Subject: TROMBONE-L Digest - 16 Nov 2002 to 17 Nov 2002 (#2002-127) There are 15 messages totalling 663 lines in this issue. Topics of the day: 1. Trombone Ensemble Concert - TODAY! 2. An Interesting eBay Story 3. Screw Bells (3) 4. Doug Yeo recordings (3) 5. Still Romance 6. Conn 62H 7. Brass Band concerts 8. small bell[almost] player discovered on west coast 9. Test 10. Practicing (2) ---------------------------------------------------------------------- Date: Sun, 17 Nov 2002 07:13:14 EST From: BITEensemble@AOL.COM Subject: Trombone Ensemble Concert - TODAY! Qi5JLlQuRS4hCkJvc3RvbidzIEludml0YXRpb25hbCBUcm9tYm9uZSBFbnNlbWJsZSEgCgpO b3ZlbWJlciAxNywgMjAwMgo4OjAwUE0KQm9zdG9uIENvbnNlcnZhdG9yeSdzIFN1ZWxseSBI YWxsCgpMYXJyeSBJc2FhY3NvbiwgQ29uZHVjdG9yIAoKd2l0aCBzb2xvaXN0IAoKU2NvdHQg SGFydG1hbiAKV29ybGQgcmVub3duZWQgY2hhbWJlciBtdXNpY2lhbiBhbmQgc29sb2lzdMKg IAoKYW5kIAoKTWFyayBDYW50cmVsbCAKQmFzcyBUcm9tYm9uaXN0LCBCb3N0b24gRXNwbGFu YWRlIFBvcHMgT3JjaGVzdHJhIAoK4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU 4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCU4oCUIApG b3VuZGVkIGluIDIwMDAgYnkgZnJlZWxhbmNlIG11c2ljaWFucywgTGFycnkgSXNhYWNzb24g YW5kIFdlc2xleSBIb3BwZXIsIApCSVRFISBpcyBhbiBpbm5vdmF0aXZlIGVuc2VtYmxlLCBj b25zaXN0aW5nIG9mIDE2IHByb2Zlc3Npb25hbCBhbmQgc3R1ZGVudCAKdHJvbWJvbmlzdHMg ZnJvbSBhbGwgY29ybmVycyBvZiB0aGUgQm9zdG9uIG11c2ljYWwgY29tbXVuaXR5LiBUaGUg cGVyZm9ybWFuY2UgCndpbGwgY29uc2lzdCBvZiB3b3JrcyBieSBFd2F6ZW4sIEJvdXJnZW9p cywgVGNoYWlrb3Zza3kgYW5kIG1vcmUuwqAgCgpZb3UgaGF2ZSBuZXZlciBoZWFyZCBhbnl0 aGluZyBsaWtlIHRoaXMhIAoKRm9yIGRpcmVjdGlvbnMgdG8gVGhlIEJvc3RvbiBDb25zZXJ2 YXRvcnksIHBsZWFzZSBzZWU6IAp3d3cuYm9zdG9uY29uc2VydmF0b3J5LmVkdS7CoCAKQ2xp Y2sgb24gdGhlIGNhbXB1cyBsaW5rLiAKCgoKCgpBbGwgYXJlIHdlbGNvbWUuIEFkbWlzc2lv biBpcyBmcmVlIQoKCiogUExFQVNFIEZPUldBUkQgVEhJUyBUTyBBTEwgVEhPU0UgV0hPIE1J R0hUIEJFIElOVEVSRVNURUQhCg== ------------------------------ Date: Sun, 17 Nov 2002 07:31:18 -0600 From: Chris Waage Subject: An Interesting eBay Story Over the past several weeks, several Kansas City area churches have had their sound systems stolen. The theives would hide in the church after an event, then open a door and remove the equipment. Last Sunday, my church was hit - a huge, nearly new sound board, two computers, lighting controls - the whole works. Luckily the guest speaker was a missionary who really didn't need a sound system . . . . On Monday, one of the staff logged onto eBay and did a search for some sound equipment. Guess what turned up????? With the help of eBay and the local police, a large percentage of the stolen equipment has been recovered. Trombone content - next time you lose something, don't forget to check eBay. Also, remember to have detailed records of your instrument and equipment purchases - digital photos, bills of sale, serial numbers. When it comes down to it, without proof, it's your word against theirs. Chris -- ________________________________________________ Chris Waage, Associate Webmaster chris@trombone.org http://www.trombone.org - A web site for trombonists ------------------------------ Date: Sun, 17 Nov 2002 13:29:15 -0500 From: Jim Dexter Subject: Screw Bells Could anyone with experience playing on a "screw bell" instrument tell me how they sound? Seems to me having some threading that close to the bell flare would impact the sound. Jim Dexter ------------------------------ Date: Sun, 17 Nov 2002 14:49:40 -0600 From: "Richard Z. Johnson" Subject: Re: Doug Yeo recordings -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Jeff Oien Sent: Saturday, November 16, 2002 8:53 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Doug Yeo recordings I was at the library today and by chance found a CD called "coolbone brass-hop". It's probably been mentioned before but new to me. Hip-hop/rap music with brass. I checked it out just out of curiosity. Not my type of music but very creative and unusual. Jeff Oien The hip-hop brass band scene is pretty big in New Orleans which is where Coolbone is from. I don't think that it has expanded much beyond the south Louisiana market, I listen to some of the bands such as Rebirth Brass Band and Cool Bone and New Birth Band. However, even here in north Louisiana, only five hours from New Orleans, most people are totally unfamiliar with that genre of music. ------------------------------ Date: Sun, 17 Nov 2002 