Subject: TROMBONE-L Digest - 12 Sep 2002 to 13 Sep 2002 (#2002-62) There are 43 messages totalling 1769 lines in this issue. Topics of the day: 1. Want to buy lightweight slide 2. CD series from Holland (3) 3. Fw: laskey 93d bass bone mpc 4. Defense of UMI, and the Valve 'Bone//rebuttal (2) 5. valve trombone 6. My Recommendations for ITF Awards (5) 7. A really shameless plug... (4) 8. Feels so good! 9. From the Philadelphia Inquirer 10. Oktoberfest (was: A really shameless plug...) (6) 11. 3, 33, 66 (3) 12. Snell Quartet 13. How to teach Dolce (3) 14. UMI, Valve trombones, and the R&D obligation (3) 15. Oktoberfest (4) 16. commendations for ITF Awards///valve trombone 17. What first interested YOU in the trombone? 18. diversity in music 19. Fwd: What first interested YOU in the trombone? ---------------------------------------------------------------------- Date: Thu, 12 Sep 2002 23:59:45 -0500 From: Howard Patty Subject: Want to buy lightweight slide Hi I'm a student at the University of North Texas, looking to buy a lightweight nickel slide for a bach 50 bass trombone. If you have a bach 50 with a lightweight slide and selling as a package, I'd be willing to buy that too. But mostly interested in the slide section. Thanks _Howard ------------------------------ Date: Thu, 12 Sep 2002 22:46:32 -0700 From: Kevin Reed Subject: Re: CD series from Holland Andy Martin also recorded a CD with the Metropole Orchestra as the featured soloist. It's difficult to find here in the States, but it's for sale on his website www.drewbone.com. Andy also just finished, last week, recording a new CD with Vic Lewis which includes some Rob Pronk (director of the Metropole) arrangements for trombone and string quartet. It should be released in the Spring. Kevin Reed ----- Original Message ----- From: "eliezer aharoni" To: Sent: Thursday, September 12, 2002 6:49 PM Subject: [TBN-L] CD series from Holland > During a tour in Ankara I found a serie of trombone CD's soloing with the > Metropole > Orchestra. artists are: Bob Brookmeyer, Jiggs Wigham and Bart van Lier. > > All three CD's are very enjoyable, with very nice arrangements of this > full-size light orchestra. > The CD's are from Kock Jazz, printed and Manufactured in Austria - > no adress is > specified on the CD's, but there's an adress of "Friends of the Metropole > Orchestra" - POB 373 - 1200 AJ Hilversum. > > Eliezer Aharoni > Bass Trombonist, Jerusalem Symphony Orchestra > POB 4025, Jerusalem ISRAEL 91040 > Phone ++972 2 5341333 > > Please avoid sending documents as attachments - we usa a Macintosh computer > and in some cases can not convert them. > ------------------------------ Date: Fri, 13 Sep 2002 01:51:47 -0500 From: Charles Levine Subject: Fw: laskey 93d bass bone mpc ----- Original Message -----=20 From: Charles Levine=20 To: JFBermann@aol.com=20 Sent: Thursday, September 12, 2002 12:29 PM Subject: laskey 93d I have a Laskey 93D (like a Shilke 60) Brand New! =20 $55 ppd want it? Charlie ------------------------------ Date: Fri, 13 Sep 2002 14:19:22 +0200 From: Ben van Dijk Subject: Re: CD series from Holland Hi Guys, If you are interested in Metropole Orchestra CD's please go to: http://www.jazz-now.com/jazz/Nederlands/start-nl.asp Here you will find recent releases of the band. There are also some with trombonists like: Jiggs Wigham, Bart van Lier and Bob Brookmeyer. One of my favorite CD's in this series is the one with Bill Hollman. The band plays great, Bart van Lier is playing some great solo's and the bass trombone, Martin v d Berg sounds awesome. All the best, Ben van Dijk Basstrombone Rotterdam Philharmonic Rotterdam Conservatory Royal Northern College of Music, Manchester www.basstrombone.nl ben@basstrombone.nl -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Kevin Reed Sent: vrijdag 13 september 2002 7:47 To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] CD series from Holland Andy Martin also recorded a CD with the Metropole Orchestra as the featured soloist. It's difficult to find here in the States, but it's for sale on his website www.drewbone.com. Andy also just finished, last week, recording a new CD with Vic Lewis which includes some Rob Pronk (director of the Metropole) arrangements for trombone and string quartet. It should be released in the Spring. Kevin Reed ----- Original Message ----- From: "eliezer aharoni" To: Sent: Thursday, September 12, 2002 6:49 PM Subject: [TBN-L] CD series from Holland > During a tour in Ankara I found a serie of trombone CD's soloing with the > Metropole > Orchestra. artists are: Bob Brookmeyer, Jiggs Wigham and Bart van Lier. > > All three CD's are very enjoyable, with very nice arrangements of this > full-size light orchestra. > The CD's are from Kock Jazz, printed and Manufactured in Austria - > no adress is > specified on the CD's, but there's an adress of "Friends of the Metropole > Orchestra" - POB 373 - 1200 AJ Hilversum. > > Eliezer Aharoni > Bass Trombonist, Jerusalem Symphony Orchestra > POB 4025, Jerusalem ISRAEL 91040 > Phone ++972 2 5341333 > > Please avoid sending documents as attachments - we usa a Macintosh computer > and in some cases can not convert them. > ------------------------------ Date: Sat, 14 Sep 2002 08:24:31 -0500 From: "D.J. Kennedy" Subject: Re: Defense of UMI, and the Valve 'Bone//rebuttal bob played a reynolds in his early days his current horn[s] are double trigger minick modified conn 5g valve sections bob said something about 1958 too but my memory is sketchy ------sorry about the twit thing i picked up a parts olds valve bone and sent it to john sandhagen to make another horn for bb that comes apart into three sections thus folding down real small for overhead in planes instead of the anvil case he has been dragging around for years SteveInside@aol.com wrote: > In a message dated 12/09/02 22:17:56 GMT Daylight Time, > djpens@midwest.net writes: > > >> somebody does ------bob brookmeyer ----- > > And beautifully too. Didn't he get his horn specially made back in > the 70s when there were still people around that could do it? He > thought the horn making business was moving in a direction that was > not conducive to creating good trombones esp valve? > > Respect to you > Steve C ------------------------------ Date: Fri, 13 Sep 2002 09:41:09 -0400 From: richardt@LEE.ARMY.MIL Subject: valve trombone Some of you think valve trombone should be larger bore. Maybe. I haven't played a large bore valve trombone, hardly anyone has, but aren't valve trombones normally used in types of playing where one would only use a small bore slide trombone? I have a silver plated Getzen with both slide and valve attachments. When I play it, mostly I sound like me . I rarely use the valve section. But to my ears, the slide section is a hair on the overly symphonic side, like Edwards small bore horns tend to sound like to me. The valve section sounds a bit more Conn-like, if that makes any sense, a little more "tromboney," which I like. The complaints about valve trombone sound are usually in situations where slide trombone would be heavily miked, muted, or obscured with doodle tonguing so I'm not sure how valid they are. I've