Date: Wed, 27 Mar 2002 12:04:09 CST Sender: owner-trombone-l@po.missouri.edu From: trombone-l@po.missouri.edu To: "Trombones and related issues forum." Subject: TROMBONE-L digest 2341 X-RCPT-TO: Status: U TROMBONE-L Digest 2341 Topics covered in this issue include: 1) OSHA approved trombones by "Kathy-Green -TJ" 2) Re:Tinnitus by Daniel Cloutier 3) Re: The Athletic Trombone Player by "Corliss" 4) Re: The Athletic Trombone Player by "Steve Beck" 5) Re: OSHA approved trombones by "Aaron Roth" 6) need help with some improv by "Jon Moeller" 7) Bones for Basie part needed by Matmutt@aol.com 8) Re: need help with some improv by Craig Parmerlee 9) Re: Tinnitus by Robert Holland 10) Re: Tinnitus by Craig Parmerlee 11) Re: Tinnitus by Roger Hecht 12) Re: need help with some improv by Eric & Candice Swanson 13) Monette Trombone Mouthpieces by "Bart Roberts" 14) Re: need help with some improv by Jason Rogers 15) Re: Tinnitus by Earl Needham 16) Re: need help with some improv by "D.J. Kennedy" 17) Re: Monette Trombone Mouthpieces by Eric & Candice Swanson 18) RE: Tinnitus by "Tom Izzo" 19) Re: Monette Trombone Mouthpieces by "Aaron Roth" 20) Re: Monette Trombone Mouthpieces by Dave Tall 21) Dave Steinmeyer by Bruce Faske 22) RE: Tinnitus by "Steve Cordingley" 23) Re: Monette Trombone Mouthpieces by "Hamish Dean" 24) Re: Tinnitus by "Adrian Drover" 25) Re: Tinnitus by "Art Triggs" 26) Re: Monette Trombone Mouthpieces by Scott Moore 27) Re: need help with some improv by "Dale J. Cruse" 28) RE: need help with some improv by "Jeff Albert" 29) Re: need help with some improv by "Dale J. Cruse" 30) bass trb leadpipes for sale by Peter Collins & Sara Wilbur 31) Re: bass trb leadpipes for sale by Peter Collins & Sara Wilbur 32) Re: need help with some improv by "Daniel Pliskin" 33) Don't be defeated! by "Keith Marr" ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 10:21:53 -0800 From: "Kathy-Green -TJ" To: trombone-l@po.missouri.edu Subject: OSHA approved trombones Message-ID: MIME-Version: 1.0 Content-type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 8bit I got a kick out of thinking about this. In a great little book called "Move Over, Mr. Holland: Insights, Humor, and Philosophy on Music and Life" by band director Trey Reely, he has a section about putting warning labels on certain instruments. (I don't have permission to quote it, but it is extremely humorous.) In today's times when any reason is an excuse for a lawsuit, I can see it now: suing because one tripped over a trombone slide in 7th position, facial disfigurement from a reed instrument that got shoved into a lip, etc. Wouldn't an osha approved trombone end up looking like a Kazoo? Kathy Green, Band Director Thomas Jefferson High School "Iâve never known a musician who regretted being one. Whatever deceptions life may have in store for you, music itself is not going to let you down." Virgil Thomson ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 10:28:53 -0800 (PST) From: Daniel Cloutier To: trombone-l@po.missouri.edu Subject: Re:Tinnitus Message-ID: <20020326182853.54692.qmail@web13205.mail.yahoo.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii I sort of wish my tinnitus had been caused by sitting in a section for 30 years. Mine was of a different sort: woke up one cold January morning with a loud high-pitched squeal in my left ear. Anything above mf would distort, and sopranos and violins were pure murder! Driving was painful, too. Played every gig and drove for over six months with a plug in my left ear to prevent the painful distortion. Slowly, slowly, the tinnitus subsided, until it is now to the point that I only hear the squeal in a very quiet room when I bite into something chewey like a bagel. When I first went to the doctor about it, and asked him why something like this happened, his best reply was, "ears are strange things." Coulda fooled me... __________________________________________________ Do You Yahoo!? Yahoo! Movies - coverage of the 74th Academy Awards® http://movies.yahoo.com/ ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 15:03:26 -0600 From: "Corliss" To: , "Trombones and related issues forum." Subject: Re: The Athletic Trombone Player Message-ID: <002a01c1d509$acda63a0$39cb5340@richard> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit ----- Original Message ----- From: "Steve Cordingley" To: "Trombones and related issues forum." Sent: Tuesday, March 26, 2002 9:05 AM Subject: The Athletic Trombone Player > > Now as I do half an hour of consecutive long notes, I'm thinking that the > gas exchange in my body needs to be pretty efficient to make it possible for > me to still concentrate while I'm controlling my use of the air I am pulling > in and releasing slowly. And sometimes, it just isn't there - I have lungs > full of air but I'm completely 'out of breath'. > > > Steve in England What your lungs need is oxygen. Make sure that the air you have in your lungs is good air with plenty of oxygen. For this you need to empty the lungs at times and then refill them to make sure that your lungs have the good stuff. The other suggestion is that once you have your good air is relax, let nature take its course, and focus on the music. How much you release should be determined by the music, not by your attempt to exert control over your muscles. Richard Corliss ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 16:43:26 -0500 From: "Steve Beck" To: "Trombones and related issues forum." Subject: Re: The Athletic Trombone Player Message-ID: <004701c1d50f$461520a0$c2310923@cl.msu.edu> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Steve Cordingley" > Some of the recent postings have reinforced some thoughts I have been having about how fit I need to be to play trombone. I think being "physically fit" is so important in life that I am hesitant to say anything but that it is vital to fine trombone playing. However, I don't think it is. My wild speculating, Take two individuals, 45 years old and have them start out practicing a half hour a day - plus playing in a community band one day a week. Have individual A work out five days a week for 90 minutes a day in the Gym. Have individual B spend 90 minutes, five days a week attacking his musical deficiencies. Extra practice, a spirometer, maybe private lessons. At the end of a year who will play better? If your only goal is playing trombone better there are better places to spend your time than in a gym. In fact, I'll go out on a limb and speculate that if player B sends his 90 minutes a day eating Doritos there won't be much difference in their playing. I have simply seen too many fat slobs play so well I just do not see much of a correlation. Of course, when player B dies or is incapacitated because he neglected his health, A will then be the better player. ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 17:52:10 -0500 From: "Aaron Roth" To: trombone-l@po.missouri.edu Subject: Re: OSHA approved trombones Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Then someone would find a way to choke on it. -Aaron Wouldn't an osha approved trombone end up looking like a Kazoo? Kathy Green, Band Director Thomas Jefferson High School _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 18:12:08 -0600 From: "Jon Moeller" To: Subject: need help with some improv Message-ID: <000001c1d524$09653090$3101a8c0@jon> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0001_01C1D4F1.BECAC090" Well IÕve come into a brick wall of sorts here. IÕve been working on this piece which we have to improve over at all state jazz tryouts, and I seem to keep using the same ideas over and over again, IÕve been trying to keep things fresh by starting out on 7ths 5ths and 3rds more and more, but the same plain old stuff keeps cropping up everywhere in my playing. Also, I canÕt play this piece fast, the tempo is 200, and the chord changes go by fast, and I cant keep up with them. I can take it around 100, but when things speed up, I get some problems. IÕve talked with my private teacher about this and he gave me some suggestions on what to do, and they are doing a little, so I was wondering if any of you know of any good improvisation techniques. Note: IÕm not just looking for a generic ÒlickÓ to put somewhere in there, I just need some suggestions on how to keep my stuff fresh, and some ideas you may have about the particular chord changes in the music. Anyways, the music is here: http://home.attbi.com/~mole2k4/improv.jpg And a midi of it is here: http://home.attbi.com/~mole2k4/improv.mid ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 19:53:32 EST From: Matmutt@aol.com To: trombone-l@po.missouri.edu Subject: Bones for Basie part needed Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_ad.1a794555.29d2720c_boundary" Hi Folks; I'm missing a piano part for the Alan Ware arrangement of "Bones for Basie". I don't suppose I could get lucky and find one sitting on my Fax at 610-269-0739. Regards, Larry Priori *( the passionate amateur }:)> ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 22:15:35 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: need help with some improv Message-ID: <4.3.2.7.2.20020326215830.02d71f88@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 06:12 PM 3/26/2002 -0600, Jon Moeller wrote: Well I ve come into a brick wall of sorts here. I ve been working on this piece which we have to improve over at all state jazz tryouts, and I seem to keep using the same ideas over and over again, I ve been trying to keep things fresh by starting out on 7ths 5ths and 3rds more and more, but the same plain old stuff keeps cropping up everywhere in my playing. Also, I can t play this piece fast, the tempo is 200, and the chord changes go by fast, and I cant keep up with them. I can take it around 100, but when things speed up, I get some problems. I ve talked with my private teacher about this and he gave me some suggestions on what to do, and they are doing a little, so I was wondering if any of you know of any good improvisation techniques. Jon, You are wise beyond your years. "Good improvisation" is a lifelong pursuit that begins with a passion to go the next step. You have the passion. Keep that feeling, but realize you will still be climbing the ladder 20 (or 40) years from now. Like anything else, it is a question of internalizing the music. Symphonic music is not the little black dots. They are only a set of hints that the composer had in mind. The music is not on the page, it is in the mind of the player and the audience. Likewise for jazz. The changes aren't the music. The music must come from within. To me, that mindset is absolutely fundamental. The last thing I would do is study dots, chords, and canned licks because those are artifacts of the outside world. They trap the music outside. What you need to do (I know it sounds trite) is "become the music". You want to feel that piece so completely and naturally that you understand its every current. If you have to listen to it (put the horn down for awhile) 300 times, there is nothing wrong with that. Once you feel the music, see if you can sing interesting phrases. If you can't sing them, you have a zero percent chance of playing them. (Keep the horn in the case.) Don't be afraid to sing some lines that are pretty close to the melody. Nothing wrong with that. And just because the drummer is beating 200, that doesn't mean you have to sing 200 notes a minute. Less is more in almost every case. After you feel like you can sing a solo to a good groove, try picking up the tune at random places to see how quickly you can find that groove vocally. The horn is still in the case. This practice helps you survive that frantic moment when you and the bass player have gotten separated, and it will happen a whole lot in the early days, so skip this step if you want to have train wreck after train wreck. Now, get the horn out of the case and try to do a few of those nice vocal ideas on the trombone. When you feel stale, put the horn down and sing until you have the groove back. If the singing feels stale, go do something else. The best ideas will creep in subliminally. That is the condensed course. Now if you are on a tight deadline, I strongly encourage you to write out a solo you can play. If all else fails, you will rely on this during the performance. Chances are, the exercise of writing it down will make you even more comfortable, so you will feel more natural adding an embellishment here and there on the fly. Mostly, have fun. It is fun. Even the train wrecks are fun. Get the smile ready. You will never in your whole career play with somebody who never has train wrecks. The only people who don't make mistakes are the ones who don't try anything creative. Everybody is in the same boat with you. Enjoy it. I wish I had your awareness when I was your age. Craig ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 21:44:37 -0600 From: Robert Holland To: "Trb. List" Subject: Re: Tinnitus Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Seems like there are lots of reasons to have developed tinnitus. Mine comes from adolescent ear infections. My understanding is that the tiniest hairs in the ear canal that correspond to the highest pitches become less elastic and receptive. The ear (over)compensates for the loss by recovering the highest sounds out of balance with the rest. So the whine of equipment (fridge, TV, computer, etc.) tend to be easily noticed. I also notice an extraordinary amount of noise in playback of most recorded music -- especially in public places where volume is forced over quality. Fortunately for me, while the ringing in my ears is omnipresent, I don't find that it yet masks anything