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1025389 Posts in 68941 Topics- by 17400 Members - Latest Member: kilroy13
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1  Horns, Gear, and Equipment / Mouthpieces / Re: Greg Black New York Series on: Apr 27, 2016, 02:40PM
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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.
2  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
3  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.

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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.

4  Horns, Gear, and Equipment / Accessories / Re: Cardboard Mutes on: Mar 17, 2016, 03:57PM
Wallace and Peter Gane both make excellent cardboard mutes.
5  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!
6  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.

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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!
7  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?
8  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.
9  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.
10  Horns, Gear, and Equipment / Mouthpieces / Re: Purchasing a new Greg Black m'pce on: Mar 01, 2016, 04:30AM
I also have had only good experiences. I have been dealing with him for years. I always communicate through facebook. He usually answers the same day. We have also skyped. Just got a new piece today. Best thing is just to go straight to the source.

Same here. I've sent him emails, to which he hasn't answered but he is always responded very quickly over facebook.
11  Teaching & Learning / Practice Room / Re: Unexpected success with a Max Schlossberg exercise? on: Feb 24, 2016, 01:22PM
Maybe it's like the Louis Maggio method, where the low notes (in his case, pedals) help to get the high notes more relaxed. I'm convinced ONE of the main problems of a good high register is keeping relaxed enough.

In my case, I've been able to nail high Fs as long as I can remember, but above a high G or so things just kind of peter out. I've tried many exercises over the years but I've never been able to break this barrier. Recently, I've started doing the Maggio method and for the first time ever, I'm starting to get relatively solid double high Bbs.
This has showed me that I was just to tense before. The Maggio exercises are are teaching me to stay relaxed enough to get these notes.

So, this Schlossberg exercise may have a similar effect.
12  Teaching & Learning / Practice Room / Re: Playing with harmon mute... on: Feb 23, 2016, 12:43PM
My feeling here is it is best to get used to this playing position, it is actually much more comfortable than you'd think.

I recommend doing some of your normal practice (scales, arpeggios, long tones, etc.) with the harmon or plunger so you really feel comfortable with it. If you are sitting down you can rest your elbow on your knee (like Chet Baker) to rest if it gets too tiring. Eventually you will build up these muscles and it will feel just as comfortable as the normal playing position.

Think of how tired your left arm gets holding your trombone after taking a few weeks break. It always takes a few days for me to get it back to normal again. Same thing here.
13  Practice Break / Found on the 'Net / Re: You'd be foolish not to buy one! on: Feb 15, 2016, 02:20PM

Would you please post a picture or two of the hardware?


wwww.lefreque.com

also interesting;
https://www.facebook.com/notes/nicole-esposito/what-the-heck-is-a-lefreque/10153297933065222
14  Practice Break / Found on the 'Net / Re: You'd be foolish not to buy one! on: Feb 15, 2016, 04:38AM
The riddle me this: how is "simulated emission" the same as "a small piece of brass and two rubber bands?"  One is a theory. The other is an object.

If you people are going to hypothesize on why or why not these things function, at least go so far as to find out what they really are. They are TWO pieces of metal and one rubber (silicon, whatever) band. The top plate has tiny spiked legs, separating it from the bottom plate. The top plate is, of course, dampened by the elastic holding it in place. The bottom plate is then free to vibrate and, allegedly, transfer vibrations.   

If I switch the two plates, or if the plates are touching anywhere other than the feet, I notice immediately that the effect is gone.

15  Horns, Gear, and Equipment / Instruments / Re: Bach "sound" vs. Conn "sound" vs. every other sound on: Feb 14, 2016, 09:41AM
I hung out a bit with Michael when he was in Cologne.
Yes, he played a Conn 88H but with a 1 1/2G mouthpiece. He also played a Bach 36 with a Bach 4 mouthpiece. He played the entire Munich Competition on the 36, where he was awarded 2nd prize with Michel Bouquet (who played a Bach 42B with a 6 1/2 AL)
For the audition for principle in the WDR Symphony Orchestra he played both instruments, the Bach for Bolero and Rheinische and the Conn for the rest. 
He didn't seem to have any problems playing different instruments and mouthpieces and he would always try and find a mouthpiece that suited a horn, no matter what the rim size.
Needless to say, I learned a lot from him.
16  Practice Break / Found on the 'Net / Re: You'd be foolish not to buy one! on: Feb 09, 2016, 03:43PM
Theories about why it either does or doesn't do something are only theories and shouldn't be presented as facts.

