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1015929 Posts in 69096 Topics- by 16992 Members - Latest Member: BillHoughton
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61  Horns, Gear, and Equipment / Instruments / Re: Unusual Shires bell on: Jun 22, 2012, 10:02AM
I've tried a few of the two-toned Shires bells up at the factory, but despite looking awesome, none of them really turned me on all that much (They played about the same as the single alloy bells, they just looked a whole lot cooler).

I'm curious, Jenn- before you ordered a 2-series bell, have you had the opportunity to try the 5 (one piece) and 7 (two piece that kinda/sorta plays like a one piece) series bells? They are truly something special, and I'd probably suggest a 7YLW to almost anyone looking at a Shires horn just because of how easy playing and free-blowing it is. I love the sound of my 2RVE, but it's noticably more work than the 7YLW I tried up there.
62  Creation and Performance / Trombonists / Re: More YouTube Trombonists on: Jun 22, 2012, 09:55AM
Piece written by forum member Eric Richards (ericrich) performed by Joe Alessi called "Three Scenes for American Trombone":
63  Horns, Gear, and Equipment / Instruments / Re: Kanstul trombones on: Jun 21, 2012, 11:29AM
I've played the 1602, 1606 and 1570T/1570CR, as well as the 1662.

I loved the 1570T. Clear, easy tone quality. Perhaps it didn't hold up as well at true volumes, but in the 15'x15' room at Dillon Music, I was unlikely to really put that much volume in, especially with lots of expensive metal on racks on the walls. It held up to all the volume I put into it with aplomb, while being extremely easy and even across the registers from low C (trigger 7th) to high C, with very nice partial width for jumping between registers.

1602 and 1606 were nice, nimble little small bores with very good slides. I don't play small-bore often enough to give a real impression, but there was nothing about either that struck me as being "off" in any way.

1662 had a beautiful warm tone quality and evenness between the valved and straight sides. I would happily pick one up as an upgrade for my Getzen 1062.
64  Practice Break / Chit-Chat / Re: Your favorite "fringe" movie on: May 26, 2012, 03:29PM
Six String Samurai
65  Teaching & Learning / Practice Room / Re: Sonata "Vox Gabrieli" -Sulek on: May 05, 2012, 12:40PM
The notes aren't what you should be concerned with- the meter is. It is an incredibly difficult piece of music to play well (and the piano part is well known to cause conniptions in accompanists).

However, because you asked, the highest note is an Ab/G#.

66  Creation and Performance / The Business of Music / Re: No women at ITF 2012? on: May 05, 2012, 12:05PM
the other is Kirsten Schaffert from Western Michigan University...http://www.youtube.com/watch?v=Drfi71FcS9o.

Except that she's studying vocal performance, and trombone education (based on the Western Michigan Trombone Studio website). It's a sad statement about, well, something, since she's obviously extremely talented.
67  Creation and Performance / Trombonists / Re: More YouTube Trombonists on: May 04, 2012, 11:16AM
HereŽs the 2nd video with my quartet Elements! In this one weŽve tried to combine trombone, cute dog and funky music. If you like some of these things you might like our new video..   Clever Here is: Dog Song!


Recorded live in  studio, but with some trombone overdubs.. Hope youŽll dig it!

I'm really digging this. Great trombone sound, great group sound, great feel and great dog.

So... yeah.
68  Practice Break / Found on the 'Net / 88H/Thayer on ebay on: May 03, 2012, 07:21PM

Very nice horn, extremely open through the lower range. I played this at my big band rehearsal this past Monday as my Getzen's F-trigger broke off (the owner played my Getzen bass as a straight horn).

Interesting sound, very broad and symphonic.

Hopefully we can get some more information on its provenance, as a forum member apparently did the work on the valve. I'll try contacting him to get more info.
69  Creation and Performance / The Business of Music / Re: No women at ITF 2012? on: May 01, 2012, 06:49PM
Some of the ensembles have women in them.  But Nathaniel Brickens the only player of African descent that I see among any of the players or ensembles.  Hard to know if it's oversight, intentional, or just who was or wasn't available.

