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1052311 Posts in 70047 Topics- by 18203 Members - Latest Member: antwerpdiamonds
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The Trombone ForumRecent Posts
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 11 
 on: Today at 12:29 PM 
Started by ModernJazzTrombonist - Last post by TromboneMonkey
Probably C. 


Also, FWIW, his large shank ones are one letter down from the corresponding small shank ones.

So a small shank 5D = a large shank 5C. 

 12 
 on: Today at 12:26 PM 
Started by Burgerbob - Last post by bonenick
I like the inventiveness of Christian Graslin a lot more....

 13 
 on: Today at 12:16 PM 
Started by Burgerbob - Last post by 58mark
I think he's a very good player, but his skill as an arranger is extraordinary. I love the stuff that he does

 14 
 on: Today at 12:14 PM 
Started by tbathras - Last post by matto
Woohoo - first!

I'm a tenor player, but I've been called upon to do a lot of bass doubling in the last two years. I feel like I'm working my way into a straight .562, but for now the dual-bore .547-.562 gives me a little extra resistance to blow against in the trigger range. I work with a .562 slide, but just can't quite get the response that I want out of it yet.

 15 
 on: Today at 12:08 PM 
Started by Burgerbob - Last post by Burgerbob
Please note that I don't have anything against Christopher- he's a great player, obviously! I just don't like his blatant use of autotune, which can give especially younger listeners (which is his largest demographic) a wrong impression of trombone and trombone sound.

 16 
 on: Today at 12:08 PM 
Started by tbathras - Last post by tbathras
I'm just curious to see the distribution of results. I've got both a .562 and .562/.578, with the dual bore being on my primary.  I'm thinking of trying the single bore on for size for a few weeks, see what difference I notice, so that got me wondering about what the "masses" are using.  I've been using the large slide only because it's a little faster than the .562 one I have, but I think I can correct that with a little wright's and some elbow grease.

This is supposed to be just a "state of the slides", if you will.  Not a debate over what's "better".  Feel free to comment on why you play what you play, though.


Let the polling begin!  Hi


 17 
 on: Today at 11:45 AM 
Started by davdud101 - Last post by Piano man
It's hard to critique (in a good way) a piece that we haven't heard, but I can make some general suggestions. Is this roughly like a jazz band or stage band piece? You don't mention bass, but I generally don't write for drum kit without it. It's sometimes easier to write for a full band than for a smaller one, because each section is complete and easier to arrange.

First, write by ear! If you approach arranging as a part-writing problem, you'll end up frustrated because you're following all the rules but you don't like the sound. That's not to say you shouldn't master part-writing, but it should be used to work the bugs out of a piece after you've created it from a strong aural concept, rather than as a starting point.

Instead, close your eyes, think of each grouping, and imagine what you want each group to do. Think of it as 'figure' and 'ground', as in painting. What's going to separate the 'detail' and 'presence' from the pad? If you draw a very elaborate and detailed painting of a clown on a black or white background, the picture will pop. Paint the same picture on plaid or floral wallpaper, not so much.

Imagine what the grouping of trombone parts sounds like, what range they're in (in your head!), then imagine what texture will sound good against them. In general, if you voice dissimilar instruments, they sound better in unison. Also, when you have several dissimilar sections playing at once (like choir, low brass, and high brass) you can voice them all in one big tutti section, but if they're playing different parts it might turn to mud if you try to harmonize each individual section. Also, use some sections as rhythmic rather than harmonic content, playing little 'pops' rather than sustatained notes.

Most aspiring arrangers don't give themselves enough choices. For instance, unisons are a great tool that people sometimes underuse. As an example, a typical jazz band swing arrangement might have saxes playing the head in unison or octaves, the trombones playing the 'comping' part, with accented sustained chords, and maybe muted trumpets playing little stabs on the second time through. You're not trying to make each section do the same thing. Unison vocals sound good, too. A unison sound (choir, or trombones, or whatever) just playing a quiet 'guide tone' is a very nice and unobtrusive color.

In general, the faster the passage, the less harmony it will sustain. If you listen to the arrangements James Pankow did for Chicago, he's constantly changing those textures from unison to octaves to harmonies, right on the fly. Sometimes you can have everybody play the same thing, then fan out into harmonies.  That approach was also heavily used in hard bop horn arrangements, and it is one of the things that gives the Thad and Mel band an agility that sounds simultaneously 'big-band' and 'small-band'. You hear the same technique in small classical ensembles.

In other words, don't forget your unisons.

Pay attention to note spacing. In general, the lower the notes, the farther apart they should be. I would typically voice notes at least a fourth apart below F in the bass clef staff. Higher up, you can jam things together. For instance, a full trombone section could play an Eb7 chord with a G (above the BC staff) on top, with the Eb and Db notes next to each other, and it would sound great, but if you put that down an octave it's going to sound very muddy even though all of the parts are in the normal range of the instrument.

So:
'Hear' the parts in your head! Pay attention to texture and color! Pay attention to note spacing (the lower the pitch, the wider)! Don't forget your unisons! 

I hope at least one of these helped you. Not sure where you're at on this road, so I might be telling you a bunch of stuff that seems painfully obvious. I guess the best advice is to start with silence, then try to improve upon it.


 18 
 on: Today at 11:41 AM 
Started by bonenick - Last post by BillO
Thanks, Pre59, I start to undesrstand how it goes, though it is not obvious, tempo is rather ad libitum
Just make sure you make the important chord changes in time with the backing.

 19 
 on: Today at 11:40 AM 
Started by bhcordova - Last post by Nanook
I was a teenager during the race violence and Rev. Dr. Kings Movement...I was always so impressed on how he would speak of personal responsibility and lifting all oppressed people through communication and faith, while utilizing a positive message without demonizing anyone. He was the most socially influential  men in my life time... Being a white male I don't profess to know all of the problems in the Black community, but in my opinion no one has been able to fill one of the shoes of the slain Rev King....He was a GREAT man....

 20 
 on: Today at 11:40 AM 
Started by Jhereg - Last post by robcat2075
I have to wonder if it's a move on their part to divest themselves of 146 years of what they might consider to be baggage; by dissolving the corporation, selling off all their assets and eliminating all obligations & liabilities; past, present and future. Then they reform as a new entity and start fresh with a modern brand. Any plausibility here?

...Geezer

Not for Feld, the owners, since they will continue in business with other shows they produce (per an article posted previously).

The Ringling circus seems to be a show they produce rather than a company of its own.

It's not a bankruptcy so liabilities and obligations aren't made to disappear.

They probably have been letting old obligations run out and avoiding any new obligations for the last few years, knowing that this was going to happen.

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