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1076860 Posts in 71275 Topics- by 18956 Members - Latest Member: StanleyD
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61  Horns, Gear, and Equipment / Mouthpieces / Re: Rath Contra Mouthpieces on: Jun 24, 2017, 07:01AM
PM sent.
62  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: Cutting a rath R9d on: Jun 24, 2017, 01:11AM
Mine were done at the factory so the ring was retained by cutting the other end, having first disassembled the parts.

Chris Stearn
63  Horns, Gear, and Equipment / Mouthpieces / Re: Rath Contra Mouthpieces on: Jun 23, 2017, 07:01AM
What do you want to know ?

Chris Stearn
64  Teaching & Learning / Practice Room / Re: What are the tuning tendencies of partials above high Bb? on: Jun 23, 2017, 03:02AM
Every trombone is different. Don't worry about what harmonics tend to be... find out what they are on your instrument. Your ear is your friend.... I hope.

Chris Stearn
65  Creation and Performance / Performance / Re: Watching and listening on: Jun 22, 2017, 05:02AM
Okay, this made me chuckle...

--Andy in OKC

Me too.... and it's true  Amazed

Chris Stearn
66  Creation and Performance / Performance / Re: Tuba and bass trom are not interchangeable on: Jun 21, 2017, 02:07PM
Yeah, its not black and white for me. I don't form an opinion until I hear it in a quintet setting. Sometimes it works, other times notbso much. Same vice versa. I wouldn't bother bringing both a bass trombone and tuba player to a quintet performance though, regardless of the rep. I would expect the quintet to make a decision on which one and pick the most appropriate music accordingly.

Yes indeed.

Chris Stearn
67  Creation and Performance / Performance / Re: Watching and listening on: Jun 21, 2017, 02:02PM
Sounds lovely. I appreciate that there are a wide spectrum of musical abilities, but what I'm pointing out here doesn't require an extraordinary level of skill. I feel that if the conductor were to hammer on about points like this and focus the general rehearsals on these basics, I'm sure that overall standards would improve drastically. That's what I mean though, I'm not in charge, so can't do things my way. It's frustrating at times.
I would dearly love to play in a high quality ensemble with musicians on a pro level ability. I'd love to do a play day with one of the top orchestras, but I guess a lot of aspiring amateur players would love that.


There are occasions when even the best orchestras in the world can have tuning and ensemble issues. The higher you go, the more picky you get. I suspect that it is not the musician's lot to be happy with their work.  Evil

Chris Stearn
68  Creation and Performance / Performance / Re: Tuba and bass trom are not interchangeable on: Jun 21, 2017, 01:52PM
Yeah, its not like if you have a part that specifies "tuba" in every context you can assume its going to be fine on bass.... there are contexts it is though. Having a Bass trombone in a brass quintet instead of a tuba certainly doesn't ruin the sound, and repertoire written for brass quintet with tuba shouldn't always be avoided if you have a bass trombone in your quintet.



Well, I don't like the traditional quintet with tuba rep played on bass trombone. I have walked away from our brass quintet because of that.

Chris Stearn
69  Creation and Performance / Performance / Re: Tuba and bass trom are not interchangeable on: Jun 21, 2017, 09:57AM
Let me turn this on it's head for a minute.... often bass trombone/cimbasso/ophiclide parts are to be found inside parts marked tuba. Also when three trombones and a tuba are on contract, the tuba is often made to play 4th trombone parts. The tuba is a very different voice to any of those mentioned and often not at all suitable. I have just finished a run of 'La Boheme' on contrabass trombone on the 4th part... that is how it should be... even a large bass is better than a tuba there. Same goes for 'Tosca'. We also just did a concert of early Puccini where parts were marked bass trombone, tuba and ophiclide.... on looking at the scores I decided, with the conductor that a large bass able to play down to G as a harmonic, not a pedal,  would be ideal... so that's what we did. Worked.

Chris Stearn
70  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: Cutting a rath R9d on: Jun 19, 2017, 11:11AM
Thanks all. I have contacted Rath now, we ll see. This one is build solid (older one).

There is not much room to cut the handslide, so thats not an option. Actually to most easy thing to do (did it on a tenor with great succes).

I do not see how the leadpipe could lower the pitch...

Maybe Rath can build a schorter tuning slide...

You need to reduce the length of the two inner and two outer main tuning slide tubes. 240 on build should not be solid... that changed earlier.... the dependent option was not on early instruments either. Could be a special order solid build ?

Chris Stearn
71  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: Cutting a rath R9d on: Jun 19, 2017, 12:41AM
Extremely surprising to hear that an R9 is playing sharp.  I assume this is not a problem with you other horns?

He said flat not sharp  Good!
Mick did make shorter tuning slides for me for my first Raths, so shortened tuning slides do not affect the playing qualities of the R9, but as has been said, modification will not be too simple.

Chris Stearn
72  Horns, Gear, and Equipment / Instruments / Re: Value on Kruspe Trombone? on: Jun 18, 2017, 01:37PM
Depends on buyer. Especially if it fits in a modern case. Someone interested in it as a historical piece to add to a collection  may well be. But they probably would also not be the type to not buy it if it wasn't included.

The $250 offer probably wasn't unfair if you want to get it sold fast. Otherwise you'll probably have to be a little patient with finding a buyer who both 1) really wants this model 2) has the amount of money you're asking

I would say that was a cheeky offer. I would pay twice that.... a that is cheeky too.
Be prepared to ship to Germany ... I think you would get much more.

