[Trombone-l] Trombone-l Digest, Vol 30, Issue 11
john wasson
john at johnwasson.com
Thu Jul 12 14:55:15 CDT 2007
Melissa, the 1-page Tuba part looks great; nice work.
A couple of things--when the rehearsal numbers occur at the beginning
of a line near a treble clef, let's tuck then down and to the right
slightly, like we did with Mike's project. Not enough to crash into
notes or even key sigs, but just a bit so they don't ride so high
over the staff to clear the clef. Does that make sense?
JOHN WASSON
composer - producer
www.johnwasson.com
On Jul 12, 2007, at 12:00 PM, trombone-l-
request at maillists.samford.edu wrote:
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> Today's Topics:
>
> 1. Music for the End of Time (William Osborne), for trombone and
> quadraphonic electronics (Polymniapress)
> 2. Re: Italian lessons (Tom Izzo) (John Burton)
> 3. Re: Music for the End of Time (William Osborne), for trombone
> and quadraphonic electronics (Fred Hudson)
> 4. Natural trumpet-making (and slide trumpet!) course in
> Bloomington, 30 July-3 August (George Butler)
> 5. Re: Natural trumpet-making (and slide trumpet!) course in
> Bloomington, 30 July-3 August (thetubameister at adelphia.net)
> 6. Re: Natural trumpet-making (and slide trumpet!) course in
> Bloomington, 30 July-3 August (Carole Nowicke)
>
> From: "Polymniapress" <polymniapress at gmx.de>
> Date: July 11, 2007 12:05:01 PM CDT
> To: "TromboneL" <trombone-l at server5.samford.edu>
> Subject: [Trombone-l] Music for the End of Time (William Osborne),
> for trombone and quadraphonic electronics
>
>
> Dear list,
> the performance material of "Music for the
> End of Time" by William Osborne is now
> available from: www.polymnia-press.de
>
> "Music for the End of Time" is a 50-minute
> work for trombone and quadraphonic electronics
> based on the Book of Revelation. It is a kind of
> dramatic tone poem for trombone and computer.
> All aspects of the trombone, ranging from symphonic
> expressions of "divine wrath," to wild rhythmic
> unisons with the Four Horsemen of the Apocalypse,
> to the gentlest, meditative lyricism are explored.
>
> There is a link to sample clips you can listen to
> on our website.
>
> A recording with trombonist Abbie Conant
> will be available in some months.
>
> Herzliche Grüsse/Best wishes,
> Reinhold Degenhart
>
> Reinhold Degenhart
> Mörikestr. 3
> 87719 Mindelheim
> Germany
>
> Tel.: 0049 (0) 8261 7399915
> Mobile: 0049 (0) 175 5201679
> Email: reinhold.degenhart at gmx.de
> Homepage: www.degenhart-reinhold.de
> Verlagshomepage: www.polymnia-press.de
>
>
>
>
>
>
> From: "John Burton" <John.Burton at JohnBurton.org>
> Date: July 11, 2007 6:07:00 PM CDT
> Cc: Trombone List <trombone-l at server5.samford.edu>
> Subject: Re: [Trombone-l] Italian lessons (Tom Izzo)
>
>
>
> Kill-the-wabbit
>
> With my spear and magic helmet!
>
> ~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=~=
>
> 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
> pmmus1c at bellsouth.net
> Sent: Tuesday, July 10, 2007 9:15 AM
> To: George Butler; Wayne Dyess
> Cc: Trombone List
> Subject: Re: [Trombone-l] Italian lessons (Tom Izzo)
>
> For those who wish to hear the 'original' by Elmer Fudd ...
>
> http://www.youtube.com/watch?v=353heNgg_aw
>
>
>
> From: George Butler <georgebutler2003 at yahoo.com>
> Date: 2007/07/10 Tue AM 02:53:18 EST
> To: Wayne Dyess <texastbone at gt.rr.com>
> CC: Trombone List <trombone-l at server5.samford.edu>
> Subject: Re: [Trombone-l] Italian lessons (Tom Izzo)
>
> Hi Wayne,
>
> Raymondville [for the listers, a little town in far south Texas,
> where
> I worked as a band director before coming here to Tallinn last summer]
> was about an hour south of the Armstrong Ranch, where the V.P. had his
> hunting accident. I wonder how Dick Cheney would say it?
>
> I guess I should have been more clear on something: You often hear
> from student players, "I'll kill-me-a WAB- -bit, kill-me-a WAB- -bit,"
> but the accent is on count one: "i'll KILL-me-a wab- -bit, KILL-me-a
> wab- -bit..."
