitely is strong on savoir faire, especially if you get the purple one. :) Later, CP ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 19:03:40 -0600 From: "Bill Dinwiddie" To: "List Trombone" Subject: Hard At Work Message-ID: <003b01c1ba73$9a0c7e80$5a34f90c@attbi.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hello Listers, I will have the answer for you shortly, about how to play a low C with a plunger, however I am hard at work right now, putting all those little "+" and "o" in the four herald trumpet parts that I am writing for my First Symphony. Stay tuned. Has anyone seen my Russ Garcia book around here anywhere? Bill Dinwiddie bill752d@attbi.com ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 17:12:08 -0800 From: Todd Jonz To: Trombone-L mailing list Subject: Radio Free Trombone revisited Message-ID: <20020220171208.M30379@tj.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Disposition: inline A few weeks back there was a semi-serious discussion about webcasting a trombone-oriented music stream on the net, and some questions were raised about the royalties such an endeavor might involve. For U.S. webcasters, answers to these questions appear to be forthcoming: Webcasters grumble over proposed fees http://news.com.com/2100-1023-841612.html In a nutshell, the proposed fees are US$0.0014 per song (or US$0.0007 if you are simulcasting an over-the-air radio broadcast for which you already pay royalties) plus a 9% surcharge on all per-song fees paid. These rates apply only to webcaster-controlled "radio style" streams over which the webcaster has full control of the content; a separate rate structure is under discussion for "jukbox style" operation in which the listener is able to select content interactively. Assuming, for sake of argument, an "average" song length of six minutes (long for jazz, short for orchestral) and an "average" listener who tunes in every day for two hours, the royalties for Radio Free Trombone would run a little over $11 per year per listener, or $11K per year for a thousand such listeners (your guess is as good -- or better -- than mine as to how much market there might be for such a service.) And, of course, there would be other costs to consider besides the royalties... -- Todd Jonz When cryptography is outlawed, todd@tj.org bayl bhgynjf jvyy unir cevinpl. ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Wed, 20 Feb 2002 19:49:16 -0700 From: James Scott To: jalbert@bellsouth.net Cc: "Trombones and related issues forum." Subject: Re: let's take a vote Message-ID: <3C74602C.4DA4F535@ucalgary.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jeff - I have a similar story. Some colleagues of mine have a brass quintet, and they were working up a new piece for a premiere on a chamber music series. The composer came in to what was supposed to be the last rehearsal. It took him about 15 minutes to realize that something was wrong, and then about another 5 minutes to put his finger on it - the trumpet parts were in "C", but unmarked as to key, so the players were playing them in "B flat". The truly funny thing, is that the quintet had liked the piece better before he "fixed" it! They had to schedule a couple of last minute rehearsals to get used to the new sound of the piece. 100 % true story! Jim Scott Jeff Albert wrote: > I think number 1, BUT not until after the first performance. In the > rehearsals and the first performance, do whatever works to get close to > the notated sound in a manner that is feasible on the trombone. I have > a strong feeling no one will notice that you aren't doing exactly what > is written. After the first performance ask the composer and/or > conductor if they noticed anything different. They will not have, and > then you can tell them that what is written is impossible, and obviously > not important enough to make a difference. > > My undergraduate 20th Century Music teacher was the daughter of the > second trumpet with the Minnesota Symphony. She told us a story about > them in rehearsal doing a new rather out piece, and the composer was > present at the rehearsal. The principle trumpet was late (there was a > blizzard or something), so her father was sight-reading the first > trumpet part for the rehearsal. Apparently it was quite a prominent > part, and at least once, the conductor made comments to him regarding > articulation, dynamics, etc. The principle arrived shortly before the > first break, so he heard a few minutes of rehearsal. On the break he > complemented the second player on how good he sounded, "except it's a Bb > part." He had been playing it untransposed on his C trumpet...and no > one, not even the composer noticed. Now this is a third hand story, but > I did hear it in a music history class, so it must be true. > > Jeff Albert > > www.jeffalbert.com > > -----Original Message----- > From: owner-trombone-l@po.missouri.edu > [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Peter Collins & > Sara Wilbur > Sent: Wednesday, February 20, 2002 2:22 PM > To: Trombones and related issues forum. > Subject: let's take a vote > > Hi all, > > And now for something completely different... > > I have a new music concert coming up next week and I have come across a > classic new music composer characteristic. I have a piece that is not > very difficult (at least at first glance) but contains plunger work down > into the valve register (low C's to be specific). Should I: > > 1. Approach the composer or conductor and tactfully suggest some other > options and simply explain the difficulties with said writing. > > Or, > > 2. Figure out a way to do it, i.e., attach plunger to stand, attach > plunger to stick attached to leg (a la somebody's post from last week), > have the second player work the plunger for me, etc., > > Or, > > 3. Both. > > Thanks for all your input, I will be taking tabs of all votes that come > in whether they go to the list or to me personally. I will post the > results before the first rehearsal which is on Sunday afternoon. > > Yours in good fun (but with a hint of seriousness...) > > Peter Collins > Bass Trombone > Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 00:14:24 -0500 (EST) From: TRBNTERRY@webtv.net (TRBNTERRY) To: eliztbone@nctimes.net Cc: trombone-l@po.missouri.edu (Trombones and related issues forum.) Subject: Re: mouthpiece materials (glass mouthpiece) Message-ID: <23921-3C748230-695@storefull-117.iap.bryant.webtv.net> Content-Disposition: Inline Content-Type: Text/Plain; Charset=US-ASCII Content-Transfer-Encoding: 7Bit MIME-Version: 1.0 (WebTV) Dr. Donald S. Reinhardt equipped all of his trumpet and trombone students with clear plastic mouthpieces. This was a long time ago, maybe 50 years. This was the only way to see what was going on with the embouchre, and from there it was much easier to make corrections. Mike Terry ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 06:47:38 -0000 From: "Keith Marr" To: "Trombones and related issues forum." Subject: Re: mouthpiece materials (glass mouthpiece) Message-ID: <001601c1baa3$e3a59600$8c2386d9@tiny> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Doug Elliot offers a plastic rim option on his modular mouthpieces. It's called Lexan and is apparently the stuff they make bullet-proof windows from. I have been using one for a couple of months now and it's really good. It warms up quicker than metal and stays still on the chops much better too. ----- Original Message ----- From: "TRBNTERRY" To: "Trombones and related issues forum." Sent: Thursday, February 21, 2002 5:14 AM Subject: Re: mouthpiece materials (glass mouthpiece) > Dr. Donald S. Reinhardt equipped all of his trumpet and trombone > students with clear plastic mouthpieces. This was a long time ago, maybe > 50 years. This was the only way to see what was going on with the > embouchre, and from there it was much easier to make corrections. > > Mike Terry > > ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 10:24:39 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Zimmer? Message-ID: <011b01c1bac2$80e07520$827e68d5@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Bill Dinwiddie" > A zimmer frame? I have some amount of Scottish blood, Adrian, but I don't > know that one! > I believe I know where you're going, and guessing is fun, but I would really > like to know > the history of this excellent phrase. Must be the trans-Atlantic language barrier. It's kinda like an aluminium (sorry, aluminum) walking stick with four legs. What do you call it, a golf cart? A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 10:24:48 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: let's take a vote Message-ID: <011c01c1bac2$846c0ce0$827e68d5@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Peter Collins & Sara Wilbur" > I have a new music concert coming up next week and I have come across a > classic new music composer characteristic. I have a piece that is not > very difficult (at least at first glance) but contains plunger work down > into the valve register (low C's to be specific). Should I: Find out where the composer/arranger lives. Go round and kick his ass. Or, try a more diplomatic approach. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 10:24:54 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: let's take a vote Message-ID: <011d01c1bac2$87ff6cd0$827e68d5@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "James Scott" > I have a similar story. Some colleagues of mine have a brass quintet, and > they were working up a new piece for a premiere on a chamber music series. > The composer came in to what was supposed to be the last rehearsal. It took > him about 15 minutes to realize that something was wrong, and then about > another 5 minutes to put his finger on it - the trumpet parts were in "C", > but unmarked as to key, so the players were playing them in "B flat". I was invited a couple of years ago to sit on the judging panel for trumpet solo exams. After listening to one player for a few measures I knew something was dreadfully wrong and called for a restart. It appeared that the student soloist had given his piano accompanist a part pitched in Bb. Strange thing is, I was the only guy in the room that noticed. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 10:27:45 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Dissention in the ranks Message-ID: <011e01c1bac2$8bf7a910$827e68d5@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: richardt@LEE.ARMY.MIL > Good grief, Thomas, you have made Diet Pepsi come out my nose. Come on Thomas, try getting your pepsi from a drinks dispenser like eveyone else. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 08:48:32 -0500 From: "HICKS, JIM D" To: "'sabutin'" Cc: trombone-l@po.missouri.edu Subject: RE: That whole Jazz & Orchestra Thing Message-ID: <97248F13771FD31184690008C75DEBDA05D911EC@cin-ex-w-4.dfas.mil> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" >and 2/3 of those costs from its HUGH endowment for the drug industry >(Lilly not Guido and his pals). > >Jim Hicks ================= You mean there's a difference? S. ================= Yes - their nationality, and the CPA firm they each employ. Guido has to be more honest because he knows someone is looking over his books. Jim Hicks ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 11:45:41 EST From: BassBonist@aol.com To: trombone-l@po.missouri.edu Subject: 'New' 88HTO for sale Message-ID: <17a.3f1d0ca.29a67e35@aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_17a.3f1d0ca.29a67e35_boundary" Listers: I have a new (two months, used on one gig) 88HTO for sale. Open wrap F attachment, thin "T" red brass bell (like the older Elkhart bells), three screw-in leadpipes, case, all in prime condition. Paid over $1600, must sell: Price is $1275 plus shipping and insurance. Please contact me privately. Thanks, Matt Varho Bass Trombonist South Coast Symphony, Ca. ----__ListProc__NextPart____TROMBONE-L__digest_2307 Date: Thu, 21 Feb 2002 08:59:18 -0800 From: Pat and Joe Chapman To: "Trombones and related issues forum." Subject: Solo festival results. Message-ID: <3C752766.7080006@pioneer.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; format=flowed Content-Transfer-Encoding: 7bit This post really has no real trombone content, but as a proud Grandmother I just can't help but send it. Our 12 year old twin grandsons each received a Superior rating at a Solo Festival in Tampa. One plays baritone horn, teacher switched him from trombone because of need, and the other oboe. The judge commented on both that they had outstanding ability and wonderful tone quality. Perhaps he says that to all the students but a proud Oregon Grandmother takes that literally. The baritone playing grandson assures me that he will be returning to the trombone soon. Thanks for allowing me to rave. Pat ----__ListProc__NextPart____TROMBONE-L__digest_2307--