heard valve trombone sound VERY good in acoustic settings. Not symphonic settings, of course, but jazz types. ------------------------------ Date: Fri, 13 Sep 2002 10:43:00 +0200 From: Dick Sleeman Subject: Re: CD series from Holland Hi listmates, Eliezer Aharoni wrote: > During a tour in Ankara I found a serie of trombone CD's soloing with the > Metropole > Orchestra. artists are: Bob Brookmeyer, Jiggs Wigham and Bart van Lier. > > All three CD's are very enjoyable, with very nice arrangements of this > full-size light orchestra. > The CD's are from Kock Jazz, printed and Manufactured in Austria - > no adress is > specified on the CD's, but there's an adress of "Friends of the Metropole > Orchestra" - POB 373 - 1200 AJ Hilversum. In case you might want to know more of this really great orchestra, just enter "metropole orkest" in Google and you'll get a.o. http://www.metropoleorchestra.com/ http://www.trombone-usa.com/metropol.htm For some reason the text will be partly in Dutch. Dick Sleeman, Lelystad, Holland. ------------------------------ Date: Fri, 13 Sep 2002 10:36:29 EDT From: Dslide13@AOL.COM Subject: Re: My Recommendations for ITF Awards In a message dated 9/12/02 7:21:37 PM Eastern Daylight Time, zemry@BELLSOUTH.NET writes: > Is Bennie Green still living? > I believe Bennie Green is deceased. But Benny Powell is still kicking it, and living life the way it should be lived. I defy anyone to identify a more caring, wonderful person than Benjamin Powell. He's a prince. As I mentioned to DJ offlist, I don't deny BB's genius, or musicianship. I simply was remarking about his chosen instrument. I am very familiar with BB's work. David Gibson dslide13@aol.com ------------------------------ Date: Fri, 13 Sep 2002 10:50:41 -0400 From: Walter Barrett Subject: A really shameless plug... A really shameless plug, or maybe you could call it a warning! Anyway, I'll be performing with Werner Heckmann and the Royal Bavarians at Great Escape theme park in Lake George, NY this weekend and next, celebrating Oktoberfest a bit early. I'll be playing trombone, euph, and alphorn. We'll be in the Bavarian Palace venue, which is right next to the bungee jumping ride. Don't miss this opportunity to see me dressed up in black knickers and knee socks. Hey, it's a gig... Walter Barrett "As you swim the river of life, do the breast stroke. It helps to clear the turds from your path." -George Carlin Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Fri, 13 Sep 2002 10:07:07 -0500 From: "Marple, Richard L COL BAMC-Ft Sam Houston" Subject: Re: Feels so good! OK DJ, if you're not careful what you say, you might get a fat lip. :-). Rick Marple San Antonio TX -----Original Message----- From: D.J. Kennedy [mailto:djpens@midwest.net] Sent: Wednesday, September 11, 2002 11:13 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Feels so good! yeah if pamela anderson learned trombone that would be a bust ---i mean a boost Jason Akai wrote: > Oh my > > Did someone actually bring up Chuck Mangione and Kenny G on this list? Next > thing you know, someone will tell us what a great genius Yanni is. > > Ok, I take that back - I love Chuck's work too. Kenny G - well, actually > its because of him I have grown to dislike the sax sound - specifically the > soprano sax. > > And, the truth is America (where much of the world's popularity is driven) > isn't really interested, as a whole, in talent. What they seem to be > interested in is something that has breasts in smallish outfits, or stupid > guys who "sing" harmonies and do stupid dances all over the stage. > > I just saw American Pie 2. I cringed when Jason (character name Jim) tried > to play the bone upside down. And then at the end when he threw the horn??? > I mean, sure its a student horn, but for the love of GOD! It was worse > than watching a scary movie! It was horrible for those for have not seen it > yet. > > But - that's my point. People don't care anymore about people like us. > There are some who do, but their numbers are few and far between. I dont > know about your groups - but all of the bands I play for usually draw the 75 > and over crowd - and the younger ones come because their loved ones are in > the band. > > Or - maybe the problem has been that the level of excellence we've achieved > so far has not been as excellent as we can - and if someone were to really > shoot out - bigger and better than any trombonist you can name present or > past - then the bone would be on the map. > > Ok, enough of my rambling. Have a great day. > > Jason > > _________________________________________________________________ > Chat with friends online, try MSN Messenger: http://messenger.msn.com ------------------------------ Date: Fri, 13 Sep 2002 11:19:35 EDT From: SteveInside@AOL.COM Subject: Re: Defense of UMI, and the Valve 'Bone//rebuttal In a message dated 13/09/02 14:41:59 GMT Daylight Time, djpens@midwest.net=20 writes: > i picked up a parts olds valve bone and sent it to john sandhagen=20 > to make another horn for bb that comes apart into three sections=20 > thus folding down real small for overhead in planes=20 > instead of the anvil case he has been dragging around for years=20 ----------------------------------------------------------------------------= -- ---------------- Neat idea. Hope it was good. You say 'i picked up a parts olds valve=20 bone'. Does that mean there are Olds valve bones out there? I'm faintly=20 interested in a valve bone at some stage =E2=80=94 listened to BB with Gerry= Mulligan=20 a lot when I was a kid... Steve C ------------------------------ Date: Sat, 14 Sep 2002 10:18:32 -0500 From: "D.J. Kennedy" Subject: Re: My Recommendations for ITF Awards bob ======= composer plays piano and that wily valve bone too so putting him under slide bone is not xxxxxxxxactly the perfect fit -----but where else ?????? hey girls are in it --why not bob too ???????????? talk about divese out of one face ---another face says ???????????? Dslide13@AOL.COM wrote: > In a message dated 9/12/02 7:21:37 PM Eastern Daylight Time, > zemry@BELLSOUTH.NET writes: > > > Is Bennie Green still living? > > > > I believe Bennie Green is deceased. But Benny Powell is still kicking it, > and living life the way it should be lived. I defy anyone to identify a more > caring, wonderful person than Benjamin Powell. He's a prince. > > As I mentioned to DJ offlist, I don't deny BB's genius, or musicianship. I > simply was remarking about his chosen instrument. I am very familiar with > BB's work. > > David Gibson > dslide13@aol.com ------------------------------ Date: Fri, 13 Sep 2002 08:53:23 -0800 From: alex iles Subject: From the Philadelphia Inquirer > Gilbert D. Johnson, trumpeter > > By Peter Dobrin > [Philadelphia] Inquirer Music Critic > > Gilbert D. Johnson, 74, the Philadelphia Orchestra's Grammy-winning > trumpeter whose pearly tones changed expectations of how mellow a > trumpet could go, died Sunday in Miami of kidney cancer. > > Mr. Johnson was the orchestra's principal trumpeter under Eugene > Ormandy from 1959 to 1975 -- a period of unparalleled recording and > broadcast prominence for the orchestra, making his refined