>
> I think the exact wording that Charlie uses is in his method
> book. I
> really should have looked it up before posting, but it's probably been
> discussed here before.
>
> --George
>
> Wayne Dyess <texastbone at gt.rr.com> wrote:
> Great post, there, George!
>
> One caveat:
>
>
> In Texas, ya gotta use two syllables for kill (kee-ul).
>
>
> Also... it would be thus: kee-ul da wab-bit, kee-ul da wab-bit.
>
>
> Otherwise, I'm with ya.
>
>
> (funnin', of course)
>
>
>
>
> Being educated myself, I would simply say "kill da wab-bit".
>
>
> :-)
> Grins,
> Wayne
>
>
>
> On Jul 8, 2007, at 4:52 PM, George Butler wrote:
>
> I guess Charlie Vernon does the same thing when, on his Elmer
> Fudd
> Ride, he's thinking "KILL-me-a wab-bit, KILL me a wab-bit."
>
>
> Wayne Dyess
> The Night & Day Orchestra
> http://www.ndotex.com
> Lamar University-Beaumont, Texas
> Professor of Music
>
>
>
>
>
>
>
>
> ---------------------------------
> Building a website is a piece of cake.
> Yahoo! Small Business gives you all the tools to get online.
> _______________________________________________
> Trombone-l mailing list
> Trombone-l at maillists.samford.edu
> http://maillists.samford.edu/mailman/listinfo/trombone-l
>
>
> _______________________________________________
> Trombone-l mailing list
> Trombone-l at maillists.samford.edu
> http://maillists.samford.edu/mailman/listinfo/trombone-l
>
>
>
>
>
> From: "Fred Hudson" <fmhudson at cablelynx.com>
> Date: July 11, 2007 9:46:56 PM CDT
> To: "Polymniapress" <polymniapress at gmx.de>, "TromboneL" <trombone-
> l at server5.samford.edu>
> Subject: Re: [Trombone-l] Music for the End of Time (William
> Osborne), for trombone and quadraphonic electronics
>
>
> The clips are absolutely fantastic - I look forward to the
> availability of the complete work on CD.
>
> Fred H
>
> ----- Original Message ----- From: "Polymniapress"
> <polymniapress at gmx.de>
> To: "TromboneL" <trombone-l at server5.samford.edu>
> Sent: Wednesday, July 11, 2007 12:05 PM
> Subject: [Trombone-l] Music for the End of Time (William
> Osborne),for trombone and quadraphonic electronics
>
>
> Dear list,
> the performance material of "Music for the
> End of Time" by William Osborne is now
> available from: www.polymnia-press.de
>
> "Music for the End of Time" is a 50-minute
> work for trombone and quadraphonic electronics
> based on the Book of Revelation. It is a kind of
> dramatic tone poem for trombone and computer.
> All aspects of the trombone, ranging from symphonic
> expressions of "divine wrath," to wild rhythmic
> unisons with the Four Horsemen of the Apocalypse,
> to the gentlest, meditative lyricism are explored.
>
> There is a link to sample clips you can listen to
> on our website.
>
> A recording with trombonist Abbie Conant
> will be available in some months.
>
> Herzliche Grüsse/Best wishes,
> Reinhold Degenhart
>
> Reinhold Degenhart
> Mörikestr. 3
> 87719 Mindelheim
> Germany
>
> Tel.: 0049 (0) 8261 7399915
> Mobile: 0049 (0) 175 5201679
> Email: reinhold.degenhart at gmx.de
> Homepage: www.degenhart-reinhold.de
> Verlagshomepage: www.polymnia-press.de
>
>
> _______________________________________________
> Trombone-l mailing list
> Trombone-l at maillists.samford.edu
> http://maillists.samford.edu/mailman/listinfo/trombone-l
>
>
>
>
> From: George Butler <georgebutler2003 at yahoo.com>
> Date: July 12, 2007 2:29:32 AM CDT
> To: Trombone List <trombone-l at server5.samford.edu>
> Subject: [Trombone-l] Natural trumpet-making (and slide trumpet!)
> course in Bloomington, 30 July-3 August
>
>
> Rick Seraphinoff tells me that he still has three or four openings
> for participants in the baroque trumpet-making course to be held in
> Bloomington, Indiana from Monday July 30 through Friday August 3.
> For details, see http://www.seraphinoff.com/naturaltrumpet.htm
>
> You guys remember back in April, I posted a note asking if anyone
> had a renaissance slide trumpet in their closet? I didn't get any
> responses, so...
