TROMBONE-L digest 193
Multiple recipients of list
TROMBONE-L at listproc.samford.edu
Fri Oct 15 00:01:10 CDT 2004
TROMBONE-L Digest 193
Topics covered in this issue include:
1) Re:Rosolino Mouthpiece
by "Marco Guerrero" <marcoguerrero at musician.org>
2) Fw: Public Service Announcement for Trombones
by "Frank Darmiento" <frank at darmiento.com>
3) John Wasson contact info
by morand at denison.edu
4) long high tones
by "Daniel Pliskin" <daniel_pliskin at hotmail.com>
5) Contrapunctus I(From Art Of The Fugue) by J.S Bach Arranged by Glenn
Smith
by Mark Bauer <jazz_trombone at axint.net>
6) Re: emails
by Earl Needham <needhame1 at plateautel.net>
7) Re: long high tones
by alex iles <alexiles at earthlink.net>
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From: "Marco Guerrero" <marcoguerrero at musician.org>
To: "Multiple recipients of list" <TROMBONE-L at server5.samford.edu>
Date: Wed, 13 Oct 2004 22:13:38 -0700
Subject: [TROMBONE-L:2382] Re:Rosolino Mouthpiece
Message-Id: <20041014051338.84FAB1F50B1 at ws1-2.us4.outblaze.com>
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I just happen to play on a Warburton Rosolino Mouthpiece and it was one of the first few to come out when i purchased it 3 years ago and it's
a hard thing to get used to it's very shallow but really sings in the upper register the low register will take quite some time to get used to
although maybe the larger cups that are now available deal with it but it's a really good mouthpiece for lead playing.
Marco Guerrero
marcoguerrero at musician.org
--
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Date: Thu, 14 Oct 2004 11:54:09 -0700
Message-Id: <200410141154.AA897646712 at mail.darmiento.com>
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From: "Frank Darmiento" <frank at darmiento.com>
To: <TROMBONE-L at server5.samford.edu>
Subject: [TROMBONE-L:2383] Fw: Public Service Announcement for Trombones
I received this from a keyboard "associate" of mine.
Frank T. Darmiento
Scottsdale, Arizona
frank at darmiento.com
www.SackbutMusic.com
---------------------------
Frank Darmiento's new jazz CD 'Sudden Impact' is now available from Summit Records at:
http://www.summitrecords.com/product.tmpl?SKU=339
=================================================
Applying the same logic that brought us "Guns don't kill people, people do,"we conclude: Trombones don't play out of tune, trombone players do. Come to think of it, there are other similarities as well. In the wrong hands, a trombone can be a dangerous weapon.
Each year thousands are people are killed, maimed or annoyed by trombones. Trombones should be stored out of reach of children.
There is currently legislation pending in Congress to restrict the sale of trombones and equip them with child-safety devices. The powerful trombone lobby is, of course, opposed to this. There have been various proposals for requiring a so called "trigger lock."
Efforts to enact a mandatory 10 day waiting period to purchase a trombone have been heretofore been thwarted. This would allow a period of time for law enforcement to cross check the purchaser's name against a national list of registered trombone offenders.
Law enforcement officials are particularly alarmed over the increase in crimes involving use of the "sawed-off" trombone or "sackbut."
One response is the increased sentencing for those using a trombone while committing a crime (use a trombone - go to jail). This has been especially effective when used in conjunction with the new "Three sharps, you're out" laws passed in many states.
The automatic and semi-automatic models are much more dangerous than the traditional single note trombone. The awesome destructive power of the double trigger bass trombone could never have been imagined by the founding fathers when they granted us the right to keep and arm bears.
Remember: When trombones are outlawed, only outlaws will play "I'm Gettin' Sentimental Over You."
________________________________________________________________
Sent via the WebMail system at mail.darmiento.com
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Date: Thu, 14 Oct 2004 15:04:28 -0500 (EST)
From: morand at denison.edu
Subject: [TROMBONE-L:2384] John Wasson contact info
To: Trombone Mailing List <TROMBONE-L at server5.SAMFORD.EDU>
Message-id:
<Pine.PMDF.4.44L.0410141501190.654326849-100000 at daffy.cc.denison.edu>
MIME-version: 1.0
Content-type: TEXT/PLAIN; charset=US-ASCII
If anyone has contact information for John Wasson I would appreciate a
note off list.
Thanks,
Doug Moran
morand at denison.edu
_193
From: "Daniel Pliskin" <daniel_pliskin at hotmail.com>
To: trombone-l at server5.samford.edu
Subject: [TROMBONE-L:2385] long high tones
Date: Thu, 14 Oct 2004 23:44:09 +0000
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Message-ID: <BAY1-F257Ie8tlMazUS0000445c at hotmail.com>
Y’all,
A few years, when I was visiting a friend in Reno, I took a great lesson
from Phil Jerome. Phil claimed that playing long tones was like doing
isometric exercises. If you wanted to be able to play high stuff, he
claimed, you needed to play long high tones, to build those muscles.
Well I liked that concept and these days, I’m hoping he was right.
