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1038272 Posts in 70135 Topics- by 17686 Members - Latest Member: TromboneJared235
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61  Horns, Gear, and Equipment / Instruments / Re: Duo Gravis tuning options... on: Mar 23, 2016, 06:43PM
Nice thing about the 6b is that I think it's .562 through both valves,  so you can probably make it out of a spare outer slide tube.  It's not going to be as expensive as trying to source .593762 custom-drawn tubing....  Probably.

I'm not a brass tech.
62  Horns, Gear, and Equipment / Accessories / Re: K & M trombone stand on: Mar 23, 2016, 02:05PM
Given the two stands, the K&M 14990 and the 14985, is it worth the extra $25 for the 14990?  This is for a 50's Olds Special used by a middle school student. It will be in a pretty safe corner.

My inclination would be to say "Yes", if you're planning to leave the horn on the stand unattended, whether in a safe corner or otherwise.

Remember, one fall, for whatever reason (basketball, cat, stiff breeze causing a vacuum that causes the closet door to open and hit the stand. whatever) will probably cost you that $25, so having a sturdier base is worth it.

The 14985's niche is as a "travel" stand, that you carry around with your trombone to place it on while you're changing pages/resting/etc, but while storing the horn permanently in its case.
63  Practice Break / Found on the 'Net / Brasslab Elkhart Bach 50 thayer conversion on: Mar 23, 2016, 12:06PM
Noah at the Brassark has a gorgeous Chuck McA-converted Bach 50, in all silver but with brass valves and some valve tubing up on his site. You'll notice that the bottom bows of the valve tubing are rounded off in a complex bit of bending, rather than using any sharp angle bends, which brasslab devotees insist makes for a much more even blow through the valve section:

I used to play alongside someone with a similar conversion, and was blown away by it every time he let me try it.

$4150 with a gig bag. I would grab it myself if I weren't already too conditioned to dependent valves.

Find it here: http://brassark.com/sale/
64  Horns, Gear, and Equipment / Instruments / Re: Conn Elkhart 88H Modifications on: Mar 23, 2016, 09:57AM
I agree with Blowero. Pull the leadpipe if you want to,  but if you need to do anything more,  or more permanent,  it's probably more efficient to buy a different trombone.
65  Teaching & Learning / Beginners and Returning Trombonists / Re: How do I approach the bass trombone? on: Mar 22, 2016, 10:15AM
Eliezer Aharoni's book on the bass trombone is what I consider to be the quintessential method, but it requires some chops right from the beginning (trigger pedal notes) right from the beginning. Still, you can just work your way up to the notes that you can't quite reach yet. It's the top book on this page: http://www.hickeys.com/cgi/display.cgi?cart_id=914498.17564&page=btmest.htm

Alan Raph's book on the Double Trigger Bass Trombone is also fantastic.

As far as solos are concerned, Ernst Sachse Concertino in F is a pretty good place to start as a proficient tenor trombone player moving on to bass. Musically interesting, large range of dynamics, and it doesn't go excessively low. Just make sure you get the right version. Here's Tomer Maschkowski playing it:

Regarding your sound on different mouthpieces... just remember that the vast majority of the playing you do will be above that trigger Eb you were discussing, in just about any context (You're not planning to focus on recording soundtracks for video games and hollywood movies, right?) and will be blending with tenor trombones.

If the 2G is comfortable and easy to play for you, use it, it's the most intimate point of attachment from you to the instrument. I find it helpful to think about it like the tires on a car- sure, I might think that Hoosier drag radials on 22" wheels look pretty good on my daily driver, but I'm going to choose the tires that give me the best traction for the conditions in which I expect to be driving.

Remember: There's no "right" sound except the sound you have in your head, and I'll give you one more video to that end:

That's James Markey (Formerly of the New York Philharmonic, currently of the Boston Symphony Orchestra) and Blair Bollinger (Of the Philadelphia Symphony Orchestra) playing a duet together. Both classical bass-trombonists, both extremely well-respected musicians and teachers from some of the finest orchestras in the world, but located within a couple hundred miles of one another.

Despite those similarities, and similar skill levels, their sound concepts are VERY different. If their sound concepts are that radically different, what choice do we mortals have but to decide what sounds good to us, and find a teacher that points us in that direction.

TLDR: Just have fun.
66  Horns, Gear, and Equipment / Instruments / Re: A Flat "Ringing" on Shires Trubore on: Mar 21, 2016, 07:59PM
What wound up happening with this? My Trubore/2RVE tenor has been buzzing at mf+ -flat and it has been annoying me, but my first inclination was that it was some manner of chop problem.
67  Horns, Gear, and Equipment / Instruments / Re: Shires Sold By Woodwind & Brasswind on: Mar 21, 2016, 02:05PM
WWBW is not what it was. Often the descriptions are partly or completely wrong, the photos crappy, and I would never send them another dime of my money. They used to be a company I respected, but they've been bought out, moved, and seem to be too busy to bother getting their advertisements right.

Of course with the product details that conn selmer usually puts out, it can't be easy keeping things straight.

Well, you also live within throwing range of Dillon Music (which i also do, more or less, being about equidistant from Dillon and the Shires factory proper).

The great thing about this deal, theoretically, is that WWBW owns the Music & Arts brick&mortar chain (or vice versa?) and so there's the possibility for an aspiring high school/college student in, say, Tennessee to get a pretty middle of the road Shires Bass (indy-thayer, 7GM, B62) in to try out.

Not to mention that they have the necessary size to be able to offer financing on instruments, which might be a big deal to someone considering a $3-6000 dollar instrument, given the difficulty of finding high-limit credit cards and how few people have less than $1k in their rainy day funds.

I can't consider the availability of well-balanced horns being available through WW&BW chain as being bad for anyone.
68  Horns, Gear, and Equipment / Instruments / Re: Looking at Alto Trombones on: Mar 20, 2016, 12:02PM
I would go along with everything Bruce says but I would also throw another alto into the mix.

The John Packer Rath alto is more like a traditional Alto than the Wessex model in that it has a smaller bore-sub .500 whereas the Wessex model has a .525-.547 dual bore which some may say is very large for an alto. The other interesting fact is the price! Here in the UK the Wessex is 702 but the JPRath is from 429 ($1015 against $621) They are both made in China and shipped to the customer after being checked over.



My father owns the JinBao alto with the Stauffer Brass leadpipe, and it's a perfectly fine horn, but I'd go with the Packer/Rath if I were looking for an alto with a reasonable price at the moment (I'm looking for a new bass, instead- see the classifieds). It plays very evenly up and down the horn, with a lovely clear sound and a great slide. It's just easier to play.

I do have some misgivings about the longevity of JP/Rath trombones, since my student's JP230 has been having some issues with slide stocking corrosion after 5 years or so, but if you were to take better care of it than he does, it would probably do quite a bit better.
69  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.
70  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.
71  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.
72  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?
73  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.
74  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?
75  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.
76  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.
77  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?
78  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.
79  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.
80  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?
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