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1097041 Posts in 72470 Topics- by 19552 Members - Latest Member: ericburger
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4841  Teaching & Learning / Practice Room / Big Audition and have to chose a solo, what to choose? on: Jan 07, 2005, 01:15PM
Don't play Bach on the trombone in public. Even great players have come unstuck with Bach. That said, it's not what you play, it's the way that you play it that counts.
Chris Stearn.
4842  Horns, Gear, and Equipment / Instruments / Conn 73H Question on: Jan 07, 2005, 01:10PM
I'll second what Paul said about the 73H. If you offered me a new CL 62H or an Elkhart 73H to play in a major symphony, I'd take the 73H every time.
Chris Stearn.
4843  Horns, Gear, and Equipment / Instruments / Conn 73H Question on: Jan 06, 2005, 03:17PM
100% Denny, that tells it how it was.
I think that the open wrap D that came with the 111H might fit the 73H.
The old Conn bits were REALLY stuffy. An open wrap D slide makes a big difference.
Chris Stearn.
4844  Horns, Gear, and Equipment / Instruments / Shires,Rath;$:options/popularity on: Jan 05, 2005, 01:30PM
Small tenor ? Large tenor ? Bass ? For what kind of work ?
Chris Stearn.
4845  Horns, Gear, and Equipment / Mouthpieces / Griego on: Jan 02, 2005, 04:29PM
Well Axelbone, I think Max makes a really dark solid sound. Perhaps Demitri is a bit brighter in tone, but Vitaly on bass makes a monster sound.
They have been my good friends for many years.
Chris Stearn.
4846  Horns, Gear, and Equipment / Mouthpieces / Griego on: Jan 02, 2005, 07:25AM
OK, there is not A EUROPEAN STYLE. There are lots of differents, styles, schools and semi-styles to be found in Western Europe (I will persume that you mean that, rather than the whole of Europe ) that are distinct and distinctive from each other.
There are long established schools in Germany, France, Russia, newer but equally strong traditions in the UK, Holland, the Scandinavian countries, Spain and others. All very, very different.
Don't suggest that the LSO and Berlin Phil. trombones lack projection, nor the RSNO in Scotland. The St. Petersburg Phil trombones have massive dark projecting sounds with a Russian flavour. France and Spain have schools that can favour a brighter, soloistic quality, but not everywhere.
It's just not like that.
Chris Stearn.
4847  Horns, Gear, and Equipment / Mouthpieces / Griego on: Jan 01, 2005, 10:30AM
What is this European style ????????????????????????????
Chris Stearn.
4848  Horns, Gear, and Equipment / Instruments / Back 50K3... on: Jan 01, 2005, 10:25AM
I tried a 50K when they came out. Seriously unimpressed.
Very , very heavy. Very odd blow, both on Bb trombone and on the valves.
It would need to be mega cheap !
Chris Stearn.
4849  Horns, Gear, and Equipment / Instruments / Assistance needed! on: Jan 01, 2005, 10:20AM
Go to Dillons and try every bass trombone you can. In the end it's your horn, so please yourself, then at least one person is happy.
Forget the Besson- it was never really right.
If you want custom, then buying a used version means that you are getting someone else's idea of a dream horn- it might not be yours !
Do not ignore Dillon's used trombones- especially old Conns, as many of them still beat 98% of new trombones. A lot of the worlds best players play on old second- hand horns, and for these people, cost is not an issue- think about that. Don't be dazzled by gimmicks and wonder valves- buy the bone that feels and sounds best to you.
Try and haggle if the horn is only just out of reach price- wise.
Chris Stearn.
4850  Teaching & Learning / History of the Trombone / Bb/Eb trombone before 1993? on: Dec 30, 2004, 11:34AM
I have seen a valve designed by B.P. Leonard. As it was not connected to anything I can say nothing more than it exists.
Chris Stearn.
4851  Teaching & Learning / Pedagogy / When teaching .... on: Dec 30, 2004, 11:31AM
Dave is right- the best teaching leads the student to an understanding that can allow self-sustained progress.
You don't get there by witholding information, though.
Tell the student all they need to know, always.
A lot of it they will need to prove to themselves anyway, and a lot is just plain forgetten !
The duty of the teacher is to always offer the student the best possible information, and to be always open to modification of approach in the light of new information that becomes available.
We have to think, think, think, about all aspects of performance, and be prepared to accept that another person may have a better grasp of some area that we must teach.
Teaching well is miles harder than playing.
Chris Stearn.
4852  Horns, Gear, and Equipment / Instruments / Are there European and American Xenos? on: Dec 27, 2004, 10:51AM
Just an echo, Ade !!!!!!
Heavy night.....every night's a heavy night.
 Evil Thanks for the mods.......and the other stuff.
This is very non xeno so we must stop.
See you in a week, I hope.
Chris Stearn.
4853  Horns, Gear, and Equipment / Instruments / Are there European and American Xenos? on: Dec 26, 2004, 03:15PM
So nice to be part of the 'lighter' European market.
Duets at dawn, anytime.
