[Trombone-l] Trombone-l Digest, Vol 50, Issue 19
Charles DePaolo
chuck at hickeys.com
Wed Mar 18 17:43:55 CDT 2009
David et al,
My research guru tells me: "I found a reference on a contest list and
MCA was listed as the publisher. It's not listed in Hal Leonard [MCA's
agent] anymore. I did see that Kunzelmann publishes a number of his
works, but not that one."
Looks like it's a blast from the past.
--Chuck
-----Original Message-----
From: trombone-l-bounces at samford.edu
[mailto:trombone-l-bounces at samford.edu] On Behalf Of dloucky at mtsu.edu
Sent: Wednesday, March 18, 2009 4:46 PM
To: trombone-l at samford.edu
Subject: Re: [Trombone-l] Trombone-l Digest, Vol 50, Issue 19
Hey guys,
Anyone on the list have information about a trombone concerto my Eugene
Zador? Thanks!
David Loucky
Professor of Trombone and Euphonium
School of Music
Middle Tennessee State University
---- Original message ----
>Date: Wed, 18 Mar 2009 12:00:02 -0500
>From: trombone-l-request at samford.edu
>Subject: Trombone-l Digest, Vol 50, Issue 19
>To: trombone-l at samford.edu
>
>Send Trombone-l mailing list submissions to
> trombone-l at samford.edu
>
>To subscribe or unsubscribe via the World Wide Web, visit
> http://maillists.samford.edu/mailman/listinfo/trombone-l
>or, via email, send a message with subject or body 'help' to
> trombone-l-request at samford.edu
>
>You can reach the person managing the list at
> trombone-l-owner at samford.edu
>
>When replying, please edit your Subject line so it is more specific
>than "Re: Contents of Trombone-l digest..."
>________________
>Today's Topics:
>
> 1. Re: Circus Music for Concert Band (Ken Leginchin)
> 2. Re: Circus Music for Concert Band (John Wasson)
> 3. Sam Burtis's new book is now available. (sabutin)
> 4. Ian Bateman (Eliezer Aharoni)
> 5. Re: Sam Burtis's new book is now available. (Howard Spindel)
> 6. Re: Sam Burtis's new book is now available. (sabutin)
> 7. Cal State Fullerton Trombone Day 2009 [4-25] (Alexander Iles)
> 8. Re: Sam Burtis's new book is now available. (John.McVey at frb.gov)
> 9. Re: Cal State Fullerton Trombone Day 2009 [4-25]
> (Christopher R Tune)
>________________
>Date: Tue, 17 Mar 2009 17:15:24 -0500
>From: "Ken Leginchin" <conn60h at visi.com>
>Subject: Re: [Trombone-l] Circus Music for Concert Band
>To: "Larry Zaidan" <larryzaidan at optonline.net>,
<TubaEuph at yahoogroups.com>, "Community Music" <c-m at yahoogroups.com>,
"Trombone-L" <trombone-l at samford.edu>
>
>If you have one "Ass Kicking" euphonium player in your band, you have
to
>play THE MELODY SHOP by Karl King.
>
>It's a crowd pleaser. Karl was a euphonium player in the B and B
circus
>band. This is the toughest euphonium part...bar none...of any circus
band
>arrangement ever written.
>
>Have fun ,
>
>Ken Leginchin
>
>
>
>----- Original Message -----
>From: "Larry Zaidan" <larryzaidan at optonline.net>
>To: <TubaEuph at yahoogroups.com>; "Community Music"
<c-m at yahoogroups.com>;
>"Trombone-L" <trombone-l at samford.edu>
>Sent: Monday, March 16, 2009 4:58 PM
>Subject: [Trombone-l] Circus Music for Concert Band
>
>
>> Hey Listers:
>>
>> Does anyone know where to find circus band arrangements (Merle Evans'
>> stuff comes to mind!), for concert band?
>>
>> A community band that I work with, has been asked to play for a local
>> event, for which that kind of music would be perfect. I know that
the
>> marches were typically taken very fast (which can be a challenge for
a
>> community band!), but anyone who has experience with circus playing
that
>> they think might be of help, please share!
>>
>> Thanks!
>>
>> Larry Zaidan
>> Rockland County Concert Band
>> 67 South Lillburn Drive
>> Garnerville, NY 10923
>>
>>
>
>
>
>________________
>Date: Tue, 17 Mar 2009 21:42:50 -0500
>From: John Wasson <john at johnwasson.com>
>Subject: Re: [Trombone-l] Circus Music for Concert Band
>To: Trombone-l at samford.edu
>Cc: John Wasson <john at johnwasson.com>
>
>Larry,
>
>Warren Barker wrote a piece a few years ago called "Under the Big Top"
>published by CPP/Belwin (then, now Alfred). Don't know if it's in
>print--he may have written others.