14:53:28 -0600 From: "Richard Z. Johnson" Subject: Re: Doug Yeo recordings Is there a way of purchasing an arrangement of "Romance" for either trombone-piano or trombone and concert band? -----Original Message----- From: Trombones and related issues forum. [mailto:TROMBONE-L@PO.MISSOURI.EDU] On Behalf Of Tom Izzo Sent: Saturday, November 16, 2002 5:02 PM To: TROMBONE-L@PO.MISSOURI.EDU Subject: Re: [TBN-L] Doug Yeo recordings William Grant Still's 'Romance' for alto saxophone (which I subsequently purchased from Hickey's). I think both of these fit your criterion of music that people would be streched by hearing, the Williams because a bass trombonist has not recorded it and the Still because it is a lost piece that you recovered and made to sound wonderful on a different instrument. Is there any possibility of getting permission to release these broadcast recordings on CD? If not, these pieces would be worth hearing with piano. These have my vote! I'll second that Dave!!! Tom ------------------------------ Date: Sun, 17 Nov 2002 15:00:05 -0600 From: Eric & Candice Swanson Subject: Re: Screw Bells Jim Dexter wrote: > Could anyone with experience playing on a "screw bell" instrument tell me how they > sound? > > Seems to me having some threading that close to the bell flare would impact the sound. > Jim, I have a screw bell for my Bach bass trombone. I don't use it all the time, just for traveling. The last time I used it was for a 10-day tour a few years ago. The first couple days it felt like the response was a little slower than normal, but I got used to it. After a couple days it started to feel "normal" to me. I didn't think there was any real difference in the sound of the horn, just the way it felt to me. One good thing, with the extra mass you almost couldn't over blow it. I probably wouldn't want to use it for my only horn, but it's not bad once you get used to it. Disassembled, the bell section fits into a standard triple trumpet gig bag. Easy to take on a plane. (Now if I can figure out what to do with the slide.) Eric Swanson ------------------------------ Date: Sun, 17 Nov 2002 16:08:17 -0500 From: Walter Barrett Subject: Re: Screw Bells Thus spake, not Zarathustra, but Jim Dexter > Could anyone with experience playing on a "screw bell" instrument tell me how > they > sound? > > Seems to me having some threading that close to the bell flare would impact > the sound. > > Jim Dexter I have one on my bass trombone, a YBL 611-II. What I noticed was that it plays just a little bit darker than without it, and it lets you push the volume a bit more before it gets totally gnarly and edgy. It has a bit more solid core at normal volumes. Walter Barrett "It is being recognized as the icon representing the great wake up call, the voice of the soul, the power of transformation, character and forgiveness. It is the icon of world peace, the herald of the new paradigm." -Abbie Conant, speaking about the trombone Yamaha Artist/Clinician Tenor, Alto, Bass Trombones Euphonium Bass Trumpet Tuba ------------------------------ Date: Sun, 17 Nov 2002 15:26:37 -0600 From: Tom Izzo Subject: Re: Doug Yeo recordings Richard, __________________________________ Is there a way of purchasing an arrangement of "Romance" for either trombone-piano or trombone and concert band? __________________________________ Absolutely. HICKEYS music has it. Right, Chuck? Tom' ------------------------------ Date: Sun, 17 Nov 2002 18:13:03 -0500 From: Douglas Yeo Subject: Re: Still Romance Yes, my arrangement of Still's "Romance" for trombone and piano is published by International Music, catalog 3292, available from Hickeys and the usual suspects. Still's own orchestral accompaniment is available on rental from International. -Doug Yeo =========== At 2:53 PM -0600 11/17/02, Richard Z. Johnson wrote: >Is there a way of purchasing an arrangement of "Romance" for either >trombone-piano or trombone and concert band? -- Douglas Yeo Bass Trombonist, Boston Symphony Orchestra Music Director, The New England Brass Band dyeo@rcn.com /// yeo@yeodoug.com http://www.yeodoug.com <>< ------------------------------ Date: Sun, 17 Nov 2002 22:21:44 -0500 From: Dale Cruse Subject: Conn 62H Greetings all. I had the chance yesterday to play a bit on one of the new Conn 62H dependent bass trombones at Rayburn Music