>
> I participated in the course held last week in the little town of
> Myn'a'm'a'ki, in southwest Finland. Instructors were Robert
> Barclay of Canada; Richard Seraphinoff of Indiana University; and
> Michael M'un'kwitz, trumpet-maker of Rostock, Germany.
>
> For a description of what you'll be doing, see chapter six, "The
> Techniques," in Barclay's 1992 book, The Art of the Trumpet-maker:
> The Materials, Tools, and Techniques of the Seventeenth and
> Eighteenth Centuries in Nuremberg, published by Oxford University
> Press.
> For a slide trumpet, you'll need to make another tube for your
> single inner slide, and change a couple of dimensions.
>
> Even if you're not interested in old instruments or metalworking,
> I recommend this course highly. I learned so much. I was quite
> surprised at the quality of work done by my beginning classmates,
> and any time anyone had a problem, the instructors pitched in. To
> have a beautiful, working instrument at the end is just a nice bonus.
>
> Rick Serephinoff took the lead in the overall design of my slide
> trumpet. It's in modern pitch E-flat, like your alto trombone.
> (That's D=460 at high pitch, which is where most alta capella
> groups--shawm, bombard, slide trumpet--play these days.) I had in
> mind the alterpiece painting of angel musicians done by Hans
> Memling. But, as Bob Barclay pointed out, if you trace the lines
> of that slide trumpet in the painting, the lines don't line up.
> (Bob has a paper coming out soon on that, in the Historic Brass
> Society Journal.) Bob was invaluable in teaching basic metal
> technique, and helped me with crooks. Michael had some input on my
> bell, and took on my my slide. So, this horn has input and parts
> from three different masters.
>
> I got a bit behind on my first day, cutting teeth on one edge of
> the bell, and soldering up tubes for the long yards and crooks.
> (I'm slow!) Tuesday began for most with a couple of hours
> vigorously hammering the last last 6 centimeters of the bell on an
> anvil (Exedrin, anyone?), followed by three hours of braising
> (scraping) down the rest of the bell into shape. (What a
> workout!) By quitting time Wednesday afternoon, I was having
> doubts as to whether I'd finish. I also needed to leave a day
> early, to get back to Tallinn for a rehearsal on Friday morning.
>
> But guess what? After dinner, the three masters went back to the
> workshop to work until eleven. (If you're doing something you
> enjoy, you don't get tired, I guess.) I came to work Thursday
> morning to find that Rick had already decorated and attached the
> bell garland, and Michael had worked on the single slide. I guess
> it's true that Santa and his elves live in Finland.
>
> Rick helped with the final assembly on Thursday, cutting tubing
> to the right pitch. (He wrote down the dimensions, so it may not
> take you as long.) Michael worked some more on the slide, and
> added a grab handle to the mouthpipe.
>
> Though the instructors have been doing this course together for
> over ten years now, they sometimes had different techniques for
> doing the same thing. They would trade ideas with each other. We
> also had a couple of blacksmithing students from Myn'a'm'a'ki
> participating, and it was good to see the masters learn from those
> students as well. The whole atmosphere was like a one-room school
> house, as everyone shared tools and techniques, and worked on
> different tasks at the same time. (There are only so many anvils,
> so many mandrels, etc. But it all works out.) At various times
> during the day, Bob would gather everyone around for a
> demonstration of the next step. Being behind, I'd have to ask for
> a reminder later, and he'd show me how again. Then, I'd start, and
> one of the other instructors would come by to show me how he does it.
>
> The trumpeters in the course were replicating a 1632 Hanns
> Hainlein in the Munich Stadtmuseum--Musikinstrumentenmuseum,
> #67-05, at D=415. That's D-flat at modern pitch, which meant I
> needed to shorten my horn a whole step. Rick and I worked with a
> tuner, and took off a a little each try from the small end of the
> bell and the slides.
>
> I was surprised to not see any tape measures or calipers for
> measuring bore. The brass sheet had been cut using patterns, and
> tubing was cut to length by holding the tube up to a drawing posted
> on the wall. Mark with your Sharpie, and get the hack saw.
>
> We don't have a surviving slide trumpet to copy until 1651, so my
> slide trumpet is speculative at best. (There's even a debate as to
> whether the slide trumpet even existed, but that's another
> thread.) Still, I can't tell you how pleased I am with my
> resulting horn: The sound is beautiful, the intonation is dead-on,
> and it's good looking. The slide is good now, and will get better
> as it is used.
>
> Don't let the trumpeters have all the fun. The Bloomington
> course is in a couple of weeks.
