TROMBONE-L Digest 2445 Topics covered in this issue include: 1) Re: question, advice by "D.J. Kennedy" 2) Re: All quiet on the western front? by "Pat & Jo McFarland" 3) RE: A Crack in the Dam? by Steve Gamble 4) RE: A Crack in the Dam? by "Jeff Albert" 5) Re: arranging or transcribing? by "Chuck De Paolo" 6) Re: A Crack in the Dam? by "Corliss" 7) Bb bass clef by "Tom C. Shaddox" 8) Re: question, advice by "David Guion" 9) RE: A Crack in the Dam? by "Jeff Albert" 10) thanks by Dslide13@aol.com 11) Jim Ryon by "Paul D. Kemp, Jr." 12) Re: Bb bass clef by "Adrian Drover" 13) Re: question, advice by "D.J. Kennedy" 14) Robinson mute?? by "WEBSTER, JARED, WEBSTER, JARED home_trans ph-9897758313" 15) Re: arranging or transcribing? by "Aaron Roth" 16) Robinson mute?? by Bruce Guttman 17) Re: question, advice by SteveInside@aol.com 18) Re: Bb bass clef by Walter Barrett 19) Kenton - Back to Balboa by Kenneth Jackson 20) Re: Bb bass clef by "Brennan Arceneaux" 21) Practice in all keys by David Wilken 22) where are these guys? by "greg waits" 23) RE: Practice in all keys by "Jeff Albert" 24) Ward Kimball by Stan Brager 25) RE: Bb bass clef by "Edward Solomon" 26) Re: Bb bass clef by "Adrian Drover" 27) I made the Commonwealth Games!!!!! by "M & S Walker" 28) New Site! by Brian French 29) Re: New Site! by SteveInside@aol.com 30) RE: Practice in all keys by Steve Gamble 31) Re: Practice in all keys by Dslide13@aol.com 32) Re: I made the Commonwealth Games!!!!! by "Adrian Drover" ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 14:00:10 -0500 From: "D.J. Kennedy" To: Dslide13@aol.com Cc: "Trombones and related issues forum." Subject: Re: question, advice Message-ID: <3D2B32BA.B1F844B3@midwest.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit hum doyou have an accurate count from the label of how many cds they are pressing -i mean burning ---if you are getting airplay -haveyour agent make you a little tape to send out to say one test market station -hello im dave gibson -and you are listening to wsiu edwardsville illinois the best jazz in the stlouis metro area follow up with a short interview w ross gentilly that he will play along w your cd -------------------------------------------------- build up your press kit --get head shots the whole bit go back to your hometown get in the newspaper and bask in the glory then get on the local tv say morning show or artist segment feature ---this might be playes months after but get it in the can ---------------- you area product now --- ------------ thelabel has done their part ------you gotta do the hustle now !!! in nyc ---hit the radio stations for interviews -- find out if you have a bump in the sales in a particular market ok new orleans ----call up =defayo and get yourself some contacts you said trombone leader ------ thats the key word -----now what ? get an agent -------50 % --who cares --------no booking no bread ------------------- as you know it is common practice for lables to pass out lotsa promo copies of your cd ------------you need to have lunch with somebody at your lable get an inside person -secretary -to give you a run down -------------- talk to robin about the whole thing --try to book some festival gigs churches weddings anything --- -------- mostly you have emerged -thats the big thing ---you should be thinking next cd while promoing this one -- do some pa's personel appearances at record stores !!!! sit there and sign cds ---- -------- be famous -enjoy it !!!!! ---wear the shirt on the cover take claudia acuna shopping at bloomies schmooze --- take your horn up to the hamptons and practice outside of the yacht club --- ---------- get on dave letterman --with that cd --- public access channel --- -------------- get you slide fixed dude you got a buncha gigs gonna happen most of all give thanks and glory to the source of all and ask for help-----------and when it comes accept it ----- ---------------all that work before ------------------ now it starts ------next level -------------- and what are the heavy hitters on the jc saying talk to brookmeyer -- work on king /umi -----fred powell ---and that artist rep ?? do a fashion show ---art opening ---- conhratullations---------wheres the bus going ???????????? ============================================= call my publicist dude ----get set up --- Dslide13@aol.com wrote: > I'm sure that many of you here are ITA members. I used to be an active > member, but have long since let my membership expire. I think the last year > I was really involved was 1991, when I did the Rosolino Scholarship, in > Rochester. I have a record out (Maya) on a small label (Nagel Heyer) out of > Hamburg, and they have done very little advertising of which I'm aware. I > know there was an ad in the May issue of Downbeat, but that has been the > extent of it. Surprisingly, the record has done quite well on the US jazz > radio chart. That's shocking to have a trombonist/leader on the chart, isn't > it?!? It's been in the "top 40" for around 6 weeks. That's just radio play > though, not sales. If I'm to get another opportunity to make another record > as a leader, I'll have to sell a few, but the label isn't really hooking me > up with advertising or performance opportunities. Does anyone here have any > thoughts about advertising in the ITA Journal? I tend to think that it would > be more productive than advertising in Downbeat...but I don't know. I'm > really proud of the music, but without a tour lined up, I'm not selling a ton > of records. I'm trying to get a tour lined up, but by then the record will > be yesterday's news. I'm lost here......at least the label's doing some > things, but I don't have any ideas about the results of their efforts. > > Advice? Comments? > > David Gibson ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 12:22:45 -0500 From: "Pat & Jo McFarland" To: , "Trombones and related issues forum." Subject: Re: All quiet on the western front? Message-ID: <001301c2276d$413758e0$2f4a4740@yourxu5v9frokn> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I'd welcome some of your Scotish weather!! It's been 90+ (degrees F and % humidity!!) in Iowa. ----- Original Message ----- From: "Adrian Drover" To: "Trombones and related issues forum." Sent: Tuesday, July 09, 2002 10:15 AM Subject: Re: All quiet on the western front? > > From: "Jeff Albert" > > > > I think we are all just sleepy from the warm summer weather. > > > Oh, aren't you lucky. Seems like summer has been cancelled in Scotland this > year. > > A. > > Adrian Drover > ADIOS, Scotland www.adios.co.uk > Personal email: adrian@adios.co.uk > > ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 10:25:31 -0700 From: Steve Gamble To: "'bill752d@attbi.com'" , "Trombones and related issues forum." Subject: RE: A Crack in the Dam? Message-ID: <01C22732.F4C82280.sgamble@tucsonsymphony.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit .The president of Universal Music Group Elabs said the company's motivation was experimental as well as profit-minded. "Our feeling is people are not going to say, 'Boy, I don't have to buy the CD now,' " said Larry Kenswil. "We'll see what happens." Is he kidding? People aren't buying them now. Photocopiers, CD burners, Video players, etc. in the hands of dishonest folk...the bane of ASCAP and BMI. 