[Trombone-l] Saint-Jacome

Wed Sep 13 10:02:50 CDT 2006

So, Chris, Wednesday is your day off?

-----Original Message-----
>From: Chris Tune <crtune at adelphia.net>
>Sent: Sep 13, 2006 10:10 AM
>To: Josh Kane <JKBone5723 at cox.net>
>Cc: Trombone List <trombone-l at server5.samford.edu>
>Subject: Re: [Trombone-l] Saint-Jacome
>
>Hey!  I'm offended . . . :0
>
>. . . you mean you think that it is important to be clear and succinct?  As 
>a member of the Blarney-Stone-Kissing Blatherers of America, I must remind 
>you that filling the air with meaningless sound is one of nature's little 
>treats.  Perhaps you have been taught that "runon sentences" are a bad 
>thing?  I'm of a mind that the only thing I could really do wrong is NOT 
>SHUT UP when they tell me to, or to out-and-out LIE. [plus, I put-"the 
>examples" stuff in there so those tyros who were just now figuring it out 
>could stay on subject. . ]
>
>How would I bore my friends and family into near tears, if not for blather? 
>How would I enjoy the mere sound of my voice droning on and on and on, if 
>not for mere wordiness?  A plethora of words will always do, when others 
>might seek the terse.  You might call me a sesquipedalian (of course, you 
>might NOT).   No, that has nothing to do nakedness.  That is a person like 
>that old guy who contorts his face and neck . . .you know, Buckley, the guy 
>on TV . .guys who know all the really looooong words. . .
>
>Since you are smart, Josh, perhaps you have found a use for Alto Clef?   To 
>me. . .as a "jazzer" (I prefer "reformed legit player" . . .I especially 
>like the word "LEGIT" because it irritates some people. . .and because I 
>heard Alessi use the word!) I still wince when I see that stupid thing on 
>the page. . .luckily it usually is followed by inordinate amounts of 
>half-notes and tied-over whole notes.  Followed by enormous amounts of 
>rests.  I suppose the rests are the same regardless of clef. . .anyway, I 
>can always just figure the note heads values out one by one.  I mean, I'd 
>choose treble clef at that point.  Who cares if the second line is A, or G?
>
>:-)
>
>Chris
>
>
>
>----- Original Message ----- 
>From: "Josh Kane" <JKBone5723 at cox.net>
>To: "Chris Tune" <crtune at adelphia.net>
>Cc: "Charles De Paolo" <chuck at hickeys.com>; "Trombone List" 
><trombone-l at server5.samford.edu>
>Sent: Tuesday, September 12, 2006 10:11 PM
>Subject: Re: [Trombone-l] Saint-Jacome
>
>
>> Not to offend you Chris, in any way..... but in a simpler way of  saying 
>> it.....
>>
>>
>> Bb parts- Read as Tenor clef and add 2 flats to the key signature. 
>> Remember, flats cancel sharps
>>
>> Eb parts- Read as bass clef, add 3 flats. Easy enough.
>>
>> Also about Saint-Jacome, I know all my trumpet player friends here at 
>> Rhode Island College use the book in thier lessons with Joseph Foley.
>>
>> Josh
>> On Sep 13, 2006, at 12:48 AM, Chris Tune wrote:
>>
>>> Luckily, Bb instrument music like Clarinet, Trumpet and Tenor Sax  is 
>>> easy to
>>> play once you get used to it.  You play the note heads as though  they 
>>> were
>>> TENOR CLEF (don't flame. . .I know a lot of you already know  this. . 
>>> .but
>>> were here to help, N'Est-Ce-Pas?) .
>>>
>>> Thus, the fourth line (from bottom) is "C" (a la tenor clef).  You  add 
>>> TWO
>>> FLATS to the key.  So, if the key was originally D major as this  note 
>>> would
>>> imply, (with two sharps. . ) the sharps get cancelled out and you  have C
>>> major.
>>>
>>> The treble clef, third space "C" is now Bb, and because you have  two 
>>> added
>>> flats for your key sig--that is. . .Bb major.   All keys work just  like
>>> this.
>>>
>>> Easier than playing Eb Alto or Bari parts, where accidentals can be
>>> hair-raising.  This formula really, really works--very rarely will  you 
>>> need
>>> to think hard about an accidental (it DOES happen occasionally).  Easy
>>> enough that Hal and I used to play trumpet duets and also did  Clarinet 
>>> and
>>> Trumpet parts from a Dixie arrangement set by a trumpeter named  Levine. 
>>> So,
>>> students get your trumpet and clarinet parts out or look for duet  books 
>>> for
>>> two trumpets or clarinets and go for it.  They give you more scalar  work 
>>> and
>>> are generally more challenging technically.  So go for it!
>>>
>>> Chris
>>>
>>> ----- Original Message -----
>>> From: "Charles De Paolo" <chuck at hickeys.com>
>>> To: "Trombone List" <trombone-l at server5.samford.edu>
>>> Sent: Monday, September 11, 2006 8:06 AM
>>> Subject: Re: [Trombone-l] Saint-Jacome
>>>
>>>
>>>> If there ever was a Saint-Jacome for trombone, it is no longer.   The 
>>>> only
>>>> version currently available is for trumpet, entitled "Grand Method -
>>>> revised
>>>> edition," published by Carl Fischer.  So, looks like the only way  to 
>>>> enjoy
>>>> this work is to spin up those Bb treble clef chops and hit the 
>>>> woodshed.
>>>>
>>>> --Chuck
>>>>
>>>>
>>>>  ----- Original Message -----
>>>>  From: Stan Brager
>>>>  To: Trombone-L
>>>>  Sent: Saturday, September 09, 2006 5:25 PM
>>>>  Subject: [Trombone-l] Saint-Jacome
>>>>
>>>>
>>>>  As a trombone student of several years, I've heard much from trumpet
>>>> players
>>>>  about Studies written by Saint-Jacome. They say that the  exercises go
>>>> beyond
>>>>  the repetitious exercises of the Arban's. They continue to say  that 
>>>> while
>>>>  the Saint-Jacome exercises may be a bit more difficult, they're  far 
>>>> more
>>>>  interesting.
>>>>
>>>>  I've looked for the Saint-Jacome For Trombone but haven't found  one. 
>>>> Does
>>>> it
>>>>  exist?
>>>>
>>>>  What do you think of the Saint-Jacome book?
>>>>
>>>>  Thanks,
>>>>
>>>>  Stan
>>>>
>>>>  PS: Over the Labor Day week-end, I heard Bill Allred, John  Allred, Dan
>>>>  Barrett, Scott Whifield, and Russ Philips at the Los Angeles  Sweet 'n'
>>>> Hot
>>>>  festival. At one point, all but Bill Allred were playing together  on a
>>>> set
>>>>  backed only by a rhythm section. Essentially four trombonists  jamming 
>>>> on
>>>> the
>>>>  same tunes for an hour. I found it an interesting mix of styles,
>>>> approaches
>>>>  to the music and tonal qualities.
>>>>
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>>>>
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>
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