here in Boston. I was quite pleased. I thought it was light (not as light as a double-valve Rath but lighter than my double-valve Shires) and sounded reasonably good for many situations. Particularly noteworthy to me was the valve action. They were fast and smooth. The F trigger had a really short throw and I liked it the most. The second valve was smooth as well but there was definitely some play in the trigger mechanism itself. But if that's the worst thing I can say about the horn then I think that's pretty good. I would certainly consider this horn as a backup to my Shires in most general situations. If any listers get the chance, give this horn a try. --- Dale Cruse www.dalecruse.com Setting you up for online success. ------------------------------ Date: Sun, 17 Nov 2002 22:33:29 -0500 From: John Olsson Subject: Brass Band concerts Hi all- River City Brass Band (based in Pittsburgh) is on tour the next couple of weekends. If you are in the vicinity and have time, stop by and say "hi" to me (bass trombonist)... Thursday, November 21-7:30pm; Tupelo Middle School Civic Auditorium, Tupelo, MS Saturday, November 23-8:00pm; Ionia Theater, Ionia, MI Saturday, November 30-8:00pm; Oil City High School Auditorium, Oil City, PA Sunday, December 1-9:00pm; Rochester Riverside Convention Center, Rochester, NY Monday, December 2-8:00pm; Reg Lenna Performing Arts Center, Jamestown, NY John Olsson Instructor of Trombone, Euphonium & Tuba Kent State University-Stark Campus Malone College Mt. Union College West Liberty State College ~~~~~~~~~~~~~~~~~~~ Bass Trombone Canton Symphony Wheeling Symphony ------------------------------ Date: Sun, 17 Nov 2002 22:30:14 -0600 From: "D.J. Kennedy" Subject: small bell[almost] player discovered on west coast cool !!!!! a willie 6 ---the 651 is 509 -sorta a 3b clone i have a buddy in england plays dixie keith hocking -in the antique six ----they are doing lotsa gigs keth is playing a 1938 king 2b silvertone [looking for a williams 6 or 4 too] dixie is also alive and well in st louis - the 653 should be great for lead etc it looks like the first version --the later ones [653II]went to 8 in bells there are a few players using small bell bones ---like the conn 4h 24h etc ------the martim committee is great too --bach 6 !!!!yeahh Alan Adams wrote: > I read it occasionally but don't belong. > > I suspect the 653 is from the late 60's or early 70's. I have been > interested in trying one for a couple of years but didn't want to invest too > much just to check it out. The Yamaha 653 bore size should be fine since > I'm using a Williams #6 at the moment and my back-up is a Conn 6H. > > I play lead in a big band and a do lot of work in dixieland combos with my > band and others on bone and tuba. > > In fact I'm the Executive Director of our America's Finest City Dixieland > Jazz Society www.dixielandjazzfestival.org which puts on a large festival > every Thanksgiving in San Diego. My band is the New Orleans Wanderers and I > also play tuba with the Dixie Hasslers. > > There is another Yamaha on eBay that is a Rose Colored Bell 651 and the last > I checked no one had bid on it yet. It is a .500 bore too. > > Alan > ----- Original Message ----- > From: "D.J. Kennedy" > To: "Alan Adams" > Sent: Sunday, November 17, 2002 7:16 PM > Subject: Re: 653 yammmmma !!!!!!! > > > are you on the otj trombone site ??/ > > that 653 looks pretty early --i have a buddy wanting to sell a newer > > 695 --for 750 ---so you got a deal!!! on the 53 - > > people are talking about the new 697z but not many out yet > > > > > > Alan Adams wrote: > > > > > Thanks > > > > > > Alan > > > ----- Original Message ----- > > > From: > > > To: > > > Sent: Sunday, November 17, 2002 6:32 PM > > > Subject: 653 yammmmma !!!!!!! > > > > > > > > > > > To member: aljoad@cts.com > > > > From member: djpens@midwest.net > > > > > > > > -------------------- > > > > > > > > > > > > congrats on the 653 ! > > > > looks good > > > > if it turns out to be too small or something > > > > i would gladly trade you something bone for it > > > > thanks !!!!! > > > > dj > > > > > > > > -------------------- > > > > This email was sent by an eBay member via eBay's email forwarding > system. > > > > If you reply to the email, your response will go directly to the > member > > > and > > > > not through