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1096930 Posts in 72460 Topics- by 19547 Members - Latest Member: 19jspencer
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1  Horns, Gear, and Equipment / Instruments / Re: Tenor in Eb on: Yesterday at 06:55 PM
Yeah, get the Thein .547 bore alto with a Bb attachment.  :D
2  Teaching & Learning / Pedagogy / Re: Define "breath support" on: Feb 19, 2018, 02:47PM
Lol. All these responses trying to define breath support and they mostly talk about breathing in. Sure you gotta breathe in. But that's the easy part.
3  Teaching & Learning / Practice Room / Re: It's really all about your breathing, now here's how to improve it... on: Feb 19, 2018, 01:59PM
Awesome ideas. Awesome production values. Great site. Great music. Just wow!
4  Horns, Gear, and Equipment / Mouthpieces / Re: Mouthpiece suggestions? on: Feb 18, 2018, 03:50PM
I'll be looking into DE mps too, now that there's been so many advocates for them!

His mouthpieces are great. But:

1. You need to know what you actually need.

or

2. Your teacher should help you figure out what you need.

or

3. Do a lesson with Doug and he'll tell you what setup might work.

It's not too easy to just "check out" his stuff. I think he's got a trial policy  (don't quote me), but you need to know where to start at least.

The examples you gave were so diverse that you might be just shooting in the dark.
5  Creation and Performance / Musical Miscellany / Re: 20 cellos compared in one minute on: Feb 18, 2018, 08:00AM
The time it was up for sale also coincided with the release/recording of the Alessi album where he played on that horn.
6  Teaching & Learning / Pedagogy / Re: Why is tenor clef used for trombone work? Composer preference? on: Feb 18, 2018, 07:27AM
The greatstaff could certainly be condensed, but instead of ledger lines, now you have an entire staff written above the bass clef, whether you're using it or not.
7  Teaching & Learning / Pedagogy / Re: Why is tenor clef used for trombone work? Composer preference? on: Feb 18, 2018, 07:16AM
I disagree with using the great staff. It would be incredibly impractical. I think all you need is tenor and bass clef, with clef changes in the staff (piano does this a lot too). Tenor clef is just about perfect.

I don't know what Tim means by "no more transposing". The great staff doesn't require transposition, but neither do bass or tenor clefs.

I do wish BQ arrangers / composers would STOP putting clef changes in the middle of a moving line, especially when there really isn't a staff sized jump involved.

As for alto clef...

If the orchestra part is in alto clef, but really only is ever played on tenor trombone... I'd probably rewrite my part to tenor clef unless it was a piece I was already very familiar with. It's just yet another thing to distract me from what actually matters. "But what if you need to sight read alto clef?!" You mean, outside of college lessons that ended in 2008? Yeah, haven't had to do it even once.

On alto? Sure, why not? Especially if you're used to playing alto only in alto clef.

But I also don't see any issue with transposing down a 4th (in Sibelius) and then putting it in tenor clef.
8  Horns, Gear, and Equipment / Instruments / Re: Shires Tru Bore Slowing Down on: Feb 17, 2018, 08:48PM
You need 3 oils for a mech linkage rotor.

Hetman 11 for the core
Hetman bearing and linkage for the spindle/bearing
Hetman ball joint
9  Teaching & Learning / History of the Trombone / Re: How did the SLIDE come to stay? on: Feb 16, 2018, 11:11AM
So I'm really curious about this.

The slide on a typical slide trombone comes with a massive number of downsides when compared to valves or keys - in fact the ONLY major upsides I can see to the slide in general is that there are far fewer parts to manufacture, care for and repair, and that you can get the slide gliss sound.
Otherwise, playing low is tough if you're not quick, some keys are needlessly difficult, playing high can be an absolute witch as far as intonation (when compared to trumpet, for example), most amateurs can just forget playing fast, playing in-tune is tough for folks without trained ears, the blow of the instrument often doesn't facilitate naturally good tone like euphonium and many conical brass, the list goes on...

So with what seems like so absurdly many downsides and hurdles to jump over, not to mention the plethora of other viable options like the valve bone, euphonium/baritone, perhaps even something like a "tenor cimbasso" (which I guess would be a rotary valve trombone), heck, even the SUPERBONE seems more versatile (excepting the set of difficulties that come with a much heavier instrument and a valve block placed on the opposite hand)....

What is it that made the vanilla SLIDE of the trombone seal its place in historical and modern classical, jazz AND pop music? What stopped "them" from settling on something ... that isn't a giant tuning slide??

Whoops. Guess it's time to go back and start over again from Day 1.

Kind of uncharacteristic of you, Dave! I actually think the opposite is true of everything in bold.
10  Horns, Gear, and Equipment / Instruments / Re: Please keep ads out of here on: Feb 16, 2018, 09:55AM
There's another thread asking if child board subjects, not related to the trombone, should be on the forum. This little blowup only serves to reinforce an opinion that they should go, and yes, there should be a more discriminating process for membership. Yes, we have a wide variety of people here claiming to have litter businesses, talking crap about how military bands work, etc. This is an online conversation forum. Don't make it out to be anything more than that.

What is that supposed to mean?

And what are you talking about "more discriminating" about membership? Your profile is 100% blank. I'd think it'd be better if anyone could join, and people who derail everything maliciously might get banned or temporarily booted.

This forum is turning pretty dark, lately....