I want to ear (that I can tell, anyway) and I've learned to tune it out for the most part. It's sort of like wearing a miner's cap with that light beam shining from the front: it illuminates wherever the beam is directed. Robert Holland Briar Music Press briar@chicagonet.net http://members.aol.com/EnsPub/bmp.htm ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 22:57:34 -0500 From: Craig Parmerlee To: trombone-l@po.missouri.edu Subject: Re: Tinnitus Message-ID: <4.3.2.7.2.20020326225046.00b5bf40@acticalc.com> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:44 PM 3/26/2002 -0600, Robert Holland wrote: Seems like there are lots of reasons to have developed tinnitus. Mine comes from adolescent ear infections. My understanding is that the tiniest hairs in the ear canal that correspond to the highest pitches become less elastic and receptive. The ear (over)compensates for the loss by recovering the highest sounds out of balance with the rest. So the whine of equipment (fridge, TV, computer, etc.) tend to be easily noticed. I also notice an extraordinary amount of noise in playback of most recorded music -- especially in public places where volume is forced over quality. Fortunately for me, while the ringing in my ears is omnipresent, I don't find that it yet masks anything I want to ear (that I can tell, anyway) and I've learned to tune it out for the most part. It's sort of like wearing a miner's cap with that light beam shining from the front: it illuminates wherever the beam is directed. I never realized what a sickly lot we trombonists are. Lots of us have serious tendonitis, tinnitis and sleep apnea, and we never ever get the girls either. :) Oh what we do for that instrument. I've had tinnitis at an annoying level for a couple of years. I can't pinpoint the exact point of onset. Maybe it was from sitting in airliners for thousands of hours a year. Maybe it was sitting in from of trumpets or behind french horns. I don't know. What I *DO* know is that in my case, the degree of ringing is highly correlated with how much caffeine I have during a day. Remember that you get caffeine everywhere, coffee, tea, Coke, chocolate. If I have one cup of half decaf, half regular coffee, and maybe a glass of iced tea at lunch, I'm pretty much free of the ringing. But if I step over that line, the results are completely predictable. Guess what, less caffeine helps with sleep apnea too. Craig ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 23:07:04 -0500 From: Roger Hecht To: craig@acticalc.com, "Trombones and related issues forum." Subject: Re: Tinnitus Message-ID: <4.2.2.20020326230552.00a5ed20@pop.earthlink.net> Mime-Version: 1.0 Content-Type: multipart/alternative; boundary="=====================_1071318==_.ALT" I've had tinnitis at an annoying level for a couple of years. I can't pinpoint the exact point of onset. Maybe it was from sitting in airliners for thousands of hours a year. Maybe it was sitting in from of trumpets or behind french horns. I don't know. What I *DO* know is that in my case, the degree of ringing is highly correlated with how much caffeine I have during a day. Remember that you get caffeine everywhere, coffee, tea, Coke, chocolate. If I have one cup of half decaf, half regular coffee, and maybe a glass of iced tea at lunch, I'm pretty much free of the ringing. But if I step over that line, the results are completely predictable. Caffeine can be a contributor. Another possible cause that has not been mentioned is aspirin and NSAIDS (Ibuprofen, etc.). Usually, the tinnitus they cause will go away when the drugs are discontinued, but not always. Roger Hecht ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 23:21:46 -0500 From: Eric & Candice Swanson Cc: "Trombones and related issues forum." Subject: Re: need help with some improv Message-ID: <3CA148D9.C8690664@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=iso-8859-1; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 8bit Jon Moeller wrote: > ......I’ve been working on this piece which we have to improv over at all state jazz tryouts, and I seem to keep using the same ideas over and > over again, ............. > > > > > Jon, Sounds like you're getting into a rut. Play some other songs for a change of pace. If the song you're working on is swing, play some Latin or rock to break yourself out of the rut. You may find if you overpractice the one song, you end up playing the same solo every time, then it's not improv...you just memorized your solo. Play some totally different stuff, then go back and see if you can come up with some fresh ideas. Good luck, Eric Swanson ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 00:29:16 -0800 From: "Bart Roberts" To: "Trombone List" Subject: Monette Trombone Mouthpieces Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Hello All, I am writing to ask about thoughts on Monette Trombone mouthpieces. I am curious to know if anyone has played the new smaller mouthpieces. Any thoughts would be great. Thanks Bart Roberts ______________ Bart Roberts Graduate Assistant Band/Trombone School of Music Ball State University Muncie, Indiana http://www.bsu.edu/cfa/music/bands ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 00:56:54 -0500 From: Jason Rogers To: trombone-l@po.missouri.edu Subject: Re: need help with some improv Message-ID: <02032700565400.27218@bix> Content-Type: text/plain; charset="iso-8859-1" MIME-Version: 1.0 Content-Transfer-Encoding: 8bit Jon, Just a few ideas: 1) When there is something this fast to play, with this many moving chords, you might look for some over-riding concepts that express the essence of the tune and that can be expressed more clearly, with fewer notes. For instance, boil down the changes of the A section a simple framework (one of a million ways): Bb | F7 | Bb | F7 | Bb7 | Eb7 | Bb | F7 | Try playing just 2 ,3 or at most 4 notes a measure here, and making some nice song-like phrases on the chord tones, with a little rhythmic interest. Hopefully, this gets you back in the range of singing a melody. Anything to get away from that page and those scales and back to a song. You can get more complex from there whenever you're ready. 2) Hear the form. You especially need to hear the form of a piece if the tempo is very fast or very slow (or medium, for that matter :). Record the bass line, slow, or in tempo, or both. Learn to sing it with and without the tape. Do the same with the melody (if it isnt too complex), a melody you compose on the simplified chord progression, a guide tone line, whatever. Memorizing and singing can cement something in your ear. Composing can help do the same. Sing a simple composed solo while playing the chords on the piano, or any combination of singing and playing you can think of. If you can't comprehend the "spine" of a story, you're not going to be able to improvise the details. 