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1033801 Posts in 69635 Topics- by 17591 Members - Latest Member: tylermhardee
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61  Teaching & Learning / Practice Room / Re: Nestico 'A Train' bass tbn part on: Aug 08, 2014, 10:07AM
Assuming you have the common bass bone setup of Bb-F-Gb-D, how I play it is:
A TT7, Bb TT6, B TT5, CTT4, Db TT 2, D T4, Eb T3, C TT4, Eb T3

That would require a flat DB or C on both valves to get the A with both triggers and would lose you the D in T1 and probably the DB in TT2.

You don't get 7 positions with valves enabled.
62  Teaching & Learning / Practice Room / Re: Nestico 'A Train' bass tbn part on: Aug 08, 2014, 09:35AM
That's probably a good interim idea.  Just skip the B natural,  even,  and the whole line lays a whole lot better across the horn.

I'd still like to get to the point where I can play it legitimately,  though.
63  Teaching & Learning / Practice Room / Re: Nestico 'A Train' bass tbn part on: Aug 07, 2014, 11:59PM
It's a chromatic run from pedal A to low D in eighth-note triplets:

I don't have the part in front of me at the moment, so I rendered it in musescore.

M.M. of about 170-180.

The best option I can come up with is:

2, TT5, TT4, TT3, TT2,TT1, T3.......TT3, T3.

Moving 2,1,TT4 at the beginning doesn't ever seem to work, but the 2 to very tip of the slide maneuver is also very dicey.

Obviously, people manage to play this lick all the time, since it's one of the most popular big band arrangers arranging one of the most popular big band standards. I'm just extremely curious how they manage to go about it.

EDIT: Fixed accidental on the Eb's.
64  Teaching & Learning / Practice Room / Nestico 'A Train' bass tbn part on: Aug 07, 2014, 06:41PM
How does a mortal play the triplet rhythm at the end?
65  Creation and Performance / Music, Concerts and Recordings / Least frequently correctly played excerpt (in performance) on: Apr 06, 2014, 04:48AM
We've all heard the Bolero horror video from one of the European orchestras somewhere along the line, but while that's... very special... it's also extremely rare. People seem to get through that particular solo pretty well on average once they reach the highest levels.

I recently played Dvorak 9/5/New World/38479274982374. At the end of the first movement there is a very loud, fairly fast, very air-intensive section shown as the second half of the excerpt shown on Seth Vatt's site tromboneexcerpts.org here:

I struggled with it (a lot) and wound up listening to a bunch of professional orchestras on Youtube and on Mr. Vatt's site and in most performances (but not all) there is a cracked note somewhere in the last 13 bars (most frequently on the high G).

Barring silly things like copying errors and conductorial practices as opposed to those original to the composer, which excerpts do you find professional, top-of-the-game players struggling with on the job?

Please note: This is not an attempt to impugn any players or orchestras in specific or in general, I just think that it makes for an interesting topic for conversation about the music, not the performers, hence the forum section in which I posted my thread. EDIT: Also, don't take this as a claim that I myself played it correctly, everyone here should know that ain't true.
66  Teaching & Learning / Practice Room / Breathing... during rests? on: May 22, 2013, 06:58AM
I'd be interested in hearing some thoughts on how to breathe during rests of various lengths. I find that, if I keep myself well-oxygenated before beginning a phrase, my breath support is noticeably better. The "Crap, I'm suffocating, I'm going to die" anaerobic panic attack doesn't happen nearly as quickly, and I'm able to maintain the phrase in question much longer and much more evenly.

However, that only really seems to work with rests over a certain length of time.

How do you breathe during moderate-length rests? How deeply, how frequently, with how much pressure on your inhalation/exhalation?
67  Horns, Gear, and Equipment / Instruments / Re: Most nimble horn that you have ever played on: Apr 21, 2013, 12:14PM
Olds Recording.

You barely had to think about the note you wanted to play before it started. Same with register shifts. Just up and down and all around like a dream.
68  Horns, Gear, and Equipment / Instruments / Re: good music stores. on: Mar 13, 2013, 10:18AM
The seems a bit of an oversight on someone's part.

Shires is a small factory with about 30 people on staff, with only one person (Steve himself) who spins bells and I think two people who draw slides. They can't really efficiently stock everyone's corner music shop, and I think they've wisely decided that the economies of scale don't really suggest scaling up their production too terribly much.

There might be a lot of places where you can order a Shires horn built to your specs (including the Shires factory itself, cut in half the number of times the mail guys have to ruin your horn), but I think that Ferguson Music might be the only place other than the factory that really carries a pretty decent representation of what's available.

Newell Sheridan might as well, I've never spoken to him. Point is... I don't think their goal is to try to stock every neighborhood music store, so it's not really an oversight.
69  Practice Break / Food and Drink / Re: Whisky recommendations? (Whiskey welcome, too) on: Mar 09, 2013, 11:30AM
So around Christmas time, my house had something like 5 different bourbons in it, and I got the opportunity to do a taste test.

Woodford Reserve
Knob Creek
Maker's Mark
Some small-batch thing from Colorado
Some small-batch thing from Tennessee

My thoughts- I still don't like Maker's Mark. It's too "bright" for my tastes. Knob Creek and Woodford are about even, but I still think Knob Creek pulls ahead for me with just a *bit* more 'burn' to it. Small-batch things weren't to my liking, but I'm sure there's a small-batch whisky made somewhere that I'd love, I just don't have the fundage to experiment that much.