sound > unusually influential. He also coached several generations of brass > students at the University of Miami, where he taught from 1975 until > his death, as well as at the Curtis Institute of Music from 1969 to > 1975, and Temple University and the Settlement Music School. > > "He was my image of what an orchestral trumpeter should sound like," > said Roger Blackburn, a Philadelphia Orchestra trumpet player who > studied with Johnson. "It was more lyrical than some of the other > principal trumpeters of the time. He tended to bring more vibrato to > his playing, which made it more of a singing style. We've come back > to that timbre and his school of playing." > > "Gil was very special," said Abe Torchinsky, a Philadelphia Orchestra > tuba player from 1949 to 1972. > > Thin and handsome, with an impish glint in his eye, Mr. Johnson was a > quick wit. > > "When Ormandy was conductor, we used to record like hotcakes, and > sometimes someone would miss a note, and Ormandy would just let it > go," Torchinsky said. "So Gil got wise, and when something started > going wrong, he would start blowing noises so they would have to do > the recording again." > > Born in Turlock, Calif., Mr. Johnson began his career as principal > trumpeter of the Ballet Russes de Monte Carlo, performed with the > Boston Pops, and then played with the New Orleans Symphony from 1952 > until 1958. He graduated from the Hartt School of Music and earned a > diploma from the Curtis Institute of Music in 1950. > > His orchestral recordings under Ormandy earned him admiration mostly > from insiders who knew the man behind rock-solid Sibelius or sinewy > Gershwin solos. > > "He had a terrific sense of balance," said Mason Jones, the former > Philadelphia Orchestra hornist and personnel manager. "When he had to > lead, he did so with great determination and correctness, but when he > had to accompany, he was like a woodwind player." > > But it was in his chamber music that he won wider recognition. The > Philadelphia Brass Ensemble's recording of Antiphonal Music of > Gabrieli (with the Cleveland and Chicago Brass) won a 1969 Grammy for > best classical music record, and the Hindemith brass sonatas with > pianist Glenn Gould remain on shelves today as some of the finest > made. > > Mr. Johnson also played and arranged jazz and was known to sit down > at the piano and play standards. > > His students landed chairs with the Philadelphia Orchestra, the > Dallas Symphony, the Toronto Symphony, and other groups. One of Mr. > Johnson's trumpets is played today by Blackburn, who had it engraved > with Mr. Johnson's name. > > Johnson is survived by his twin daughters, Sharon Johnson and Susan > Tarbe; two sisters; and six grandchildren. His wife of 41 years, > Myra, died in 1998. > > > Contact Peter Dobrin at 215-854-5611 or pdobrin@phillynews.com. > > © 2001 inquirer and wire service sources. > > > ------------------------------ Date: Fri, 13 Sep 2002 11:50:12 EDT From: BassBonist@AOL.COM Subject: Oktoberfest (was: A really shameless plug...) Walter Barrett writes: > I'll be performing with Werner Heckmann and the Royal Bavarians at > Great Escape theme park in Lake George, NY this weekend and next, > celebrating Oktoberfest a bit early. Early? From what I've been told, this is prime time for Oktoberfest since it's usually all over with by October, at least in Germany. Any German players out there care to verify or correct this? Anyway, this is what I was told by a tuba player here in California who plays alot of those gigs and has been in Germany for Oktoberfest. Unless he was drunk at the time, and knowing him..... Matt Varho ------------------------------ Date: Fri, 13 Sep 2002 12:07:24 EST From: Art Triggs Subject: Re: A really shameless plug... In case anyone is wondering, you have not lived until you see my pal Walter play those axes all at once while wearing lederhosen, and doing a bungee jump....it really is special ;-)rotflmao......... Art Triggs (principal bass trombone, nowhere in particular) >A really shameless plug, or maybe you could call it a warning! > >Anyway, I'll be performing with Werner Heckmann and the Royal Bavarians at >Great Escape theme park in Lake George, NY this weekend and next, >celebrating Oktoberfest a bit early. I'll be playing trombone, euph, and >alphorn. We'll be in the Bavarian Palace venue, which is right next to the >bungee jumping ride. Don't miss this opportunity to see me dressed up in >black knickers and knee socks. Hey, it's a gig... > >Walter Barrett > >"As you swim the river of life, do the breast stroke. It helps to clear the >turds from your path." > -George Carlin > > >Yamaha Artist/Clinician >Tenor, Alto, Bass Trombones >Euphonium >Bass Trumpet >Tuba > ------------------------------ Date: Fri, 13 Sep 2002 12:37:45 -0400 From: Walter Barrett Subject: Re: A really shameless plug... Thus spake, not Zarathustra, but Art Triggs > In case anyone is wondering, you have not lived until you see my pal Walter > play > those axes all at once while wearing lederhosen, and doing a bungee jump....it > really is special ;-)rotflmao......... > > Art Triggs > (principal bass trombone, nowhere in particular) Thanks, Art! With friends like you..... ;-) -- Walter Barrett "Jazz is not dead; it just smells funny!" -Frank Zappa Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Fri, 13 Sep 2002 12:41:14 -0400 From: Walter Barrett Subject: Re: Oktoberfest (was: A really shameless plug...) Thus spake, not Zarathustra, but BassBonist@AOL.COM > Walter Barrett writes: > >> I'll be performing with Werner Heckmann and the Royal Bavarians at >> Great Escape theme park in Lake George, NY this weekend and next, >> celebrating Oktoberfest a bit early. > > Early? From what I've been told, this is prime time for Oktoberfest since > it's usually all over with by October, at least in Germany. Any German > players out there care to verify or correct this? Anyway, this is what I was > told by a tuba player here in California who plays alot of those gigs and has > been in Germany for Oktoberfest. > Unless he was drunk at the time, and knowing him..... > > Matt Varho I understand that Oktoberfest in Germany starts in September. However, here in the US, we have the silly notion that Oktoberfest should be in October, otherwise, they would have called it Septemberfest. Walter ------------------------------ Date: Fri, 13 Sep 2002 12:45:30 EDT From: Dslide13@AOL.COM Subject: Re: My Recommendations for ITF Awards In a message dated 9/13/02 11:36:00 AM Eastern Daylight Time, djpens@midwest.net writes: > hey girls are in it --why not bob too ???????????? > talk about divese out of one face ---another face says ???????????? > DJ, No offense intended in any of my posts, but I really don't get your logic with this last post. We're talking about diversifying the ITA. It's the International "Trombone" Association. I could see how you might make a case that including valve trombone would be a diversification of the organization, but by making a gender comment you seem a little sexist, in my opinion. I thought it would be understood that anyone who played slide trombone would be a potential