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1063789 Posts in 70706 Topics- by 18592 Members - Latest Member: c.trmbn213
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The Trombone ForumRecent Posts
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 on: Today at 03:42 PM 
Started by MTbassbone - Last post by Davidus1
PM Sent!

 on: Today at 03:38 PM 
Started by Gicking - Last post by Gicking
Thank you for all of the responses, which are quite helpful.  I was asked for an explanation about the suggestion of a less than 20/20 lens for my afflicted left eye.  I understand that it is common in cataract surgery (removal of the natural lens which generally, with age, becomes both opaque and scatters incoming light due to "nuclear sclerosis") that lenses of different focal lengths are implanted: one for near vision, one for far vision, leaving your brain to decide which one to rely on, based on intention.  I'm told some opt for contact lenses with different prescriptions for the same reason.

My left eye went south on me in my early-40s, pre-cataract, and was more like 20/40 or so.  Was good for near vision.  Only complaint I had, pre-cataract, was when my brain struggled trying to sort images when I was tired, or on rare occasions, under the influence.... .   I gather from the responses that the suggestion of a nearsighted lens for an eye that my brain is used to considering good for shorter distance, is a reasonable option.  On the other hand, a retired opthamologist I play golf with (he's 82, 14 years older) tells me he has 20/20 in both eyes, doesn't need glasses for anything.  He tells me when my golf ball hits the green from 180 yards.  Ok, it happened once.  Truth be told, I didn't realize how bad my distance vision was until the 80 year old guys I sometimes play with, can all see the ball better than I can.   And when I went to a golf event, heard the age-diverse crowd instantly react to tee shots, and othe shots, and I had to ask where the ball landed.  But my biggest frustration has been reading music.  Vision won't help my golf game.

thank you again, for the responses.  Great resource, this forum.

 on: Today at 03:05 PM 
Started by slide advantage - Last post by robcat2075
It's only the First Amendment, it can't be too important, can it?

Priebus: Trump Considering Amending or Abolishing 1st Amendment

Which is more delusional... thinking he should abolish the 1st Amendment or thinking he could?

 on: Today at 03:01 PM 
Started by SilverBone - Last post by Blowero
Perhaps not so much historical accuracy as a lesser degree of historical inaccuracy.

 on: Today at 02:53 PM 
Started by SilverBone - Last post by JohnL
Today's alto trombone bears only a passing semblance to the alto trombone of the period where they were actively used.  So the choice to use one is not based on historical accuracy.
Perhaps not so much historical accuracy as a lesser degree of historical inaccuracy.

 on: Today at 02:36 PM 
Started by Dixieland57 - Last post by Exzaclee

Hi, after having seen lots of jazz concert, a question crossed my mind.
Why in small jazz combos it's always sax and trumpet and never sax and trombone.
Does trombone have a place in small combos?
the Art Blakey and the Jazz Messengers format (Tpt, tnr, tbn) is a pretty common format. This was a popular lineup in the post bop era, and it's not impossible to see this today.
Plenty of groups have trombone as a front line instrument. It's not as common as trumpet and tenor, but trumpet and alto isn't as common either - at least not as common as it used to be. Check out JJ johnson recordings His sextet was usually tpt/tnr/tbn, Quintet was tbn/tnr.
David Gibson often uses Tbn/sax or Tbn/tpt pairings.
Marshal Gilkes (Tbn) has a trumpet player on Lost Words (Michael Rodriguez) along with the rest of his band (pno, bs, drms.)
New Orleans, Miami, the Caribbean - I see a lot of trombones in small groups in these areas. Here in Oklahoma trombone is seen quite a bit, our jazz scene has more in common with the New Orleans and KC scenes than NYC. Tbn seems common in Texas as well.

If you want Tbn featured lineups, check out trombone players. J.J. Johnson, Curtis Fuller, Julian Priester, Michael Dease, David Gibson, Marshall Gilkes, Robin Eubanks, Ryan Keberle, Luis Bonilla, Josh Roseman, Jacob Garchik, Wycliffe gordon, Conrad Herwig, Steve Turre and ray Anderson are all guys who have done albums with smaller front lines of 2 or 3 horns.

