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973954 Posts in 64663 Topics- by 15824 Members - Latest Member: PTownTrombonist
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1  Teaching & Learning / Beginners and Returning Trombonists / Re: Switching from jazz style to classical. on: Mar 16, 2015, 08:26AM
Hi I come mostly from a jazz background and I am trying to learn more classical repertoire.  What are some things you do differently when you switch styles?
My articulations are very legato by default with a du or a da syllable.  What are "normal" articulations in classical?  Are eighth notes usually played staccato and quarter notes long?

wow, that's kind of like asking, I'm a classical player and I would like to learn more jazz repertoire. Do I just play everything with a triplet feel and play the eighths long and quarters short?
You know it's not as easy as that!
Just like jazz, classical has so many different styles. Listen and emulate, try to play with some good classical players and if you're a good musician, you should have no problem.
2  Teaching & Learning / Practice Room / Re: Piano Accmpt to Rochut on: Mar 10, 2015, 02:00PM
Benny Sluchin did a piano accompaniment with Tezak publishing. Tezak is long gone, so I'm not sure it's still available. I think have a copy and I believe it's the whole first book 1-60. I may be wrong and would have to dig it out to check.

3  Horns, Gear, and Equipment / Mouthpieces / Re: Mouthpiece advice for an old German horn on: Feb 25, 2015, 12:24PM
I'm not a real fan of the Klier (JK) mouthpieces but an awfully lot of professional players are playing them here in Germany, with German and American instruments. The system is fairly simple, for every rim size you can have a graded series of cup depths: This makes finding the right size rather easy. In your case, a 5 rim (which is a 26mm Bach 4 equivalent) as a 5B or a 5C would probably suit your use fine. I imagine the 5C would be better for the Kuhn. This with a medium or baritone shank should fit the bill.
Here is the web site, http://josefklier.de/mouthpieces/trombone/?lang=en

With Bruno Tilz, the choice is much more complicated. There are 7 different model lines and hard to know which one has what properties.
Here is the web page; http://www.mundstueckbau-tilz.de/index.php/serienmundstuecke/posaune-bariton

A Schmidt 260 Tenor trombone mouthpiece (26mm rim diameter) would probably be a good bet. I have no experience with this mouthpiece but it looks like a good line. Web page as in above post.

Thein and Lätzsch would have experience with this model as they both make similar ones, Lätzsch has a model Kuhn. They should be able to recommend one of their models or others that would work well. Hans Nienaber at Lätzsch is a very nice guy and will be willing to help, I'm sure.

As they say in Germany, "du hast die Qual der Wahl" meaning, you have the torture of deciding (works better in German)

4  Horns, Gear, and Equipment / Mouthpieces / Re: Mouthpiece advice for an old German horn on: Feb 23, 2015, 12:44PM
A model Kuhn would be a Weite ll and would not have a large shank receiver, a medium shank is most likely. The mouthpiece normally goes in pretty far in old German instruments.
American mouthpieces can work but these instruments really come to life with a German style mouthpiece, such as from Josef Klier, Bruno or Josef Tilz, Lätzsch, etc. You should be able to get one with a 4 (26mm) rim but the cup shouldn't be too deep and the bore not too big. Get one with the medium shank and you should be set.



5  Horns, Gear, and Equipment / Accessories / Re: Squeaky corks on: Feb 19, 2015, 12:24PM
A light touch of cork or tuning slide grease, I would think.  Just a little.

yes, but I find that however much you use, it is always too much. Alternatively, you can lick them (I never do this), spray some water on them or breathe on the inside of the bell (this is what I do, when I have this problem) You have to keep doing this until the next phase, which is;

rub the cork and the part of the inner bell where the cork touches with your fingers, what you need is a thin layer of fat, grease, what ever. Nose grease works fine (not the inside, the outside of the nose).  Once the layer of grease/fat is there, on the corks and the bell, it should't be a big problem anymore.
6  Creation and Performance / Music, Concerts and Recordings / Re: Looking for both Pederson Trombone Trio books on: Jan 22, 2015, 08:14AM
I have both volumes in the original.
7  Horns, Gear, and Equipment / Accessories / Re: New design Bach case? on: Jan 08, 2015, 10:58AM
That looks like a Conn 88H in the Eastman case.
I thought that this particular Eastman case is only recommended for wide slides like a Bach 42. Anyone know if this actually works?
I would love to get this case but, since my Raths have narrow, Conn-like slides, I didn't think it would work.
8  Creation and Performance / Music, Concerts and Recordings / Re: Don Quixote on: Dec 21, 2014, 01:04PM
I think I heard it was John Swallow, not 100% sure about this, though.
9  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: Spit Valves (...or WATER KEYS) on: Dec 18, 2014, 01:09PM
Get a Joykey and you'll not have to touch your water key again, except maybe when you pick up your horn cold.
You could also get rid of the water key altogether.

http://www.thejoykey.com

I've got them on two slides and they are great.

