TROMBONE-L Digest 2339 Topics covered in this issue include: 1) Re: Trombone and ww quintet by silversonic@att.net 2) Yeo Handbook - Ein Heldenleben added by Douglas Yeo 3) RE: Nasty Ugly Sound (long) - tone and articulation by richardt@LEE.ARMY.MIL 4) OTJ Classifieds - Updated 3/25/2002 by Chris Waage 5) RE: Nasty Ugly Sound (long) - tone and articulation by Craig Parmerlee 6) Absence by Chris Waage ----__ListProc__NextPart____TROMBONE-L__digest_2339 Date: Sun, 24 Mar 2002 21:19:00 +0000 From: silversonic@att.net To: Nathaniel Brickens , "Trombones and related issues forum." Subject: Re: Trombone and ww quintet Message-ID: <20020324211900.OWDJ38.mtiwmhc22.worldnet.att.net@webmail.worldnet.att.net> Hi Nathaniel, There IS an arrangement of the Marcello Sonata #3 in a minor that is solo trombone with woodwind quintet accompaniment. It was written by Al "Corky" Fabrizio for me to play with the Hochstein Music Educator's Wind Band here in Rochester, NY which he conducts. I know that it isn't commercially available yet, but if pursuaded, he might just part with a pre-publication copy of it. I'll look in to it for you if you like. Does this sound more like what you're looking for? Let me know... Peace, Tom Sousa Rochester, NY -- Artist Representative Greenhoe Musical Instrument Components > Hello Friends, > > I am looking for a good piece for trombone and woodwind quintet (or > trombone, trumpet plus ww quintet) for a chamber music recital, any > recommendations? The only piece that I have played that comes close > is the Premru Concertino (no horn part). > > Thanks, > Nathaniel > > ----__ListProc__NextPart____TROMBONE-L__digest_2339 Date: Sun, 24 Mar 2002 22:44:57 -0500 From: Douglas Yeo To: "Trombones and related issues forum." Subject: Yeo Handbook - Ein Heldenleben added Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" Today I have added four excerpts from Richard Strauss' "Ein Heldenleben" to my Bass Trombonist's Orchestral Handbook. You can find the annotated excerpts, including high quality, downloadable pdf files of the music at: http://www.yeodoug.com/yeohandbook.html -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_2339 Date: Mon, 25 Mar 2002 08:03:55 -0500 From: richardt@LEE.ARMY.MIL To: sgamble@tucsonsymphony.org, BITEensemble@aol.com, trombone-l@po.missouri.edu Subject: RE: Nasty Ugly Sound (long) - tone and articulation Message-ID: <81F62454EA21B94EA95517180D7303730243F93F@lee-is-102.lee.army.mil> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----_=_NextPart_001_01C1D3FD.84C03460" Steve, There's no way you are in the minority. Since I've been on this list, oh, probably August of 1996, there have been practically no dissenters, it has been strictly tone, tone, tone. Practically none, but not zero - Sabutin has been heard to discuss the very large importance of articulation (and even try to talk about slide movement on occasion).Ê I found it refreshing to hear the other side of it. Possible it reflects the makeup of the list, which has a large component of symphony oriented players and (as i found out with the loudness comment) highly opinionated bass trombone players. Naturally those players will focus on tone - if your performance involves 200 measures of rest and a whole note, what else have you got? (slight exaggeration for effect, of course) And I do love the tone of a bass trombone played well.Ê However, if you get out of those limited genres, I might argue tone could take on lesser importance. Where do you get the most bang for your practice dollar - on a cost-benefit basis is tone what you should spend your time working on? For the top level pro, you've got to find time to do it all. For the intermediate player or weekend warrior, I submit those practice hours are too precious to be wasted on tone after a basic tone with no obvious faults is working.Ê Let me make an assertion. When the average good trombone player plays the Rochut, the average trombone audience hears the tone. The average non-trombone audience doesn't hear tone at all, except in extreme cases in either direction. They hear cleanness of articulation. And in a very large percentage of cases they end up finding fault - fault that is there but we ignore because like cows in the living room, we've become used to it.Ê If you can improve tone with hours of Phil Teele style long tone practice, which seems likely, but you already have a tone that 1) sounds like a trombone and 2) is free of obvious faults like flatness, strain, waver, etc. then you are doing an enormous amount of work for marginal improvement. That improvement might make the difference at an audition but is undetectable to 99% of audiences. What should you work on? Technique. (and musicality )Ê The number of music majors whose tone is awesome but cannot tongue a Bb major scale is way too large.Ê I see Steve's definition of sound includes more than just timbre, he does want students listening to the other factors. Kudos.Ê -----Original Message----- From: Steve Gamble [mailto:sgamble@tucsonsymphony.org] Sent: Friday, March 22, 2002 2:37 PM To: 'BITEensemble@aol.com'; Trombones and related issues forum. Subject: RE: Nasty Ugly Sound (long) I find it easiest to get my students to pay the right kind of attention to "the other 3" if they have first learned to make a consistently good sound. Stressing tone seems to be the best way to get them to listen. When you've got them listening, that's when discrepancies in articulation, dynamics, whatever become blatantly obvious to them. Rhythm, pitch, you name it. IT'S ALL PART OF THE SOUND. So I'm a big nag about tone. Looks like I'm in the minority. I must say I'm a bit surprised. 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: BITEensemble@aol.com [SMTP:BITEensemble@aol.com] Sent: Friday, March 22, 2002 8:57 AM To: Trombones and related issues forum. Subject: Re: Nasty Ugly Sound (long) At 11:02 PM 3/21/2002 -0600, Robert Holland wrote: >I have to take issue with these statements. Quality of sound is important, >even essential to music, but it is only one of several components. Absolutely. It can't be more important than playing on time, in tune, and in the correct style. "Big tone" is number four on my criteria list at best. I don't care how pretty the tone is, if the player doesn't get the other 3 right, they aren't going to sound good to my ears.