Skip Lombardi wrote:
Greetings,
I'm writing a big band arrangement where I have a ritard that leads to a
tempo change. When I did this sort of thing as a student, I used to make a
graphic of eyeglasses on the parts, to indicate that the musicians should
look up to get the new tempo from the con
Chuck Israels wrote:
Ba da Boom? :)
Chuck
On Sep 9, 2006, at 6:06 PM, Matthew Hindson Fastmail acct wrote:
I'm sure the wisdom of this list can help me here:
Is there a name for the drum kit cliche that typically (used to)
close off the final chord of soft jazz/lounge pieces? It sort of
John Howell wrote:
In my own band/chorus scores I lay the page out:
Woodwinds
Chorus
Brass
Percussion
for no particular reason and with no particular precedent except that it
works well for me.
Well, anything that keeps the woodwinds at a distance from the brass
can't be all
Chuck Israels wrote:
My bet is that the majority of fiddlers out there are playing on
instruments that aren't made with the finest materials.
As long as I can remember, really good violins and cellos have been
priced on a par with houses, violas and basses with cars. Just in case
anyone i
Chuck Israels wrote:
On Aug 30, 2006, at 6:50 PM, Carl Dershem wrote:
Darcy James Argue wrote:
Carl,
That's the SoftSynth, and it's (ostensibly, at least) a harmon mute.
Ah. Doesn't much sound like one, does it?
Do the GPO samples sound any better for Big Band, or does t
Darcy James Argue wrote:
Carl,
That's the SoftSynth, and it's (ostensibly, at least) a harmon mute.
Ah. Doesn't much sound like one, does it?
Do the GPO samples sound any better for Big Band, or does that require a
separate purchase?
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Dean M. Estabrook wrote:
So, I"m writing a band piece. I want the trp. to playback with the
sound of a straight mute. Es possible? I've read a bunch in the
manual, but can't seem to come up with an answer. I'm in MacFin07. I
think they advertised that it could be done.
There is (at lea
Dejan Badnjar wrote:
I have posted a topic couple of day ago that had not been delivered to everyone
after joining the list. Can anyone reply if this one goes through.
Sorry - I didn't see this message. :)
cd
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Dean M. Estabrook wrote:
Well, it seems to me that a bone used as a weather vane has, in fact,
achieved its intended raison d'etre ... after all, it is a wind
instrument.
Dean :)
Go to your room.
:P
cd
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[EMAIL PROTECTED] wrote:
You'd probably be better off making it a art piece or a lamp or
something...Old clarinets generally are not worth anything.
Never!
My first bassoon teacher had a floor lamp made from a 5-key bassoon. Even as
a high school student I immediately understood that thi
Kim Patrick Clow wrote:
I am working on an overture that has multiple movements.
Some of the dance movements have time signatures of a single "3."
While I can change the document option for time signatures to reflect what
the manuscript shows,
(I do that by putting a large distance for the lower
Robert Patterson wrote:
Carl Dershem wrote:
Harlan Ellison
I just skimmed his article. Where should I direct my skepticism? What I
read coincides well with my information from other sources (many of
which predate Wikipedia by decades). Furthermore, the opinion and fact
in the article
Kim Patrick Clow wrote:
Carl Dershem <[EMAIL PROTECTED]> wrote:
I know people whose Wikipedia biographies have been repeatedly hacked and
changed by asocials.
Could you provide some names or samples?
Harlan Ellison and Ben Bova, for two examples.
cd
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have been
repeatedly hacked and changed by asocials. And there are too many
incidences of historical articles being edited by, for instance,
holocaust deniers and the like, to make it reliable there.
On 1 Jul 2006, at 06:26, Carl Dershem wrote:
Wikipedia is useful for some things, and compl
Robert Patterson wrote:
I think the Wikipedia article is largely correct--as correct as any
article of such short length can be. I also think your general
denigration of Wikipedia is uninformed. Wikipedia is surprisingly
self-correcting and accurate. Detailed comparisons have been made
betwee
Jacki Barineau wrote:
On Jun 26, 2006, at 8:47 PM, Christopher Smith wrote:
The short answer: just because. (shrug)
LOL - makes sense :)
Okay - next problem! I'm trying to put F6/9(#11) above the staff, but
it keeps changing it to F6/E!! I made sure "simplify spelling" is off
and I
Williams, Jim wrote:
or both tenor parts on same channel?
That may be it. Thanks.
And why they chose ± rather than ^ for a triad ... only Finale knows.
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1. I'm doing a piece that calls for the 1st tenor sax to switch to
flute, and strangely enough, even though I've specified "this staff
only" for the change (measure expression), the 2nd tenor is also
switching there. ANy idea what might cause this? (FinWin 2004a)
2. When doing chord entry,
Christopher Smith wrote:
On Jun 24, 2006, at 11:24 PM, John Howell wrote:
More Modern (no problem)
Raucous Burlesque (written so we seem to be getting it)
New Orleans-Slow & Bluesy (no problem)
Boogie Woogie (no problem)
The Slither (??)
