Subject: TROMBONE-L Digest - 20 Aug 2002 to 21 Aug 2002 (#2002-39) There are 14 messages totalling 588 lines in this issue. Topics of the day: 1. Arranger F. Dutton 2. [TROMBONE-L] Teaching time 3. Three European Basses 4. Dalcroze Classes in NYC 5. Smiling (6) 6. Vital Capacity 7. Conn 48H (3) ---------------------------------------------------------------------- Date: Tue, 20 Aug 2002 22:52:10 -0700 From: Brad Howland Subject: Re: Arranger F. Dutton Thanks for the tip Chuck. Yes, we will purchase the mechanical licences through the CMRRA. Brad Howland ----------------------------- Date: Tue, 20 Aug 2002 11:33:44 -0400 From: Chuck De Paolo Subject: Re: Arranger F. Dutton For mechanical license to record, you should contact copyright owners of "Let is Snow" and "Here Comes Santa Claus," and not the arranger, F. Dutton. In all likelihood, Dutton does not own the copyright to the arrangements, but rather either received permission to arrange, or made the arrnagements without permission. In Music, ---Charles De Paolo, Owner ------------------------------ Date: Wed, 21 Aug 2002 08:01:16 -0400 From: richardt@LEE.ARMY.MIL Subject: Re: [TROMBONE-L] Teaching time Chris, Yes, I see choir music printed with breaks at the syllables that line up with the notes as well as just typeset. Probably depends on the publishing house. If you really want to see confusion though look at the chants. The tune is printed once, all the verses down below, and notated where you change notes in the verses with dots and apostrophes. You don't really know when the organist will change chords. There may be one syllable on a note or 24 words, supposedly in speech rhythm. Most in the congregation will not sing and the rest degenerate into "Anglican stomp". However when it does click it is very expressive and moving. The most effective method we've come up with is to have the organist mouth the words and the choir read his lips; there are always a few who don't cooperate for reasons of vision or ego usually sopranos but we've made progress with this approach. Dalcroze would seem to require an excess absence of self consciousness which would be difficult in my setting. Without getting into denominational prejudices and holy wars I'll just say some churches seem more suited to it than others. Date: Tue, 20 Aug 2002 23:39:05 -0500 From: Chris McClure Subject: Re: [TROMBONE-L] Teaching time I have to wonder if some things they do in orchestra [like "Mississippi Hotdog", etc.] come from the Suzuki Method since a great deal of string students do start young--the kids who use it do not use music or read rhythms for a few years. They gain confidence in their playing first, then look at the funny black specks. And there are the other methods--Kodaly, Curwen (hand signals for do re mi, etc) Dalcroze Eurythmics (movement and music) and Orff instruments. Consistency is going to be the factor that sticks the most. Since I haven't been out to teach yet, I will ask my sister who has taught elementary music for 8 years. Just curious...have you noticed that some choir music is printed out rhythmically--syllable by syllable in older editions (especially hymnals) and some are "typeset" in the modern way? That alone could scare someone in choir off really reading the music. ------------------------------ Date: Wed, 21 Aug 2002 08:15:27 -0500 From: Scott Moore Subject: Three European Basses I had a chance to play three basses from Europe, posted a review on my site if you are interested. http://www.gustavus.edu/~smoore Scott Moore, Bass Trombone Music Department Gustavus Adolphus College Saint Peter, MN 56082 507/933-6260 down8ve@hickorytech.net http://www.gustavus.edu/~smoore ------------------------------ Date: Wed, 21 Aug 2002 13:02:53 -0400 From: David Fetter Subject: Dalcroze Classes in NYC Here's a note about Dalcroze classes in New York City which I saw today. (Dalcroze was added to Ear Training in the Peabody Conservatory undergraduate curriculum a few yars ago.) ====================== Dalcroze Classes in NYC We would like to announce our upcoming Fall semester classes will begin September 5th. The Open house week will take place during the first week of classes September 5th - 12th. Those of you who wish to secure a spot in a class should call and register before the semester begins. The schedule of classes is available on our website www.dalcroze.com Day and evening