>>> When it comes to being a professional musician, I think one simply must have it all mastered (or at least to a very high level of proficiency). If you don't, and you call yourself a professional, I don't want to hear you regardless of how great your tone or style or whatever. Just my opinion. -Wes ----__ListProc__NextPart____TROMBONE-L__digest_2339 Date: Mon, 25 Mar 2002 07:27:59 -0600 From: Chris Waage To: Trombone-L , Brass@lists.fsu.edu Subject: OTJ Classifieds - Updated 3/25/2002 Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" The Online Trombone Journal Classifieds (http://www.trombone.org/classifieds) have been updated as of 7:27 AM on March 25, 2002 with twenty-two new listings. - - - - - Thank you for using the OTJ Classifieds! - - - - - OTJ Instrument Classifieds http://www.trombone.org/classifieds/instruments.asp OTJ Accessory Classifieds http://www.trombone.org/classifieds/accessories.asp OTJ Music Classifieds http://www.trombone.org/classifieds/music.asp OTJ Classifieds Frequently Asked Questions http://www.trombone.org/classifieds/faq.asp To place an ad: http://www.trombone.org/classifieds/adform.asp OTJ Gift Shoppe: http://www.cafepress.com/cp/store/store.aspx?storeid=trombones If you have any questions or comments about the Online Trombone Journal Classifieds, please contact me at chris@trombone.org. Chris -- ________________________________________________ Chris Waage, Associate Webmaster chris@trombone.org http://www.trombone.org - A web site for trombonists ----__ListProc__NextPart____TROMBONE-L__digest_2339 Date: Mon, 25 Mar 2002 10:30:22 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: RE: Nasty Ugly Sound (long) - tone and articulation Message-ID: <4.3.2.7.2.20020325101955.00b83f18@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 08:03 AM 3/25/2002 -0500, richardt@LEE.ARMY.MIL wrote: Let me make an assertion. When the average good trombone player plays the Rochut, the average trombone audience hears the tone. The average non-trombone audience doesn't hear tone at all, except in extreme cases in either direction. They hear cleanness of articulation. And in a very large percentage of cases they end up finding fault - fault that is there but we ignore because like cows in the living room, we've become used to it. If you can improve tone with hours of Phil Teele style long tone practice, which seems likely, but you already have a tone that 1) sounds like a trombone and 2) is free of obvious faults like flatness, strain, waver, etc. then you are doing an enormous amount of work for marginal improvement. That improvement might make the difference at an audition but is undetectable to 99% of audiences. What should you work on? Technique. (and musicality ) The number of music majors whose tone is awesome but cannot tongue a Bb major scale is way too large. I agree completely. I cone into contact with quite a few students. Maybe we need to break them into two groups. The younger ones may have difficulty playing ANY note with a clear tone. Of course, in that case tone is the most important thing. If you can't make a tone, you can't play any music (except Eine Kleine Posaunenmusik). But I think we are mainly talking about more experienced players who can get a decent tone across the board. For most of them, a focus on intonation, articulation, and music style will often pay far greater dividends than trying to make an improvement in the tone. But here's the thing. It is not necessary to do an hour of droning every day in order to improve tone. What is necessary is to approach all your playing (warm-ups, rehearsals and private practice) with a concentration on doing the fundamentals well. It turns out that long tones have been discovered in many different pieces of music. They're called whole notes. Every time you play one of these in any situation is an opportunity to perfect the tone. And if the music happens to include some of the shorter notes too, then you will be working on the elemente the audience can hear more clearly. My 2 cents. Craig ----__ListProc__NextPart____TROMBONE-L__digest_2339 Date: Mon, 25 Mar 2002 09:41:50 -0600 From: Chris Waage To: Trombone-L Subject: Absence Message-ID: Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii" ; format="flowed" I can remember hearing a friend comment "Luxuries, once enjoyed, become necessities." To most people, the tone of a musical instrument or the mechanics of its performance do not matter. On the trombone, the average listener equates the trombone to the glissandi effects used in cartoons and commercials or snippits from various orchestral and operatic works which have become cliche' over the years (Ride, etc.). However, upon being presented with a comparison of an average performance side-by-side with a good or exceptional performance, people suddenly realize what they have been missing, the "luxury" of a talented and trained performer. Tone, articulation, phrasing - all those things that we spend hours fine-tuning in the practice room - suddenly are noticed by the listener. For a non-musical example, listen to community-access radio and the voice-patterns of the announcers. Contrast the characteristics of those announcers with those on a professional station (tune into WFMT from Chicago over the Internet if you'd like to hear excellent announcers!). Phrasing, vocal tone and inflection are all done in such a way that you do not notice . . . until you hear someone NOT doing it . . . Chris -- ________________________________________________ Chris Waage, Associate Webmaster chris@trombone.org http://www.trombone.org - A web site for trombonists ----__ListProc__NextPart____TROMBONE-L__digest_2339--