eBay. > > > > > > > > eBay does not tolerate spam (i.e., unsolicited commercial email) and > is > > > > taking steps to protect members from this abuse. In addition, > > > solicitations > > > > to buy or sell items outside of eBay violate eBay rules and are not > > > covered > > > > by services that protect members such as feedback, insurance, escrow, > and > > > > dispute resolution. If this is an offer to buy/sell items outside of > eBay, > > > > please do not participate. Enter the following link into your browser > to > > > learn more. Link: http://pages.ebay.com/help/new/stopping_spam.html > > > > > > > > > > > > > > > > ------------------------------ Date: Mon, 18 Nov 2002 04:24:18 -0000 From: Luke Kent Subject: Test -- Luke Kent ------------------------------ Date: Sun, 17 Nov 2002 23:29:35 -0500 From: t6377k Subject: Practicing Dear Friends, The more that I teach, the more I find that most students really do not know how to practice. I believe that it is something that is learned over time, but I am also convinced that there is an extraordinary amount of time that is wasted. One of my colleagues in the orchestra & I had a short discussion this past week about this very subject, when we had a section of 2nd violinists who couldn't play the beginning of the Storm scene in the 4th movement of Beethoven 6th together. I believe that if we, as teachers, can teach our students how to practice, then they can really be well on their way to teaching themselves. I'm going to relate a story here about my daughter, Laura (age 11). Two weeks ago she had a trumpet lesson, and I was listening outside the door, and I almost couldn't believe that it was my kid. She is the typical kid who wants to practice everything too fast, and as a result, she was missing a whole bunch of notes, and to put in the vernacular of our great guru Sam Burtis (aka Sabutin) things just weren't timed in at all. Later that week, I had a rehearsal for a Mozart Requiem, and my daughter took along her trumpet so that she could practice, and I was playing through her major scales with her (she had all 12 of them to know by her next lesson, which is tomorrow, and the orchestra was rehearsing some other Mozart on which I didn't play) and the same scenario that happened in her lesson happened once again. I was getting quite impatient, so to avoid blowing my cool, I told her that her plan of action for the rest of the evening was to start with C major, and to play each note of that scale as a whole note, and breathe every 2 notes, and if she made one mistake, she had to repeat that scale over again. She then had to play the rest of her scales in that same fashion. I left her alone, and went on up to rehearse the Requiem, and after rehearsal I asked her if she had done what I told her to do, and she answered affirmatively, and then I asked her if there was any improvement, and she said YES. I told her that she was to practice all of her scales that way until her next lesson. Tonight, I listened to her play all 12 of her major scales tonight, in half notes and she made 1 mistake total. In addition, she is well on her way to fixing a problem that we have discussed a bit on this list, and that has to do with the smiling embouchure as we ascend in pitch. She has increased her range up to 5th line F treble clef, which I think is pretty good for being 11 years old, and she sounds good on every note. The smile is greatly reduced, and I suspect that the reason why is because by playing these scales (all one octave) in whole notes, the air is really doing all of the work, and the embouchure remains much more stable. If she goes into her lesson tomorrow and sounds as good as she did for me tonight, her teacher will probably want to give her a great big hug. I believe I'll let him do it too, because she certainly deserves it. What I suspect out of some of my own students is that they don't practice slowly enough, and as a result, the timing for everything is way off. I think that they are afraid that they'll never develop any speed, but I know from experience that simply isn't true, but that is a very tough sale to make. If it is a tough sale to make on one of the valve instruments, imagine how difficult it is when we deal with an instrument where we are constantly change the length of the tube. Another facet of