>
>JOHN WASSON
>composer - producer
>www.johnwasson.com
>
>
>On Mar 17, 2009, at 12:00 PM, trombone-l-request at samford.edu wrote:
>
>> From: Larry Zaidan <larryzaidan at optonline.net>
>> Date: March 16, 2009 4:58:39 PM CDT
>> To: TubaEuph at yahoogroups.com, Community Music <c-m at yahoogroups.com>,
>> Trombone-L <trombone-l at samford.edu>
>> Subject: [Trombone-l] Circus Music for Concert Band
>>
>>
>> Hey Listers:
>>
>> Does anyone know where to find circus band arrangements (Merle
>> Evans' stuff comes to mind!), for concert band?
>>
>> A community band that I work with, has been asked to play for a
>> local event, for which that kind of music would be perfect. I know
>> that the marches were typically taken very fast (which can be a
>> challenge for a community band!), but anyone who has experience with
>> circus playing that they think might be of help, please share!
>>
>> Thanks!
>>
>> Larry Zaidan
>> Rockland County Concert Band
>> 67 South Lillburn Drive
>> Garnerville, NY 10923
>
>
>________________
>Date: Wed, 18 Mar 2009 00:02:45 -0400
>From: sabutin <sabutin at mindspring.com>
>Subject: [Trombone-l] Sam Burtis's new book is now available.
>To: trombone-l at samford.edu
>
>"Time, Balance And Connections-A Universal Theory of Brass Relativity
>(Trombone Edition)"
>
><http://i80.photobucket.com/albums/j184/sabutin/BurtisFinalcolor.jpg>
>
>265 pgs.
>
>$75.00 including delivery w/in the continental United States. Other
>shipping charges as they apply.
>
>Check, money order or PayPal accepted. I may open an eBay store as
>well, but I am looking into other options first.
>
>Get back to me if you want one. (<sabutin at mindspring.com>)
>
>Sam
>
>P.S. A bone-stock Bach mouthpiece lists at $88.05 as we speak. How
>many mouthpieces and other pieces of equipment have you bought over
>the years in the hopes of improving your playing? If I had known over
>the first 20+ years of my career what I know now and have put into
>this book, I would have saved literally thousands of dollars in
>equipment expenditures and improved at a much more rapid pace.
>
>Make the investment.
>
>You be bettah off.
>
>Bet on it.
>
>________________
>Date: Wed, 18 Mar 2009 07:02:02 +0200
>From: Eliezer Aharoni <eanogmus at netvision.net.il>
>Subject: [Trombone-l] Ian Bateman
>To: trombone-l at samford.edu
>
>Just found a website of Brittish trombonist Ian Bateman, which I did'nt
know before, and liked very muvh his ballad style:
>
>www.ianbateman.co.uk/Discography.htm
>
>www.ianbateman.co.uk/AboutMe.htm
>
>www.bonesupremacy.co.uk
>
>Eliezer Aharoni
>
>________________
>Date: Tue, 17 Mar 2009 22:50:53 -0700
>From: Howard Spindel <howard at sci1.com>
>Subject: Re: [Trombone-l] Sam Burtis's new book is now available.
>To: sabutin <sabutin at mindspring.com>, trombone-l at samford.edu
>
>Sam,
>
>Can you please give us a sense of the topics that are covered? Maybe
>a list of chapter headings?
>
>Thanks,
>Howard
>
>At 09:02 PM 3/17/2009, sabutin wrote:
>>"Time, Balance And Connections-A Universal Theory of Brass Relativity
>>(Trombone Edition)"
>>
>><http://i80.photobucket.com/albums/j184/sabutin/BurtisFinalcolor.jpg>
>>
>>265 pgs.
>>
>>$75.00 including delivery w/in the continental United States. Other
>>shipping charges as they apply.
>>
>>Check, money order or PayPal accepted. I may open an eBay store as
>>well, but I am looking into other options first.
>>
>>Get back to me if you want one. (<sabutin at mindspring.com>)
>>
>>Sam
>>
>>P.S. A bone-stock Bach mouthpiece lists at $88.05 as we speak. How
>>many mouthpieces and other pieces of equipment have you bought over
>>the years in the hopes of improving your playing? If I had known over
>>the first 20+ years of my career what I know now and have put into
>>this book, I would have saved literally thousands of dollars in
>>equipment expenditures and improved at a much more rapid pace.
>>
>>Make the investment.
>>
>>You be bettah off.
>>
>>Bet on it.
>>_______________________________________________
>>Trombone-l mailing list
>>Trombone-l at samford.edu
>>http://maillists.samford.edu/mailman/listinfo/trombone-l
>
>
>
>
>________________
>Date: Wed, 18 Mar 2009 10:21:47 -0400
>From: sabutin <sabutin at mindspring.com>
>Subject: Re: [Trombone-l] Sam Burtis's new book is now available.
