[Trombone-l] Blazhevich Clef Studies

[John Burton]

I dunno about the telegraph poles.
 
It drives *me* bonkers to be in the dim light of the pit, or perhaps shoved off in the corner in the dim light THERE and trying to count "is that three or four ledger lines" as I'm sight-reading a new chart.
 
Something that's helped me is all the Dixie playing .. working from fake books and just generally using my EARS to help tell me where that note SHOULD be, and if I don't have time to work it out, I just play what I think will SOUND right.  It usually works, tho your mileage may vary...
 
~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~= 
john burton 
Bach 50B3 
Bass Trombone, Charleston NeoPhonic Orchestra 
South Charleston, West Virginia 

________________________________

From: trombone-l-bounces at maillists.samford.edu on behalf of thetubameister at adelphia.net
Sent: Tue 8/1/2006 9:49 AM
To: Adrian Drover
Cc: 'Trombone-L'; 'Keith Marr'
Subject: Re: [Trombone-l] Blazhevich Clef Studies



As a tubist, I've actually run into concert pitch treble clef sometimes.  The first time was sight-reading a sonata by Casterede - I stopped with a loud "oh H*ll No!", but I've seen it several times since - the French seam to like it, though it make more sense when you consider what their tuba was for generations.

As for telegraph poles,  I'm for 'em, 'specially upside down.  Some people write tuba parts on or below the staff with a "8vb" on 'em, and it drives me bonckers.  As for seeing a written High D, well, maybe treble isn't so bad - better than alto (Blech!).

J.c.S.


---- Adrian Drover <slide at adios.co.uk> wrote:
>
>
> > From: Keith Marr
> >
> > The first and second
> > parts both have passages in concert pitch treble clef.
> > Never come across that before although I understand that jazzers
> > occasionally write high passage in it to escape the usual telegraph poles
>
>
> Yes, I've used concert pitch treble on occasion to write extreme high parts,
> both for trombone and 'cello.  Most musicians, even if their first
> instrument is normally written in bass clef, are familiar with treble clef
> from their theory studies, so why not use it for passages that are all or
> mostly above middle C?  After all, pianists read both clefs simultaneously
> with clusters of notes on both staves.  It's a doddle to read single notes
> on one clef at a time.  
>
> As a bass 'bonist, I'm hardly likely to encounter treble clef in my own
> playing, but in high trombone parts it looks quite natural and certainly
> easier to decipher than telegraph poles.  As a writer, on the few occasions
> I have found it necessary to switch to treble clef, I always imagine that I
> am playing the part myself.
>
> The only time I have ever had this queried, was when the player wanted to
> know whether I had switched to concert or transposed treble.  I would have
> thought the answer to be obvious, but then I have been known to behave
> irrationally on the odd occasion.
>
> A.
>
>
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