classes are available and tuition is approximately $18 per class hour. Visits during open house are FREE, however, you must RSVP via telephone or email. If you have any questions please contact us via email or phone 212-501-3380. We are looking forward to seeing you soon, Sincerely, Yana Joseph Emilie Ball Executive Director Program Assistant Dalcroze School of Music 212.501.3380 129 West 67th Street, New York, NY 10023 ================================= David Fetter Peabody Conservatory and Preparatory Trombone Faculties Associate Dean for Performance Activities and Placement 1 East Mt. Vernon Place Baltimore, MD 21202 David Fetter - Music for Brass (Mostly) Home page: gigue.peabody.jhu.edu/~davidf/ _________________________________________________________________________ This mail sent via toadmail.com, web e-mail @ ToadNet - want to go fast? http://www.toadmail.com ------------------------------ Date: Wed, 21 Aug 2002 16:08:11 -0400 From: Chad Horsley Subject: Smiling I was just wondering if anyone had advise on fixing a smiling problem as you ascend? ---------------------------------------------------------- Chad Horsley 2342 Crimson Lane #5 Crescent Springs, KY 41017 Cincinnati Conservatory of Music (513) 317-6996 Cell phone chorsley8@insightbb.com Primary chadhorsley@hotmail.com Secondary AIM....tbneplyer "Listen louder than you play..." ---Joe Alessi ------------------------------ Date: Wed, 21 Aug 2002 16:32:30 -0500 From: Craig Parmerlee Subject: Re: Smiling At 04:08 PM 8/21/2002 -0400, Chad Horsley wrote: >I was just wondering if anyone had advise on fixing a smiling problem as you >ascend? Concentrate on the muscles closer to the center of the lips. The smiling thing is akin to somebody grabbing the corners of your lips and stretching them taut to make the high notes. The better way to produce the high notes is to form a progressively smaller aperture. That uses different muscles than the smileys. ------------------------------ Date: Wed, 21 Aug 2002 17:22:36 EDT From: Jimkinkella1@AOL.COM Subject: Re: Smiling stop doing it..... What i had to do to deal with that problem was almost start from scratch. I needed to address the problem because of a very weak low range. Nothing was really consistent as far as tone, so what I did was start from a middle Bb, with a technically correct embouchure, and work as hard as possible to get a really good tone. Hours of long tones, moving on to very simple flexibility (2 note slurs!) day after day, along with breathing exercises. During this time my actual ability to play tunes decreased, because my range was seriously limited for a while. I also switched from a 51C4 to a 5G during this time. After a couple of weeks my low range really started to open up. The real pain was getting the air to work right. I talked to everybody I could, and did exercises out the wazoo, and as my air capacity and control got better, so did my range. (tone and pitch, too) Unfortunately it took months to really get back to a decent level playing ability, but after that, as long as I kept on the exercises, every year I got better and better, until I had to get a day job, but we won't talk about that. long story, short recommendation stop doing it long tones, flexibility AIR! jim ------------------------------ Date: Wed, 21 Aug 2002 17:00:19 -0500 From: "Marple, Richard L COL BAMC-Ft Sam Houston" Subject: Re: Vital Capacity I love this List. I get to learn something new every day. And sometimes it's in medicine. Here are a few facts I picked up while researching your question. These are some clips from a reference article: 1. predicted values of pulmonary function depend upon age, height, gender, and race What this means is that in order for your Doctor to know or predict what your Vital Capacity (VC) should be, he will need to factor in all of the above variables. This will give him your predicted VC. Even then it will vary widely. ===== 2. Even when anthropometric factors are taken into consideration, the "normal" range for measurements of pulmonary function remains wide, often 80 to 120 percent of the predicted value. See above comment... ===== 3. Cross-sectional spirometric testing of large healthy populations shows a plateau of lung function between the ages of 20 and 30. So after 30, it's downhill for most of us! ===== 4. The FEV1 falls approximately 30 mL per year FEV1 is the amount of air you can