>To: trombone-l at samford.edu
>
>>Sam,
>>
>>Can you please give us a sense of the topics that are covered?
>>Maybe a list of chapter headings?
>>
>>Thanks,
>>Howard
>
>
>Sure.
>
>The book is basically a method book that seeks to let the student
>create his own method. It deals mostly with approaches to finding a
>natural embouchure system...the most natural embouchure system, that
>the individual can find for his own physical makeup and the musical
>aims towards which he is headed.
>
>It presents ways to use m;'pce buzzing, rim buzzing and freebuzzing
>in close conjunction with playing the horn, and by radically
>expanding many of the exercise concepts of Carmine Caruso it
>concentrates on timing in all aspects of playing the instrument to
>produce an efficient and balanced playing system through all desired
>octaves.
>
>It also deals with slide technique in great detail...perhaps the
>least explored aspect of trombone playing...and presents a radically
>new way to structure each individual practice session through the use
>of chance procedures so that all possible desired keys and scales
>(from the simplest to the most complex (as dictated by the level of
>the student) can be mastered as the physical act of playing trombone
>itself is being studied. There are three thoroughly illustrated
>samples of how a given practice session might evolve, one aimed at a
>student at an advanced high school/college level, one aimed at a
>really advanced student or young pro, and one example of three days
>of my own practice to show you how far the system can take you if you
>really want to explore the far reaches of the horn.
>
>Below is the whole table of contents. (You asked for it...like I
>said, this is a pretty exhaustive look at learning how to play the
>trombone. The chapter headings alone won't cut it.)
>
>It has been suggested to me that this book is as thorough an attempt
>to cover the whole of brass playing (Trumpet, tuba/euph and french
>horn editions will follow.) as was Dr. Donald Reinhardt's
>Encyclopedia Of The Pivot System. I myself see it as a less
>restrictive attempt at presenting similar information coupled with a
>sort of trombone and brass-limited, chance procedure-driven version
>of Nicholas Slonimsky's Thesaurus Of Scales and Melodic Patterns, a
>book which influenced musicians as diverse as Joseph Schillinger,
>George Gershwin and John Coltrane.
>
>In short...it's everything that I know about learning how to play a
>brass instrument. As a very famous trumpet player once said to me
>when hearing me play after a period of about 8 years, "Man! What have
>you been doing!!!" (I think maybe he didn't have a particularly high
>opinion of my playing originally. Deservedly so, in my own opinion.)
>And as I answered, "I've been practicing." We both broke up laughing,
>but that's the truth of the matter. Practice the right stuff and
>things happen.
>
>Bet on it.
>
>You can pick and choose from this book. Need low range work? High
>range? Flexibility? Articulation? Velocity? Attacks? Sound? Scale
>work? Scale patterns? Arpeggios? How to build phrases over chord
>changes? Whatever. Insert different choices into the chance
>procedures and every day will be a new practice that is
>simultaneously directed at your particular aims. I have been building
>and using this approach for over thirty years now. I practice every
>day, 365 days a year, and I swear to you that I have never exactly
>repeated a practice session once in all of that time. They are always
>different, always interesting, and always well directed. You can't
>ask for much more.
>
>Later...
>
>Sam
>
>======================================================
>
>Time, Balance And Connections-A Universal Theory Of Brass Relativity
>(Trombone Edition)
>
>Table Of Contents
>Introduction...........................................................
........................................................................
....................................
>1
>The Harmonic
>Series.................................................................
........................................................................
................
>3
>The Six Octave Trombone and A Trombonist's
>Journal................................................................
.....................................
>6
>Chapter 1-Connections
>Settings, Tendencies and Embouchure Areas/A Bel Canto Approach To
>Brass Playing.................................................. 9
>Chance
>Operations.............................................................
........................................................................
....................
>10
>Connection: Macro, Micro and
>Time...................................................................
..........................................................
>13
>Micro and Macro-Connection Exercises and Finding Your Break
>Points.................................................................
.....
>15
>The Four Most Common Types of
>Buzzing................................................................
....................................................
>17
>Micro-Connection Exercises: Daily Connection Practice (The Five Basic
>Connecting Exercises)
>1-Carmine Caruso's Six Notes (Tah Dah Hah or Tah Dah[p]
>Pah[p])................................................................
............
>23
>2-Long Tone
>Intervals..............................................................
........................................................................
...............
>27
>3-Moving
>Intervals..............................................................
........................................................................
....................
>28
>4-Short
>Scales.................................................................
........................................................................
.........................
>28
>5-Repeated Moving
>Intervals..............................................................
........................................................................
...