>
> The next course in Rostock, Germany is probably in late June
> 2008, to be held in Michael's new workshop. See his website:
> www.trompetenmacher.de
>
> The course has only been held in Finland for a couple of years
> now. It is not a regular affair, organized only when there has
> been demand. It is held at the Lounais-Suomen K'a'si- ja
> Taideteollisuusoppilaitos (South Finland Handwork
> and ...something), a school well-known for its blacksmithing
> curriculum. Living accomodations are just a short walk away, and
> the small town of Myn'a'm'a'ki and the surrounding area is nice.
> (I need to buy a keyboard with umlauts "...)
>
> George Butler
> Tallinn, Estonia
>
>
> ---------------------------------
> Take the Internet to Go: Yahoo!Go puts the Internet in your pocket:
> mail, news, photos & more.
>
>
>
> From: <thetubameister at adelphia.net>
> Date: July 12, 2007 11:13:12 AM CDT
> To: George Butler <georgebutler2003 at yahoo.com>
> Cc: Trombone List <trombone-l at server5.samford.edu>
> Subject: Re: [Trombone-l] Natural trumpet-making (and slide
> trumpet!) course in Bloomington, 30 July-3 August
>
>
> I took this course in 1997. I was already an apprentice tech, but
> I learned stuff there I still use - and regularly. I cannot
> recommend this course more, even after 50 hours lhard labor and a
> really great laceration of my right hand (my stupidity!).
>
> If you have the time and money - do it! You'll love the results
> too! I hope one day they do a Sackbut class - I'd be first in line!
>
> J.c.S.
>
>
> ---- George Butler <georgebutler2003 at yahoo.com> wrote:
>> Rick Seraphinoff tells me that he still has three or four openings
>> for participants in the baroque trumpet-making course to be held
>> in Bloomington, Indiana from Monday July 30 through Friday August
>> 3. For details, see http://www.seraphinoff.com/naturaltrumpet.htm
>>
>> You guys remember back in April, I posted a note asking if
>> anyone had a renaissance slide trumpet in their closet? I didn't
>> get any responses, so...
>>
>> I participated in the course held last week in the little town
>> of Myn'a'm'a'ki, in southwest Finland. Instructors were Robert
>> Barclay of Canada; Richard Seraphinoff of Indiana University; and
>> Michael M'un'kwitz, trumpet-maker of Rostock, Germany.
>>
>> For a description of what you'll be doing, see chapter six, "The
>> Techniques," in Barclay's 1992 book, The Art of the Trumpet-
>> maker: The Materials, Tools, and Techniques of the Seventeenth
>> and Eighteenth Centuries in Nuremberg, published by Oxford
>> University Press.
>> For a slide trumpet, you'll need to make another tube for your
>> single inner slide, and change a couple of dimensions.
>>
>> Even if you're not interested in old instruments or
>> metalworking, I recommend this course highly. I learned so much.
>> I was quite surprised at the quality of work done by my beginning
>> classmates, and any time anyone had a problem, the instructors
>> pitched in. To have a beautiful, working instrument at the end is
>> just a nice bonus.
>>
>> Rick Serephinoff took the lead in the overall design of my slide
>> trumpet. It's in modern pitch E-flat, like your alto trombone.
>> (That's D=460 at high pitch, which is where most alta capella
>> groups--shawm, bombard, slide trumpet--play these days.) I had in
>> mind the alterpiece painting of angel musicians done by Hans
>> Memling. But, as Bob Barclay pointed out, if you trace the lines
>> of that slide trumpet in the painting, the lines don't line up.
>> (Bob has a paper coming out soon on that, in the Historic Brass
>> Society Journal.) Bob was invaluable in teaching basic metal
>> technique, and helped me with crooks. Michael had some input on
>> my bell, and took on my my slide. So, this horn has input and
>> parts from three different masters.
>>
>> I got a bit behind on my first day, cutting teeth on one edge of
>> the bell, and soldering up tubes for the long yards and crooks.
>> (I'm slow!) Tuesday began for most with a couple of hours
>> vigorously hammering the last last 6 centimeters of the bell on an
>> anvil (Exedrin, anyone?), followed by three hours of braising
>> (scraping) down the rest of the bell into shape. (What a
>> workout!) By quitting time Wednesday afternoon, I was having
>> doubts as to whether I'd finish. I also needed to leave a day
>> early, to get back to Tallinn for a rehearsal on Friday morning.
>>
>> But guess what? After dinner, the three masters went back to
>> the workshop to work until eleven. (If you're doing something you
>> enjoy, you don't get tired, I guess.) I came to work Thursday
>> morning to find that Rick had already decorated and attached the
>> bell garland, and Michael had worked on the single slide. I guess
>> it's true that Santa and his elves live in Finland.