member/participant regardless of gender or ethnicity. Comparing BB's situation to the persecution that women and various ethnic groups have experienced seems a little funny. Unless, of course, you believe that Bob has experienced the same degree of prejudice and persecution as other groups. Maybe I'm taking it a little far on this, but I just don't see the connection between admitting women and admitting BB. They seem like different issues. Bob does play a trombone, but it's not the same kind of trombone that the majority of people play. I mean MAJORITY. I only know 2 other valve trombonists other than Bob. That's in my entire life. I would not even characterize these issues as remotely the same. I will say again...for the record...that I think BB is an amazing musician, composer, intellect, pianist and valve trombonists. My tongue was slightly in cheek when I made my initial post. Here it is again for your review. I will not be posting about this topic again. I'm not upset or annoyed, I just don't see the point. Here's the original: In a message dated 9/12/02 9:58:29 AM Eastern Daylight Time, zemry@BELLSOUTH.NET writes: > My recommendations for ITF awards: > 1. Bob Brookmeyer. > 2. Slide Hampton. > 3. Curtis Fuller. > 4. Eddie Bert. > 5. All of our military trombonists. > As great as Brookmeyer is....you can't put him on a list above slide trombonists!?!?!? What about Benny Powell? or Al Grey? Those are two guys who've said sooooooo much utilizing the trombone as their voice. DG David Gibson dslide13@aol.com David Gibson dslide13@aol.com ------------------------------ Date: Fri, 13 Sep 2002 11:49:22 -0500 From: Fred Hudson Subject: Re: Oktoberfest (was: A really shameless plug...) Matt Varho asks: > Early? From what I've been told, this is prime time for Oktoberfest since > it's usually all over with by October, at least in Germany. Any German > players out there care to verify or correct this? Anyway, this is what I was > told by a tuba player here in California who plays alot of those gigs and has > been in Germany for Oktoberfest. > Unless he was drunk at the time, and knowing him..... > This was true back in the 50's when I was stationed there by Uncle Sam and have no reason to believe it has changed. Oktoberfest is like a State Fair complete with Agricultural exhibits and Awarding of prizes etc.; a huge Midway and of course the Beer "Tents" which are permanent buildings. In the 50's there were seven "tents" - one for each of the Munich breweries - each had a seating capacity of about 7000 and standing room for thousands more. Parades through downtown Munich started in September and were staged every Saturday. everything was over by mid-October. ------------------------------ Date: Fri, 13 Sep 2002 12:06:11 -0500 From: Gary Greenhoe Subject: Re: My Recommendations for ITF Awards Hi List, I'm in agreement with David regarding BB. I have listened to him for over 50 years, think he's done a lot in the advancement of trombone and jazz. But I can't consider him a true trombonist in the same sense that the others on your list are. There's just something enough different about the instrument and the sound in the end that doesn't communicate to me in the way the slide does. And as far as UMI goes, why should they commit big $$$'s and time on an instrument that has small numbers in production? There are so many other instruments that I feel are higher on the critical list for them to develop..like another great bass trumpet, or more emphasis on small bore horns. They have not ventured back into their plethora of stunning conical bore horns for decades....and there are many that would sell in much larger numbers than the valved version. Don't get me wrong....I'd love to slap 4 rotary valves on one...but I think the demand is much higher for a number of other sweet horns that do have a legitimate place in all of our arsenals. Give them credit for what they are actually doing...it's the only major manufacturer these days that has a real agenda for development, and the examples they are now producing show their commitment. gary -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of Dslide13@AOL.COM Sent: Friday, September 13, 2002 11:46 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] My Recommendations for ITF Awards In a message dated 9/13/02 11:36:00 AM Eastern Daylight Time, djpens@midwest.net writes: > hey girls are in it --why not bob too ???????????? > talk about divese out of one face ---another face says ???????????? > DJ, No offense intended in any of my posts, but I really don't get your logic with this last post. We're talking about diversifying the ITA. It's the International "Trombone" Association. I could see how you might make a case that including valve trombone would be a diversification of the organization, but by making a gender comment you seem a little sexist, in my opinion. I thought it would be understood that anyone who played slide trombone would be a potential member/participant regardless of gender or ethnicity. Comparing BB's situation to the persecution that women and various ethnic groups have experienced seems a little funny. Unless, of course, you believe that Bob has experienced the same degree of prejudice and persecution as other groups. Maybe I'm taking it a little far on this, but I just don't see the connection between admitting women and admitting BB. They seem like different issues. Bob does play a trombone, but it's not the same kind of trombone that the majority of people play. I mean MAJORITY. I only know 2 other valve trombonists other than Bob. That's in my entire life. I would not even characterize these issues as remotely the same. I will say again...for the record...that I think BB is an amazing musician, composer, intellect, pianist and valve trombonists. My tongue was slightly in cheek when I made my initial post. Here it is again for your review. I will not be posting about this topic again. I'm not upset or annoyed, I just don't see the point. Here's the original: In a message dated 9/12/02 9:58:29 AM Eastern Daylight Time, zemry@BELLSOUTH.NET writes: > My recommendations for ITF awards: > 1. Bob Brookmeyer. > 2. Slide Hampton. > 3. Curtis Fuller. > 4. Eddie Bert. > 5. All of our military trombonists. > As great as Brookmeyer is....you can't put him on a list above slide trombonists!?!?!? What about Benny Powell? or Al Grey? Those are two guys who've said sooooooo much utilizing the trombone as their voice. DG David Gibson dslide13@aol.com David Gibson dslide13@aol.com ------------------------------ Date: Fri, 13 Sep 2002 13:09:29 -0400 From: richardt@LEE.ARMY.MIL Subject: 3, 33, 66 Well, personally, I'll vote for 1, 49, 49. (% of tone affected by material, shape, and player respectively, for those who missed the start of this thread) If the math doesn't add up, so be it, that's my story and I'm sticking to it. Now how in the world could we settle this argument? I cannot think of a decent experiment to quantify those effects. I think material is overrated by everybody. But on further thought, maybe player is also overrated. Doesn't even a beginner sound distinctly different on French horn, trombone, and bass trumpet, all in the same tubing length, but of different shapes? For that matter, doesn't a beginner sound different on cornet and trumpet? Can a pro make a cornet sound just like a trumpet, or vice versa? (on the other hand, Tim Richardson and Doug Wright are known to play the same vintage 42B somewhat differently!) Shape includes bore size, mouthpiece and leadpipe shape, curvature through crooks and valves, bell size and quickness of flare, etc. - everything to do with shape of the enclosed wind column. Material includes alloy, lacquer or other coating, bracing or other effects on structural vibrations, and mass. Okay, I'm changing my vote, and this is my final offer. 