3) It's not a sin to form a game plan for a solo. You dont want to play the same solo all the time, but having broad concepts is good. You could say to yourself: I'll play the first 8 bars in a vertical fashion, ie, melodies that come from outlining the chords (can you hear a favorite player doing this? Jimmy Cleveland? Hank Mobley?), clearly communicating the changes, and the second 8 bars just playing blues / major scale stuff (Benny Green?) and that will take me to the bridge, where I will do a rhythmic sequence on the chords (JJ?), or show off tonguing on some more scale-like passages. Then improvise the details of each concept. Of course, you can improvise that game plan as well, but you're making distinctions on the character of each section. 4) Realize that none of this will help one bit if you do not listen to this type of music night and day, and really relate to it on some personal level. J On Tuesday 26 March 2002 19:12, you wrote: > > Well I've come into a brick wall of sorts here. I've been working on > this piece which we have to improve over at all state jazz tryouts, and > I seem to keep using the same ideas over and over again, I've been > trying to keep things fresh by starting out on 7ths 5ths and 3rds more > and more, but the same plain old stuff keeps cropping up everywhere in > my playing. Also, I can't play this piece fast, the tempo is 200, and > the chord changes go by fast, and I cant keep up with them. I can take > it around 100, but when things speed up, I get some problems. I've > talked with my private teacher about this and he gave me some > suggestions on what to do, and they are doing a little, so I was > wondering if any of you know of any good improvisation techniques. > > Note: I'm not just looking for a generic "lick" to put somewhere in > there, I just need some suggestions on how to keep my stuff fresh, and > some ideas you may have about the particular chord changes in the music. > > Anyways, the music is here: > http://home.attbi.com/~mole2k4/improv.jpg > > And a midi of it is here: > http://home.attbi.com/~mole2k4/improv.mid ---------------------------------------- Content-Type: text/html; charset="us-ascii"; name="Attachment: 1" Content-Transfer-Encoding: quoted-printable Content-Description: ---------------------------------------- ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Tue, 26 Mar 2002 22:48:52 -0700 From: Earl Needham To: trombone-l@po.missouri.edu Subject: Re: Tinnitus Message-ID: <4.2.2.20020326224744.00aacc80@pop3.norton.antivirus> Mime-Version: 1.0 Content-Type: text/plain; charset="us-ascii"; format=flowed At 09:44 PM 3/26/2002 -0600, Robert Holland wrote: Seems like there are lots of reasons to have developed tinnitus. Mine comes from adolescent ear infections. Mine comes from a bunch of different vitamins -- Vitamin A-4 Vitamin A-6 Vitamin C-130 Vitamin F-4 Vitamin F-16 Vitamin F-111 They MUST be vitamins, they're good for the country... Earl Earl Needham, KD5XB, Clovis, New Mexico KD5XB-2>APW251,PCSAT-1*:=3425.83N/10313.55W-PHG7150/WinAPRS 2.5.1 -EARL_CLOVIS -251-<630> Did you get a letter from Nigeria offering a "deal"? See http://home.rica.net/alphae/419coal/ and http://www.crimes-of-persuasion.com/Crimes/Business/nigerian.htm ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 01:34:34 -0600 From: "D.J. Kennedy" To: jasonrogers@rcn.com Cc: "Trombones and related issues forum." Subject: Re: need help with some improv Message-ID: <3CA1760A.9BD11099@midwest.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit you are in deep trouble !!!!!!really deep !!!1there is no easy answer the iideas must be very inside or its not gonna come out you might need to try to work out something measure by measure i would recommend listening also 0for example to jj and sonny rollins sonny rollins gos a million mph --but instead of trying to match these manuevers jj lays out a melodic plan and gets across the ideas of speed miles davis evolved a style coming out of the fast speeding style dont worry about being able to lay down dizzy gillespe runs try to to tense up --and just stick close to the melody//head and get that head and bridge so tight inside your head you are not gonna loose it if you can get a ppiano player or guitar player to comp with you slowly push up the tempo on you i sat in with a blazing fingers keyboard not long ago ---ok i will sit this one out had an alto player --joy spring -----you know the type -- let them have it ---dont worry about it if you cant play cherokee in 12 keys right now do what you can do --- maybe try 8 blazing bars -- Jason Rogers wrote: > Jon, > > Just a few ideas: > > 1) When there is something this fast to play, with this many moving chords, > you might look for some over-riding concepts that express the essence of the > tune and that can be expressed more clearly, with fewer notes. > > For instance, boil down the changes of the A section a simple framework (one > of a million ways): > > Bb | F7 | Bb | F7 | > Bb7 | Eb7 | Bb | F7 | > > Try playing just 2 ,3 or at most 4 notes a measure here, and making some nice > song-like phrases on the chord tones, with a little rhythmic interest. > > Hopefully, this gets you back in the range of singing a melody. Anything to > get away from that page and those scales and back to a song. You can get > more complex from there whenever you're ready. > > 2) Hear the form. You especially need to hear the form of a piece if the > tempo is very fast or very slow (or medium, for that matter :). > > Record the bass line, slow, or in tempo, or both. Learn to sing it with and > without the tape. Do the same with the melody (if it isnt too complex), a > melody you compose on the simplified chord progression, a guide tone line, > whatever. Memorizing and singing can cement something in your ear. > Composing can help do the same. Sing a simple composed solo while playing > the chords on the piano, or any combination of singing and playing you can > think of. If you can't comprehend the "spine" of a story, you're not going > to be able to improvise the details. > > 3) It's not a sin to form a game plan for a solo. You dont want to play the > same solo all the time, but having broad concepts is good. > > You could say to yourself: I'll play the first 8 bars in a vertical fashion, > ie, melodies that come from outlining the chords (can you hear a favorite > player doing this? Jimmy Cleveland? Hank Mobley?), clearly communicating the > changes, and the second 8 bars just playing blues / major scale stuff (Benny > Green?) and that will take me to the bridge, where I will do a rhythmic > sequence on the chords (JJ?), or show off tonguing on some more scale-like > passages. Then improvise the details of each concept. Of course, you can > improvise that game plan as well, but you're making distinctions on the > character