With that in mind, everyone's been telling me that 1792 is the end-all be-all of bourbons. Anyone able to predict whether or not I'd be inclined to like it?
70  Creation and Performance / Trombonists / Re: Favorites. NOT best or greatest. on: Feb 13, 2013, 07:00PM
1. Your favorite current classical/orchestral tenor trombone player. Jorgen van Rijen Also Scott Hartman. Were it not for the fact that he is tragically no longer "current", Steve Witser would be in the list as well.
2. Your favorite current classical/orchestral bass trombone player. Denson Paul Pollard and Ben van Dijk
3. Your favorite current jazz/commercial tenor trombone player. Alex Iles
4. Your favorite current jazz/commercial bass trombone player. Dave Taylor

Nothing too terribly surprising in there, perhaps, but I'm just being honest.
71  Creation and Performance / Trombonists / Re: Portal song on trombone on: Feb 13, 2013, 04:58AM
Very well done, Mr. Woodhead. I love the backgrounds.

My two comments:
1. I would make sure to mention that the tune was composed by Jonathan Coulton. Just to be on the safe side, he's probably a bit defensive about attribution since he just recently got screwed over by GLEE.
2. I feel like the vocal line could have been just a tad "crisper", less legato. Just a thought.
72  Horns, Gear, and Equipment / Mouthpieces / Re: Another audio "Which Mouthpiece", bass this time on: Oct 27, 2012, 08:20PM
Sorry, I screwed up when posting the things and ended up posting an empty file. When you say "Mouthpiece 3", do you mean "Track 3" or STE-036?
73  Horns, Gear, and Equipment / Repairs, Modifications and Maintenance / Re: What is this part or the trombone called? on: Oct 27, 2012, 05:18PM
74  Horns, Gear, and Equipment / Mouthpieces / Another audio "Which Mouthpiece", bass this time on: Oct 27, 2012, 05:06PM

Player this time is usually more of an enemy than a friend, but I figured I'd see about helping him out here.

Which mouthpiece would you choose for this player, of these 5? Bit of a struggle maintaining his breath for the C at the end, but there's plenty of playing in the "meat" of the bass trombone range to make a decision.
75  Teaching & Learning / Pedagogy / Ostransky- "Two Spanish Dances" on: Oct 24, 2012, 11:37AM
Does anyone know of a good recording of this? I'm looking for one to show my student, but all I'm finding on the internet are middle school students making the same basic mistakes that he is, and receiving top scores for their trouble, which is somewhat counterproductive.

The second movement is available by a skilled player here: http://www.youtube.com/watch?feature=player_embedded&v=RSj4A3TPLoU#at=32
Even that isn't entirely clear about the marked articulations, which bugs me.

First movement doesn't seem to be played by anyone, and it's the more nuanced one and the one of which he could really use a recording.

Still three or four months out from All-State, but I'd like to get a handle on this early.
76  Horns, Gear, and Equipment / Instruments / Re: Elkhart 88H poll on: Sep 21, 2012, 10:42AM
Seconding "Keep the string linkage" for the reasons Ben stated.
77  Creation and Performance / Music, Concerts and Recordings / Re: Firebird Berceuse trill y/n? on: Sep 13, 2012, 02:44PM
Sorry,  Finale...  The Berceuse on the chart is printed in a large font while the finale is small and I was typing in a hurry.

Lip trill to A in second... Favoring the G for position moreso than the A or vice versa.
78  Creation and Performance / Music, Concerts and Recordings / Firebird Berceuse trill y/n? on: Sep 12, 2012, 05:36PM
If y,  then how?

Berceuse...  Damned phone
79  Horns, Gear, and Equipment / Instruments / Re: Mystery valves ?? on: Sep 07, 2012, 04:20PM
Later K-valves also seem to have a more similar F lever to the one shown there, but the saddle for the F-lever isn't nearly as sturdy as the "Edwards":
from what I presume is a recent Bach catalogue (It was hosted in bachbrass.com)
80  Horns, Gear, and Equipment / Instruments / Re: Mystery valves ?? on: Sep 07, 2012, 04:08PM
Looks like Miller valves based on the linkages (compare against http://www.millervalve.com/bach_42.html ) but the arrangement of the valves as compared against their dual-valve bass (miller's standard inline bass has the valves offset from one another somewhat rather than fully inline) as well as the caps on the valves are fairly different (this one is convex and smooth, the standard one is flat and dimpled). Miller or someone else might have built a custom heavy cap for it though.  Also, the levers on the horn in question don't resemble Edwards at all.

I would guess that it's probably a custom build by some brass tech who felt comfortable bending his own tubing for the valves.

Interesting layout though- no braces between the F/Gb sections and the bell, and when rested upon the shoulder the bell should be free to vibrate regardless of the horn perhaps resting on your shoulder. Be interested to give it a toot if I had the opportunity.

EDIT: It could also be a set of K "Balanced" Valves, off a Bach 50K3:

Compare against this picture of a 42K:

The 42K has that rubber "protector" piece over the valve cap, but if that were taken off, you could easily see how it might match the profile of the caps on this "Edwards".
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