>29
>Macro-Connection Exercises: For Range Expansion, Accuracy and Slide
>Technique.......................................... 30
>1-Harmonics
>Harmonics
>Up.....................................................................
........................................................................
..................
>31
>Harmonics
>Down...................................................................
........................................................................
...............
>32
>Symmetrical
>Harmonics..............................................................
........................................................................
.........
>33
>2-Flexibilities
>Two Partial Short Flexibilities
>Up.....................................................................
..........................................................
>34
>Two Partial Short Flexibilities
>Down...................................................................
........................................................
>47
>Three Partial Short
>Flexibilities..........................................................
........................................................................
.
>50
>Four Partial Short
>Flexibilities..........................................................
........................................................................
..
>54
>3-Long
>Flexibilities..........................................................
........................................................................
.......................
>56
>Skipping, Then
>Straight...............................................................
........................................................................
.......
>57
>Skipping In Both
>Directions.............................................................
........................................................................
..
>64
>Expanding
>Harmonics..............................................................
........................................................................
..........
>67
>4-Slide
>Technique..............................................................
........................................................................
.....................
>71
>Slide Grip and Wrist
>Angle..................................................................
.......................................................................
>72
>Continuous Motion or Stop
>Time?..................................................................
.............................................................73
>Two Position
>Movements..............................................................
........................................................................
......
>74
>Three Position
>Movements..............................................................
........................................................................
....
>76
>5-Long
>Scales.................................................................
........................................................................
.......................
>84
>Straight
>Through................................................................
........................................................................
.................
>85
>Long Scale
>Patterns...............................................................
........................................................................
.............
>88
>6-Free
>Blowing................................................................
........................................................................
......................
>91
>Chapter II-Variations
>1-Directional
>Variations.............................................................
........................................................................
..........
>94
>On The Six Notes (Tah Dah Hah or Tah Dah[p]
>Pah[p])................................................................
............................
>94
>On Long Tone
>Intervals..............................................................
........................................................................
........
>95
>On Moving
>Intervals..............................................................
........................................................................
............
>98
>On Short
>Scales.................................................................
........................................................................
...............
>102
>On Repeated Moving
>Intervals..............................................................
..................................................................
>104
>2-Volume
>Variations.............................................................
........................................................................
............
>105
>Soft-Loud-Soft.........................................................
........................................................................
........................
>106
>Loud-Soft-Loud.........................................................
........................................................................
......................
>108
>Pianissimo and
>Fortisssimo............................................................
........................................................................
.
>109
>3-In, Out, Rim and
>Off....................................................................
........................................................................
.
>110
>In and
>Out....................................................................
........................................................................
....................
>111
>Rim....................................................................
........................................................................
..............................
>113
>Off....................................................................
........................................................................
................................
>114
>The Practical Use Of These Variations-Making Choices Through The Use
>Of Chance Operations......................... 114
>4-Articulations........................................................
........................................................................
...........................
>117
>Articulations As Applied to The Six Notes (Tah Dah
>Hah)...................................................................
...................
>118
>Articulations As Applied to Harmonics
>Exercises..............................................................
......................................
>120
>Articulation Variations As Applied To Moving
>Exercises..............................................................
...........................
>123
>5-Ranges As They Apply To
>Breaks.................................................................
......................................................
>124
>6-Placement
>Procedures.............................................................
........................................................................
......
>126
>The World's Shortest Lesson, Pt.
>I......................................................................
......................................................
>127
>7-Degrees Of
>Musicality.............................................................
........................................................................
....
>130
>8-Advanced Slide Technique
>Exercises..............................................................
....................................................
>132
>The World's Shortest Lesson, Pt.
>II.....................................................................
......................................................
>136
>Chapter III-Choices-The Construction Of A Practice
>Session................................................................
..
>137
>III-a A Mid-Level Practice
>Session................................................................
........................................................
>139
>Step 1-Establishing A
>Scale..................................................................
....................................................................
>141
>Step 2-Initial
>Exploration............................................................
........................................................................
.....
>141
>Step 3-Choosing A Starting Note, A Direction, And The First
>Break..................................................................
.....
>142
>Step 4-The Establishing Exercise-Six Notes (Tah Dah
>Hah)...................................................................
.................
>143
>Step 5-Accessing The Lower
>Ranges.................................................................
.......................................................
>144
>Step 6-Bringing This Lower Setting Into The Higher
>Ranges.................................................................
.................
>147
>Step 7- Repeated Moving Intervals Up From 2nd Space Bass Clef C in
>Fifths......................................................... 150
>Step 8-The Rest Of The Practice
>Session................................................................
..................................................
>151
>III-b An Advanced Practice
>Session................................................................
........................................................
>156
>Step 1- Choosing A Scale and
>Meter..................................................................
.......................................................