A few weeks ago, I started having trouble playing with my reamed out Bach 3
mouthpiece. I’ve since gone back to playing my a Denis Wick 4, which I have
no trouble using. But it’s fairly deep and doesn’t sound at all
appropriate, when I’m honking along with salsa. So I made a radical cup
insert, using Sculpey (flexible children’s clay). This insert gives me a
cup with just barely misses my lips and extends the taper of the back-bore
back about 3/8ths of an inch. In essence, I get my old familiar rim with a
mouthpiece aimed at playing high stuff and with really fast attacks.
So, now that I have less trouble playing high stuff, I’m wondering whether
those high-stuff muscles, I’m now using, will carry over, a few months from
now, when I take the insert out?
Any comments?
DanP
_193
Message-ID: <416F17D4.6070106 at axint.net>
Date: Thu, 14 Oct 2004 18:20:36 -0600
From: Mark Bauer <jazz_trombone at axint.net>
MIME-Version: 1.0
To: TROMBONE-L at server5.samford.edu
Subject: [TROMBONE-L:2386] Contrapunctus I(From Art Of The Fugue) by J.S Bach Arranged by Glenn
Smith
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My trombone quartet is looking for the Glenn Smith Arrangement of
Contrapunctus I from Art of The Fugue by Bach. Does anyone know where I
can get this? I already checked hickeys.
MB
--
"The most important thing in communication is to hear what isn't being
said."
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Message-Id: <6.1.0.6.2.20041014194556.028a97c8 at email.plateautel.net>
Date: Thu, 14 Oct 2004 19:47:33 -0700
To: TROMBONE-L at server5.samford.edu
From: Earl Needham <needhame1 at plateautel.net>
Subject: [TROMBONE-L:2387] Re: emails
Mime-Version: 1.0
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At 06:53 PM 10/12/2004, Roger Carmichael wrote:
>Anyone having trouble receiving emails from the Trombone-L list besides me?
I'm not sure if it's a problem or not, but I've only received
about 15 or 16 emails in the past two days or so.
Earl
Earl Needham, KD5XB, Clovis, New Mexico DM84jk
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Message-ID: <416F6910.C5BF464D at earthlink.net>
Date: Thu, 14 Oct 2004 22:07:22 -0800
From: alex iles <alexiles at earthlink.net>
MIME-Version: 1.0
To: daniel_pliskin at hotmail.com
CC: trombone-l at server5.samford.edu
Subject: [TROMBONE-L:2388] Re: long high tones
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Dan,
I have a good giggle every time I read one of your posts describing your latest
mouthpiece experiments.
I gotta say [and please don't take this as a flame!!], you do/think about stuff
that NONE of the professional bone players I know would ever DREAM about
doing/thinking [and I have known some pretty "experimental" players!]. But
maybe thanks to people like you, new ideas and products eventually find their
way into the trombone "mainstream" like Thayer valves, lightweight slides, the
Sauer brace, or even cold cream. There is no harm in TRYING something "out
there" or thinking "outside of the box". In my opinion, though, a lot of
players in an extreme version of this mindset can spend a lot of time trying to
reinvent the wheel.
Depends what you mean by "long tones". I would consider "long tone" practice
would be something like held notes with a duration of more than eight beats at
quarter=60 or so [maybe even slower like Phil Teele's routine!!]. Most of the
brass players I know who CLAIM to have practiced LOTS of high long tones that
way end up developing a thinner and stiffer sound to my ear [especially in
their middle/"money" registers]. This result might be due to reinforcing
incorrect playing habits.
I have never known a brass player with a great upper register who claimed to
have practiced "long tones" up there the way I just described [if this is what
in fact you are suggesting]. Most brass players I know with good high chops
spend more time playing things like slower slurs, flexibility exercises,
scales, arpeggios, and slow melodies up into that register. It is probably more
about COORDINATION than STRENGTH. The range development comes from using the
middle register as a model for how the upper register should sound and then
going up there to pay a visit on a regular basis. In the process, you teach
yourself not to make too many radical chop shifts going in and out of different
registers [or at least CONTROL the shifts you DO make].
As far as your final question, I imagine only YOU will find the answer after
messing around with your equipment so radically.
A question to consider...will EVERY small bore tenor bone player who usually
plays a 7C NECESSARILY have better "high chops" on a 1G than EVERY bass bone
player who plays a 1G all the time?
Good luck with this lastest endeavour!
Alex
Daniel Pliskin wrote:
> Y’all,
>
> A few years, when I was visiting a friend in Reno, I took a great lesson
> from Phil Jerome. Phil claimed that playing long tones was like doing
> isometric exercises. If you wanted to be able to play high stuff, he
> claimed, you needed to play long high tones, to build those muscles.
>
> Well I liked that concept and these days, I’m hoping he was right.
>
> A few weeks ago, I started having trouble playing with my reamed out Bach 3
> mouthpiece. I’ve since gone back to playing my a Denis Wick 4, which I have
> no trouble using. But it’s fairly deep and doesn’t sound at all
> appropriate, when I’m honking along with salsa. So I made a radical cup
> insert, using Sculpey (flexible children’s clay). This insert gives me a
> cup with just barely misses my lips and extends the taper of the back-bore
> back about 3/8ths of an inch. In essence, I get my old familiar rim with a
> mouthpiece aimed at playing high stuff and with really fast attacks.
>
> So, now that I have less trouble playing high stuff, I’m wondering whether
> those high-stuff muscles, I’m now using, will carry over, a few months from
> now, when I take the insert out?
>
> Any comments?
>
> DanP
_193--
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