exhale from a full breath, in 1 second. You didn't give us that FEV1, but if we assume your FEV1 is about 2.5 L then Charles, at 63 with 4 litres, you will run out of air at age 146. ===== 5. Cigarette smoking (starting during the early teens) is associated with an earlier peak in lung function and therefore an earlier onset of decline. In addition all of the changes due to aging are accelerated in susceptible cigarette smokers. Those Listers who want to preserve your playing ability, here's one more reason to quit. ===== 6. Taller persons have a larger frame size and a larger thoracic cage than do shorter persons. Consequently, taller persons have: Larger lung volumes Higher maximal flow rates A greater ability to take up oxygen and carbon monoxide per minute. Shouldn't flute players be the tallest people in the orchestra? ===== 7. Healthy African-Americans have spirometric values that are approximately 12 percent lower than whites of the same gender, age, and height. Most of this difference is due to a difference in the ratio of trunk size to standing height, ie, African-Americans have longer legs for a given height. Just thought this was interesting. Gives you insight into the way normal is defined. ===== 8. Body weight is much less important than standing height when predicting most pulmonary function values; as a result, weight is not included in spirometry prediction equations. However, extremes in weight are associated with lower lung volumes: Malnutrition causes reduced diaphragm strength, so that the patient cannot take as deep a breath. Truncal obesity restricts expansion of the chest cage. Loosen that belt guys. ===== Rick Marple San Antonio TX ========================================== -----Original Message----- From: cworth [mailto:cworth@pacbell.net] Sent: Thursday, August 15, 2002 12:04 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: [TBN-L] Vital Capacity 15 Aug 02 Trombone-L, I just got the results from some medical tests. Among them was 'Vital Capacity'. My VC was 4.03 liters. Beyond measurement of capacity, there were a few measurements 'in comparison to predicted results'. In every case, my score was 100% or more. But these 'predicted' measurements are not tailored for wind instrument players and perhaps I only compare well to the run-of-the-mill, smoking asthmatic. I have Donald Knaub's 'Steps to Excellence' VHS tape (circa 1985). On it, he measures his vital capacity with an Inspirometer, comes up with 6.05 liters, and declares 'not bad for an old man'. Although I don't know how old Mr Knaub was in 1985, I wonder, as a 63 year old bass trombonist with two fewer liters less than Donald, if I am fighting a losing battle? Of course, my management of those paltry 4 liters is another matter altogether, and I'm hopeful that surgical repair of a hiatal hernia will serve to improve my diaphragm integrity. As my usual performance requirements are not excessive, I am not seriously contemplating permanent retirement at this point. Perhaps a flood of contrary opinion will re-focus my thoughts. Alan Charlesworth Digest Subscriber ================= ------------------------------ Date: Thu, 22 Aug 2002 00:20:52 +0200 From: Anders Carlsson Subject: Re: Smiling First of all, you must really want to change your embouchure and see the benefits. Otherwise you'll just go back to what your used to. What you need to do is to establish a new behavior and that is best done away from your horn. That is, the lips have to learn another way of working together. How to do that then? Old tip. McDonalds soda straw. Hold the straw horizontal with your lips only (NO TEETH!!!) and work so the lips and corners of the mouth work inward and not outward as in smiling. You can also try to squeeze the straw a bit to flex the muscles involved, like lifting weights. Do this in the car in front of the TV and while your doing other non-trombone things. In the beginning you should feel some fatigue in the corners of the mouth. When you don't feel that anymore, move on to heavier stuff. Short pencil and then long pencil and so on. If you do this it will be easier not to fall back on your smiling behavior when your on the horn. May not work for you but it worked for me and many others. Of course you have to practice on your horn, mouthpiece, free buzzing and so on as well, but to learn a new behavior this can often be a shortcut. /Anders