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: Bill Dinwiddie [SMTP:bill752d@attbi.com] Sent: Tuesday, July 09, 2002 9:54 AM To: Trombones and related issues forum. Subject: A Crack in the Dam? In the interests of breaking the July "All Quiet on the Western Front" syndrome: I spotted this article today. Although I'm not particularly interested in upgrading my Pat Boone collection, if enough older albums by good artists were made available, this thing might fly. I would sure like to see Columbia Records do a similar thing with its vast jazz catalog. Any comments? Stay cool. Bill Dinwiddie bill752d@attbi.com ************************************************************** MAJOR LABEL OPENS OLDIES VAULT TO DOWNLOADERS SAN DIEGO (CBS.MW) -- Universal Music has agreed to allow downloads of older albums from its catalog. Subscribers to Emusic.com (http://www.emusic.com/), who pay $10 to $15 a month, will have access to about 1,000 albums from the 1950s, 1960s and 1970s, in MP3 format. Selections from this catalog can be copied to CDs and portable music devices. "It's a baby step (for the music industry)," Phil Leigh, said vice president of technology research at Raymond James & Associates. "It's also no risk for Universal. The artists being offered, such as Aretha Franklin, B.B. King and Pat Boone are not selling. Any revenues Universal gets are found money." This is the reason, he says, that parent Vivendi Universal (V) isn't worried about CD copies being made by downloaders. In light of smaller CD sales over the last two years, Leigh said, "They've decided to go ahead and make a deal with the devil, because in the past they considered the MP3 format to be a creation of Satan. But now it's the only way to get revenue out of this back catalog. Hear Phil Leigh's comments (http://cbs.marketwatch.com/tvradio/playerfull.asp?guid={ACD51C0C-0041-4 76A- B346-2F0129151ECC}&clip=leigh&type=audio&siteid=mktw&dist=nwtid) .The president of Universal Music Group Elabs said the company's motivation was experimental as well as profit-minded. "Our feeling is people are not going to say, 'Boy, I don't have to buy the CD now,' " said Larry Kenswil. "We'll see what happens." _______________________________________________________________________ ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 12:28:00 -0500 From: "Jeff Albert" To: , "'Trombones and related issues forum.'" Subject: RE: A Crack in the Dam? Message-ID: <000601c2276d$f93abd10$c9209d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit I just joined emusic.com, and I must say it is a pretty good set up. It's not the place to go for mainstream new stuff, but there is a good, easily browseable selection of material. It is good that the majors are trying to figure out how to make the digital delivery method of distribution work, because that is where we are headed, whether we like it or not. Jeff Albert www.jeffalbert.com -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Bill Dinwiddie Sent: Tuesday, July 09, 2002 11:54 AM To: Trombones and related issues forum. Subject: A Crack in the Dam? In the interests of breaking the July "All Quiet on the Western Front" syndrome: I spotted this article today. Although I'm not particularly interested in upgrading my Pat Boone collection, if enough older albums by good artists were made available, this thing might fly. I would sure like to see Columbia Records do a similar thing with its vast jazz catalog. Any comments? Stay cool. Bill Dinwiddie bill752d@attbi.com ************************************************************** MAJOR LABEL OPENS OLDIES VAULT TO DOWNLOADERS SAN DIEGO (CBS.MW) -- Universal Music has agreed to allow downloads of older albums from its catalog. Subscribers to Emusic.com (http://www.emusic.com/), who pay $10 to $15 a month, will have access to about 1,000 albums from the 1950s, 1960s and 1970s, in MP3 format. Selections from this catalog can be copied to CDs and portable music devices. "It's a baby step (for the music industry)," Phil Leigh, said vice president of technology research at Raymond James & Associates. "It's also no risk for Universal. The artists being offered, such as Aretha Franklin, B.B. King and Pat Boone are not selling. Any revenues Universal gets are found money." This is the reason, he says, that parent Vivendi Universal (V) isn't worried about CD copies being made by downloaders. In light of smaller CD sales over the last two years, Leigh said, "They've decided to go ahead and make a deal with the devil, because in the past they considered the MP3 format to be a creation of Satan. But now it's the only way to get revenue out of this back catalog. Hear Phil Leigh's comments (http://cbs.marketwatch.com/tvradio/playerfull.asp?guid={ACD51C0C-0041-4 76A- B346-2F0129151ECC}&clip=leigh&type=audio&siteid=mktw&dist=nwtid) .The president of Universal Music Group Elabs said the company's motivation was experimental as well as profit-minded. "Our feeling is people are not going to say, 'Boy, I don't have to buy the CD now,' " said Larry Kenswil. "We'll see what happens." _______________________________________________________________________ ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 08:44:59 -0400 From: "Chuck De Paolo" To: "Trombones and related issues forum." Subject: Re: arranging or transcribing? Message-ID: <007b01c22746$7057ee40$0200a8c0@ws2> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit James and Adrian bring up an interesting issue. There are actually two somewhat different perspectives on the terms "arrange" and "transcribe." One is from the classical viewpoint, the other from that of jazz/commercial. Adrian has defined the latter very well, however, the terminology is used somewhat differently in the classical world. In the classical milieu (one of my favorite PDQ Bach terms) "transcribing" is when you generally copy note-for-note from one instrument to another without disturbing the line. You can change the key, the clef, and the octave. But the line itself generally stays identical throughout. For example, consider an SATB choral work for trombone quartet - a true transcription would entail assigning the entire Soprano part to trombone 1, Alto to Trombone 2 and so forth. That said, transcribing is quite similar in both the classical and jazz fields, although when one speaks of a jazz transcription, one generally thinks of a solo (or soli) line taken off a record for practice purposes. An arrangement on the other hand is when you substantially alter the line and/or the form of the piece. However, unlike arrangements in the jazz/commercial world, classical arrangers generally do not add intros, alter chord voicings, open up the form for improvised solos, add a shout chorus etc. Instead, the lines are usually altered so that they are parsed out amongst a variety of players, simplified (or made more difficult), or reorchestrated with doublings, etc. In addition, arrangements often entail simplifying or abridging the original work, and less commonly, adding on. To use the above example, that same SATB choral work might be arranged for concert band, 8-part trombone choir (where the lines are broken up amongst 8 distinct parts), or piano trio (violin, cello, piano). In addition, the arranger might choose to simplify it for a middle school band setting, or cut out an especially non-idiomatic section. Another way of looking at it is that arranging is anything other than transcribing. In the case of the McCarty, I would consider what you are doing as an arrangement, since a true transcription would be dubious at best (especially that last movement). However, if you plan to do more that simply experiment, you should seek copyright clearance, as only the copyright holder has the right to make or grant permission to make arrangements. In Music, ---Charles De Paolo, Owner Ensemble Publications P.O. Box 32 Ithaca, NY 14851-0032 607.279.1456 (phone) 607.273.4655 (fax/evening phone) EnsPub@aol.com (E-Mail) http://members.aol.com/EnsPub (Website) ----- Original Message ----- From: Adrian Drover To: Trombones and related issues forum. Sent: Tuesday, July 09, 2002 11:58 AM Subject: Re: arranging or transcribing? From: "James W. Yardley" > I'm just full of questions this week. Maybe my subconcious is trying to > make up for all my lurkiness. Anyways....I have a question about > transcribing....or is it arranging? I did a transcription/arrangement of > the McCarty Sonata. I wrote it for trombones (originally written for > strings). I didn't change the number of measures, and all the pitches are > there, just lower, for trombones. I sorta changed some rhythms. I say > 'sorta' because the rhythm is still there, just broken into two different > parts. So would you say I transcribed this piece or arranged it? I look > forward to reading your responses. Orchestrating is allotting notes to instruments of the band from a pre-composed sketch. The only thing you need to think about here is instrument ranges. Arranging is deciding on form, keys, phrasing, instrumentation, colour, creating original thematic material for intros, modulations, endings and contrapuntal lines. In this respect, the arranger is a composer too. Transcribing is making dedicated replicas, like from an audio recording when the original score has been lost, or you are too mean to buy the score. Having said that, transcribing is great exercise for the ears. Some people are so good at it that they are able to include mistakes in their score that were made in the original recording. I usually end up trying to improve on the original score, which is probably Editing or bringing up to date. Rewriting a string piece for trombones? If the form, phrasing, harmony &c. are preserved, I would call this Re-orchestrating, even if a different key is used, else it is Arranging, or combination of both. There James, you're no clearer about it now than you were before. Bet you wish you hadn't asked. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 14:03:46 -0500 From: "Corliss" To: , "Trombones and related issues forum." Subject: Re: A Crack in the Dam? Message-ID: <002401c2277b$7cfe5aa0$39cb5340@richard> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit I agree with the value of Emusic - one can get much for your money. I'm curious as to how the companies who make the cds found in this program get paid. Richard Corliss ----- Original Message ----- From: "Jeff Albert" To: "Trombones and related issues forum." Sent: Tuesday, July 09, 2002 12:28 PM Subject: RE: A Crack in the Dam? > I just joined emusic.com, and I must say it is a pretty good set up. > It's not the place to go for mainstream new stuff, but there is a good, > easily browseable selection of material. It is good that the majors are > trying to figure out how to make the digital delivery method of > distribution work, because that is where we are headed, whether we like > it or not. > > Jeff Albert > > www.jeffalbert.com > > > -----Original Message----- > From: owner-trombone-l@po.missouri.edu > [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Bill Dinwiddie > Sent: Tuesday, July 09, 2002 11:54 AM > To: Trombones and related issues forum. > Subject: A Crack in the Dam? > > In the interests of breaking the July "All Quiet on the Western Front" > syndrome: I spotted this article today. Although I'm not particularly > interested in upgrading my Pat Boone collection, if enough older albums > by > good artists were made available, this thing might fly. I would sure > like to > see Columbia Records do a similar thing with its vast jazz catalog. > > Any comments? Stay cool. > > Bill Dinwiddie > bill752d@attbi.com > > ************************************************************** > > MAJOR LABEL OPENS OLDIES VAULT TO DOWNLOADERS > > SAN DIEGO (CBS.MW) -- Universal Music has agreed to allow downloads of > older albums from its catalog. Subscribers to Emusic.com > (http://www.emusic.com/), who pay $10 to $15 a month, will have access > to about 1,000 albums from the 1950s, 1960s and 1970s, in MP3 format. > Selections from this catalog can be copied to CDs and portable music > devices. > > "It's a baby step (for the music industry)," Phil Leigh, said vice > president of technology research at Raymond James & Associates. "It's > also no risk for Universal. The artists being offered, such as Aretha > Franklin, B.B. King and Pat Boone are not selling. Any revenues > Universal gets are found money." This is the reason, he says, that > parent Vivendi Universal (V) isn't worried about CD copies being made > by downloaders. In light of smaller CD sales over the last two years, > Leigh said, "They've decided to go ahead and make a deal with the devil, > because in the past they considered the MP3 format to be a creation of > Satan. But now it's the only way to get revenue out of this back > catalog. > Hear Phil Leigh's comments > (http://cbs.marketwatch.com/tvradio/playerfull.asp?guid={ACD51C0C-0041-4 > 76A- > B346-2F0129151ECC}&clip=leigh&type=audio&siteid=mktw&dist=nwtid) > > .The president of Universal Music Group Elabs said the company's > motivation was experimental as well as profit-minded. "Our feeling is > people are not going to say, 'Boy, I don't have to buy the CD now,' " > said Larry Kenswil. "We'll see what happens." > _______________________________________________________________________ > > > > ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 15:01:04 -0500 From: "Tom C. Shaddox" To: trombone-l@po.missouri.edu Subject: Bb bass clef Message-ID: <3D2B4100.3A7F7319@fnc.fujitsu.com> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Something new to me last night @ rehearsal was a part written for "Trombone, Bb Bass clef". A quick glance at the "regular" part explained what "Bb Bass clef" meant, but I was intrigued by the subscript, "World Part". On what world do they regularly play trombone music written in Bb Bass clef - and why? Always enjoy learning something new, Tom Shaddox, 9th chair tenor ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 13:55:19 -0700 From: "David Guion" To: "Trombones and related issues forum." , Subject: Re: question, advice Message-ID: <200207091355.AA64225530@trombone.org> Mime-Version: 1.0 Content-Type: text/plain; charset=us-ascii David Gibson wrote: I have a record out (Maya) on a small label (Nagel Heyer) out of >Hamburg, and they have done very little advertising of which I'm aware. I >know there was an ad in the May issue of Downbeat, but that has been the >extent of it. Surprisingly, the record has done quite well on the US jazz >radio chart. That's shocking to have a trombonist/leader on the chart, isn't >it?!? It's been in the "top 40" for around 6 weeks. That's just radio play >though, not sales. If I'm to get another opportunity to make another record >as a leader, I'll have to sell a few, but the label isn't really hooking me >up with advertising or performance opportunities. I can certainly commiserate with you. My publisher seems to be working harder to hide my book than to market it. I'll be more selective for my next book for just the kinds of reasons you mention. Does anyone here have any >thoughts about advertising in the ITA Journal? I tend to think that it would >be more productive than advertising in Downbeat...but I don't know. Will you be suggesting it to the label? Or are you contemplating paying for your own ad? ITA Journal, of course, is read by lots of trombonists. So are The Trombonist (British Trombone Society) and Brass Bulletin. There are probably similar journals wit a strong jazz readership--other instrumentalists who may not hold your trombone against you when it