Only thing is, silicon based slide lubes can block up the water wicks.
Ultra-Pure slide lube works fine though, I've no troubles with that.
10  Teaching & Learning / History of the Trombone / Re: The Voights on: Dec 07, 2014, 03:40AM
I don't know the Helmut Voigt trombones but his bass trumpet in C is my absolute favorite!
It is very similar to the earlier Alexander, made after the war. The build is longer and narrow curved and looks more like a German rotary trumpet than the shorter, wide curved ones Alexander and everyone else is making now.
When I need one I rent it from him, for a very small fee. I would love to buy this instrument, and I would indeed, if I needed it more often.

I've always dealt with Stephan, who is very nice. He has told me that everything they make is pretty much special order, so they will build anything to suit you.

Jürgen Voigt is also supposed to have a very nice bass trumpet, which I have not yet played.


11  Horns, Gear, and Equipment / Accessories / Re: Alto trombone mutes. What works? on: Nov 29, 2014, 03:49AM
There are quit a number of contemporary pieces written for alto.
Other than the ones already mentioned, there is Schönberg - Peleas und Melisande, Stockhausen - Carré (straight and cup), Emmanuel Nunes - Lichtung 2 and 3 (he liked the sound of alto trombone and euphonium instead of tenor and tuba) and even a trombone concerto by Richard Ayres for alto and a whole box of mutes, just to name a few.

Mutes kind of depend on the bell size (throat) of the alto, Unless it's the small size like a Bach etc., one can use many of the tenor mutes. The Wick tenor straight, for instance, works better for some things than the Wick alto mute. The Wick cup works fine. I have an Ulvén cup that is great for alto.
Anything that works in a small bore tenor should work for alto. But even a normal Tom Crown works alright, it sticks out pretty far but it sounds fine. I've seen Christian Lindberg use the TC with an alto in a concert.

One big problem for alto is a harmon or wawa mute, nothing really fits well. The JoRal flugelhorn mute does not fit an alto at all, but one can make due with a JoRal tenor or other brand.
I really wish a mute maker would make one of these!
12  Horns, Gear, and Equipment / Instruments / Re: What are the really nice Straight 525s? on: Nov 26, 2014, 12:44PM
I own a Conn 78H (made in the 60s) and a JP Rath 231. I much prefer the JP Rath!
Easier to play, with a nicer, more colorful sound, for me.


13  Teaching & Learning / Practice Room / Re: The Ear VS. Muscle Memory on: Nov 13, 2014, 11:56AM
That was a great reply, Sam. You've put into words exactly the way I feel when I play.
Eventually, it's possible to hear the notes in atonal music, too, but in the first rehearsals, it's a lot of muscle memory.

Bruce
14  Creation and Performance / Music, Concerts and Recordings / Re: Lyrical, unaccompanied pieces? on: Aug 25, 2014, 12:47PM
I would also vote for the Leslie Bassett, a beautiful, lyrical piece.
15  Creation and Performance / Musical Miscellany / Re: What is the weirdest time signature you have ever seen? on: Jun 05, 2014, 01:49PM
6/6, but it was a joke.  It appears in the Schmutzig Horn Method.

The denominator has to be a note value, so it has to be 1, 2, 4, 8, 16, 32, etc.

There are some really odd time signatures like 13/8 or 3/1 (the last occurs in Saint-Saens' Organ Symphony).

I've also seen "logical" time signatures with odd groupings.  Dave Brubeck's Jazz Rondo ala Turka is in 9/8 divided 2-2-2-3 where normally 9/8 would be 3-3-3 (may have been written by Paul Desmond).

If you were to write 33/32, how would you divide the 33 notes up?  How many main beats to the bar?