>159
>Step 2- Establishing A Middle And Low Range
>Balance................................................................
..........................
>160
>Step 3- Continuing Your Practice
>Session................................................................
.................................................
>165
>Step 4-More Practice
>Session................................................................
...................................................................
>167
>III-c-A Trombonist's
>Journal................................................................
....................................................................
>182
>Tues., 9/26/06 10:45
>AM.....................................................................
.......................................................................
>182
>Wednesday, 9/27/06 11
>AM.....................................................................
...................................................................
>195
>Thursday, 9/28/06 9:15
>AM.....................................................................
...................................................................
>201
>Friday, 9/29, 9:35
>AM.....................................................................
........................................................................
...
>219
>(Postscript)...........................................................
........................................................................
...............................
>223
>Appendix
>1-Breathing............................................................
........................................................................
............................
>224
>Equipment and Doubling
>2-Equipment............................................................
........................................................................
.........................
>228
>3-Doubling.............................................................
........................................................................
...........................
>232
>Arpeggios and Patterns In Tonal Jazz Playing
>4-Arpeggios............................................................
........................................................................
..........................
>235
>5-Patterns In Tonal Jazz
>Playing................................................................
..............................................................
>241
>6-Position charts
>Extreme Ranges and the Alternate Harmonic
>Series.................................................................
.............................
>245
>High
>Notes..................................................................
........................................................................
...................
>247
>Low Notes and the Alternate Harmonic
>Series.................................................................
.....................................
>248
>7-Short Descriptions of Various Exercises, Concepts and Variations
>Used In This Book
>Aleatoric (Chance)
>Operations.............................................................
....................................................................
>252
>Finding Break
>Points.................................................................
........................................................................
.......
>252
>Micro-Connection Exercises
>Daily Connection Practice (The Five Basic Connecting Exercises)
>Six Notes (Tah Dah Hah or Tah Dah[p]
>Pah[p])................................................................
.................................
>253
>Long Tone
>Intervals..............................................................
........................................................................
......
>253
>Moving
>Intervals..............................................................
........................................................................
..........
>253
>Short
>Scales.................................................................
........................................................................
...............
>254
>Repeated Moving
>Intervals..............................................................
..................................................................
>254
>Macro-Connection Exercises
>Harmonics..............................................................
........................................................................
....................
>255
>Flexibilities..........................................................
........................................................................
......................
>257
>Slide
>Technique..............................................................
........................................................................
...........
>259
>Long Scales and Free
>Blowing................................................................
..........................................................
>260
>Variations
>Directional
>Variations.............................................................
........................................................................
....
>261
>Volume
>Variations.............................................................
........................................................................
.........
>262
>In, Out, Rim and Off
>Variations.............................................................
............................................................
>262
>Articulation
>Variations.............................................................
........................................................................
...
>263
>Ranges As They Apply To
>Breaks.................................................................
......................................................
>263
>Placement
>Procedures.............................................................
........................................................................
...
>263
>Degrees Of
>Musicality.............................................................
........................................................................
...
>264
>8-Glossary.............................................................
........................................................................
......................................
>264
>
>________________
>Date: Wed, 18 Mar 2009 07:49:50 -0700
>From: Alexander Iles <alexiles at earthlink.net>
>Subject: [Trombone-l] Cal State Fullerton Trombone Day 2009 [4-25]
>To: trombone-l at samford.edu
>
>For all So. Cal residents and visitors to the area on April 25 ...
>[unfortunately, I am unable to play with Joey Sellers and The
>Algonquin Quartet this year]
>
>Have fun!!
>
>http://www.tromboneday.com/
>
>
>
>
>________________
>Date: Wed, 18 Mar 2009 10:54:42 -0400
>From: John.McVey at frb.gov
>Subject: Re: [Trombone-l] Sam Burtis's new book is now available.
>To: sabutin <sabutin at mindspring.com>
>Cc: trombone-l at samford.edu, trombone-l-bounces at samford.edu
>
>Hi Sam,
>
> Do you plan to be at the ETW this week and will you have copies
of
>the book with you?
>
>Thanks,
>
>John
>
>
>
>
> sabutin
> <sabutin at mindspri
> ng.com>
To
> Sent by: trombone-l at samford.edu
> trombone-l-bounce
cc
> s at samford.edu
>
Subject
> Re: [Trombone-l] Sam Burtis's
new
> 03/18/2009 10:22 book is now available.
> AM
>
>
>
>
>
>
>
>
>
>>Sam,
>>
>>Can you please give us a sense of the topics that are covered?
>>Maybe a list of chapter headings?
>>
>>Thanks,
>>Howard
>
>
>Sure.
>
>The book is basically a method book that seeks to let the student
>create his own method. It deals mostly with approaches to finding a
>natural embouchure system...the most natural embouchure system, that
>the individual can find for his own physical makeup and the musical
>aims towards which he is headed.