comes to deciding what records to buy. Besides ads, you may also want to consider trying to get copies of your record into the hands of review editors. It seems to me that favorable reviews would lead to more sales (and more immediate sales) than advertisements. In any case, I hope your label is open to suggestions. -- *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* David Guion "When you swim in the sea And an eel bites your knee-- That's a moray!" david@trombone.org *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* -- ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 16:13:39 -0500 From: "Jeff Albert" To: "'Corliss'" , "'Trombones and related issues forum.'" Subject: RE: A Crack in the Dam? Message-ID: <001a01c2278d$7f215c80$c9209d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit According to the emusic FAQ, the site and the labels (or artists or whoever is getting paid on the supplier end) split the "profits from membership fees" 50/50. I imagine there could be some creative accounting, like the labels do, but the way I see it, it is better than stealing the stuff. Jeff Albert www.jeffalbert.com -----Original Message----- From: Corliss [mailto:rcorliss@mn.astound.net] Sent: Tuesday, July 09, 2002 2:04 PM To: jalbert@bellsouth.net; Trombones and related issues forum. Subject: Re: A Crack in the Dam? I agree with the value of Emusic - one can get much for your money. I'm curious as to how the companies who make the cds found in this program get paid. Richard Corliss ----- Original Message ----- From: "Jeff Albert" To: "Trombones and related issues forum." Sent: Tuesday, July 09, 2002 12:28 PM Subject: RE: A Crack in the Dam? > I just joined emusic.com, and I must say it is a pretty good set up. > It's not the place to go for mainstream new stuff, but there is a good, > easily browseable selection of material. It is good that the majors are > trying to figure out how to make the digital delivery method of > distribution work, because that is where we are headed, whether we like > it or not. > > Jeff Albert > > www.jeffalbert.com > > > -----Original Message----- > From: owner-trombone-l@po.missouri.edu > [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of Bill Dinwiddie > Sent: Tuesday, July 09, 2002 11:54 AM > To: Trombones and related issues forum. > Subject: A Crack in the Dam? > > In the interests of breaking the July "All Quiet on the Western Front" > syndrome: I spotted this article today. Although I'm not particularly > interested in upgrading my Pat Boone collection, if enough older albums > by > good artists were made available, this thing might fly. I would sure > like to > see Columbia Records do a similar thing with its vast jazz catalog. > > Any comments? Stay cool. > > Bill Dinwiddie > bill752d@attbi.com > > ************************************************************** > > MAJOR LABEL OPENS OLDIES VAULT TO DOWNLOADERS > > SAN DIEGO (CBS.MW) -- Universal Music has agreed to allow downloads of > older albums from its catalog. Subscribers to Emusic.com > (http://www.emusic.com/), who pay $10 to $15 a month, will have access > to about 1,000 albums from the 1950s, 1960s and 1970s, in MP3 format. > Selections from this catalog can be copied to CDs and portable music > devices. > > "It's a baby step (for the music industry)," Phil Leigh, said vice > president of technology research at Raymond James & Associates. "It's > also no risk for Universal. The artists being offered, such as Aretha > Franklin, B.B. King and Pat Boone are not selling. Any revenues > Universal gets are found money." This is the reason, he says, that > parent Vivendi Universal (V) isn't worried about CD copies being made > by downloaders. In light of smaller CD sales over the last two years, > Leigh said, "They've decided to go ahead and make a deal with the devil, > because in the past they considered the MP3 format to be a creation of > Satan. But now it's the only way to get revenue out of this back > catalog. > Hear Phil Leigh's comments > (http://cbs.marketwatch.com/tvradio/playerfull.asp?guid={ACD51C0C-0041-4 > 76A- > B346-2F0129151ECC}&clip=leigh&type=audio&siteid=mktw&dist=nwtid) > > .The president of Universal Music Group Elabs said the company's > motivation was experimental as well as profit-minded. "Our feeling is > people are not going to say, 'Boy, I don't have to buy the CD now,' " > said Larry Kenswil. "We'll see what happens." > _______________________________________________________________________ > > > > ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 17:29:35 EDT From: Dslide13@aol.com To: trombone-l@po.missouri.edu Subject: thanks Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit Thanks for all of the comments about my ITA ad query. This is a great forum. I'm sorry it took me so long to sign up. I'll let you know how it goes. David Gibson ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 18:17:45 -0400 From: "Paul D. Kemp, Jr." To: "Trombones and related issues forum." Subject: Jim Ryon Message-ID: <000901c22796$74576f20$eb5a4d0c@bigshark> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit List, Jim Ryon--Please send me an e-mail. I have lost your address. Paul Kemp ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 23:32:51 +0100 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Bb bass clef Message-ID: <002c01c22798$c4c45a70$d8479fd4@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Tom C. Shaddox" > Something new to me last night @ rehearsal was a part written for > "Trombone, Bb Bass clef". A quick glance at the "regular" part > explained what "Bb Bass clef" meant, but I was intrigued by the > subscript, "World Part". On what world do they regularly play trombone > music written in Bb Bass clef - and why? I've seen a few of these parts when playing concert band euphonium. They seem to be abundant in Dutch band publications. Also bass parts in Eb and Bb bass clef. I always opt for non-transposed bass clef or transposed treble clef parts. Too old to start learning other notations. A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 19:39:57 -0500 From: "D.J. Kennedy" To: david@trombone.org Cc: "Trombones and related issues forum." Subject: Re: question, advice Message-ID: <3D2B825D.9398A574@midwest.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit you might even see some up on ebay if the label passes out enough -the disc jockies get so many freebies it is common practice for them to unload their excess plastic at record stores --------reviews such as online journal ----wont hurt also buy a stack of those downbeats from the publisher or thru a newstand buddy -plus have peope write letters to editor etc you could also carry a gig bag stuffed with bubble wrap around especially where you could be seen sa if hustling to lotsa gigs and hand out stacks of web site///biz cards cd promo stuff pretend you are really really really young lean mean hungry for fame i dont know about the pointy bra and white glove thing but i did get comps to go to the experience music project in seattle thats where those objects rest David Guion wrote: > David Gibson wrote: > > I have a record out (Maya) on a small label (Nagel Heyer) out of > >Hamburg, and they have done very little advertising of which I'm aware. I > >know there was an ad in the May issue of Downbeat, but that has been the > >extent of it. Surprisingly, the record has done quite well on the US jazz > >radio chart. That's shocking to have a trombonist/leader on the chart, isn't > >it?!? It's been in the "top 40" for around 6 weeks. That's just radio play > >though, not sales. If I'm to get another opportunity to make