of each section. > > 4) Realize that none of this will help one bit if you do not listen to this > type of music night and day, and really relate to it on some personal level. > > J > > On Tuesday 26 March 2002 19:12, you wrote: > > > > Well I've come into a brick wall of sorts here. I've been working on > > this piece which we have to improve over at all state jazz tryouts, and > > I seem to keep using the same ideas over and over again, I've been > > trying to keep things fresh by starting out on 7ths 5ths and 3rds more > > and more, but the same plain old stuff keeps cropping up everywhere in > > my playing. Also, I can't play this piece fast, the tempo is 200, and > > the chord changes go by fast, and I cant keep up with them. I can take > > it around 100, but when things speed up, I get some problems. I've > > talked with my private teacher about this and he gave me some > > suggestions on what to do, and they are doing a little, so I was > > wondering if any of you know of any good improvisation techniques. > > > > Note: I'm not just looking for a generic "lick" to put somewhere in > > there, I just need some suggestions on how to keep my stuff fresh, and > > some ideas you may have about the particular chord changes in the music. > > > > Anyways, the music is here: > > http://home.attbi.com/~mole2k4/improv.jpg > > > > And a midi of it is here: > > http://home.attbi.com/~mole2k4/improv.mid > > ---------------------------------------- > Content-Type: text/html; charset="us-ascii"; name="Attachment: 1" > Content-Transfer-Encoding: quoted-printable > Content-Description: > ---------------------------------------- ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 00:19:00 -0500 From: Eric & Candice Swanson Cc: "Trombones and related issues forum." Subject: Re: Monette Trombone Mouthpieces Message-ID: <3CA15643.23F00E04@earthlink.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit Bart Roberts wrote: > Hello All, > > I am writing to ask about thoughts on Monette Trombone > mouthpieces. Bart, Two thoughts: They will cost too much. They will not make you play better. ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 00:27:08 -0600 From: "Tom Izzo" To: , "Trombones and related issues forum." Subject: RE: Tinnitus Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Earl, At 09:44 PM 3/26/2002 -0600, Robert Holland wrote: >Seems like there are lots of reasons to have developed tinnitus. Mine comes >from adolescent ear infections. Mine comes from a bunch of different vitamins -- Vitamin A-4 Vitamin A-6 Vitamin C-130 Vitamin F-4 Vitamin F-16 Vitamin F-111 They MUST be vitamins, they're good for the country... hahhhhahahahah Of Course don't forget Trombone Vitamins. Bb-F, Bb-F-D, Eb-Bb, et al Tom Earl Earl Needham, KD5XB, Clovis, New Mexico KD5XB-2>APW251,PCSAT-1*:=3425.83N/10313.55W-PHG7150/WinAPRS 2.5.1 -EARL_CLOVIS -251-<630> Did you get a letter from Nigeria offering a "deal"? See http://home.rica.net/alphae/419coal/ and http://www.crimes-of-persuasion.com/Crimes/Business/nigerian.htm ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 03:50:41 -0500 From: "Aaron Roth" To: trombone-l@po.missouri.edu Subject: Re: Monette Trombone Mouthpieces Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Now I'm wondering: I've got a Monette BT-1 which I don't like as well as my Yeo Replica (I can't get that gold plated because I have to have it to play on). I believe it's the biggest mouthpiece Dave makes. Has anyone tried it on a contra? If it doesn't work for that, then I'm going to offload it, because right now it's serving as a brilliantly good-looking paperweight. Any thoughts welcome. -Aaron _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 02:11:12 -0700 From: Dave Tall To: bassrange@hotmail.com, trombone-l@po.missouri.edu Subject: Re: Monette Trombone Mouthpieces Message-ID: <3.0.5.32.20020327021112.02996ab0@mail.comcast.net> MIME-version: 1.0 Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7BIT At 03:50 AM 3/27/2002 -0500, you wrote: >Now I'm wondering: > >I've got a Monette BT-1 which I don't like as well as my Yeo Replica (I >can't get that gold plated because I have to have it to play on). I believe >it's the biggest mouthpiece Dave makes. Has anyone tried it on a contra? >If it doesn't work for that, then I'm going to offload it, because right now >it's serving as a brilliantly good-looking paperweight. Any thoughts >welcome. I tried a BT-1 and thought it was interesting, but not what I was looking for. In particular, articulation seemed to be quite indistinct on it, according to colleagues who listened. They felt fine to me. I came across a BT-1L, which is apparently the same mouthpiece with a larger throat. This one works for me on my Edwards, and I've been using it for a year or so. It doesn't work at all on my Conn bass trombone, and it shouldn't be let near a euphonium. It's not "perfect" on the Edwards, but what is? If you own the BT1, you might try reaming out the throat and see if you like it any better. Of course, Monette says that this will ruin the piece's chakras and disrupt the space-time continuum. I haven't measured how many sizes different the throats are in the two pieces. And I like the Yeo a lot. I traded mine out for a couple of tenor mouthpieces, but I sometimes wish I still had it. It's like anything else; no tool works for everything, no matter what Bob Vila may tell you on behalf of Sears. Dave Tall Bass Trombonist New Mexico Symphony ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 03:28:50 -0600 From: Bruce Faske To: trombone-l@po.missouri.edu Subject: Dave Steinmeyer Message-ID: <001201c1d571$cde1e9c0$2503fea9@Slaveone> MIME-version: 1.0 Content-type: multipart/alternative; boundary="Boundary_(ID_Cu1YD7X1wkTW3Ev7G/GYMw)" Hey list, I just d/led "Feelings" by the Airmen of Note with Dave Steinmeyer playing the bone solo. OH MAN! What great ballad playing, and great, easy high range! I looked for other recordings of him on the net, but couldn't find anything. The latest news I got was that he retired from the military, and I have no idea what he's up to, or if he has any recordings out. Help! Bruce Faske www.faske.net ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 09:58:35 -0000 From: "Steve Cordingley" To: "Trombones and related issues forum." Subject: RE: Tinnitus Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: 7bit Robert Holland Sent: 27 March 2002 03:45 Subject: Re: Tinnitus Seems like there are lots of reasons to have developed tinnitus. Mine comes from adolescent ear infections. My understanding is that the tiniest hairs in the ear canal that correspond to the highest pitches become less elastic and receptive. [Steve's thought is] My understanding fits with yours and the others on the list that have picked up this thread. And of course the medical fraternity don't yet really have