My groups are Often Tbn/Tnr front line but I use alto sometimes as well. When I have the scratch to hire more guys, I'll grab a trumpet or another sax.

Quartets are far more common than quintets or larger regardless of what instrument is in front. You see more tenor players fronting these groups than anything now-a-days. Still, there are plenty of trombonists fronting quartets.

 on: Today at 02:35 PM 
Started by RJMason - Last post by RJMason
Appreciate the offers to purchase my bass gig bag, but I'd rather not be short another case.

Looking to buy a used leather tenor gig bag or only trade this leather bass bag for a leather tenor bag.


 on: Today at 02:23 PM 
Started by Baron von Bone - Last post by drizabone

My point is that I don't think "head wisdom/head knowledge", as the cool theist kids say, is a terribly important thing either to most believers or to The Church. That's a thing that's important to apologists when they're apologizing, and really that's about it. Works the other way around as well--it's important to critics when they're criticizing (though it may be less true/less specifically situational for many critics).
I don't have a problem with it, personally--no need to feel "mystified" and all that. There's no attack here ... as is quite often the case on the OTF--well, just with very conservative religious types.

I think its more complicated than just knowledge v emotion. A couple of examples

I've known people that think that God exists and know the bible pretty well but don't think that they are sinners and need saving.  They don't buy into the "God sent Jesus to die for me" so because of that so there's no emotion.

On the other hand there are those that feel guilty about sin without knowing too much about the theory and are immediately relieved and grateful when they hear that Jesus died to save them from that guilt.  They can be very emotional about their faith, and can be wrong in a lot of the theory of what's happening too.

 on: Today at 02:07 PM 
Started by SilverBone - Last post by Blowero
Howard Weiner has posted here that apparently the alto, tenor, and bass trombone parts were often played on Bb trombones of different bores.
That's a far cry from saying that Beethoven was writing his alto parts with a tenor trombone in mind. I'm familiar with Howard's paper. A lot of the "evidence" seems to hinge on one source:

"Andreas Nemetz,
(Vienna, 1827). In his trombone method,
Nemetz wrote, "The illustrated bass, tenor, and alto trombone is pitched in
Bb," allowing that "the mouthpiece must be different for each of the three
types of trombone"" (Figure 15). From the position numbers printed above
and below the notes in Nemetz' scales and etudes, it is obvious that he indeed
considered all three sorts of trombone to be in Bb."

The problems here are, one, that this was written 22 years after Leonore #3. Two, it's contradicted by the Albrechtsberger source, which specifically refers to an alto in Eb.

The rest of the "evidence" is strictly conjecture, based mostly on the pitch range of the music being written. One of Howard's contentions is that since some composers wrote "E" for the alto trombone, that they must have been writing for a Bb instrument, since E was usually sharp on Eb altos. I'm not entirely convinced that composers would have that much knowledge of the idiosyncrasies of alto trombone manufacturing.

Eb alto trombones were indeed being made in Germany in Beethoven's time. To suggest that Beethoven didn't know any alto trombone players, as you did earlier, Bruce, and to therefore conclude that he was writing with tenor trombone in mind, is quite a stretch, in my opinion. It's like saying Jay Friedman never saw a Bach trombone because he lives in Chicago and Bachs are made in Indiana.

Did the alto fall out of favor at some point in the 19th century? Yes, I think it did. Does that prove that Beethoven wasn't writing with alto trombone in mind? No, I don't think it proves that.

It's certainly interesting stuff, but I would need a lot more than "Howard Weiner said it in a thread" before I'm convinced that a Bb tenor trombone is the historically informed choice on which to perform Beethoven alto trombone parts.
Today's alto trombone bears only a passing semblance to the alto trombone of the period where they were actively used.  So the choice to use one is not based on historical accuracy.
We're not necessarily trying to recreate a completely historically accurate performance; we're usually just trying to do what makes musical sense, and a small bore alto makes more musical sense for Beethoven than a giant .547 bore tenor.

 on: Today at 01:30 PM 
Started by Dixieland57 - Last post by bonenick
Because sonically the tenor sax-trumpet is more versatile (don't forget the advantage of valves as well) than trombone-sax.

I imagine than tenor trombone + high pitch sax (such as alto or soprano) could work.

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