another record > >as a leader, I'll have to sell a few, but the label isn't really hooking me > >up with advertising or performance opportunities. > > I can certainly commiserate with you. My publisher seems to be working harder to hide my book than to market it. I'll be more selective for my next book for just the kinds of reasons you mention. > > Does anyone here have any > >thoughts about advertising in the ITA Journal? I tend to think that it would > >be more productive than advertising in Downbeat...but I don't know. > > Will you be suggesting it to the label? Or are you contemplating paying for your own ad? ITA Journal, of course, is read by lots of trombonists. So are The Trombonist (British Trombone Society) and Brass Bulletin. There are probably similar journals with a strong jazz readership--other instrumentalists who may not hold your trombone against you when it comes to deciding what records to buy. > > Besides ads, you may also want to consider trying to get copies of your record into the hands of review editors. It seems to me that favorable reviews would lead to more sales (and more immediate sales) than advertisements. > > In any case, I hope your label is open to suggestions. > > -- > *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > David Guion > > "When you swim in the sea > And an eel bites your knee-- > That's a moray!" > > david@trombone.org > > *^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^*^* > > -- ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 19:26:49 -0400 From: "WEBSTER, JARED, WEBSTER, JARED home_trans ph-9897758313" To: trombone-l@po.missouri.edu Subject: Robinson mute?? Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit HI all- When I sat down to look at the music for a gig i have this weekend, I noticed that there were a few obscure mutes asked for on the parts. What is a Robinson Mute? Of the commonly used mutes (ST, cup, harmon, bucket, etc), which is the closest in sound? Also, is a mega mute sort of like a solotone?? thanks in advance, JARED WEBSTER ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 21:07:06 -0400 From: "Aaron Roth" To: trombone-l@po.missouri.edu Subject: Re: arranging or transcribing? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Gee...my previous post only came about...7 hrs late?? It looks kind of foolish now, so please disregard it.... -Aaron R. From: "Aaron Roth" Reply-To: bassrange@hotmail.com To: "Trombones and related issues forum." Subject: Re: arranging or transcribing? Date: Tue, 09 Jul 2002 11:28:34 -0400 Maybe my subconscious will do something productive too.... :P I'm thinking that the change in instrumentation along with a change in key/octave along with any changes in rhythmic executions constitute an arrangement. The same would hold true without the change in instrumentation, if the example of the Circus Bee march being rewritten in a simpler version for younger bands is in fact also an arrangement. I usually hear transcription coming from preparations by ear, too, but that could just be a focused usage in the jazz community, i.e. transcribing the bass solos from the NYTC album. Now, the Arvo Part Fratres for 8 Cellos could be TrAnScRiBeD for 8 trombones, I believe, if no significant changes occur in the parts (other than, of course, removing the harmonics indications). It's be a hard deal to play up there, but an octave transposition would maybe turn it into an arrangement. How's that sound, condition-wise? -Aaron R. Super-Lurker _________________________________________________________________ Chat with friends online, try MSN Messenger: http://messenger.msn.com _________________________________________________________________ Join the worldâs largest e-mail service with MSN Hotmail. http://www.hotmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 21:13:55 -0400 From: Bruce Guttman To: "Trombones and related issues forum." Subject: Robinson mute?? Message-ID: <200207092114_MC3-1-5C1-E34D@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:jaredwebster@chartermi.net >What is a Robinson Mute? Of the commonly used mutes (ST, cup, harmon, bucket, etc), which is the closest in sound?< There are two Ray Robinson mutes. There is a straight and a cup. The Humes and Berg Stone-Line mutes are closest in construction and sound. >Also, is a mega mute sort of like a solotone??< The Megaphone Mute (often shortened to Mega Mute) is a specific brand name for a mute that is similar in construction to the Solotone (also a brand name) or the Humes and Berg "Clear Tone". Hope this helps. Bruce Guttman Solo Trombone, Hollis Town Band Section Leader, Merrimack Valley Philharmonic Orchestra ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 21:55:34 EDT From: SteveInside@aol.com To: trombone-l@po.missouri.edu Subject: Re: question, advice Message-ID: <111.14df9c41.2a5cee16@aol.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_111.14df9c41.2a5cee16_boundary" Content-Type: text/html; charset="UTF-8" Content-Language: en Forgive me if this has already been posted but my confuser crashed as I sent it and it looks as though it didn't go. There's been some good input into this already but here's my rambling early morning (actually, late night), thoughts. By way of credentials I can say that whilst I've only recently returned to the horn, I've been a PR man for nearly 20 years and worked for myself for the last ten of those. During that time, I've worked for a symphony orchestra and that brought me into contact with record producer and small labels. I've done some work in dance and with a couple of small one-off recording artists and had some input into a PR campaign to give an established tenor a mid-career boost. I don't make money out of any of that stuff, but that's another issue. So what I'm saying is I have some real but not extensive experience in this field. DJ and David have both offered sound ideas and basically they're saying do what you're already doing Ñ be your own PR man. I'd like to take a slightly wider view. The wider view is this. Although guessing like this is a bit fruitless in some ways, I'm going to do it anyway. I'm guessing that the label have burned no more than 5,000 discs (quite possibly less), and if they sell them all they'll be pleased to burn some more but will also be pleased that they backed a good horse. The point isn't whether it's five or ten thousand, but that the number is basically quite small. You've already seen that the more important issue is the next disc and a tour Ñ hopefully putting those together as a package. At that point, sales of your first disc take a boost too. I'm thinking that you have two immediate opportunities: raise your profile in the US and Europe (and maybe Pacific Rim) and raise your profile with the label. I know you're already doing a pretty good job in the US. That profile on US radio stations not turning into mega sales isn't necessarily a problem yet. I or somebody like me can do similar things here in the UK and you could do with someone to help you out in Germany, France and Holland. There's probably only twenty people that you need to know in the UK and similar numbers in each of the other territories will bring your profile up nicely. The label will see your profile rising (especially if you make them aware of it) and you enter the 'interesting artist' box with a hugely better chance of getting the next recording deal and the chance too to tie it into a tour. Your post contained a question, or seemed to, about advertising. The general rule about advertising is that once you have a profile/name that people understand, the ad makes them aware of your gig/recording/T-shirt