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1096743 Posts in 72539 Topics- by 19541 Members - Latest Member: Zorgnot
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1  Horns, Gear, and Equipment / Instruments / Re: Rath Nickel Tuning Slides on: Dec 29, 2017, 04:27AM
Funny,on bass the NS is the free blowing one. All NS is like the Olds Opera used to be... clear but heavy... not the best for actual Opera, but I suppose it was just a name. Put a NS tuning slide with a copper bell and yellow slide and it is a mess... at least to me. Materials are not the simple trade off that some people think. I think that may account for the emergence of artist models from some modular makers... it can be good to pick more musical brains to get a setup that works.

Chris Stearn

Interesting that you say that. My NS tuning slide has ended up in my double valve/double bell R4. This is a small bore bass trombone (Bb/F/Gb with the Gb valve going to the second bell, when attached) and I don't find the resistance to be a problem here.
Maybe resistance is the wrong word but I don't know how to describe otherwise. In any case the NS feels weird to me in most of my setups. No so in the small bass.
2  Horns, Gear, and Equipment / Instruments / Re: Rath Nickel Tuning Slides on: Dec 28, 2017, 08:55AM
Of all of the Rath tuning slides, I like the nickel the least. It has too much resistance for me, something I don't find in the nickel hand slide, which is more open than the bronze slide. My favorite tuning slide is the red brass, followed by the yellow brass. I didn't really care for the gold brass. This, of course, has a lot to do with the set up.

The red brass tuning slide is magic with a red brass bell/nickel slide. But a bronze slide/red brass bell works better for me with a yellow tuning slide. The resistance of the nickel ruins it for me.

I think a nickel tuning slide would work better in a smaller bore instrument where you want'd want more punch.

3  Creation and Performance / Performance / Re: Elgar's Enigma Variations on alto? on: Dec 22, 2017, 01:37PM
I played the Enigma Variations recently and was thinking, this could be be good on alto.
Maybe it is "wrong" historically but it certainly could work.

As far as Christhard Gössling playing it on alto; the Weschke trombone is a weite I, as is the German alto. Which means they have the same bore size.
In my opinion, Elgar's writing for trombone is similar to Brahms' and Brahms is traditionally played on an alto in Germany.
4  Horns, Gear, and Equipment / Instruments / Re: Double valve tenor on: Dec 07, 2017, 01:15PM
Mick Rath made a 2 valve R4F for. Actually, it is the double bell trombone in my avatar.
When I don't need the second bell I can put in a D slide and have a Bb-F-D tenor.
I wasn't expecting it to be as good as it is because I was mainly after a good, full range double bell instrument.
I use it quite a lot. I wouldn't use it for 1st trombone in an orchestra but for a smallish bass, it's great.
I personally think the Rath build (Hagmann valves, no bracing in the tuning slide area) keep the weight light enough to make it work. It still sounds like a tenor.

5  Teaching & Learning / Practice Room / Re: Till Eulenspiegel on: Jul 05, 2017, 01:10PM
Henry Charles Smith gave me a great tip years ago that really helped me with this passage.

1. accent every 1st note of the triplet
2. accent every 2nd note of the triplet
3. accent every 3rd note of the triplet

Begin slowly and gradually increase speed. If you can do all three of these near normal speed this passage should be much easier for you.
Good luck.

Bruce
6  Creation and Performance / Trombonists / Re: Ray Anderson on: May 13, 2017, 01:46PM
Ray Anderson and George Lewis are truly two of the greatest bone players to ever pic up the horn. i consider them massively inspirational!
George told me he and Ray learned to play trombone together, as beginners, in the same school band.
How about that?
BTW, George wrote a solo piece for me last year, I hope to record it soon.
7  Horns, Gear, and Equipment / Instruments / Re: Double Bell Trombone! on: Jan 12, 2017, 03:29PM
I'm guessing by who is playing it that this is another Rath experiment.
This was my first attempt which I quickly gave up on. The idea was to use trumpet mutes with an alto sackbut bell. Like all bells that go out of the (cylindrical) F tuning slide, the partials are not in tune.
8  Horns, Gear, and Equipment / Instruments / Re: Double Bell Trombone! on: Jan 12, 2017, 03:19PM
might be better with .525
It can be a .525. I have an R3 slide and bell that I can put on it. The top bell is an R3 anyway, so it would then be a complete, double bell R3F. Is it better? Depends on the musical situation. I usually use an R4 slide and bell but that's just me.
9  Creation and Performance / Performance / Re: Notation in Sciarinno's "Introduzione All'Oscuro" on: Dec 08, 2016, 02:21PM
Without seeing the explanation notes, (which may be in the the score, for instance) I would say;

the first instance is a wawa trill, fast oscillations of open and closed. Same thing at bar 227 and 228 but from slow to fast

for the second, I would blow on the mouthpiece stem and use the cup as a wawa (I'm not 100% sure about this one but it seems feasible)

the third is an air sound with flutter-tongue modulated with the wawa, closed to open.

As I said at first, there are usually directions somewhere, in the score or separately from the publisher.
If not, you just have to be creative.