2%, 60%, 40%. I know how we could get one data point. Have Doug and me play the same horn for a sound spectrum, and analyze the amount of overtones. That difference is probably the maximum possible player difference. (while you can't compare my feeble efforts to his artistry, at some level we both sound like a trombone. hmmh. ) ------------------------------ Date: Fri, 13 Sep 2002 11:32:00 -0600 From: william david proctor Subject: Re: Snell Quartet Contact Don Hough, trombone instructor at the University of Tennessee, at donhough@aol.com. The piece, scored for a trombone choir with 4 altos and 4 basses plus a few tenors, was written for the University of Tennessee trombone choir when I was a member. Great piece for an opener; our audiences really seemed to like it. David Proctor bass trombone University of New Mexico --On Thursday, September 12, 2002 7:07 AM -0500 Nancy Vogt wrote: > Dear Trombonists, > > I'm looking for Fanfare for the Third Millennium by Keith Snell (sheet > music). Hickeys and Robert King do not list it online. Anybody know where > I can find this piece? > > Thanks, > Nancy Vogt ------------------------------ Date: Fri, 13 Sep 2002 12:11:09 -0600 From: Dennis Clason Subject: Re: Oktoberfest (was: A really shameless plug...) Oktoberfest was started to honor some Bavarian princess or another's birthday. When the change to the Gregorian calendar came along, they moved the festival without changing the name. So, Oktoberfest is in September in its southern German home. Auf Weidersehen, you all Dennis > -----Original Message----- > From: Trombones and related issues forum. > [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of Walter Barrett > Sent: Friday, September 13, 2002 10:41 AM > To: TROMBONE-L@PO.MISSOURI.EDU > Subject: Re: [TBN-L] Oktoberfest (was: A really shameless plug...) > > > Thus spake, not Zarathustra, but BassBonist@AOL.COM > > > Walter Barrett writes: > > > >> I'll be performing with Werner Heckmann and the Royal Bavarians at > >> Great Escape theme park in Lake George, NY this weekend and next, > >> celebrating Oktoberfest a bit early. > > > > Early? From what I've been told, this is prime time for > Oktoberfest since > > it's usually all over with by October, at least in Germany. Any German > > players out there care to verify or correct this? Anyway, this > is what I was > > told by a tuba player here in California who plays alot of > those gigs and has > > been in Germany for Oktoberfest. > > Unless he was drunk at the time, and knowing him..... > > > > Matt Varho > > I understand that Oktoberfest in Germany starts in September. > However, here > in the US, we have the silly notion that Oktoberfest should be in October, > otherwise, they would have called it Septemberfest. > > Walter ------------------------------ Date: Fri, 13 Sep 2002 13:42:52 -0400 From: Richard Johnson Subject: Re: My Recommendations for ITF Awards Oops!!! I meanr to say Benny Powell! -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of Dslide13@AOL.COM Sent: Friday, September 13, 2002 10:36 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] My Recommendations for ITF Awards In a message dated 9/12/02 7:21:37 PM Eastern Daylight Time, zemry@BELLSOUTH.NET writes: > Is Bennie Green still living? > I believe Bennie Green is deceased. But Benny Powell is still kicking it, and living life the way it should be lived. I defy anyone to identify a more caring, wonderful person than Benjamin Powell. He's a prince. As I mentioned to DJ offlist, I don't deny BB's genius, or musicianship. I simply was remarking about his chosen instrument. I am very familiar with BB's work. David Gibson dslide13@aol.com ------------------------------ Date: Fri, 13 Sep 2002 18:47:05 +0000 From: Daniel Pliskin Subject: Re: 3, 33, 66 >Well, personally, I'll vote for 1, 49, 49. (% of tone affected by >material, >shape, and player respectively, for those who missed the start of this >thread) I just keep telling myself “I’m NOT contrary! I’m NOT contrary!” But if I imagine all the possible shapes that a trombone can’t be, it’s really astounding. If I then round those percentages off, it comes out to be some thing like (0, 107, 0). Remember, for reasons unknown, the math has to not add up, for this thread. It’s kind of like the guy at the bar complaining that he and his wife have an unspoken agreement and she won’t tell him what it is. DanP _________________________________________________________________ Join the world’s largest e-mail service with MSN Hotmail. http://www.hotmail.com ------------------------------ Date: Fri, 13 Sep 2002 15:04:01 -0400 From: "David A. Schwartz" Subject: How to teach Dolce Dear List, My next volume of Bordogni vocalises has twenty-eight passages marked Dolce in twelve exercises. I would like to offer guidance for teen-aged students in my Practice Suggestions. What words best describe how to play or sing Dolce passages? How do you know when the Dolce instruction lapses? David David A. Schwartz Bordogni web site: http://www.nyx.net/~dschwart/ ------------------------------ Date: Fri, 13 Sep 2002 14:08:00 -0500 From: Craig Parmerlee Subject: UMI, Valve trombones, and the R&D obligation At 12:06 PM 9/13/2002 -0500, Gary Greenhoe wrote: > Give [UMI] credit for what they are >actually doing...it's the only major manufacturer these days that has a real >agenda for development, and the examples they are now producing show their >commitment. I guess that Yamaha would dispute that. And after those two, one wonders if there are any other makers that could fairly be called "major" -- perhaps Boosey. Certainly UMI are due credit for getting back in the game after seemingly sitting on a bunch of decades-old products for such a long time. But on the other hand, I think it is fair to expect these companies to do a reasonable amount of ongoing R&D. You raise a fair question of priorities. Should UMI/Yamaha/Boosey put their R&D dollars into a new alto horn or a modern valve trombone? That is a decision they have to make. However, I would point out that lots of companies did make an investment in valve trombones many years ago. The product that they conceived, for the most part, just doesn't make a lot of sense to most trombonists. Almost all valve trombones made today are closer to a modern trumpet bore than a mainstream trombone bore. That gives the instrument a constrained sound, a very unfamiliar resistance level, and not a lot of heft. It makes perfect sense as