I tried hard not to present anything as fact. I am sorry if it came across like that, it was not my attention. Fact is; I felt awesome playing Don Quixote with the LaFreques. A feeling I had never, to that extent, had on Euphonium before.

Hmmm...then wouldn't you need about 50 of those things to bridge every soldered connection on the Euphonium? And how would the vibrations transmit straight to the bell? If metal to metal connections don't transmit vibrations, then every tuning slide on the horn would block the vibrations, so they'd never get to the bell, right?

Well, theoretically, this is correct. I know a horn player from WDR Symphony Orchester (no slouch) who uses 8 of these on his horn. Of course the vibrations do get to the bell, not just as well as with the LeFreques. That's the theory at least.

Look people, I would LOVE not to like these things. I hate to admit though that they really work.
No one is being forced to use them.

I mean, this Forum has discussed the sonic merits of whether the trombone sounds better with out the rubber bumper on the end of the slide, something every trombone manufacturer includes.  I thought  this was a BS idea until I tried it. It does make a difference, albeit much less than a LaFreque makes.

I don't really like having to defend these things. The thread is about them and I have some experience with them. I thought would it would be nice to share this experience and now I feel like I've been pushed in the corner of defending them because everyone thinks they are BS without even trying them. 

It would be nice if others would try them and share their experiences.

The world is flat.
17  Practice Break / Found on the 'Net / Re: You'd be foolish not to buy one! on: Feb 09, 2016, 07:22AM
To clarify, the LeFreque has nothing to do with adding mass.

It started as a way of bridging the connections on a Saxophone where the two parts are separated by cork.
The theory being, the cork dampens the vibrations and the LeFregue lets them travel from on piece to the next, simulating a tube being made of one piece. This works for all woodwind instruments quite well.

For brass, it's a bit more nebulous because our connections are metal to metal or soldered. The lead in the solder is allegedly supposed to dampen the vibrations. One would think a metal to metal connection, like mouthpiece to lead pipe, would transmit all of the vibrations but evidently it doesn't.

In my opinion, this is why it doesn't work so well on trombone, because you send the vibrations to the upper slide tube, which either ends in nothingness or is dampened by the hand holding it.

Euphonium is totally different. The Vibrations are sent pretty much directly to the bell and the instrument feels and sounds so much more vibrant. I feel like I am playing in a sound cloud, like the whole area around me is vibrating with my sound. Man, what a gas!

I played Don Quixote with the Bochumer Symphoniker last year with the LeFreques and I had the feeling I could just sit on top of the orchestra with my sound. Without them? No.

I have also never received so many compliments about my Euphonium playing before, and questions about what I had on my instrument, of course.

The proof of the pudding IS in the eatin'.

I imagine they would be great on bass trumpet.

18  Practice Break / Found on the 'Net / Re: You'd be foolish not to buy one! on: Feb 07, 2016, 11:12AM
1) Le Fregue is NOT a damper, it is the exact opposite.

2) My Willson Euph. is still a Willson, it's just a much better Willson.

3) I know what these can things do. Stephen Mead knows what they can do. Anyone who has tried them knows what they can do. That's enough for me.

If you haven't tried them, don't knock them. It just shows your ignorance.

Bruce
19  Teaching & Learning / Practice Room / Re: Daily Exercises - Lafosse on: Feb 04, 2016, 02:52PM
They are from the Méthode Complète. It's only 4 pages, 158 - 161 in the old, hard cover version and pages 99 - 102 in the newer version.
20  Practice Break / Found on the 'Net / Re: You'd be foolish not to buy one! on: Feb 04, 2016, 02:43PM
The first place is bridging the mouthpiece to the lead pipe.

In my opinion, this works so well on Euphonium because the vibrations go then directly to the bell. Stephan Mead has found some other places he thinks helps intonation and such. I haven't tried these yet. There is a video of him showing the spots and results somewhere on the net.

Don't get me wrong, I'd rather not have to stick stuff like this on my horn but this first bridge makes my Willson Euphonium such a better instrument that I wouldn't want to be with out it. The whole horn just vibrates in my hands. The squirrely low register is so much easier and solid.

There are people who seem to like it on trombone but I don't. It does solidify the response and tone of the lower register but it takes away some of the brilliance of the upper. That's a trade off I'd rather not make.
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