>
>It presents ways to use m;'pce buzzing, rim buzzing and freebuzzing
>in close conjunction with playing the horn, and by radically
>expanding many of the exercise concepts of Carmine Caruso it
>concentrates on timing in all aspects of playing the instrument to
>produce an efficient and balanced playing system through all desired
>octaves.
>
>It also deals with slide technique in great detail...perhaps the
>least explored aspect of trombone playing...and presents a radically
>new way to structure each individual practice session through the use
>of chance procedures so that all possible desired keys and scales
>(from the simplest to the most complex (as dictated by the level of
>the student) can be mastered as the physical act of playing trombone
>itself is being studied. There are three thoroughly illustrated
>samples of how a given practice session might evolve, one aimed at a
>student at an advanced high school/college level, one aimed at a
>really advanced student or young pro, and one example of three days
>of my own practice to show you how far the system can take you if you
>really want to explore the far reaches of the horn.
>
>Below is the whole table of contents. (You asked for it...like I
>said, this is a pretty exhaustive look at learning how to play the
>trombone. The chapter headings alone won't cut it.)
>
>It has been suggested to me that this book is as thorough an attempt
>to cover the whole of brass playing (Trumpet, tuba/euph and french
>horn editions will follow.) as was Dr. Donald Reinhardt's
>Encyclopedia Of The Pivot System. I myself see it as a less
>restrictive attempt at presenting similar information coupled with a
>sort of trombone and brass-limited, chance procedure-driven version
>of Nicholas Slonimsky's Thesaurus Of Scales and Melodic Patterns, a
>book which influenced musicians as diverse as Joseph Schillinger,
>George Gershwin and John Coltrane.
>
>In short...it's everything that I know about learning how to play a
>brass instrument. As a very famous trumpet player once said to me
>when hearing me play after a period of about 8 years, "Man! What have
>you been doing!!!" (I think maybe he didn't have a particularly high
>opinion of my playing originally. Deservedly so, in my own opinion.)
>And as I answered, "I've been practicing." We both broke up laughing,
>but that's the truth of the matter. Practice the right stuff and
>things happen.
>
>Bet on it.
>
>You can pick and choose from this book. Need low range work? High
>range? Flexibility? Articulation? Velocity? Attacks? Sound? Scale
>work? Scale patterns? Arpeggios? How to build phrases over chord
>changes? Whatever. Insert different choices into the chance
>procedures and every day will be a new practice that is
>simultaneously directed at your particular aims. I have been building
>and using this approach for over thirty years now. I practice every
>day, 365 days a year, and I swear to you that I have never exactly
>repeated a practice session once in all of that time. They are always
>different, always interesting, and always well directed. You can't
>ask for much more.
>
>Later...
>
>Sam
>
>======================================================
>
>Time, Balance And Connections-A Universal Theory Of Brass Relativity
>(Trombone Edition)
>
>Table Of Contents
>Introduction...........................................................
........................................................................
....................................
>
>1
>The Harmonic
>Series.................................................................
........................................................................
................
>
>3
>The Six Octave Trombone and A Trombonist's
>Journal................................................................
.....................................
>
>6
>Chapter 1-Connections
>Settings, Tendencies and Embouchure Areas/A Bel Canto Approach To
>Brass Playing.................................................. 9
>Chance
>Operations.............................................................
........................................................................
....................
>
>10
>Connection: Macro, Micro and
>Time...................................................................
..........................................................
>
>13
>Micro and Macro-Connection Exercises and Finding Your Break
>Points.................................................................
.....
>
>15
>The Four Most Common Types of
>Buzzing................................................................
....................................................
>
>17
>Micro-Connection Exercises: Daily Connection Practice (The Five Basic
>Connecting Exercises)
>1-Carmine Caruso's Six Notes (Tah Dah Hah or Tah Dah[p]
>Pah[p])................................................................
............
>
>23
>2-Long Tone
>Intervals..............................................................
........................................................................
...............
>
>27
>3-Moving
>Intervals..............................................................
........................................................................
....................
>
>28
>4-Short
>Scales.................................................................
........................................................................
.........................
>
>28
>5-Repeated Moving
>Intervals..............................................................
........................................................................
...
>
>29
>Macro-Connection Exercises: For Range Expansion, Accuracy and Slide
>Technique.......................................... 30
>1-Harmonics
>Harmonics
>Up.....................................................................
........................................................................
..................
>
>31
>Harmonics
>Down...................................................................
........................................................................
...............
>
>32
>Symmetrical
>Harmonics..............................................................
........................................................................
.........
>
>33
>2-Flexibilities
>Two Partial Short Flexibilities
>Up.....................................................................
..........................................................