a doubling instrument for trumpeters, but not as a serious double for most trombonists. So when we say that UMI shouldn't invest in valve trombones because there is no market, that is to say that the market for old trumpeters with failing chops must be down. That isn't our concern. UMI can't know what the market size for a good modern technology valve bone with proportions that make sense to a trombonist because they have never offered one. I, for one, would be eager to buy such a valve section if it were compatible with my investment in trombone bells and were offered at a fair price. I'm betting there are many more players like me out there. As I've argued here before, as much as we love the slide trombone, an audience can only take so much of one sound. They enjoy variety. And while a V.Trb. plays in the same tessatura as the slide tenor, it does deliver a whole different sound/style characteristic and visual thing that creates audience interest. One of these days, I guess I'm going to have to have one of these commissioned myself. Now where did I put that lottery ticket? Cheers, CP ------------------------------ Date: Fri, 13 Sep 2002 15:27:25 EDT From: BJMCHAFFIE@AOL.COM Subject: Re: Oktoberfest (was: A really shameless plug...) In Munich last year it was going on for the first three weeks of October. beldon wade ------------------------------ Date: Fri, 13 Sep 2002 15:36:01 -0400 From: Dave Wank Subject: Oktoberfest ----- Original Message ----- From: "Dennis Clason" To: Sent: Friday, September 13, 2002 2:11 PM Subject: Re: [TBN-L] Oktoberfest (was: A really shameless plug...) > Oktoberfest was started to honor some Bavarian princess > or another's birthday. When the change to the Gregorian > calendar came along, they moved the festival without > changing the name. > > So, Oktoberfest is in September in its southern > German home. > > Auf Weidersehen, you all > > Dennis > Just about the time that the last village has finished its annual Schützenfest! Never a dull moment over there. dave wank ------------------------------ Date: Fri, 13 Sep 2002 14:47:39 -0500 From: Craig Parmerlee Subject: Re: How to teach Dolce At 03:04 PM 9/13/2002 -0400, David A. Schwartz wrote: >My next volume of Bordogni vocalises has twenty-eight passages marked Dolce >in twelve exercises. I would like to offer guidance for teen-aged students >in my Practice Suggestions. > >What words best describe how to play or sing Dolce passages? How do you >know when the Dolce instruction lapses? I don't know that this can be taught. I think it is a "lead a horse to water" proposition. Dolce means a beautiful sound. The performer must have developed a concept of a beautiful sound and all that entails: timbre, dramatic crecendos, freedom of time, emphasis of key notes. It really has to be learned by listening, I believe. But if I had to write one instruction in a book, I think it would be this. In most music, it is good advice to "never fall in love with your own tone", meaning that you must remain alert to match the rest of the ensemble in time, style, and balance. If and only if the part is marked "dolce", go ahead and fall in love with your own tone for a little bit. ------------------------------ Date: Fri, 13 Sep 2002 14:59:42 -0500 From: "Dr. Carole Nowicke, Applied Health Science" Subject: Re: Oktoberfest On Fri, 13 Sep 2002, Dave Wank wrote: > > calendar came along, they moved the festival without > > changing the name. > > > > So, Oktoberfest is in September in its southern > > German home. > > > Just about the time that the last village has finished its annual Schützenfest! Never a dull moment > over there. Let me get this straight, they start drinking *after* they finish shooting, or these two celebrations are concurrent? Carole "They celebrate Fish Flies in Marine City, Michigan" Nowicke cnowicke@indiana.edu ------------------------------ Date: Fri, 13 Sep 2002 16:04:16 -0400 From: bonearzt@MINDSPRING.COM Subject: Oktoberfest Prosit!!! I always understood it was a celebration for the end of a prosperous harvest. Like we really need a reason to party, eat & drink good beer! Thanks Eric Edwards bonearzt@mindspring.com "Just shut up and play!" Thanks Eric Edwards bonearzt@mindspring.com "Just shut up and play!" ------------------------------ Date: Fri, 13 Sep 2002 14:25:18 -0800 From: alex iles Subject: Re: How to teach Dolce Hi all, Craig Parmerlee wrote: > At 03:04 PM 9/13/2002 -0400, David A. Schwartz wrote: > >My next volume of Bordogni vocalises has twenty-eight passages marked Dolce > >in twelve exercises. I would like to offer guidance for teen-aged students > >in my Practice Suggestions. > > > >What words best describe how to play or sing Dolce passages? How do you > >know when the Dolce instruction lapses? > > I don't know that this can be taught. I think it is a "lead a horse to > water" proposition. Dolce means a beautiful sound. The performer must > have developed a concept of a beautiful sound and all that entails: timbre, > dramatic crecendos, freedom of time, emphasis of key notes. It really has > to be learned by listening, I believe. I agree that listening is important, but this is not necessarily a "ya either got it or ya don't" situation. The words composers and editors use for musical instruction can help establish a certain kind of musical mood. "Dolce" implies, to me, "sweetly", not just some generic or vague idea of"beautiful sound". I studied for a summer with a teacher [Ron Borror] who liked to describe a continuum of "espressivo and dolce". On one side was an all out "espressivo"...passionate, chillingly expressive, LOTS of drama and dynamic contrast, maybe with a tenor-at-the-end-of-an-opera kind of approach. On the other side was "dolce"...simple, sweet, unadorned, demure, fewer dynamic shifts, but no less beautiful. Between these two extremes are an infinite range of musical emotions. It is fun to experiment with varying shades of these extremes as you play through the Bordogni vocalises [or any ballad, song or passage for that matter]. The RIGHT kind of teacher can help a student to develop his/her OWN range of emotion and IMAGINATION in the music. Sometimes it is just a matter of introducing a concept like this "espressivo/dolce" spectrum. It sure stuck with me! "Dolce" implies a mood of given piece, not just a list of certain specific musical qualities. "How do you know when the Dolce instruction lapses?" There are usually little clues. Big dynamic shifts, tempo shifts, changes in articulation. THAT answer is probably gained through the development of a student's musical instincts, but there is often variation from performer to performer [here, I would totally agree that listening to other performers handling the challenge is the best teaching method!!]