practicing that I find is missing is the reluctance of the student to be creative when practicing certain skills. I have come up with an articulation game that I call Playing the Ghost, or Grooving the Stroke. Start at M.M =60, and play 8 eighth notes and a dotted half note at mezzo forte in three different articulations: tenuto, staccato, and legato. The object of the game is to make every articulation sound exactly the same in each of the three styles. Start on middle F, and then ascend and descend chromatically until you have covered an entire octave in both directions. If you mess up, then the ghost won the game. You have to repeat that note over again. This will cause the tongue muscle to develop a groove in regards to where it strikes in the mouth. If you practice this enough, you'll find that you'll have the ability to turn either of these articulations on and off at will. After you've mastered it on one note, then try it while changing notes, such as in practicing scales, as this will coordinate the stroke of the tongue with the moving of the right arm. In reality, what has happened is that the stroke of the tongue practiced in this fashion will become very ingrained into the subconscious so that you do not have to think about it. Then you can add another activity, which is moving the slide. As it gets easier and easier, then you can increase the tempo. If you're wondering how I came up with the name of the game, there is a drill form of rotation pool called Playing the Ghost. Start with balls 1-3 in a triangle, break them, then take cue ball in hand (anywhere on the table), make the 1 ball in any pocket, and get position on the next shot (2 ball), then the next shot (3 ball). If you make all 3 balls, then you beat the ghost. If you miss one shot, then you lose. As your skill increases, then you add a ball, and the same rules apply. Needless to say, if you can get to the point where you are running 15 balls that way, you are one hell of a player. It requires superior planning. It all involves with starting with what you can do, and working up to what you have difficulty doing. Improvement may not be overnight, but with consistent, conscientious practice, your skill level will blossom. You can come up with other drills that will challenge you as well. All it takes is a little imagination. Paul Kemp Chattanooga Symphony www.trbnplyr.com ------------------------------ Date: Sun, 17 Nov 2002 23:25:42 -0600 From: Tom Izzo Subject: Re: Practicing VERY INSIGHTFUL, Paul. Excellent post. I'm going to print this one out & hand it to every one of my students! Thanks! Tom Subject: [TBN-L] Practicing Dear Friends, The more that I teach, the more I find that most students really do not know how to practice. I believe that it is something that is learned over time, but I am also convinced that there is an extraordinary amount of time that is wasted. One of my colleagues in the orchestra & I had a short discussion this past week about this very subject, when we had a section of 2nd violinists who couldn't play the beginning of the Storm scene in the 4th movement of Beethoven 6th together. I believe that if we, as teachers, can teach our students how to practice, then they can really be well on their way to teaching themselves. I'm going to relate a story here about my daughter, Laura (age 11). Two weeks ago she had a trumpet lesson, and I was listening outside the door, and I almost couldn't believe that it was my kid. She is the typical kid who wants to practice everything too fast, and as a result, she was missing a whole bunch of notes, and to put in the vernacular of our great guru Sam Burtis (aka Sabutin) things just weren't timed in at all. Later that week, I had a rehearsal for a Mozart Requiem, and my daughter took along her trumpet so that she could practice, and I was playing through her major scales with her (she had all 12 of them to know by her next lesson, which is tomorrow, and the orchestra was rehearsing some other Mozart on which I didn't play) and the same scenario that happened in her lesson happened once again. I was getting quite impatient, so to avoid blowing my cool, I told her that her plan of action for the rest of the evening was to start with C major, and to play each note of that scale as a whole note, and breathe every 2 notes, and if she