>
>34
>Two Partial Short Flexibilities
>Down...................................................................
........................................................
>
>47
>Three Partial Short
>Flexibilities..........................................................
........................................................................
.
>
>50
>Four Partial Short
>Flexibilities..........................................................
........................................................................
..
>
>54
>3-Long
>Flexibilities..........................................................
........................................................................
.......................
>
>56
>Skipping, Then
>Straight...............................................................
........................................................................
.......
>
>57
>Skipping In Both
>Directions.............................................................
........................................................................
..
>
>64
>Expanding
>Harmonics..............................................................
........................................................................
..........
>
>67
>4-Slide
>Technique..............................................................
........................................................................
.....................
>
>71
>Slide Grip and Wrist
>Angle..................................................................
.......................................................................
>
>72
>Continuous Motion or Stop
>Time?..................................................................
.............................................................73
>
>Two Position
>Movements..............................................................
........................................................................
......
>
>74
>Three Position
>Movements..............................................................
........................................................................
....
>
>76
>5-Long
>Scales.................................................................
........................................................................
.......................
>
>84
>Straight
>Through................................................................
........................................................................
.................
>
>85
>Long Scale
>Patterns...............................................................
........................................................................
.............
>
>88
>6-Free
>Blowing................................................................
........................................................................
......................
>
>91
>Chapter II-Variations
>1-Directional
>Variations.............................................................
........................................................................
..........
>
>94
>On The Six Notes (Tah Dah Hah or Tah Dah[p]
>Pah[p])................................................................
............................
>
>94
>On Long Tone
>Intervals..............................................................
........................................................................
........
>
>95
>On Moving
>Intervals..............................................................
........................................................................
............
>
>98
>On Short
>Scales.................................................................
........................................................................
...............
>
>102
>On Repeated Moving
>Intervals..............................................................
..................................................................
>
>104
>2-Volume
>Variations.............................................................
........................................................................
............
>
>105
>Soft-Loud-Soft.........................................................
........................................................................
........................
>
>106
>Loud-Soft-Loud.........................................................
........................................................................
......................
>
>108
>Pianissimo and
>Fortisssimo............................................................
........................................................................
.
>
>109
>3-In, Out, Rim and
>Off....................................................................
........................................................................
.
>
>110
>In and
>Out....................................................................
........................................................................
....................
>
>111
>Rim....................................................................
........................................................................
..............................
>
>113
>Off....................................................................
........................................................................
................................
>
>114
>The Practical Use Of These Variations-Making Choices Through The Use
>Of Chance Operations......................... 114
>4-Articulations........................................................
........................................................................
...........................
>
>117
>Articulations As Applied to The Six Notes (Tah Dah
>Hah)...................................................................
...................
>
>118
>Articulations As Applied to Harmonics
>Exercises..............................................................
......................................
>
>120
>Articulation Variations As Applied To Moving
>Exercises..............................................................
...........................
>
>123
>5-Ranges As They Apply To
>Breaks.................................................................
......................................................
>
>124
>6-Placement
>Procedures.............................................................
........................................................................
......
>
>126
>The World's Shortest Lesson, Pt.
>I......................................................................
......................................................
>
>127
>7-Degrees Of
>Musicality.............................................................
........................................................................
....
>
>130
>8-Advanced Slide Technique
>Exercises..............................................................
....................................................
>
>132
>The World's Shortest Lesson, Pt.
>II.....................................................................
......................................................
>
>136
>Chapter III-Choices-The Construction Of A Practice
>Session................................................................
..
>137
>III-a A Mid-Level Practice
>Session................................................................
........................................................
>
>139
>Step 1-Establishing A
>Scale..................................................................
....................................................................
>
>141
>Step 2-Initial
>Exploration............................................................
........................................................................
.....
>
>141
>Step 3-Choosing A Starting Note, A Direction, And The First
>Break..................................................................
.....
>
>142
>Step 4-The Establishing Exercise-Six Notes (Tah Dah
>Hah)...................................................................
.................
>
>143
>Step 5-Accessing The Lower
>Ranges.................................................................
.......................................................
>
>144
>Step 6-Bringing This Lower Setting Into The Higher
>Ranges.................................................................
.................
>
>147
>Step 7- Repeated Moving Intervals Up From 2nd Space Bass Clef C in
>Fifths......................................................... 150
>Step 8-The Rest Of The Practice
>Session................................................................
..................................................
>
>151
>III-b An Advanced Practice
>Session................................................................
........................................................
>
>156
>Step 1- Choosing A Scale and
>Meter..................................................................
.......................................................
>
>159
>Step 2- Establishing A Middle And Low Range
>Balance................................................................
..........................
>
>160
>Step 3- Continuing Your Practice
>Session................................................................
.................................................