. You kind of have to settle on your OWN way and PRESENT it [SELL it!!] to an audience in a performance. Alex ------------------------------ Date: Fri, 13 Sep 2002 17:54:24 -0400 From: Steve Beck Subject: Re: 3, 33, 66 From: Doesn't even a beginner sound distinctly different on French horn, trombone,> and bass trumpet, all in the same tubing length, but of different shapes? Tim, I like your reasoning here, but lets stick with just trombones for a minute. We are always spouting off about a Conn Sound, Bach sound etc. Lets talk about bore size, and brand names as "shape" and metal composition as material. Now what are the %? I certainly don't know, but applying the well known hemorrhoid formula I'll take a guess anyway. I vote 10% due to material; 35% due to shape; 55% due to player; Pardon the fact that my math adds up. -Steve ------------------------------ Date: Fri, 13 Sep 2002 16:51:35 -0500 From: Wayne Dyess Subject: Re: commendations for ITF Awards///valve trombone At 4:25 PM -0500 9/13/02, D.J. Kennedy wrote: >umi is definitely ---on it with the modifications to the 88h ---the 88 >has made a big comeback --the 3b sil sonic - the 8d french horn >--constantly great > new trumpet lines ---umi quality is high --- ========= Well, maybe. Maybe not. Call me a purist. Those of you who have been on the list a year or more will probably recall that I am somewhat of a Conn 88H fan. I've played them all my life. I've owned several and continue to play the 88H-SGX with mostly joy (I'm not fond of the F side). I have a student who bought a silver 88H his senior year in high school. After two years of college, he's decided that the horn is too "bright" and wants something darker. He's been happy with the 88H, however, and therefore wanted to buy another -- this time in a "gold" lacquer, or "red brass" variety. I called our local music dealer and had two sent over. Nice to have that luxury. While I liked the red brass very much, I have to tell you that the other was no where NEAR what I would classify as an 88H. It had a dual bore slide, exchangeable lead-pipes, and nothing about it FELT nor PLAYED like a classic 88H. In short -- I hate it. I wanted to like it. I really did. The slide felt terrific. But if you're looking for that 88H feel and sound, buyer beware. KNOW what you're looking for and do your homework. A somewhat disappointed Conn man, Wayne Dyess -- ========================= Dr. J. Wayne Dyess, Professor of Music Lamar University Music Department P. O. Box 10044 Beaumont, Texas 77710 409-880-8146 FAX: 409-880-8143 dyessjw@hal.lamar.edu http://www.lamar.edu ------------------------------ Date: Fri, 13 Sep 2002 19:24:06 -0400 From: Dave Wank Subject: Re: Oktoberfest ----- Original Message ----- From: "Dr. Carole Nowicke, Applied Health Science" To: Sent: Friday, September 13, 2002 3:59 PM Subject: Re: [TBN-L] Oktoberfest > On Fri, 13 Sep 2002, Dave Wank wrote: > > > > calendar came along, they moved the festival without > > > changing the name. > > > > > > So, Oktoberfest is in September in its southern > > > German home. > > > > > Just about the time that the last village has finished its annual Schützenfest! Never a dull moment > > over there. > > Let me get this straight, they start drinking *after* they finish > shooting, or these two celebrations are concurrent? > Carole, and others, the answer is "yes". dave ------------------------------ Date: Fri, 13 Sep 2002 18:31:03 -0500 From: Tom Izzo Subject: Re: Oktoberfest (was: A really shameless plug...) Walter you should know this (since you also double). The correct name of the month is OCTUBA. So these festivals are called OcTUBAfest. Tom (who plays more Tuba in Octuba than the rest of the year combined) :-) -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU]On Behalf Of Walter Barrett Sent: Friday, September 13, 2002 11:41 AM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Oktoberfest (was: A really shameless plug...) Thus spake, not Zarathustra, but BassBonist@AOL.COM > Walter Barrett writes: > >> I'll be performing with Werner Heckmann and the Royal Bavarians at >> Great Escape theme park in Lake George, NY this weekend and next, >> celebrating Oktoberfest a bit early. > > Early? From what I've been told, this is prime time for Oktoberfest since > it's usually all over with by October, at least in Germany. Any German > players out there care to verify or correct this? Anyway, this is what I was > told by a tuba player here in California who plays alot of those gigs and has > been in Germany for Oktoberfest. > Unless he was drunk at the time, and knowing him..... > > Matt Varho I understand that Oktoberfest in Germany starts in September. However, here in the US, we have the silly notion that Oktoberfest should be in October, otherwise, they would have called it Septemberfest. Walter ------------------------------ Date: Fri, 13 Sep 2002 20:12:07 EDT From: JFBermann@AOL.COM Subject: Re: UMI, Valve trombones, and the R&D obligation Hi Craig, L..A. tuba and all around low brass player Jim Self has a nifty large bore "Superbone" bass trombone. It's a single valve bass bell section, but has endless possibilities. There may be a photo of it on his website. As far as stock horns go, the King 3-B+ is .525 bore horn. I don't know if they make a valve section that size, but I've tried a regular bore 3-B which had an f attachment and valve section in addition to the slide, and it played very well considering it's smaller bore size. Jim Bermann ------------------------------ Date: Fri, 13 Sep 2002 20:21:03 -0400 From: Art Triggs Subject: Re: A really shameless plug... Thus spake Barrett, not Zarathustra "> Thanks, Art! With friends like you....." lol....I couldn't pass it up - hope you have some fun on the gig Lake George can be nice, though a bit of a tourist trap......... All the best, Art. ------------------------------ Date: Fri, 13 Sep 2002 19:31:01 -0500 From: Craig Parmerlee Subject: Re: UMI, Valve trombones, and the R&D obligation Yeah, I've seen those Jim Self pictures. That guy has an amazing collection. As far as I know there is no valve trombone in production today above .500 except for a couple of odd ones made by Cerveny. It is my understanding that the valve section they give you for a 3B is the same as the 2B, and is sub-500 bore. I've played one briefly, and it was definitely better than I expected, but still there is only so much you can do with such a small diameter. At 08:12 PM 9/13/2002 -0400, JFBermann@aol.com wrote: >Hi Craig, >L..A. tuba and all around low brass player Jim Self >has a nifty large bore "Superbone" bass trombone. >It's a single valve bass bell section, but has endless >possibilities. There may be a photo of it on his website. >As far as stock horns go, the King 3-B+ is .525 bore >horn. I don't know if they make a valve section that >size, but I've tried a regular bore 3-B which had an >f attachment and valve section in addition to the slide, >and it played very well considering it's smaller bore >size. > >Jim Bermann ------------------------------ Date: Fri, 13 Sep 2002 17:45:32 -0600 From: Jesse Hickle Subject: What first interested YOU in the trombone? With all the talk here about how few kids are going into band, or more specifically, how few are starting trombone, I was wondering how others on the list got interested in the instrument. Perhaps the answer lies there... For me, I first got interested in trombone on a TV show. A little embarrassed to say it now, but it was You Can't Do That On Television. One of the kids was sitting in that