>>
>> Rick helped with the final assembly on Thursday, cutting tubing
>> to the right pitch. (He wrote down the dimensions, so it may not
>> take you as long.) Michael worked some more on the slide, and
>> added a grab handle to the mouthpipe.
>>
>> Though the instructors have been doing this course together for
>> over ten years now, they sometimes had different techniques for
>> doing the same thing. They would trade ideas with each other. We
>> also had a couple of blacksmithing students from Myn'a'm'a'ki
>> participating, and it was good to see the masters learn from those
>> students as well. The whole atmosphere was like a one-room school
>> house, as everyone shared tools and techniques, and worked on
>> different tasks at the same time. (There are only so many anvils,
>> so many mandrels, etc. But it all works out.) At various times
>> during the day, Bob would gather everyone around for a
>> demonstration of the next step. Being behind, I'd have to ask for
>> a reminder later, and he'd show me how again. Then, I'd start,
>> and one of the other instructors would come by to show me how he
>> does it.
>>
>> The trumpeters in the course were replicating a 1632 Hanns
>> Hainlein in the Munich Stadtmuseum--Musikinstrumentenmuseum,
>> #67-05, at D=415. That's D-flat at modern pitch, which meant I
>> needed to shorten my horn a whole step. Rick and I worked with a
>> tuner, and took off a a little each try from the small end of the
>> bell and the slides.
>>
>> I was surprised to not see any tape measures or calipers for
>> measuring bore. The brass sheet had been cut using patterns, and
>> tubing was cut to length by holding the tube up to a drawing
>> posted on the wall. Mark with your Sharpie, and get the hack saw.
>>
>> We don't have a surviving slide trumpet to copy until 1651, so
>> my slide trumpet is speculative at best. (There's even a debate
>> as to whether the slide trumpet even existed, but that's another
>> thread.) Still, I can't tell you how pleased I am with my
>> resulting horn: The sound is beautiful, the intonation is dead-
>> on, and it's good looking. The slide is good now, and will get
>> better as it is used.
>>
>> Don't let the trumpeters have all the fun. The Bloomington
>> course is in a couple of weeks.
>>
>> The next course in Rostock, Germany is probably in late June
>> 2008, to be held in Michael's new workshop. See his website:
>> www.trompetenmacher.de
>>
>> The course has only been held in Finland for a couple of years
>> now. It is not a regular affair, organized only when there has
>> been demand. It is held at the Lounais-Suomen K'a'si- ja
>> Taideteollisuusoppilaitos (South Finland Handwork
>> and ...something), a school well-known for its blacksmithing
>> curriculum. Living accomodations are just a short walk away, and
>> the small town of Myn'a'm'a'ki and the surrounding area is nice.
>> (I need to buy a keyboard with umlauts "...)
>>
>> George Butler
>> Tallinn, Estonia
>>
>>
>> ---------------------------------
>> Take the Internet to Go: Yahoo!Go puts the Internet in your
>> pocket: mail, news, photos & more.
>> _______________________________________________
>> Trombone-l mailing list
>> Trombone-l at maillists.samford.edu
>> http://maillists.samford.edu/mailman/listinfo/trombone-l
>
>
>
>
>
> From: Carole Nowicke <cnowicke at indiana.edu>
> Date: July 12, 2007 11:17:28 AM CDT
> To: trombone-l at server5.samford.edu
> Subject: Re: [Trombone-l] Natural trumpet-making (and slide
> trumpet!) course in Bloomington, 30 July-3 August
>
>
> Quoting thetubameister at adelphia.net:
>
>> I took this course in 1997. I was already an apprentice tech, but I
>> learned stuff there I still use - and regularly. I cannot recommend
>> this course more, even after 50 hours lhard labor and a really great
>> laceration of my right hand (my stupidity!).
>
> I haven't taken the course, but I've been over rubbernecking when
> Henry Meredith took it (he made a quartet of natural trumpets). I'd
> love to take it now if it wasn't a horrible time of the year for my
> office (we generally have a conference right in the middle of it--
> and this year is no different).
>
> Everyone has a lot of fun, and they bonded over many nights in
> Bloomington's restaurants.
>
> Carole Nowicke
> cnowicke at indiana.edu
>
>
>
>
> _______________________________________________
> Trombone-l mailing list
> Trombone-l at maillists.samford.edu
> http://maillists.samford.edu/mailman/listinfo/trombone-l
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