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1076660 Posts in 71375 Topics- by 18945 Members - Latest Member: rosegenn
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1  Classified Advertisements / Classified Advertisements / Re: WTB BACH ARTISAN 11 c or 7 c on: Today at 08:23 AM
I've also got a 7C for sale, as new, UK only.
2  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Today at 05:42 AM

And the electronic tuner can of course be a ruogh guide. But that is not how we play is it.


I meant that rather than get too pedantic about the absolute position titles, use our ears and tuners if necessary to secure a foothold to these higher notes. And then create new sub-positions for them relevant to our setup.
3  Horns, Gear, and Equipment / Accessories / Re: Slide Lubricant on: Today at 01:35 AM
I've found that applying some Trombotine to the slide with a spritz of water, work it in and then wipe off, apply the Yamaha works well. The trombotine seems to stop the Yamaha from drying out.
4  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Today at 01:32 AM
As an Europe I am a child of Palmer Traulsen/Anton Hansen/Paul Weschke, who is the foundation of trombone playng in Scandinavia, I have another nomeclature for the 11th partial. Db 3 1/3, D 2 1/3, Eb 1 1/3, and the 13th partial E 3 1/3, F 2 1/3, G# 1 1/3. 15th partial G 3, Ab 2, A 1,
Slotting? Oh well....

Somtimes in modern nomeclature the 3 1/3 is written 3+ sometimes 3- That is funny, the + means that you add to the slide  lenght, the - means to
 lower the pitch, sometimes the same position is written #4 or b3.
Paul Weschke just thought the slide positions where closer the the upper positionss.
I case a G4 to D5 would be like #2 to b2.

Slotting the G5 is hard, but for me the pos 3 is the best. Higher that is just like wisthling for me, any slidepositions will do alike.

I am not suggesting that any of the above, or Sams nomeclarure is wrong or right, there are different ways to say the same thing. 
My self I prefewr to say 3.5, (that is the same as #4 or b3 or 3 1/3)

Not forgetting that there are many tuning adjustments that need to be made in middle register as well. Let our ears (and electronic tuners?) be our guide.
5  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 17, 2017, 03:21PM
I went looking unsuccessfully for a link to Milt Bernhart's version of the solo in Sinatra's "I've Got You Under My Skin". It's the version where the soloist tongues 16th notes on a high F#  . I think it is by far the best version of this solo, although I did find many other versions on youtube and dailymotion.


As I understand it, Frank Sinatra re-recorded a lot of his Capitol output went he started his own label, Reprise. The version that you're looking for is not from the original "Songs For Swinging Lovers" album on Capital, but a re-recording, try the Reprise version.
6  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 17, 2017, 03:14PM
Sam, My use of the word theory is a result of your posts above, and the confirmation that I was in the right area. The 17th partial is not a phrase that Iíve ever read about let alone used until now.

I found that the 10 or so minutes that I spent practicing these tones today unsettled my embouchure a little, and Iím going to be stopping around the high G in 3rd, which will help insure the tones below.

As a sideline, Iíve found that a good way to revive a discombobulated lip is to clean your teeth with cold water, but no tooth paste. An electric brush is better..
7  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 17, 2017, 11:13AM
"Slotted?" To the point of being able to use slide vibrato on them? If so, your equipment is very good up there.

Question:

When you play a 12th partial Eb in 3rd position. the G, G#/A and A are to be expected...they are the 15th, 16th and...something resembling...the 17th partials. (After the 16th partials the overtone series turns into quarter tones.) Are there not an F of some sort and an F# above that Eb before you get to the G? There are on all of my horns, and that is the way the overtone series with Ab1 (Pedal Ab) as its fundamental.

S.

Well, slotted as in that there's a clear difference between the notes, but vibrato? I doubt it.

Is there not an F of some sort and an F# above that Eb before you get to the G? S

I didn't look for it because I already have a good one using a b2nd above the D. There's a short run of minor third intervals in this Partial, and using flat positions I've got.. !st Eb-Gb, 2nd D-F, 3rd C sharp-E. That's the E that I've mentioned.

I'm glad that in theory the these notes are where they "should" be, but I don't know how much value that they have, though apart from offering some note options for people who's horns have suspect or missing notes, like my Bach 12 with its dodgy Bb in 3rd.
8  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 17, 2017, 05:49AM
 
What happens after G?  HeckifIknow. 


Have just checked on my setup and, I got a slotted G, G sharp and A in 3rd.
9  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 16, 2017, 02:50PM
This is one of those band room topics, easy to demonstrate, difficult to explain in print, well for me anyway. But you're right, it's that "E" that's the important note.

I would never describe myself as a high note specialist, and I've moved to a larger m/p to open out the mid-lower areas of my range, playing out from the 3rd position*, which is something that we discussed in the past.