Well actually, note a joke. 6/6 just means 6 sixth notes or 6 quarter note triplets. 6/6 is kind of stupid because you can express this much easier as triplets with no time change . But sometimes composers like to have 2, 4 or 5 triplets and would write 2/6, 4/6 or 5/6. The same could be done for quarter note quintuplets, 2/5, 3/5, 4/5 etc. or eighth note quintuplets 2/10, 3/10 4/10 etc. In fact one could take any value, like 7 (septuplets) or any other value.
16  Horns, Gear, and Equipment / Mouthpieces / Re: Greg Black Standard 4.5 vs NY5 series on: Apr 26, 2014, 02:55AM
This is part of an email I got from Greg about this;

Quote
Yes, the 4G-5G (Standard series) has a different backbore than the New York 5.5 (all New york have the same backbore)

The New York backbore at the top (right behind the throat area) is not as open; providing a litlle more compression without being bright. The backbore on the New York series is my #1.

The backbore on the 4G-5G is my #3. It is the same size at the bottom of the backbore and at the top. there is a 'coke bottle' type shape. Making it bigger.

I do make my standard series models with the #1 backbore and it is very successful.

17  Teaching & Learning / Beginners and Returning Trombonists / Re: Can't start notes without hitch on: Apr 19, 2014, 05:23AM
A little word about free advice.
Years ago, I had a colleague who obviously had this hesitant attack problem. I mentioned it to him and said I could probably help him. He kind of hemmed and hawed and avoided the issue so I let it be.
A few weeks later I saw Jiggs Whigham who knew this guy and asked how he was doing. I told him that he had this problem and I tried to help him but he wouldn't let me. Jiggs said, you should have asked him for 50 bucks for the advice, he would have believed you then.
I think Jiggs had a point.
18  Teaching & Learning / Beginners and Returning Trombonists / Re: Can't start notes without hitch on: Apr 18, 2014, 10:29AM
Maybe it would be interesting if I told more about my experience with this problem.

I had this problem, which I would call a stuttering attack, really badly in the first 2 years or so when I started to study trombone.
The most frequent suggestion by my teachers (and I had some good ones, Steve Zellmer, Ron Ricketts and Henry Charles Smith) was to play with a metronome.
This didn't really help because I could play with a metronome, a conductor or anything else where the beat was a given
and out side my body. The problem was when I had to start by myself. I usually got around this by starting pieces with no tongue, but this really destroyed my confidence at this early point in my career. I could say 1-2-3-PLAY but at PLAY, I would abandon ship and hesitate making a T-T-T-T stuttering attack.

The thing that finally helped me was Swallow's exercise. It helped set up a beat in my body and, after enough repetition, became natural enough so that I could trust myself to go 1-2-BREATH-PLAY.

I've been playing professionally for over 35 years and I can honestly say that this has never since been a problem for me, except for one point early on when I was working under a conductor who hesitated his downbeat. I just did the exercise again and it was fine.

The Swallow exercise is very simple, of course, and can have many variations but the jist of it is to set up a pulse in your body that you trust, whether it be foot tapping or mental. If you doubt it, it won't work. It has a lot to do with confidence. A metronome doesn't work in this case, because you can trust the metronome but not yourself.

For me, this is the single most important aspect of brass playing, or even wind playing, setting up a tempo (before you play) and going 1-2-BREATH-PLAY, without fear and hesitation, totally free, with confidence. If you can't do this, you are lost.

I've encountered a surprising number of professionals who have developed this problem and were hesitant to talk about or even admit it.
Those who have talked to me about it were very thankful afterwards. But, it's very obvious to any one who has had the problem, like me, and especially regrettable because it is quite easy to fix.

There is some great advice here, especially from Sam and Doug, all for free. The only way to solve a problem like this is to pick one and practice it, every day. You can only solve problems through continual, correct practice.

Good luck
Bruce


19  Teaching & Learning / Beginners and Returning Trombonists / Re: Can't start notes without hitch on: Apr 16, 2014, 03:23PM
John Swallow gave me this exercise when I had this problem years ago;

3/4 bar, breath in on 3, attack on 1, breath out on 2, breath in on 3 act.
Start on middle Bb, repeat 4 times, and go down chromatically, for example.

It's so easy, it's hard to take seriously, but it worked for me and every other player I've passed it on to over the years.

Essentially, it's just replacing your bad habits with a good habit by repeatedly practicing the breath-attack without hesitation.

Do it every day and the problem should be gone in 1-2 weeks, or as Swallow said, when I said the problem was gone, "its never gone, but you know how to fix it now"

Bruce
20  Teaching & Learning / Practice Room / Re: What's on your music stand currently? on: Mar 10, 2014, 01:15PM
Richard Barret - EARTH (on two stands actually)
and Klay/MacDonald Daily Excersices
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