I'm going, as an exhibitor.

Given Courtois's involvement in this thing, I'd be extremely surprised if they didn't invite Weston Sprott.
70  Practice Break / Chit-Chat / Re: Selling all of my custom trombones on: May 01, 2012, 03:37PM
Sorry to resurrect a 2 year old thread, but I'm so glad that I didn't sell my Shires. I'm more into the trombone now than ever!  I would have badly regretted it. I think I just needed a long layoff in order to recharge my batteries.

Don't you mean you're glad that you didn't sell your Shires tuning slide?
71  Practice Break / Chit-Chat / Re: Your favorite "fringe" movie on: May 01, 2012, 10:47AM
Nothing But Trouble or Death to Smoochy.

Both very underappreciated dark comedies.
72  Practice Break / Chit-Chat / Re: Identify this odd antique tool on: May 01, 2012, 10:15AM
As long as your father didn't moonlight as a mohel, I wouldn't be too concerned.

(My guess would be to remove bark from trees/logs. That looks like a pretty heavy hatchet to be used for non-woody plants.)
73  Creation and Performance / Trombonists / [TELL] me about Cliff Heather on: May 01, 2012, 10:11AM
So I'm playing a concert of the music of Thad Jones tonight, and I'm listening to some recordings on Spotify. I'm really digging the bass trombone sound, and some research told me that it's Cliff Heather.


I'm interested- tell me about the dude, his education, his career, his equipment- whatever.
74  Teaching & Learning / Practice Room / Re: Questions for the Lead trombone part in Song for Japan on: Apr 29, 2012, 02:40PM
Same way you pace yourself for any piece. Play softly when you don't need to play loud and take the horn off your face whenever you can.

It's really not that different than any 5 minute trombone solo.
75  Creation and Performance / Other Musicians and Ensembles / Re: Who would you put in your big band? on: Apr 28, 2012, 02:20PM
Curtis Fuller
Urbie Green
Alex Iles
Alan Raph

Trumpets: who cares

Drums- Buddy Rich
Bass- Rufus Reid
Piano- Brad Mehldau

Tenor 1: Michael Brecker
Tenor 2: Bob Mintzer
Bari: Ronnie Cuber
Altos- who cares.
76  Creation and Performance / The Business of Music / Re: No women at ITF 2012? on: Apr 28, 2012, 02:00PM
The most successful trombonist with whom I have any sort of real association is a woman. Jazz player named Sara Jacovino, had the same high school trombone teacher I did: http://www.youtube.com/watch?v=7AuhZVTSaf0&feature=relmfu&t=4m0s her solo starts just after the time listed.

I also often play with an extremely fine female bass trombonist.

Karna Millen of the USCG band is amazing (I'll admit I haven't played with her, but I've heard her play, and played with her husband, an amazingly good trombonist in his own right, who says that SHE's the player, he's the teacher).

It's always possible that they offered solo spots to some of the heavy hitters (Lisa Albrecht, Anna Lindvall, Astri Ellann) but they declined due to time constraints/family obligations. There's no need to assume foul play until Megumi Kanda or someone of similar stature says "I offered to play there, but I was turned down".

77  Horns, Gear, and Equipment / Instruments / Re: Shires dual bore rotor valve. on: Apr 27, 2012, 01:10PM
The dual-bore rotor is something pretty special, maybe even more special than the Trubore is. It feels like a standard rotor through the straight side (OK, the trubore feels more like a straight horn, but coming off, say, an 88H or 42B, you might feel more at home with the dual-bore rotor) while also being quite open and natural feeling on the F side. It also feels more like the straight horn than the standard rotor on the open side? It's hard to describe. The valve side is glorious though it doesn't feel as much the same on the valve and F sides as a Thayer or even a Trubore.