Carlsson chorsley8@insightbb.com writes: >I was just wondering if anyone had advise on fixing a >smiling problem as you >ascend? ------------------------------ Date: Wed, 21 Aug 2002 16:58:10 -0600 From: David Wilken Subject: Re: Smiling > I was just wondering if anyone had advise on fixing a smiling problem as you > ascend? Free buzzing (buzzing without the mouthpiece) can be very useful for developing the strength in the mouth corners to hold them down instead of smiling. Often watching yourself in a mirror to provide yourself with visual feedback can help as well. Good luck! Dave -- David Wilken dave@trombone.org http://faculty.adams.edu/~dmwilken ------------------------------ Date: Wed, 21 Aug 2002 21:08:20 -0400 From: sabutin Subject: Re: Smiling > > I was just wondering if anyone had advise on fixing a smiling >problem as you >> ascend? > >Free buzzing (buzzing without the mouthpiece) can be very useful >for developing the strength in the mouth corners to hold them down >instead of smiling. > >Often watching yourself in a mirror to provide yourself with visual >feedback can help as well. > >Good luck! > >Dave =============== If this doesn't work, try thinking some very sad thoughts. Now once again this may seem like some wise-ass comment (and indeed on one level it is indeed a wise-ass comment ...), but dig it... (I'm sorry; I seem to be posting this little vignette about once a week, but it's always seems so apropos, so...) -Old vaudeville routine-: Patient walks into Doctor's office, raises his arm above his head, and says "It hoits when I do dis. " Doctor says... "Don't DO dat !!!" Well...don't DO dat. HOW not to "do dat"...??? Do very specific and limited exercises from the middle range...makes no difference what, short ascending scales, arpeggios,long tones,intervals, harmonics, while trying to hear them as well and truly as you can...and DON'T DO DAT !!! Eventually you will adjust and adapt to the new approach and it will become part of your reflexive repertoire. Just don't do it. Refuse, at least when you are practicing. Eventually, inevitably, what you practice will migrate over into what you play. Happens every time. So many of the questions I hear about playing really have to do with not taking responsibility for what YOU do when YOU play, when you practice.. You know you shouldn't use a smiling embouchure...so find a way not to. Three weeks later...poof, it's gone. S. P.S. The sad thoughts thing? If you have trouble w/it, think about how sad you will sound if you continue using a smile embouchure. THAT oughta wipe the smile off your face. ------------------------------ Date: Wed, 21 Aug 2002 19:42:57 -0700 From: Elisabeth Frederick Subject: Conn 48H Hi List! I have an opportunity to buy a conn 48H. What are the specs on the horn? I found two that had been on ebay, but there was no significant info. Thanks!! Elisabeth ------------------------------ Date: Wed, 21 Aug 2002 22:01:03 -0500 From: Dilshad Kasmani Subject: Re: Conn 48H Great horn! .500" bore light weight slide w/ 8" nickel plated bell. I've played on a 1963 example for a number of years. They typically have very quick response, and are fairly open playing. They can be dark if need be, but they really can cut. Excellent jazz horns that seem undervalued. Dilshad ----- Original Message ----- From: "Elisabeth Frederick" To: Sent: Wednesday, August 21, 2002 9:42 PM Subject: [TBN-L] Conn 48H > Hi List! > > I have an opportunity to buy a conn 48H. What are the specs on the horn? I > found two that had been on ebay, but there was no significant info. > > Thanks!! > > Elisabeth ------------------------------ Date: Wed, 21 Aug 2002 23:05:48 -0400 From: sabutin Subject: Re: Conn 48H >Hi List! > >I have an opportunity to buy a conn 48H. What are the specs on the horn? I >found two that had been on ebay, but there was no significant info. > >Thanks!! > >Elisabeth ============ It's essentially a souped up 6H... .500 bore. lightweight slides, Nickel-silver plated brass 8" bell. They weren't very popular when they first came out...a little too aggressive, too bright for the way people were playing in the '60s, I think...but they fit in just fine now. Nice horns at a good price, generally. Good luck w/it... S. ------------------------------ End of TROMBONE-L Digest - 20 Aug 2002 to 21 Aug 2002 (#2002-39) ****************************************************************