classroom they did a number of sketches in, holding a trombone. I don't remember the specifics, but I do remember another kid asking him why he picked the trombone, and he said "Because you can shoot really big spitballs with it." And then he shot a really big spitball. Well, I thought it was hilarious at the time, and I wanted to do that. I also liked the sound, I thought it would be cool to be able to do all that sloshy playing with it. I guess you could say the slide was the biggest attraction in the band park...for me anyway. I started playing in sixth grade and never stopped. Never wanted to play anything else. The trombone may not be the flashiest of instruments, like the saxophone or the trumpet, which is what everyone else wanted to play, but I think I understood how important it was. My band director was a trombone player herself, so we always had good parts. The thing that was the best for me was that, while the overflow on the more popular instruments made it hard to make the high bands, being one of a few increased my odds greatly. In short, there's more opportunities to be a star if you're one of a few. That's my story. It's been a constant growth for me, and I've grown to appreciate all aspects of the horn, the serious and the playful (my senior recital in college consisted of Fredrik Hogberg's SuBaDoBe, Sulek's Sonata Vox Gabrieli, and Presser's Jorepi with the clarinetist I was sharing the recital with). Anyone else want to share? PS - I'm fairly new to the list, so if this has been done, forgive me. ------------------------------ Date: Fri, 13 Sep 2002 18:11:54 -0700 From: jimandcat@JUNO.COM Subject: diversity in music This is a response to Sam Burtis' post of a couple of days ago. First, of all congratulations Sam, and thanks for working on this project. I know you will advance thinking, awareness, and humanity in the trombone world. You have such a great respect of all styles and worlds of music that you will be a great addition to the ITA committee. My experiences in music over 40+ years of playing and teaching: It boils down to -- if you can play your axe, it don't matter what color, nationality, or sex you are. In this past week, I did gigs with people of Asian, European, African, Australian, and South Pacific descent (some obvious, some not so obvious). I worked with students who were African-American, Filopino-American, Chinese-American, Japanese-American, European-American, Hispanic-American, and probably more than that I didn't notice. Oh yeah, some of them were male and some of them were female. (I guess there were some in between as well). Music is truly the universal language. People who had trouble communicating in English about music, had no problem with the universal Italian terms of music (on the gigs); students with language problems understand the playing demonstration without problem. As far as gender, in the last 30 years in America, female musicians often surpass in endeavor and ability their male colleagues. Has no one besides me witnessed this? There is still sometimes a prejudice in the off the job treatment of females, but on the job (where I work) the girls are not dissed. I value the idea of continuing forums on diversity and gender, but I think it is proven that for many people it is so much better than before and we should all pat ourselves on the back for accepting musicians who work diligently towards their goals in all fields of music. Thank you, Mr. Burtis, for your tireless efforts to keep us aware of musical ideals. Jim Prindle San Diego, California ________________________________________________________________ GET INTERNET ACCESS FROM JUNO! Juno offers FREE or PREMIUM Internet access for less! Join Juno today! For your FREE software, visit: http://dl.www.juno.com/get/web/. ------------------------------ Date: Fri, 13 Sep 2002 21:48:14 -0600 From: Jesse Hickle Subject: Fwd: What first interested YOU in the trombone? I think this was intended for the whole list, so here you go. > From: "James W. Yardley" > Date: Fri Sep 13, 2002 08:21:29 PM US/Mountain > To: "Jesse Hickle" > Subject: RE: What first interested YOU in the trombone? > Reply-To: > > Well, I've been fairly quiet lately, so I'll chime in on this one > because > it's good for me to remind myself why the trombone picked me. I started > playing euphonium in sixth grade. I picked euphonium because my band > director told me I had to play that before I could play the tuba. That > same > year, the local high school jazz band came to our school (I went to a > music > magnet school, which means if you go to that school, you have to atleast > take piano lessons or be in a choir or something.) and played in our > gymnasium for the whole school. I remember sitting on the floor, > listening > with my jaw wide open. They were probably playing some kind of rock > tune > and I thought they were all the coolest kids in the world. I thought "I > would LOVE to be in that band!" Then I noticed they didn't have any > euphonium players. For some reason, though, I knew that wasn't going to > stop me. In seventh grade (at that time the high school was 7-12), on > the > first day of band rehearsal, my new director looked at our trombone > section > of two kids, and asked if there was anyone that wanted to switch to > trombone. I thought hard about it for two seconds, and raised me > hand. I > remembered that jazz band had trombones and that was my ticket in. So I > switched. The next year, 8th grade, I was first trombone. That's > when I > met my best friend, who played first trumpet. That year, we went to a > football game, and since my friend's dad was the high school band > director, > we sat next to the pep band. He introduced me to his babysitter, who > played > bass trombone. While he was introducing me, our team scored a touch > down > and the band started playing. I heard that girl playing bass trombone, > and > I thought she had the greatest sound in the world. Then we went to the > high > school band concert that same week and I heard her again playing in the > jazz > ensemble. I mentioned to my best friend that it would be really cool to > play bass trombone. So he told his dad, and the girl who played bass > trombone was graduating that year. She came into our rehearsal one > day, and > told me that she heard I wanted to play bass bone. So I left rehearsal > with > her and she gave me a lesson. When I first played it I hated it. The > mouthpiece was so big and I didn't sound good at all. But I kept > trying and > quickly got better. In 9th grade, I was playing bass trombone in the > same > jazz band that I heard playing at my elementary school 3 years earlier. > > I guess you'd say I picked the trombone because it was my ticket to be > one > of the cool kids that played in jazz ensemble. What an ironic thing > that > turned out to be! I never thought that in the process of trying to be > cool, > I would have become dork. So it goes I guess. I gotta go practice. > > Take care, > James Yardley ------------------------------ End of TROMBONE-L Digest - 12 Sep 2002 to 13 Sep 2002 (#2002-62) ****************************************************************