Amen to that, Andrew. And then all you'd have to do is to borrow his
"silent" trumpet and show him how to get the effect.
Reminds me of the story I heard where Andrés Segovia told Heitor Villa-Lobos
that something he was asking for couldn't be done, whereupon V-L picked up
the guitar a
On Sat Mar 13, at SaturdayMar 13 10:52 PM, Robert Patterson wrote:
On Sat, Mar 13, 2010 at 7:47 PM, dhbailey
wrote:
Perhaps the effect differs with different numbers of people doing
it, but
I've heard it done quite effectively without anybody reversing
mouthpieces.
So help me to und
On Sat, Mar 13, 2010 at 7:47 PM, dhbailey
wrote:
>
> Perhaps the effect differs with different numbers of people doing it, but
> I've heard it done quite effectively without anybody reversing mouthpieces.
>
>
So help me to understand. You are sitting in the audience of a large
hall listening to a
Robert Patterson wrote:
On Sat, Mar 13, 2010 at 4:17 PM, Andrew Stiller wrote:
"Are you saying the effect is impossible? If so, I can cite numerous
recordings from major composers proving you wrong. If it's not impossible,
then what are you saying? That it's beneath your dignity, or that you
Andrew Stiller wrote:
On Mar 12, 2010, at 6:27 PM, Robert Patterson wrote:
I clearly remember what our principal trumpet said one time to a
composer who had asked fro the effect (n the middle of rehearsal in
front of the entire orch. and conductor). "You know, I have spent a
lot of money to h
For the record Watrous was definitely paying an homage to Stuart Dempster,
for whom composer Robert Erickson wrote _General Speech_ which is a
semi-theatrical setting of MacArthur's farewell address for solo trombone,
using every variety of vowel resonance and consonant articulation
availab
Using FinWin2010, and a big band setup (went through the whole schtick
to make sure I get garritan sounds and all that), and the Bari Sax part
is being played by ... a Cello.
Not that there's anything wrong with that, of course, but it's not the
sound i want, or asked for.
I checked the Inst
On Sat, Mar 13, 2010 at 4:17 PM, Andrew Stiller wrote:
>
> "Are you saying the effect is impossible? If so, I can cite numerous
> recordings from major composers proving you wrong. If it's not impossible,
> then what are you saying? That it's beneath your dignity, or that you are
> personally in
On Mar 12, 2010, at 6:27 PM, Robert Patterson wrote:
I clearly remember what our principal trumpet said one time to a
composer who had asked fro the effect (n the middle of rehearsal in
front of the entire orch. and conductor). "You know, I have spent a
lot of money to have a trumpet that does
OK, thanks. I figured "reverse" was the thing to do but was not really
certain.
Guy Hayden
-Original Message-
From: finale-boun...@shsu.edu [mailto:finale-boun...@shsu.edu] On Behalf Of
dhbailey
Sent: Saturday, March 13, 2010 7:32 AM
To: finale@shsu.edu
Subject: Re: [Finale] OT: blowing
Guy Hayden wrote:
Not being a brass player, I find this suggestion difficult to understand.
Can you describe it a bit more clearly? Do you blow across the "wrong" end
of the mouthpiece like blowing across a beer bottle? What I cannot figure
is the idea of "inverting" the mouthpiece. Aren't the
Well, you would need a text indication as well! X heads are common
for all kinds of unpitched sounds on many instruments, but you need
to say what you mean.
Christopher
On Sat Mar 13, at SaturdayMar 13 12:17 AM, Rich Caldwell wrote:
In this score X noteheads and diamonds are used for other
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