or whatever. So that's good use of money. You do have a reputation for sure, but at the moment, you need a wider reputation and that will be more powerfully built by other people saying what a great guy/interesting artist/great musician you are. And that means recommendations really so the DJs plugging and playing, the reviewers smiling on you, etc. is where I'd say you need to be right now. Advertising won't be a waste of money, but it will swallow the small amount of money that can be available for this kind of thing in a bit of a rush. The other thing I feel the urge to contribute is this. Someone (at Rath) told me that someone that is now a Yamaha artists had been helping Michael Rath trombones in the UK but Yamaha offered him too much lucre to turn down and Rath aren't big enough to match the big guns' money. Rath are focusing on the US at the moment because they feel that the US leads the market in trombones. It could be that getting hooked up with them or somebody like them could bring an important extra dimension. For them, you're an arriving, rising star. For you, the next time you go on tour, you might have a sponsor Ñ and a sponsor to help with the next recording and so on Ñ worth considering. I don't think they can bring huge budgets Ñ they're small but ambitious. Again, as with the journos and clubs I've mentioned offline, I can help with a name and a contact point though there's really no reason you'd need me to make contact with them (I'm not saying I know them or anything like that, I just know that this stuff happened). I do though, appreciate that you play a 4B and that's not exactly like a handmade Rath in whatever bore they come ... so maybe it's a stupid idea. You do need a press kit of some kind but I think i remember you saying you have quite a lot of stuff. A biog, a release that goes with the CD when it's sent ot rather than just the disc (are they including anything with the disc?), some pics, and DJs idea of a radio tape is great too. There's more than that but it's almost 2.30 in the morning here so I'm off... Hope some of this is of some help. Good luck David. Best wishes, Steve C ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 22:30:18 -0400 From: Walter Barrett To: , "Trombones and related issues forum." Subject: Re: Bb bass clef Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit Thus spake, not Zarathustra, but Tom C. Shaddox... > Something new to me last night @ rehearsal was a part written for > "Trombone, Bb Bass clef". A quick glance at the "regular" part > explained what "Bb Bass clef" meant, but I was intrigued by the > subscript, "World Part". On what world do they regularly play trombone > music written in Bb Bass clef - and why? > > Always enjoy learning something new, > Tom Shaddox, 9th chair tenor > Must be the world where they make Ab trombones. Hmmm, maybe that's where all those English High Pitch G Basses (almost in Ab) ended up... Those parts are good for practicing alto clef down an octave (take away 2 sharps while you're at it). -- Walter Barrett "dont let school get in the way of your edumacation" -d j kennedy Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 22:37:40 -0400 From: Kenneth Jackson To: "Trombones and related issues forum." , "James W. Yardley" Subject: Kenton - Back to Balboa Message-ID: <3D2B9DF4.A681862F@bellatlantic.net> MIME-Version: 1.0 Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Subject: Kenton Bass Trombone Features Date: Mon, 8 Jul 2002 18:49:15 -0700 From: "James W. Yardley" To: "Trombones and related issues forum." Hey everyone, I'm looking for a recording of "Get Out of Town" played by the Kenton band. I heard it's a bass trombone feature. I found the sheet music for it on Sierra's website but I can't find a recording. On the Sierra site it says that it was recorded on "Back to Balboa" but it's on in the track listing on CDNOWs website, the only place I could find "Back to Balboa." Any ideas? Also, I know George Roberts played with Kenton a lot. Did he ever record any features? Thanks for the help. Take care, James Yardley This was recorded at theRendezvous Ballroom, Balboa Beach, California, Jan 20 and 21, 1958. The Lp was " Back To Balboa". I have it on Creative World ST-1031.....there is a " Back To Balboa" that was done by a reunion band I think...this is out on CD............and "Get Out Of Town" featured Kenny Shroyer...... Ken Jackson ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 22:22:19 -0500 From: "Brennan Arceneaux" To: , "Trombones and related issues forum." Subject: Re: Bb bass clef Message-ID: <000701c227c1$003463c0$7e9dcdd1@computer> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit Not to forget the famous messup by R. Strauss. Writing for Tenor-Tubas in Bb in his tone poems (Don Quixote, etc) he transposed them up a step instead of up a ninth with a clef change. Brennan Arceneaux bren77@i-55.com Masters Student: Southeastern Louisiana University Ovation Brass Quintet ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 09 Jul 2002 22:35:31 -0600 From: David Wilken To: Trombone-L Subject: Practice in all keys Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="US-ASCII" Content-transfer-encoding: 7bit A jazz list serve that I subscribe to has recently been debating the usefulness of certain types of practice moving through keys, particularly practicing patterns, licks, and tunes in every key. There are two camps, one which advocates learning all your scales and then concentrating on other things. The other recommends spending time practicing certain things other than just scales in every key. What do you think? Have you ever practiced playing a tune in every key or practiced licks or patterns in every key? If so, did you feel it helped you? If not, do you feel that doing so would have been a waste of your time? Have you ever been to a clinic or master class given by someone who recommended or discouraged this type of practice? Dave -- David Wilken dave@trombone.org http://faculty.adams.edu/~dmwilken ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 00:29:10 -0500 From: "greg waits" To: trombone-l@po.missouri.edu Subject: where are these guys? Message-ID: Mime-Version: 1.0 Content-Type: text/plain; format=flowed Hi all, I am trying to get on touch with a couple of my old trombone buddies from the West Point band days. I was in the "jazz knights" from 1981-'84. (yes, I had my share of jazz knightmares during my three year enlistment!) These two fellows were in the Concert Band. I have no idea if these guys are on this list or not, and if not, perhaps someone on this list knows them?! Phil Rouche Jeffrey Bowell The last I heard, Jeff was still in a military band, possibly the coast guard in New Haven, but I suspect he has retired by now. As for Phil, I have no idea where he went to. Any help will be greatly appreciated! Thanks Greg Waits _________________________________________________________________ Join the worldâs largest e-mail service with MSN Hotmail. http://www.hotmail.com ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 00:30:53 -0500 From: "Jeff Albert" To: , "'Trombones and related issues forum.'" Subject: RE: Practice in all keys Message-ID: <000201c227d2$f5ecafa0$c9209d42@jeff> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit I have never heard anyone actively discourage that sort of practice. I think playing tunes in all 12 keys is vital for several reasons: 1) it helps you really learn what the tune does, not just memorize a certain set of changes in one key. You better understand function that way. 2) It makes you use your ears to make music, if you throw the new