a handle on what's going on or what can be done about it so as one Lister put it, ears is strange things. I understand that many hundreds of over the counter and even more prescription medications have Tinnitus among their known side effects. However, loud noises is an obvious known cause. As it happens, I have a gismo here that I'm sending over to a list member to try out. It seems to have a good record in Austria and Switzerland in helping people with Tinnitus caused by environmental noise. It has a much less good record of helping people with Tinnitus caused by drugs, genetic issues, bronchial complaints and so on. I hope he's going to try it working with his ear doctor. If it works for him, I've asked him to pass it on to the next nearest Lister with the problem to let them try it too. Steve in England The ear (over)compensates for the loss by recovering the highest sounds out of balance with the rest. So the whine of equipment (fridge, TV, computer, etc.) tend to be easily noticed. I also notice an extraordinary amount of noise in playback of most recorded music -- especially in public places where volume is forced over quality. Fortunately for me, while the ringing in my ears is omnipresent, I don't find that it yet masks anything I want to ear (that I can tell, anyway) and I've learned to tune it out for the most part. It's sort of like wearing a miner's cap with that light beam shining from the front: it illuminates wherever the beam is directed. Robert Holland Briar Music Press briar@chicagonet.net http://members.aol.com/EnsPub/bmp.htm ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Thu, 28 Mar 2002 00:32:39 +1200 From: "Hamish Dean" To: , "Trombones and related issues forum." Subject: Re: Monette Trombone Mouthpieces Message-ID: <004e01c1d58b$7c4435e0$8b9360cb@slidemo> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Bart, We had the Maynard Ferguson band here last month and as you may already know Maynard plays Monette mouthpieces. His bone player was playing a Monette similar to an 11C and he sounded like a million bucks. If I recall correctly his name was Reggie Watkins although I could be mistaken. he was also the musical director for the band and had arranged some of the charts as well. Anyway he was a great player and sounded very fat, (whether that was to do with the mouthpiece or not we'll never know but I'd suspect he'd sound great on a hosepipe!!!) Hamish ----- Original Message ----- From: "Bart Roberts" To: "Trombones and related issues forum." Sent: Wednesday, March 27, 2002 8:29 PM Subject: Monette Trombone Mouthpieces > Hello All, > > I am writing to ask about thoughts on Monette Trombone > mouthpieces. I am curious to know if anyone has played > the new smaller mouthpieces. > > Any thoughts would be great. > > Thanks > > Bart Roberts > > ______________ > Bart Roberts > Graduate Assistant > Band/Trombone > School of Music > Ball State University > Muncie, Indiana > http://www.bsu.edu/cfa/music/bands > ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 12:02:28 -0000 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Tinnitus Message-ID: <009c01c1d587$5a123b10$987e68d5@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Tom Izzo" > Of Course don't forget Trombone Vitamins. Bb-F, Bb-F-D, Eb-Bb, et al My favourite trombone vitamins are: Dmaj7: G#m11, C#7: F#m7(5-): B7: E9: A+7: D, G9: D. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 07:08:37 -0500 From: "Art Triggs" To: "Trombones and related issues forum." Subject: Re: Tinnitus Message-ID: <008801c1d588$20bcd7c0$f6a315ac@taz> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Interesting that you mentioned this, I had an allergic reaction to cipro a few years ago, part of which was an increase in my already present (too many orchestra pits)tinnitus that won't go away. Caffene affects mine as well, as does anything else that affects my blood pressure as well. Once your hearing is damaged, that's it, there is not all hat much you can do to get it back, it is best to take care of it first. Just my .02 Art Triggs ----- Original Message ----- From: "Roger Hecht" To: "Trombones and related issues forum." Sent: Tuesday, March 26, 2002 11:07 PM Subject: Re: Tinnitus > > > > >I've had tinnitis at an annoying level for a couple of years. I can't > >pinpoint the exact point of onset. Maybe it was from sitting in airliners > >for thousands of hours a year. Maybe it was sitting in from of trumpets > >or behind french horns. I don't know. What I *DO* know is that in my > >case, the degree of ringing is highly correlated with how much caffeine I > >have during a day. Remember that you get caffeine everywhere, coffee, > >tea, Coke, chocolate. If I have one cup of half decaf, half regular > >coffee, and maybe a glass of iced tea at lunch, I'm pretty much free of > >the ringing. But if I step over that line, the results are completely > >predictable. > > Caffeine can be a contributor. Another possible cause that has not been > mentioned is aspirin and NSAIDS (Ibuprofen, etc.). Usually, the tinnitus > they cause will go away when the drugs are discontinued, but not always. > Roger Hecht ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 06:44:15 -0600 From: Scott Moore To: Trombone List Subject: Re: Monette Trombone Mouthpieces Message-ID: <58DFD7FA-4180-11D6-AAF4-0030654DED5E@gustavus.edu> Content-Type: text/plain; charset=US-ASCII; format=flowed Mime-Version: 1.0 (Apple Message framework v481) Content-Transfer-Encoding: 7bit Anyone interested in a gold-plated Yeo bass mouthpiece should visit the Online Trombone Journal classifieds (http://www.trombone.org/classifieds/accessories.asp). The Yeo is a little wide in the rim for me. I've also posted two Eddie bass bells. Scott Moore On Wednesday, March 27, 2002, at 03:11 AM, Dave Tall wrote: At 03:50 AM 3/27/2002 -0500, you wrote: Now I'm wondering: I've got a Monette BT-1 which I don't like as well as my Yeo Replica (I can't get that gold plated because I have to have it to play on). And I like the Yeo a lot. I traded mine out for a couple of tenor mouthpieces, but I sometimes wish I still had it. It's like anything else; no tool works for everything, no matter what Bob Vila may tell you on behalf of Sears. Dave Tall Bass Trombonist New Mexico Symphony Scott Moore Music Department Gustavus Adolphus College Saint Peter, MN 56082 507/933-6260 dmoore@gustavus.edu http://www.gustavus.edu/~dmoore ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 08:11:35 -0500 From: "Dale J. Cruse" To: "Trombones and related issues forum." Subject: Re: need help with some improv Message-ID: <001701c1d590$ece322c0$0302a8c0@desktop> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT One thing I'm surprised no one has addressed on this thread is that the changes Jon needs to blow over are Rhythm Changes (the chord changes to "I Got Rhythm," for