[Trombone-l] Bartok gliss question revisited

[emrose79]

The F Bass (I guess to Tom that would be a "true" bass  ;-) ) has 7 
positions, and therefore a longer slide, as the positions are farther 
apart (as compared side-by-side to a conventional slide). I think that 
when you play the F bass, it sounds like the Bb/F with the trigger "on" 
because your brain is telling you that the positions are the same as the 
trigger F, it's a psychological thing, at least that's what is seems 
like to me
Ed






Raymond Horton wrote:

>The difference would be _if_ the F bass has 7 full positions.   If it 
>has seven, one could play the Bartok glissandos as written.  If it only 
>has six, like the Bb/ F bass does when one presses the f valve (or like 
>the Eb/D sackbut I used to play in college), then you are correct. 
>
>
>I've never played an F bass.  
>
>
>RBH
>
>
>
>John Burton wrote:
>  
>
>>This may come into the conversation as a bit nieve but ...
>>
>>What's the *functional* difference between an "F" base and a "Bb" base with the "F" rotor pulled in full time?
>>
>>The reason I'm asing is that while looking for a contra I found several "F" bases, but they all felt and sounded (to me) like I was playing my 50B3 with a rubber-band around the "F" rotor.  Thus, this gliss we're discussing..., wouldn't it be the same playing this with a 50B3 with the "F" rotor pulled???
>>
>>Let me qualify all this by saying I was one of those guys that bought a special horn for just one chart.  Gave me a Miraphone BBb and an e-bay no-name (Selma??) Alto..  And yes, I have the Jupiter 314 for playing with the dixiland guys ....  
>>
>>I guess I'm trying to follow this discussion with a bit of "classroom-esqe" learning.
>>
>>Thanks, all. 
>>
>>
>>~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~= 
>> 
>>john burton
>>Bach 50B3 Bass Trombone
>>Kanawha Valley Community Band / Slide-by-Slide
>>South Charleston, West Virginia
>>
>>-----Original Message-----
>>From: trombone-l-bounces at maillists.samford.edu [mailto:trombone-l-bounces at maillists.samford.edu] On Behalf Of james meador
>>Sent: Friday, April 27, 2007 4:18 PM
>>To: alexiles at earthlink.net
>>Cc: trombone-l at server5.samford.edu
>>Subject: Re: [Trombone-l] Bartok gliss question revisited
>>
>>Alex,
>>
>>I agree with you to a certain extent.  Suffice it to say that I would never consider buying a horn just to play the lick, or even a few licks.  However, in my experience the difference between good musicians and great ones has been their attention to the minutest of details.  Those players that go the extra mile to make sure they produce exactly what is intended to the best of their ability.  Not only what the composer put on the page, but even trying to produce what the composer was feeling when he wrote the piece (based on score study or historical study or whatever).  This is what I aspire to.  I certainly don't do it to impress the conductors, most of whom have not impressed me.  I also agree that it is just an effect, but the better we can pull it off the more effective it is.
>>
>>James
>>
>>======================
>>James N. Meador, Bass Trombone
>>Orquesta Sinfónica de Yucatán
>>+52-999-221-5845 cell
>>+52-999-195-1144 home
>>jamesmeador at hotmail.com
>>
>>
>>
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