Also, the "open" on pencil is wrong, unless you want to take out the mute to put the horn on a stand while you blow on the mouthpiece. You would have to put it in again at bar 227.
10  Horns, Gear, and Equipment / Instruments / Re: Do you still have your first instrument? on: Dec 03, 2016, 10:53AM
My first trombone was an Olds Super from 1936, the one with the bear playing trombone as a counter-weight.
It was my grandfather's and he gave it to me when I started in 5th grade. I was kind of embarrassed because it wasn't nice and shiny like the other kid's new King Clevelands and Olds Ambassadors. In fact, I had no idea what I had but I sill have it and no, I don't want to sell it.
11  Teaching & Learning / Practice Room / Re: Recommendations for Exercise Book? on: Jun 30, 2016, 03:37PM
In addition to Arban;
Simone Mantia "The Trombone Virtuoso"
Edwin Franko Goldman "Practical Studies for Cornet" Great tonguing exercises with pages and pages of 16ths.
Walter Smith "Top Tones for the Modern Trumpeter" Fantastic studies for technique, in every key. 16ths galore.
12  Horns, Gear, and Equipment / Mouthpieces / Re: Greg Black New York Series on: Apr 27, 2016, 02:40PM
Quote
A not so minor part of the variance between the NY series and the regular series is the throat and shank taper, which is a lot more "open" on the NY series than the regular series.

It's the other way around, the standard series has a more open back bore than the NY series.

NY = no. 1 back bore
standard = no. 3 back bore, more open near the throat, like a coke bottle.
13  Teaching & Learning / Pedagogy / Re: Double Buzz on purpose on: Apr 13, 2016, 01:34PM
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Xenakis is just great..:sorry...I get excited...

you're not the only one
14  Teaching & Learning / Pedagogy / Re: Double Buzz on purpose on: Mar 18, 2016, 09:48AM
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That would be really fantastic! I remember the broadcast being great! Would it be for the Fabrik label? Those releases are all so nice.

Yes, if it came on CD it would be on our Wergo/Musikfabrik/WDR series which we call "Edition Musikfabrik". That would take some time because we are in the process of releasing the next 10 CDs, all with cover artwork and a poster from Gerhard Richter.

Another possibility would be to put it on our Label which is our streaming service on the website. There are some nice recordings on that.

I'll see if I can get the edited recording, the one that was broadcast. I could probably send it to you if no one tells.

Quote
Sorry more tangents unrelated to split tones- I love that piece!!

YES, me too! What a great piece and almost nobody in the trombone world knows it. Maybe we should start a new EARTH thread.

15  Horns, Gear, and Equipment / Accessories / Re: Cardboard Mutes on: Mar 17, 2016, 03:57PM
Wallace and Peter Gane both make excellent cardboard mutes.
16  Teaching & Learning / Pedagogy / Re: Double Buzz on purpose on: Mar 17, 2016, 04:40AM
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I'll have to try the string one again. I think I gave up too quickly! Did I hear correctly that y'all are recording it?

We did EARTH last year in a WDR concert, so it was recorded. I made a click track for it and we played with that which made getting things together so much easier. Unfortunately, I was off in the 4th section for a while in the concert. This section was good in the GP but didn't have the energy of the concert. It was broadcast on a the radio and I was actually quite surprised how good it came out. I'm not sure if it's good enough for a CD, so we're thinking of recording it again.

You really need a string for 3 of the 6 movements, that's half of the piece!
17  Teaching & Learning / Pedagogy / Re: Double Buzz on purpose on: Mar 16, 2016, 04:15PM
Matt, I do the 1st, 3rd and 5th "movements" of EARTH with a string. Just a simple string with a loop and a square knot at each end. This is pretty awkward at first but I've gotten fairly good at it.

I don't really have the opportunity to play Euphonium very much, unfortunately, I love playing it. The privilege tones are supposed to be different so maybe that would give different splits, I'll have to check it out.

Yes, the 2:1 split slides down to about an F or F# and a pedal Bb? I find it hard to locate these pitches. I've never had a composer ask for this one, not yet.

Quote
that was a long winded response...sorry!...got excited...

Don't worry, there's not a lot of people I can talk about this stuff with!
18  Teaching & Learning / Pedagogy / Re: Double Buzz on purpose on: Mar 16, 2016, 02:20PM
I worked a bit with Mike Svoboda on the split tone section of his book (soon to be released from Bärenreuther).

We were interested in why the lower harmonic of a spit tone is a half step higher than it should be. For example, a 3/2 split tone on F with the Bb below sounding, will sound F - B, a tritone instead of a perfect fifth. A 4/3 split tone with a Bb - F will sound Bb - F# and so on, 5/4, 6/5 etc. The lower tone is always a half step higher.
Mike, Steve Menotti and I all experimented with different split tones and this was the case with all three of us. I've heard that there are players who can get the real interval but haven't heard them myself. I have been working on it myself and think it may be possible but I'm not 100% sure. 

My theory is that the lower tone resonates on the B harmonic series, starting on double pedal B in first position. This is only a theory, though and I have absolutely no scientific proof to back it up.

For me this is quite an important phenomenon. I have to play split tones quite often and usually "in time". It really helps me to hear the interval before I play it. So, if I transpose the written lower tone up a half step, I find the split tone responds better. EARTH is a good example of this. I asked Richard if the spit tone intervals in EARTH are important and he said, no, it is more important to get a rich, complex split sound.

Some composers do write for these intervals, though so this can be a problem.

What are your thoughts here, Matt?
19  Town Hall / Comments and Suggestions / Re: Announcing: TromboneChat on: Mar 07, 2016, 10:58AM
I finally got it on the 3rd try.
I am not color blind and consider myself way above average when it comes to solving puzzles, especially graphic ones. Maybe I just over think these captha things, every time I try to do them, I put down what I see and it tells me it isn't correct, very frustrating.
20  Town Hall / Comments and Suggestions / Re: Announcing: TromboneChat on: Mar 06, 2016, 07:59AM
I've tried to register twice and can't break the captcha code. I hate those things!
I'm starting to loose interest in joining at all.
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