I couldn't make a decision on whether I preferred it to my Trubore quickly, in fact, it would probably take me several visits each lasting a couple hours to make the decision, but it's definitely a real option, and responds extremely nicely, quickly and clearly.

I take it that the gimmick is that the outgoing ports are a larger bore than the incoming ports, which makes for that part of the gooseneck (including through the valve side) being somewhat more conical than it would be in a standard rotor.

Something very special, and definitely an option to try out. I imagine the bass sections getting some real support once they come into true production. The setup I tried there with rotors (7YLW bell, indy dual-bore rotors, seamed red tuning slide, and B62 slide) was a joy to play.
78  Horns, Gear, and Equipment / Instruments / Re: What's this thing people have for Elkharts on: Apr 24, 2012, 09:49AM
The new 8HTs are different than the older 8Hs in a number of ways that would lead you to need to play them differently.

The biggest one to start with- Elkhart 8Hs have an unsoldered rim on the bell which affects how articulations are formed. You can get the same *ping* that your newer Conn has, you just have to start the notes differently and perhaps more precisely.

The second biggest one is probably the thickness of the nickel in the various braces and grips. A 58 year old 88H had more pristine handgribs and braces than did my 10 year old 88HO. The 58 year old horn felt, more than anything else, "solid" in a way that you only really find in boutique brands today (like my current Shires). That also probably affects the resonance to some degree, but also requires that you play it for a while to get used to it.

A 5 minute side-by-side between horns that are quite different isn't quite enough to determine which is better, sadly, and you can't trust your own ears to tell you what the horn's actually doing at the bell end (Short story is that sound moves faster through the metal than it does through the air and so most of the sound you "hear" when playing the horn is actually felt).

Play the Elkhart 8H for a week, then go back to your newer 8H, and then you can comment on how much "ring" or "life" the sound has... after you've learned to play it like it wants to be played.
79  Teaching & Learning / Schools, Colleges and Conservatories / Re: WIBC Audition??? on: Apr 24, 2012, 09:02AM
If it's anything like the All New England process here in the northeast, they're judging you the same way that all state judges do- they're trying to get an idea of your musicality, technicality, breath control, intonation, flexibility, range... etc all in the course of a 5 minute audition.

The one thing that I will mention is that the prepared pieces seem to be slightly less 'ambitious' than would be all-state or all-northwest audition pieces. That Handel "Allegro in Cm" played well would do you a lot more favors than would Saint-Saens "Cavatine" played poorly, but the former stays within a two octave F scale, so your intonation/flexibility above the staff (where a lot of high school band music puts the first bone) remains unclear. So, if you'd had a superb high range, the Handel wouldn't be the piece you should choose to best present yourself for the judges.

Why don't you tell us what your all-state audition piece will be?

80  Creation and Performance / Performance / Re: Pittsburgh Symphony guset soloist auditions on: Apr 22, 2012, 08:53PM
Who wants to hear a trombone concerto?  :-P

Joking aside, I think this is a huge problem we not only face as trombonists but brass players. Next time you play with an orchestrsa, watch the looks we get from the string players. They always look down on us. It is partially our fault too. We want to.be taken seriously, but then we do unserious things like always ending our solo recitals with a jazz or pop piece. We also put up with to many composers writing for the effects of our instruments (mutes, glisses) instead of great melodies.

Whether we deserve it or not, we have the reputation of being the most unmusical section. That is why we must take our art more serious and be the most musical section in the orchestra everytime.

I said this the last time we discussed this, but I'd put the Grondahl up against any of those pieces, if they'd give a trombonist half a chance.

Unfortunately, you have a point with regard to the majority of our repertoire being a bit on the... odd... side.

Take Bourgeois for example, nice piece, well written. But then you get to mvt 3 and all of a sudden it's "HEY GUYS LOOK WHAT I CAN DO!!1". Larsson does the same thing.

On the other hand, it'd take 80 years for a piece written today to be acceptable for the Pittsburgh Symphony's concert, so... moot point?
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