I know I have strong opinions about trombone pedagogy, but threads like this are just ugly.
11  Horns, Gear, and Equipment / Technology / Re: Stage Monitor Advice on: Feb 15, 2018, 07:05PM
In ear monitors can be far better than a stage monitor, but you need good ones and a good sound guy. Otherwise get an angled stage monitor ... and a good sound guy.

what advice are you looking for?
12  Town Hall / Notices from TTF Members / Re: New Bass Trb Concerto in Boston 2/13/2018 on: Feb 15, 2018, 06:57PM
I'm glad they archived that. Fantastic.
13  Horns, Gear, and Equipment / Instruments / Re: Please keep ads out of here on: Feb 15, 2018, 08:50AM
If Chris were here, maybe he could shut this thread down for its multiple violations of the TOU.

Bonesmarsh's post brought up one thing that has often troubled me about this place. There are people who it's safe to criticize, and people who we're expected to handle with kid gloves. Well, unless you're the forum heyoka, in which case you get to say anything you want. Remember back when a....certain  Idea! ;-) Hi :cry: Embarrassed! forum regular  drove
                                        another
                                                                                    couple
                                                                                                           of pros away, and no one seemed to bat an eye?

Do tell. Who are you talking about?

As an aside, do you remember when Snorsworthy was driven away? Semi messed up, even though I disagreed with everything he ever 'definitively' posted about.

(The turn this thread took is ludicrous, BTW, and not just from Bonesmarch. It's just words. Words carry different weights coming from different people. Words spoken by Gandhi carried a lot of weight. Posts from random people on this forum, especially including myself? Forget about it.)
14  Horns, Gear, and Equipment / Instruments / Re: Valve bone? Why? on: Feb 14, 2018, 11:45AM
But actually hold on - we do we have lip bends and stuff? Wouldn't practicing FIGHTING against the horn improve tone and/or lip strength (by some way or another)?

lip bends might help trumpeters, but is kind of pointless on a trombone. I've seen advice about it, but it's better to just blow through the pitch center and move the slide. Your lips are still changing as the "bend" happens.

I've also seen advice about false tones being great, but I doubt they help as much as blowing through the pitch center and playing a clean note on the F side of the horn -- as much as just playing the note "for real".
15  Horns, Gear, and Equipment / Instruments / Re: Valve bone? Why? on: Feb 14, 2018, 11:38AM
For a long time in the 19th/early 20th C, it wasn't clear whether slides or valves would win. Valves were the hot technology of the time. Certainly, Verdi wrote for piston valves, and I still see them in Italian wind bands today. I've also heard claims that German low brass were valves in Wagner's day, which suggests a whole other sound world.

In the end, slides won, and Simone Mantia was forced by the Brooklyn Opera to switch to slide within a week.

LOL, what was it, World War 1? "Mr. Mantia, I'm afraid I must inform you that the slide has just won. You sadly have just one week from today to get your slide trombone chops back."

I imagine it wasn't a finite event.
16  Creation and Performance / The Business of Music / Re: Career/Life Advice? on: Feb 12, 2018, 12:20PM
Masters degree? Insanity is doing the same thing over and over and expecting different results. Don't give any more money to the education system.
17  Horns, Gear, and Equipment / Instruments / Re: Bach 39 alto on: Feb 12, 2018, 07:28AM
The issue with the modern American sound concept is that most people want tenors to be the "do it all" horn. It has the trigger so it can play bass notes, but you should be able to play a screaming high F on it too. No. A tenor should sound like a tenor, not a bass. A bass should sound like a bass, not a slide tuba. And an alto should sound like an alto, not a tenor.
You're right about sound. But I believe there is everything right with being able to play everything from basement notes all the way up to the "screaming F" on a tenor with a great sound. They tempered pianos to be able to play more music on one instrument. It was a compromise. I see no reason to not compromise in this sense to get more out of a single trombone -- or alto trombone. That's why I love the idea of the 36H. An amazing instrument.
18  Horns, Gear, and Equipment / Instruments / Re: Euphoniums on: Feb 11, 2018, 07:35AM
I was checking out the Festivo on Wessex's website and read:

"Wessex are thrilled to introduce the EP104 'Festivo', an original design compensated euphonium fitted with front action valves for greater comfort in playing through the ergonomic positioning."

The site says Wessex is based in the USA, and I had some crazy idea that it was a UK company,  but that sentence made me wonder if Wessex is not actually a China based company. "Wessex are" = UK speak
"Through the ergonomic positioning." = Chinese operator's manual English.

Just got me wondering who actually runs Wessex and who is doing their product descriptions and web design. I'm interested in these businessey kind of things.

The Festivo is the design I'd probably want to try most. Valves on top is uncomfortable and the front valve design seems so logical.
19  Teaching & Learning / Practice Room / Re: Audition Hurtle on: Feb 10, 2018, 11:57AM
Hurtling thruough space like the Tesla
20  Horns, Gear, and Equipment / Instruments / Re: Your personal favourite out of these horns? on: Feb 10, 2018, 07:22AM
I've found that the "#1" copper pillar placed downwards in the hole closest to the bell (ie, away from the tuning slide) works really well. I get a bit more response and color out of it.

The same pillar, placed in the middle hole and facing upwards, towards the tuning slide, shifts the horn to play a lot more stable. It's like each partial is a deep, straight rail track.

Those pillars are worth trying out.
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