Chris Stearn.   Grin
4854  Horns, Gear, and Equipment / Instruments / Are there European and American Xenos? on: Dec 26, 2004, 02:28PM
So nice to be part of the 'lighter' European market.
Duets at dawn, anytime.
Chris Stearn.   Grin
4855  Creation and Performance / Trombonists / female trombone help on: Dec 26, 2004, 02:24PM
Yes, Jan Kagrice is a gem, and I taught Lorna in Bones Apart, and another of my students Laura, has just won a position with the RAF band and Sue Addison (brilliant sackbut and trombone) and Helen Vollom (first principal trombone in a London orch.) are good friends....but the female bit is incidental with all of them- they are just brilliant and talented and accepted as such. If that is not always so, the people who consider gender are ****** and fools.....flag them up, show them up. Everybody is equal...color sex and disability are not considerations......talent wins.  Good!  Good!
Chris Stearn.
4856  Teaching & Learning / Practice Room / Recovering after missing a day of practice? on: Dec 26, 2004, 02:11PM
OK, I played a lot when I was a kid.....but the odd day off ?????
Calm down, enjoy a bit of life. If you think it makes a difference, it will....
but in the real world it's no big deal.
Work at your musicianship- that's the most important thing. Be a musician that happens to play trombone, not a bone freak.
How good a musician you are.....that's what cuts it in the end.
Chris Stearn.
4857  Horns, Gear, and Equipment / Instruments / CL valve on: Dec 24, 2004, 08:02AM
Quote from: "Mikebassbone"
I know the horn is alot more than just the valves, I was just asking the question becuase I want to get a horn that I wouldn't have to worry about or even think about while Im playing.

You have more choice than at any time in history.
First you have to decide on the rough area of sound quality... I say rough because with time you can make most trombones produce the sound you want.......then try the contenders and see which feels right for you.
All the modular stuff is flexible, but Edwards, Shires and Rath are very different as basic instruments. Edwards are big, very 'slotted', and less easy to color than the other two, but if you are precise with slide positions and like the Edwards sound, nothing else will do. Rath and Shires are more easy to color and less slotted than the Edwards and offer many a flexibility of sound and feel that is unsurpassed.....but both in very different ways- Rath devotees tend not to like Shires and Shires fans not like Rath.
Yamahas are very even, but with more 'blow back' on the valves, and the Greenhoe Conn offers the very top feel of that type of trombone.
Bach, regular Conn, Holton, King etc all have world class endorsees and are top line instruments, but all require more effort in one way or another compared to the first five mentioned- which to many is a small price to pay for the qualities that make each brand unique......but if you don't want to think about the instrument, try out the first five makers and choose your favourite.
All the above is my totally personal, very biased view, based on years of messing around that was probably largely a waste of time.
Chris Stearn  Grin
4858  Horns, Gear, and Equipment / Instruments / CL valve on: Dec 23, 2004, 10:50AM
A few observations as a full-time opera/symphony pro :
Valves are way over-hyped......... I mean miles over hyped.
Thayer, Greenhoe, Hagmann, yes they help...yes they make some solo material easier, but are they essential in a pro job ? No.
Different valves change the blow of the whole trombone in a major way, so if you get the local repairer to slap a set of Thayers/ Hagmanns etc on your vintage horn, it may work well, but it may well wreck the quality of the whole horn. Elkhart Conns are a case in point- rarely do conversions work well on them.
I've played Bill Reichenbach's 62H and it's stunning. I've played several others that were trash. So far only one production 62H that worked in a pro orchestra. The Greenhoe 62H is a totally reworked bell section- not just some add-on valves. Gary is not keen to just sell you valves, as he tweaks those bell sections so they work with his valves.
Rath trombones are designed to work with Hagmanns, unlike some other brands that fit them, and on a Rath, they are top quality valves- much of the 'don't like Hagmanns- woofy and uncentered' comments arise because they need careful fitting, with modifications needed to the basic horn, and many makers just don't do that.
I've played standard rotors in professional orchestras for years, Thayers on an Edwards for four years, Hagmanns on my Raths for about the same, and blown Lorna's Greenhoe/Conn in the orchestra. All of them work fine.
Come to think of it, single valve basses work fine 95% of the time whatever valve they have.
Find an instrument you like and work at it.
That's it......period.
Chris Stearn.
4859  Horns, Gear, and Equipment / Instruments / CL valve on: Dec 22, 2004, 01:18PM
Denny is right- the Greenhoe/Conn 62H is a very fine horn. Only problem I had with Lorna's trombone was holding it up !!! Embarrasing really as Lorna is small and female, and I am male and big.
Chris Stearn.
4860  Teaching & Learning / Pedagogy / Why Teach? on: Dec 21, 2004, 02:53PM
When you realise that you are not immortal and that some pretty amazing people have been good enough to share some stuff with you that took them years to work out, and you have spent years working out other bits for yourself that are really important to this thing we do.....
Then you teach......
Because not to, would be a waste of not just your own knowledge, but that of your teachers, and their teachers.
Chris Stearn.
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