those who don't know). There are plenty of other tunes that use Rhythm Changes and many, many soloists have been recorded playing over these changes. Trombonist John Fedchock has a great arrangement of the "Flintstones" theme over Rhythm Changes for big band. Anyway, my point is to listen to these other tunes and soloists for some fresh ideas. Maybe use a quote or a lick from one of these. Another thing that helped me learn to improvise is to remember that even with a fast chart like this with the changes only lasting two beats each there are still common tones. Music isn't being reinvented every two beats. Instead, there are tones that are common that can help you along. For instance in the first bar, the changes are Bb MAJ9 | G7b9. If the Bb MAJ9 contains these tones: Bb, C, D, Eb, F, G, A, Bb, C and G7b9 would be spelled: G, A, B, C, D, E, F, G, Ab we can see that C, D, F, G, and A (sort of) are common to both. D and F are actually chord tones for both. We can also see that the Bb in the first scale is only one-half step away from either A or B in the second scale. Similarly, the Eb of the first scale is only a half step away from D or E in the second scale. We've now covered all the tones and suddenly these changes don't seem so daunting - even if the tempo is quarter note at 200. Continuing this approach through the rest of the tune should simplify some things in the soloist's mind and probably even generate some musical ideas. Good luck. Dale J. Cruse dale@dalecruse.com www.dalecruse.com Professional sites for professional people. ----- Original Message ----- From: "D.J. Kennedy" To: "Trombones and related issues forum." Sent: Wednesday, March 27, 2002 2:34 AM Subject: Re: need help with some improv > you are in deep trouble !!!!!!really deep !!!1there is no easy answer > the iideas must be very inside or its not gonna come out > you might need to try to work out something measure by measure > i would recommend listening also 0for example to jj and sonny rollins > sonny rollins gos a million mph --but instead of trying to match these manuevers > jj lays out a melodic plan and gets across the ideas of speed > miles davis evolved a style coming out of the fast speeding style > dont worry about being able to lay down dizzy gillespe runs > try to to tense up --and just stick close to the melody//head and get > that head and bridge so tight inside your head you are not gonna loose it > if you can get a ppiano player or guitar player to comp with you > slowly push up the tempo on you > i sat in with a blazing fingers keyboard not long ago ---ok i will sit > this one out > had an alto player --joy spring -----you know the type -- > let them have it ---dont worry about it if you cant play cherokee in 12 keys > right now > do what you can do --- > maybe try 8 blazing bars -- > > > Jason Rogers wrote: > > > Jon, > > > > Just a few ideas: > > > > 1) When there is something this fast to play, with this many moving chords, > > you might look for some over-riding concepts that express the essence of the > > tune and that can be expressed more clearly, with fewer notes. > > > > For instance, boil down the changes of the A section a simple framework (one > > of a million ways): > > > > Bb | F7 | Bb | F7 | > > Bb7 | Eb7 | Bb | F7 | > > > > Try playing just 2 ,3 or at most 4 notes a measure here, and making some nice > > song-like phrases on the chord tones, with a little rhythmic interest. > > > > Hopefully, this gets you back in the range of singing a melody. Anything to > > get away from that page and those scales and back to a song. You can get > > more complex from there whenever you're ready. > > > > 2) Hear the form. You especially need to hear the form of a piece if the > > tempo is very fast or very slow (or medium, for that matter :). > > > > Record the bass line, slow, or in tempo, or both. Learn to sing it with and > > without the tape. Do the same with the melody (if it isnt too complex), a > > melody you compose on the simplified chord progression, a guide tone line, > > whatever. Memorizing and singing can cement something in your ear. > > Composing can help do the same. Sing a simple composed solo while playing > > the chords on the piano, or any combination of singing and playing you can > > think of. If you can't comprehend the "spine" of a story, you're not going > > to be able to improvise the details. > > > > 3) It's not a sin to form a game plan for a solo. You dont want to play the > > same solo all the time, but having broad concepts is good. > > > > You could say to yourself: I'll play the first 8 bars in a vertical fashion, > > ie, melodies that come from outlining the chords (can you hear a favorite > > player doing this? Jimmy Cleveland? Hank Mobley?), clearly communicating the > > changes, and the second 8 bars just playing blues / major scale stuff (Benny > > Green?) and that will take me to the bridge, where I will do a rhythmic > > sequence on the chords (JJ?), or show off tonguing on some more scale-like > > passages. Then improvise the details of each concept. Of course, you can > > improvise that game plan as well, but you're making distinctions on the > > character of each section. > > > > 4) Realize that none of this will help one bit if you do not listen to this > > type of music night and day, and really relate to it on some personal level. > > > > J > > > > On Tuesday 26 March 2002 19:12, you wrote: > > > > > > Well I've come into a brick wall of sorts here. I've been working on > > > this piece which we have to improve over at all state jazz tryouts, and > > > I seem to keep using the same ideas over and over again, I've been > > > trying to keep things fresh by starting out on 7ths 5ths and 3rds more > > > and more, but the same plain old stuff keeps cropping up everywhere in > > > my playing. Also, I can't play this piece fast, the tempo is 200, and > > > the chord changes go by fast, and I cant keep up with them. I can take > > > it around 100, but when things speed up, I get some problems. I've > > > talked with my private teacher about this and he gave me some > > > suggestions on what to do, and they are doing a little, so I was > > > wondering if any of you know of any good improvisation techniques. > > > > > > Note: I'm not just looking for a generic "lick" to put somewhere in > > > there, I just need some suggestions on how to keep my stuff fresh, and > > > some ideas you may have about the particular chord changes in the music. > > > > > > Anyways, the music is here: > > > http://home.attbi.com/~mole2k4/improv.jpg > > > > > > And a midi of it is here: > > > http://home.attbi.com/~mole2k4/improv.mid ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 07:21:19 -0600 From: "Jeff Albert" To: , "'Trombones and related issues forum.'" Subject: RE: need help with some improv Message-ID: <001401c1d592$488064c0$8c239d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit For instance in the first bar, the changes are Bb MAJ9 | G7b9. If the Bb MAJ9 contains these tones: Bb, C, D, Eb, F, G, A, Bb, C and G7b9 would be spelled: G, A, B, C, D, E, F, G, Ab =================================================================== Careful. I think what you meant to say is the notes that work on BbMaj9, and notes that work on G7b9. The way it reads now, someone unfamiliar with that sort of thing might think all of those notes are chord tones. Jeff Albert www.jeffalbert.com ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 08:28:12 -0500 From: "Dale J. Cruse" To: "Trombones and related issues forum." Subject: Re: need help with some improv Message-ID: <008a01c1d593$3e4b5e00$0302a8c0@desktop> MIME-version: 1.0 Content-type: text/plain; charset=iso-8859-1 Content-transfer-encoding: 7BIT Jeff, Thanks for your message, but I'm hard pressed to believe that anyone would think those are chord tones. Those would be really wide chords! For clarification, I listed the related scale tones. The chordal spelling of Bb MAJ9 would of course be Bb, D, F, A, C and the chordal spelling of G7b9 would be G, B, D, F, Ab. Listing the chord tones makes it easier to see the related chord tones I mentioned - D, F. Thanks again. Good luck all. Dale J. Cruse dale@dalecruse.com www.dalecruse.com Professional sites for professional people. ----- Original Message ----- From: "Jeff Albert" To: "Trombones and related issues forum." Sent: Wednesday, March 27, 2002 8:21 AM Subject: RE: need help with some improv > For instance in the first bar, the changes are Bb MAJ9 | G7b9. If the Bb > MAJ9 contains these tones: > > Bb, C, D, Eb, F, G, A, Bb, C > > and G7b9 would be spelled: > > G, A, B, C, D, E, F, G, Ab > > =================================================================== > Careful. I think what you meant to say is the notes that work on > BbMaj9, and notes that work on G7b9. The way it reads now, someone > unfamiliar with that sort of thing might think all of those notes are > chord tones. > > Jeff Albert > > www.jeffalbert.com ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 09:22:16 -0500 From: Peter Collins & Sara Wilbur To: "Trombones and related issues forum." Subject: bass trb leadpipes for sale Message-ID: <3CA1D598.D0037595@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi all, Liquidating some assets up here. The following leadpipes are for sale individually or as a group. Also willing to trade for interesting stuff. Edwards B1, B2 Edwards B, C (early leadpipes from before they switched to B1 etc.) 2 Edwards short stubbies (adapters for playing with no leadpipe) $15 each obo, plus S&H from Cambridge, Ontario. All leadpipes are in excellent condition, the B1 has a very small dent in it. I now play on a Callet leadpipe and have no nead for the others. No problems with any of them. Contact me personally at sarapete@sympatico.ca Thanks for your time. Peter Collins Bass Trombone Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 09:29:41 -0500 From: Peter Collins & Sara Wilbur To: "Trombones and related issues forum." Subject: Re: bass trb leadpipes for sale Message-ID: <3CA1D755.1F6B780@sympatico.ca> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi folks, Slight ammendment, I just sold the B1 and B2 leadpipes. All others are still available. Peter Peter Collins & Sara Wilbur wrote: > > Hi all, > > Liquidating some assets up here. The following leadpipes are for sale > individually or as a group. Also willing to trade for interesting stuff. > > Edwards B1, B2 > Edwards B, C (early leadpipes from before they switched to B1 etc.) > 2 Edwards short stubbies (adapters for playing with no leadpipe) > > $15 each obo, plus S&H from Cambridge, Ontario. > > All leadpipes are in excellent condition, the B1 has a very small dent > in it. I now play on a Callet leadpipe and have no nead for the others. > No problems with any of them. > > Contact me personally at sarapete@sympatico.ca > > Thanks for your time. > > Peter Collins > Bass Trombone > Hamilton Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 17:00:00 From: "Daniel Pliskin" To: trombone-l@po.missouri.edu Subject: Re: need help with some improv Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Improvisation is an art, in and of itself. One could easily analyze what the great improvisers did and theorize about the art. But chances are that when that improvisation was played, it was played because the musician thought it would sound good. Want to learn to improvise? Practice improvising. Start with something simple. Try playing a scale, in the key that the tune is written in. What happens? Well it sounds good until you get to some part in the music, when the scale no longer fits. OK, change a note or two, in the scale, so that it will fit and keep going. Boring? Try playing an exercise, in the key of the music, altering that exercise when it doesnât fit with the music. What are you practicing? Youâre practicing making the simplest constructs sound good, in the context of the music. Thatâs all there is to improv. Itâs that simple. But there are two other things. I found one on the web site of some trombone teacher, maybe one of you. Itâs the word ãImpressä crossed out and the word Express written under it. You donât have to resort to silly trombone tricks, to wow the audience. Chances are they wonât sound right, anyway. If you can think of what it is youâd like to play, then go out there are Express it with feeling. Itâs magic. Stage fright dissolves before your eyes. The other thing is that you actually NEED to make mistakes. Take any improv, play it flawlessly and it loses its character. Itâs no longer improv. I just becomes another part, that you learned to fill that empty space in the music. Expect to mistake or two. Happy face time. DanP _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp. ----__ListProc__NextPart____TROMBONE-L__digest_2341 Date: Wed, 27 Mar 2002 16:54:17 -0000 From: "Keith Marr" To: "Trombones and related issues forum." Subject: Don't be defeated! Message-ID: <001101c1d5b0$fc5565e0$bd3086d9@tiny> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit 1. The only posting I've ever sent to this group that's not had a productive response is my request to see if anyone has, or know where I can find, a diagram of the trombone with the various parts labelled. I sometimes get lost in all this talk of leadpipes and goosenecks etc. 2. How do removal leadpipes attach to the instrument, indeed where are they attached? And what is the advantage of having three for an Edwards bone? Go on listers! Don't let this number one defeat you again. I'll be so disillusioned! Keith in Bb/F/D with only one leadpipe, but possibly several goosenecks whatever they are! ----__ListProc__NextPart____TROMBONE-L__digest_2341--