keys at yourself fast enough that you can't really think about it. 3) If you ever get a gig backing a singer, s/he will probably call the tune in some stupid key anyway, so you better be able to deal. Learning 5 tunes in all 12 keys really helps you sort out the others that you know when they show up in a weird key. As far as licks in all 12 keys, I think that is great from the angle of instrumental facility. Most of the detractors are probably arguing against a "color by numbers" approach that many licks in all 12 keys proponents sound like they use. That is not the licks fault, it is the players fault. If your brain and fingers and ears work in all 12 keys, you play better improvisations. If you just regurgitate licks, it is a musical deficiency on your part...it would sound even worse if you DIDN'T practice those licks in all 12 keys. I was in a clinic with Rick Margitza once (right after his brief stint with Miles Davis), and he laid out tons of patterns and said "Learn these in all 12 keys to the point that it is automatic for your fingers and ears...then when you get on the bandstand, don't play them." (I paraphrased that) Jeff Albert www.jeffalbert.com -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of David Wilken Sent: Tuesday, July 09, 2002 11:36 PM To: Trombones and related issues forum. Subject: Practice in all keys A jazz list serve that I subscribe to has recently been debating the usefulness of certain types of practice moving through keys, particularly practicing patterns, licks, and tunes in every key. There are two camps, one which advocates learning all your scales and then concentrating on other things. The other recommends spending time practicing certain things other than just scales in every key. What do you think? Have you ever practiced playing a tune in every key or practiced licks or patterns in every key? If so, did you feel it helped you? If not, do you feel that doing so would have been a waste of your time? Have you ever been to a clinic or master class given by someone who recommended or discouraged this type of practice? Dave -- David Wilken dave@trombone.org http://faculty.adams.edu/~dmwilken ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Tue, 9 Jul 2002 23:32:47 -0700 From: Stan Brager To: "'Trombone-L'" Subject: Ward Kimball Message-ID: <01C227A0.EFC7E220.sbrager@socal.rr.com> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Trombonist Ward Kimball's death was reported in this morning's Los Angeles Times. He was 88. To many people he was known for his animation work on Disney classics such as Dumbo, Cinderella, Snow White, Fantasia, and others. He was also a trombonist who formed a Dixieland band while at the Disney Studios. That band was the pace-setting Firehouse Five Plus 2. This band was the inspiration for many young musicians to learn Dixieland and eventually become jazz musicians. Today, several bands in the Los Angeles area emulate the exuberant style of Ward Kimball's Firehouse Five Plus 2. Ward's trombone work was certainly not world class but he played with a spirit which connected with many. Perhaps that's the best that anyone can do. Stan Stan Brager Trombonist-in-Training ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 08:35:07 +0100 From: "Edward Solomon" To: "Trombones and related issues forum." Subject: RE: Bb bass clef Message-ID: MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit > Not to forget the famous messup by R. Strauss. Writing for Tenor-Tubas in > Bb in his tone poems (Don Quixote, etc) he transposed them up a step instead > of up a ninth with a clef change. That was no mess-up. Strauss wrote in the German style for Bb bass clarinet and Bb tenor tuba using the Bb bass clef notation. It's not altogether straightforward, however, and you really need a good understanding of notation practices among different schools of composers to get to grips with which pitch is actually intended. Take a look at Norman Del Mar's excellent book "Anatomy of the Orchestra" - it explains everything. __________________________________________ Edward Solomon British Trombone Society Webmaster mailto:webmaster@trombone-society.org.uk Visit "The Trombonist Online" - the online magazine of the British Trombone Society http://www.trombone-society.org.uk __________________________________________ ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 12:18:57 +0100 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: Bb bass clef Message-ID: <007d01c22803$997aa5c0$d8479fd4@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "Edward Solomon" > That was no mess-up. Strauss wrote in the German style for Bb bass clarinet > and Bb tenor tuba using the Bb bass clef notation. It's not altogether > straightforward, however, and you really need a good understanding of > notation practices among different schools of composers to get to grips with > which pitch is actually intended. Take a look at Norman Del Mar's excellent > book "Anatomy of the Orchestra" - it explains everything. Then how about Wagner's mess up. He started scoring his tenor tubas in Bb (sounding a tone lower) and bass tubas in F (sounding a 5th lower), then later changed the notation to tenors in Eb (sounding a 6th lower) and basses in Bb (sounding a 9th lower) even tho' they were the same instruments. Bet the hornists who had to play the things just loved that. Then Strauss and Bruckner decided to put them both in treble clef, adding another octave to Wagner's original transpositions. Yikes! A. Adrian Drover ADIOS, Scotland www.adios.co.uk Personal email: adrian@adios.co.uk ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 22:16:57 +1000 From: "M & S Walker" To: "Trombone-L" Cc: "Jack Tedrow" , "Gerald Ruether" , Subject: I made the Commonwealth Games!!!!! Message-ID: <010201c2280b$cfb9b240$44f13c3f@ozemail.com.au> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit G'day all, Just wanting to have a little boast. In the upcoming Commonwealth Games (sorta like the Olympics, but not as big) in Manchester, when the athletes march to the podium to receive thier medals, there will be a fanfare played. I'm a member of the band that recorded that fanfare!! There are some nice "bass bone moments", (if I do say so myself) particularly in the Aussie fanfare. Woo Hoo, my 15 minutes of fame, or is that 15 seconds.......... Matthew Walker Bass TRombonist, Opera Australia Walker's Instrument Repair, "The Brassery" ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 08:46:16 -0400 From: Brian French To: "Trombones and related issues forum." Subject: New Site! Message-ID: Mime-version: 1.0 Content-type: text/plain; charset="ISO-8859-1" Content-Transfer-Encoding: 8bit Hi everybody Ñ There's not much to do at my day-job lately and I can't practice at my desk, so I've been writing a little code . . . hey, at least I LOOK busy! When you get a chance, cut and paste this into your browser: http://home.earthlink.net/~valveless Then hire me for a gig! Enjoy (and if you see any mistakes, let me know) Cheers, --Brian ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 09:23:59 EDT From: SteveInside@aol.com To: trombone-l@po.missouri.edu Subject: Re: New Site! Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_bb.22b3b0b8.2a5d8f6f_boundary" Content-Type: text/html; charset="UTF-8" Content-Language: en In a message dated 10/07/02 13:51:56 GMT Daylight Time, valveless@earthlink.net writes: Enjoy (and if you see any mistakes, let me know) Looks great Brian! It all worked (well the bits I tried worked). Just curious Ñ how much space does the site take? Steve C ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 06:52:15 -0700 From: Steve Gamble To: "'jalbert@bellsouth.net'" , "Trombones and related issues forum." Subject: RE: Practice in all keys Message-ID: <01C227DE.55236080.sgamble@tucsonsymphony.org> MIME-Version: 1.0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Hi Jeff, Dave, and All, I don't play much jazz, but I am big on playing etudes and such in all keys, ranges, clefs, dynamics, tempos, and anything else you can think of to keep yourself from getting into a mechanical rut. Jeff alluded to the benefits: you find yourself relying on the musician part of you just to keep your head above water. And your skills develop to a very high level just to satisfy that same musician part of you. Going through all these variations puts such a heavy burden on your technical knowledge that it becomes vividly obvious that trying to "paint by the numbers" results in failure. The conscious mind just can't keep up with all those instructions. I have written out a bunch of warm-up type etudes, a few etudes of varying difficulty, and several duets, each in lots of keys and ranges for my students (of course, I use notation software for the task). The duets are also in bass, tenor, and alto clef. They are part of a little book I have/am putting together that I use as my main teaching tool. My hope is that the emphasis I put on always doing what you're capable of and not sweating the rest will hit home with my students. The natural tendency is to be distracted by what is new to the point of abandoning established skills. Once the first iteration of an etude or duet is learned very well, there is plenty of familiar material to grab on to as we page through the rest of the way IF the students will allow themselves to focus on the familiar instead of being distracted by the unfamiliar. It's amazingly effective. It's also amazing how many of them revert back to playing by the numbers the moment they can. But for a few minutes or more they get a taste of being free from trying to control everything and they begin to understand that the music is not on the page but in their heads. Some actually like that and, believe it or not, some don't. 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: Jeff Albert [SMTP:jalbert@bellsouth.net] Sent: Tuesday, July 09, 2002 10:31 PM To: Trombones and related issues forum. Subject: RE: Practice in all keys I have never heard anyone actively discourage that sort of practice. I think playing tunes in all 12 keys is vital for several reasons: 1) it helps you really learn what the tune does, not just memorize a certain set of changes in one key. You better understand function that way. 2) It makes you use your ears to make music, if you throw the new keys at yourself fast enough that you can't really think about it. 3) If you ever get a gig backing a singer, s/he will probably call the tune in some stupid key anyway, so you better be able to deal. Learning 5 tunes in all 12 keys really helps you sort out the others that you know when they show up in a weird key. As far as licks in all 12 keys, I think that is great from the angle of instrumental facility. Most of the detractors are probably arguing against a "color by numbers" approach that many licks in all 12 keys proponents sound like they use. That is not the licks fault, it is the players fault. If your brain and fingers and ears work in all 12 keys, you play better improvisations. If you just regurgitate licks, it is a musical deficiency on your part...it would sound even worse if you DIDN'T practice those licks in all 12 keys. I was in a clinic with Rick Margitza once (right after his brief stint with Miles Davis), and he laid out tons of patterns and said "Learn these in all 12 keys to the point that it is automatic for your fingers and ears...then when you get on the bandstand, don't play them." (I paraphrased that) Jeff Albert www.jeffalbert.com -----Original Message----- From: owner-trombone-l@po.missouri.edu [mailto:owner-trombone-l@po.missouri.edu] On Behalf Of David Wilken Sent: Tuesday, July 09, 2002 11:36 PM To: Trombones and related issues forum. Subject: Practice in all keys A jazz list serve that I subscribe to has recently been debating the usefulness of certain types of practice moving through keys, particularly practicing patterns, licks, and tunes in every key. There are two camps, one which advocates learning all your scales and then concentrating on other things. The other recommends spending time practicing certain things other than just scales in every key. What do you think? Have you ever practiced playing a tune in every key or practiced licks or patterns in every key? If so, did you feel it helped you? If not, do you feel that doing so would have been a waste of your time? Have you ever been to a clinic or master class given by someone who recommended or discouraged this type of practice? Dave -- David Wilken dave@trombone.org http://faculty.adams.edu/~dmwilken ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 10:25:15 EDT From: Dslide13@aol.com To: trombone-l@po.missouri.edu Subject: Re: Practice in all keys Message-ID: MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="part1_ac.29f73570.2a5d9dcb_boundary" Scales and melodies (licks) should be practiced in all of the keys. You should listen to the masters in order to define what is a melody or a lick. Jazz is a language like any other, and if you learn to speak it then you'll know the melodies. Then you should try to apply those melodies to all of the keys. Slide was, for a time, working on "Freedom Jazz Dance" through the keys. That can be a head trip. I think that if you have your scales down in all of the keys you'll be able to find the melodies a little easier. But before you take it through the keys, you have to have a melody to work with. So.......transcribe, transcribe and transcribe some more. Maybe you transcribe a solo and take it through the keys. That could work.Ê David Gibson In a message dated 7/10/02 12:39:12 AM Eastern Daylight Time, dave@trombone.org writes: A jazz list serve that I subscribe to has recently been debating the usefulness of certain types of practice moving through keys, particularly practicing patterns, licks, and tunes in every key. There are two camps, one which advocates learning all your scales and then concentrating on other things. The other recommends spending time practicing certain things other than just scales in every key. What do you think? Have you ever practiced playing a tune in every key or practiced licks or patterns in every key? If so, did you feel it helped you? If not, do you feel that doing so would have been a waste of your time? Have you ever been to a clinic or master class given by someone who recommended or discouraged this type of practice? Dave -- David Wilken dave@trombone.org http://faculty.adams.edu/~dmwilken ----__ListProc__NextPart____TROMBONE-L__digest_2445 Date: Wed, 10 Jul 2002 16:43:49 +0100 From: "Adrian Drover" To: , "Trombones and related issues forum." Subject: Re: I made the Commonwealth Games!!!!! Message-ID: <001b01c22828$9920c620$d8479fd4@homel29g9mgyk9> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: 7bit From: "M & S Walker" > Just wanting to have a little boast. In the upcoming Commonwealth Games > (sorta like the Olympics, but not as big) in Manchester, when the athletes > march to the podium to receive thier medals, there will be a fanfare played. > I'm a member of the band that recorded that fanfare!! There are some nice > "bass bone moments", (if I do say so myself) particularly in the Aussie > fanfare. Not "Waltzing Matilda" I hope. A. ----__ListProc__NextPart____TROMBONE-L__digest_2445--