(*The written tbn solo in Little Brown Jug gets interesting around the chromatic phrase on bar 5-8, when played using pos 4 and 5. But that's going off topic..)
10  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 16, 2017, 10:56AM
Sam, I get what your saying, but re my positions, I've just practiced them until they work and I'm pretty sure that my nomenclature is correct with my set-up. The high D and the F I got through observation of others playing it, and the E in flat 3rd I found by trial and error because I couldn't find a stable one elsewhere. Having got a clear high F in (my) b2nd, the logical place for the F Sharp was just a small shift upwards, as was the shifting up from the D to get the Eb.

I haven't spent any time on G yet..

I'm just getting there myself. A little late after 40+ years of trying to figure it out, but...what the hell. I do keep trying. S.

Me to, I've just turned 65 and am keener than ever to crack this Tbn thing..
11  Teaching & Learning / Beginners and Returning Trombonists / Re: Lip herpes, Do you know how to avoid it? on: Aug 16, 2017, 08:39AM

Interesting. A while back I posted a topic about using coins and pencils to get an impression of m/p dimensions without having to put them to your face. This situation is a perfect example of what I've been keen to avoid. Trying other peoples m/ps is always going to be risky.
12  Horns, Gear, and Equipment / Instruments / Re: Conn 100H on: Aug 16, 2017, 05:39AM
I had one that I bought untried when working on a cruise ship in the Caribbean. None of the 3 leadpipes fitted properly and had to be secured with Duct tape. The first thing I did when I got back home was to move it on. UMI really shot themselves in the foot when they dropped the classic 6H/5H horn.
13  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 16, 2017, 05:29AM
Strangely, I can hit a clean  on all three of my horns, but can't get either the E or the Eb between that and the  . It's weird. No amount of experimentation has brought me any closer to hitting those two pitches as cleanly as the high C, D or F+.

Odd.  :cry:

You can get good clean E in a b3rd position and an Eb in a b1st. Also above the Eb is an in tune Gb, and in a b2nd above a D thereís an F. The D and the F in b2nd was in common usage back in the day, this may just be a small bore thing?



It's a different world above C# in the 10th partial.

S.

I think that there is a kind of logical sequence going on, it just that it hasnít much to do with the Bb one..
14  Teaching & Learning / Beginners and Returning Trombonists / Re: High note articulation on: Aug 14, 2017, 04:19PM
I wonder if the shape of the individuals upper palate is a major factor. I never heard of the idea of tongue shaping to aid the higher tones before reading about it on this forum.  Since then I've experimented with arching the tongue and it's not benefitted me in any way. But, I do drop my tongue to aid the production of the lower tones, that is, until I reach a lower break around low G.

I use lip trills from 6 up 2nd or 1st position (avoiding Ab in 1st), starting with C to F in 6th as my higher note maintenance. It's aperture and air for me..
15  Horns, Gear, and Equipment / Mouthpieces / Re: Jet-Tone Design on: Aug 13, 2017, 09:48AM
Looks like an extreme double cup, if I see it right.


Not really, the inside dropped straight down a little way, and the cup or bowl was concave rather than convex. One of a kind?
16  Horns, Gear, and Equipment / Mouthpieces / Re: Jet-Tone Design on: Aug 13, 2017, 01:55AM
I had a Buddy Morrow model. It was silver plated and had what I can only describe as an inverted cup, played high very easily with a clear cutting sound. It was about the same width as an 11C, but had a flatter rim, and I used it to liven up a "butchered" Bach 12 horn.

You can see a little of the shape here; the inside profile is similar to outer.

http://www.ebay.co.uk/itm/Jet-Tone-jet-tone-mouthpiece-reissue-series-trombone-BM-Buddy-Morrow-mode-P-O-/112456526625?epid=1263001356&hash=item1a2eee6b21:g:LWgAAOSwAO9ZUCfa
17  Horns, Gear, and Equipment / Instruments / Re: Leadpipes on: Aug 13, 2017, 01:45AM
I use 2 leadpipes which are identical in shape but one is brass and the other sterling silver. Having played some quiet duo gigs recently I'm using the silver one, for no other reason that it softens the leading edge of the note a little, but without changing the blow.

To the OP, I'd stay with the one fitted to the horn when new, and use it until you REALLY feel that there's something that you'd like to change. Stay on the same 'piece as well, a box of mouthpieces and 3 leadpipes is the road to madness.. 
18  Teaching & Learning / Practice Room / Re: 12 major scales in 2 octaves in 2 minutes? on: Aug 12, 2017, 07:20AM
:-0

Then drop the mouthpiece to the floor ala mic drop!

...Geezer

SHURE!  :D
19  Horns, Gear, and Equipment / Instruments / Re: Who in their right mind plays a single valve bass? on: Aug 12, 2017, 01:27AM

I believe George Roberts tells a story of his early days  in LA replacing a player on a soundtrack recording session who claimed the music was impossible to play.


It was actually about timing between the harpist and the bass tbn.

Read all about it and a lot more besides here..

http://www.trombone-usa.com/roberts_george.htm
20  Horns, Gear, and Equipment / Instruments / Re: Horn weight preference on: Aug 10, 2017, 01:36AM
..and maybe applicable to Google's current difficulties with James Damore?
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