>
>165
>Step 4-More Practice
>Session................................................................
...................................................................
>
>167
>III-c-A Trombonist's
>Journal................................................................
....................................................................
>
>182
>Tues., 9/26/06 10:45
>AM.....................................................................
.......................................................................
>
>182
>Wednesday, 9/27/06 11
>AM.....................................................................
...................................................................
>
>195
>Thursday, 9/28/06 9:15
>AM.....................................................................
...................................................................
>
>201
>Friday, 9/29, 9:35
>AM.....................................................................
........................................................................
...
>
>219
>(Postscript)...........................................................
........................................................................
...............................
>
>223
>Appendix
>1-Breathing............................................................
........................................................................
............................
>
>224
>Equipment and Doubling
>2-Equipment............................................................
........................................................................
.........................
>
>228
>3-Doubling.............................................................
........................................................................
...........................
>
>232
>Arpeggios and Patterns In Tonal Jazz Playing
>4-Arpeggios............................................................
........................................................................
..........................
>
>235
>5-Patterns In Tonal Jazz
>Playing................................................................
..............................................................
>
>241
>6-Position charts
>Extreme Ranges and the Alternate Harmonic
>Series.................................................................
.............................
>
>245
>High
>Notes..................................................................
........................................................................
...................
>
>247
>Low Notes and the Alternate Harmonic
>Series.................................................................
.....................................
>
>248
>7-Short Descriptions of Various Exercises, Concepts and Variations
>Used In This Book
>Aleatoric (Chance)
>Operations.............................................................
....................................................................
>
>252
>Finding Break
>Points.................................................................
........................................................................
.......
>
>252
>Micro-Connection Exercises
>Daily Connection Practice (The Five Basic Connecting Exercises)
>Six Notes (Tah Dah Hah or Tah Dah[p]
>Pah[p])................................................................
.................................
>
>253
>Long Tone
>Intervals..............................................................
........................................................................
......
>
>253
>Moving
>Intervals..............................................................
........................................................................
..........
>
>253
>Short
>Scales.................................................................
........................................................................
...............
>
>254
>Repeated Moving
>Intervals..............................................................
..................................................................
>
>254
>Macro-Connection Exercises
>Harmonics..............................................................
........................................................................
....................
>
>255
>Flexibilities..........................................................
........................................................................
......................
>
>257
>Slide
>Technique..............................................................
........................................................................
...........
>
>259
>Long Scales and Free
>Blowing................................................................
..........................................................
>
>260
>Variations
>Directional
>Variations.............................................................
........................................................................
....
>
>261
>Volume
>Variations.............................................................
........................................................................
.........
>
>262
>In, Out, Rim and Off
>Variations.............................................................
............................................................
>
>262
>Articulation
>Variations.............................................................
........................................................................
...
>
>263
>Ranges As They Apply To
>Breaks.................................................................
......................................................
>
>263
>Placement
>Procedures.............................................................
........................................................................
...
>
>263
>Degrees Of
>Musicality.............................................................
........................................................................
...
>
>264
>8-Glossary.............................................................
........................................................................
......................................
>
>264
>_______________________________________________
>Trombone-l mailing list
>Trombone-l at samford.edu
>http://maillists.samford.edu/mailman/listinfo/trombone-l
>
>
>
>
>________________
>Date: Wed, 18 Mar 2009 08:54:02 -0700 (PDT)
>From: "Christopher R Tune" <christune at christune.com>
>Subject: Re: [Trombone-l] Cal State Fullerton Trombone Day 2009 [4-25]
>To: "Alexander Iles" <alexiles at earthlink.net>
>Cc: trombone-l at samford.edu
>
>Doggone out of town gig, can't be there. . .well, I can tell anybody
who
>has not yet gone to this:
>
>GO!!
>
>Tune
>
>On Wed, March 18, 2009 7:49 am, Alexander Iles wrote:
>> For all So. Cal residents and visitors to the area on April 25 ...
>> [unfortunately, I am unable to play with Joey Sellers and The
>> Algonquin Quartet this year]
>>
>> Have fun!!
>>
>> http://www.tromboneday.com/
>>
>>
>>
>> _______________________________________________
>> Trombone-l mailing list
>> Trombone-l at samford.edu
>> http://maillists.samford.edu/mailman/listinfo/trombone-l
>>
>
>
>Chris Tune
>
>Remember:
>
>"It's music, not brain surgery. . ."
>anon
>
>
>________________
>_______________________________________________
>Trombone-l mailing list
>Trombone-l at samford.edu
>http://maillists.samford.edu/mailman/listinfo/trombone-l
_______________________________________________
Trombone-l mailing list
Trombone-l at samford.edu
http://maillists.samford.edu/mailman/listinfo/trombone-l
More information about the Trombone-l
mailing list