made one mistake, she had to repeat that scale over again. She then had to play the rest of her scales in that same fashion. I left her alone, and went on up to rehearse the Requiem, and after rehearsal I asked her if she had done what I told her to do, and she answered affirmatively, and then I asked her if there was any improvement, and she said YES. I told her that she was to practice all of her scales that way until her next lesson. Tonight, I listened to her play all 12 of her major scales tonight, in half notes and she made 1 mistake total. In addition, she is well on her way to fixing a problem that we have discussed a bit on this list, and that has to do with the smiling embouchure as we ascend in pitch. She has increased her range up to 5th line F treble clef, which I think is pretty good for being 11 years old, and she sounds good on every note. The smile is greatly reduced, and I suspect that the reason why is because by playing these scales (all one octave) in whole notes, the air is really doing all of the work, and the embouchure remains much more stable. If she goes into her lesson tomorrow and sounds as good as she did for me tonight, her teacher will probably want to give her a great big hug. I believe I'll let him do it too, because she certainly deserves it. What I suspect out of some of my own students is that they don't practice slowly enough, and as a result, the timing for everything is way off. I think that they are afraid that they'll never develop any speed, but I know from experience that simply isn't true, but that is a very tough sale to make. If it is a tough sale to make on one of the valve instruments, imagine how difficult it is when we deal with an instrument where we are constantly change the length of the tube. Another facet of practicing that I find is missing is the reluctance of the student to be creative when practicing certain skills. I have come up with an articulation game that I call Playing the Ghost, or Grooving the Stroke. Start at M.M =60, and play 8 eighth notes and a dotted half note at mezzo forte in three different articulations: tenuto, staccato, and legato. The object of the game is to make every articulation sound exactly the same in each of the three styles. Start on middle F, and then ascend and descend chromatically until you have covered an entire octave in both directions. If you mess up, then the ghost won the game. You have to repeat that note over again. This will cause the tongue muscle to develop a groove in regards to where it strikes in the mouth. If you practice this enough, you'll find that you'll have the ability to turn either of these articulations on and off at will. After you've mastered it on one note, then try it while changing notes, such as in practicing scales, as this will coordinate the stroke of the tongue with the moving of the right arm. In reality, what has happened is that the stroke of the tongue practiced in this fashion will become very ingrained into the subconscious so that you do not have to think about it. Then you can add another activity, which is moving the slide. As it gets easier and easier, then you can increase the tempo. If you're wondering how I came up with the name of the game, there is a drill form of rotation pool called Playing the Ghost. Start with balls 1-3 in a triangle, break them, then take cue ball in hand (anywhere on the table), make the 1 ball in any pocket, and get position on the next shot (2 ball), then the next shot (3 ball). If you make all 3 balls, then you beat the ghost. If you miss one shot, then you lose. As your skill increases, then you add a ball, and the same rules apply. Needless to say, if you can get to the point where you are running 15 balls that way, you are one hell of a player. It requires superior planning. It all involves with starting with what you can do, and working up to what you have difficulty doing. Improvement may not be overnight, but with consistent, conscientious practice, your skill level will blossom. You can come up with other drills that will challenge you as well. All it takes is a little imagination. Paul Kemp Chattanooga Symphony www.trbnplyr.com ------------------------------ End of TROMBONE-L Digest - 16 Nov 2002 to 17 Nov 2002 (#2002-127) *****************************************************************