Chris Stearn
73  Horns, Gear, and Equipment / Instruments / Re: medium bore question/information on: Jun 17, 2017, 08:21AM
Rath can do a large shank version of the R3.
Chris Stearn
74  Horns, Gear, and Equipment / Instruments / Re: Value on Kruspe Trombone? on: Jun 17, 2017, 08:18AM
Noah at Brassark has one for sale. Yours looks nice.... has to be worth $1000 or more.
75  Teaching & Learning / Practice Room / Re: Forget quality, listen to the volume! on: Jun 10, 2017, 11:13AM
Hmmmmm.... a moderator whose user name is "blast"? What are we to make of THAT? ha hah hahahahahhahahaha

 :) :) :) :)
Thought might come up
Chris.
76  Teaching & Learning / Practice Room / Re: Forget quality, listen to the volume! on: Jun 10, 2017, 06:14AM
I am not saying that getting a bad sound in the practice room is the goal. And I am not only talking about loud playing. If you are practicing, really your main focus should be on things you are bad at because of course, you want to improve on your weaknesses. If you sound amazing in the practice room, you are probably not working at things you have issues on. If you have trouble with something, it will sound bad! But that way, you identify what the problem is by listening and then working out how you will fix it. Eventually it will sound good. And at that point you will sound good doing it in the practice room. Then its time to put the majority of your focus on another weak area.

For something like playing loud, if you are bad at it thats fine. The way I would practice it is to find where I am at, so play loudly, record myself etc.... listen to what the problem is. It shouldn't be hard to identify if the sound is uneven, agressive, forced. Once you identify the problem then try the exercise again, but add a new concept, physical motion etc. Just something different that you believe will give a positive result. Go from there.

If you dont sound bad at the start of that though, it would be hard to identify what the actual issues are.

Of course if young players only ever hear bad sounds around them they will probably find a way to produce what they hear, but never attempting to fix your problems for fear of sounding bad in the practice room just makes things worse.

I think you should always aim to make the best sound you are capable of at every point in your playing, but if the best sound you are capable of playing in a particular area of technique (like loud playing) doesn't sound good, it wont improve if you ignore it.


You cannot identify issues unless you sound bad ??? Really ???

Loud playing can indeed highlight issues of physical incorrectness, but persisting with incorrectness in order to work through to correctness is not a viable pathway and of course, there are many ideas of what is correct.

I have a few physical routines that I use behind a closed door, away from other ears, that help me maintain some physical aspects of playing more easily than simply making music. Time savers.

After more than 40 years of professional playing and more than 25 years of Conservatoire teaching, I can say that most practice time is taken up with musical creation, and finding ways to deliver your concepts... once you know what your concepts are. Far too many players are obsessed with technique for it's own sake.

Chris Stearn
77  Teaching & Learning / Practice Room / Re: Forget quality, listen to the volume! on: Jun 10, 2017, 05:08AM

Ummmmm..... you HAVE to sound bad at various points in the practice room..... the first time you tried playing a trombone did you immediately stop because it didn't sound like Alessi? When you first began practice high register did you only ever play up to notes that you thought sounded "good"? How about when you first practiced double tongueing? Did you give up because it was a mess? Of course not. (I assume!  :D )
I believe if you only ever sound good in the practice room you are doing it wrong. You have to experiment, push the boundries, figure out how to make bad sounds turn into good sounds. The way to improve on a bad sound is not by ignoring it. I think Burgerbob is totally correct, push the limits of your volume in the practice room. Work at making the top levels sound nice.

With respect, I have to disagree. With a good concept of sound, even young players can produce a fine sound. Youngsters hear other youngsters sounding harsh or uncontrolled and expect to produce a similar result. If they are in an environment where good sounds predominate, they too will produce good sounds. Bad sounds are not a road to good sounds.

You push your best loud sound not a lesser version of it. 'Good' is of course, a subjective term.

British Brass bands 50 years ago, when I first played in them, were not generally as loud as in more recent times.... the world changes.... better or worse ? You decide.

Some orchestras have gone the same way in their brass sections in decibel terms, though professional brass players usually produce controlled and impressive results.

Chris Stearn
78  Horns, Gear, and Equipment / Instruments / Re: Need suggestions finding a trombone similar to this Shires configuration on: Jun 07, 2017, 02:45AM
Do conductors do this? Do they know one brand from another? Which conductor was it I wonder? Whoever it was it can't be the present conductor of the LSO as Peter Moore plays a Yamaha Xeno and James Maynard has recently switched from a Conn to a Yamaha. Yet Dudley Bright is still playing on his old Conns.......

Highly unusual for a conductor to know anything about trombones.... or even care.

Chris Stearn
79  Horns, Gear, and Equipment / Mouthpieces / Re: Bach No Period Corp 1 1/2G on: Jun 06, 2017, 07:19AM
I have 3 Mt Vernon 1 and 1/2G mouthpieces. Each is a slightly different size. I have 2 Corp(non period) mouthpieces as well. Both of the Corp pieces are fairly close in size to each other and close in size to one of my Mt Vernon pieces. One of the Corp pieces has a great sound, the other, not so much(my opinion). Through the years I've purchased numerous Bach pieces and no 2 have been completely identical. So I don't think that there's a single answer to this question in my experience.
[/quote

Exactly.

Chris Stearn
80  Horns, Gear, and Equipment / Instruments / Re: 72h clone? on: Jun 05, 2017, 06:59AM
Bach 50 and Holton 169/185/180/181 tuning slides are the same size. By the time of the 611 Yamaha were getting to be unique in many areas.
To get back to where we started... nobody copied the 72H totally though the single valve Reynolds bass made in the 1950's was closest of any.Same bell flare. Same longer slide. Sounded nothing like the Conn though.
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