That's a square dance move.
Dennis Bathory-Kitsz wrote:
At 05:46 PM 6/24/06 -0700, Carl Dershem wrote:
And there's always the possibility that because of the current shrinking
of the world through technology, that it will take a while for everyone
to catch up to the status quo. AT present, a lot of people in
&
Dennis Bathory-Kitsz wrote:
At 06:23 PM 6/24/06 -0400, David W. Fenton wrote:
Conversely, notation does not show advances during periods of compositional
conservatism like the rather extreme one we're experiencing, and the
coincidence of notation software and compositional conservatism magnify
Christopher Smith wrote:
On Jun 21, 2006, at 9:05 PM, Carl Dershem wrote:
And I use a King 2b Liberty (dual .581/.591 bore)
You must have meant .481/.491, as .581 is ENORMOUS, like contrabass
trombone bore.
True. My horns vary a lot, from a .445 trumpthe .508 valve trombone,
the .525
Robert Patterson wrote:
I think this all is part of the homogification of trombone sound. My
preference is a brighter trombone sound easily distingushable from a
french horn or euphonium, but (at least a few years ago) all the
trombonists seemed to be striving for the same darkness as those ot
Robert Patterson wrote:
I don't know of much RECENT music written for alto-tenor-bass orchestra
sections, though that was overwhelmingly the case from Haydn up to
Tchakovsky or so.
Are you sure Tchaik wanted alto trombone? Generally, my impression is that alto
trombone went out of fashion t
Christopher Smith wrote:
On Jun 18, 2006, at 2:33 PM, Carl Dershem wrote:
1) Very few possess the forces and money to front a complete pit
orchestra any more. Shows that I played in the 70's with a full pit
orchestra I now play with often 1/2 to 2/3 the musicians, all working
h
Andrew Stiller wrote:
I've been biting my tongue about this ever since this thread started,
but I can't stand it any more. Why in the world would anyone do a
reorchestrated version of *any* broadway musical if they possessed the
forces and money to put on the original version? More to the poin
Andrew Stiller wrote:
On Jun 17, 2006, at 1:38 PM, Raymond Horton wrote:
_-=-__-=-__-=-__-=-__-=-__-=-_ (Sound of a worm can being opened)
OK, I'll bite. 19th-c. orchl. piece. Only the score survives, in
copyist's hand. Trombones (alto, tenor, bass) on two staves: A and T on
one, in
Adam Taylor wrote:
My husband's father worked with a guy named Mickey Mouse. His real name
was Michael, but instead of Mike, he went by Mickey. So upon
introductions, my father-in-law replied "Yeah. And I'm Donald Duck.
What's your real name?"
Adam
Strange names are nothing new. After
Raymond Horton wrote:
On Jun 16, 2006, at 10:39 PM, Raymond Horton wrote:
Perhaps you could rent your oboist an English Horn and a few
lessons? He/she would be most appreciative, I'm sure.
You don't need no steenkin' lessons! Anyone who can play the oboe can
play EH acceptably on 1/2 ho
Christopher Smith wrote:
If you think that little trombone passage is a challenge, how about
that "I'm not Gonna Get Married Today" song for the actress that
preformed that! (Pamela Meyers, I think. She was sensational.)
Fastest pronunciation in the Western hemisphere!
My wife does an excel
Eric Dannewitz wrote:
No no, you need 5 hours of practice on English horn. And that is just to
get the reed working right ;-)
It's possible for an English Horn reed to work right?
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Chuck Israels wrote:
Most shows have long stretches of "I'd be reading the paper now, but
the conductor would get mad", middling stretches of just plain work,
and a few instances of "let's hope I survive this bit tonight", but
they almost always have something associated that's good for st
Christopher Smith wrote:
On Jun 17, 2006, at 11:44 AM, Chuck Israels wrote:
On Jun 16, 2006, at 5:12 PM, Christopher Smith wrote:
I see it quite a bit in the shows I have done or checked out. Kiss of
the Spider Woman, the Producers, Dirty Rotten Scoundrels, all use
violin/viola doublers. I
A-NO-NE Music wrote:
[EMAIL PROTECTED] / 2006/06/09 / 09:34 PM wrote:
The confusion comes here when two adjacent notes are connected together
by something that looks like a tie mark. Notationally, how would you
tell the difference?
This thread is most puzzling. The answer to above questio
Lee Copenhaver wrote:
I am receiving on-line discussions about repeats in minuets and about
plugins. I would like to be able to go to these discussions if needed,
but can I please be removed from having them sent?
Thanks.
Lee
You have the option of getting the digest version, but not of o
Kim Patrick Clow wrote:
Carl Dershem <[EMAIL PROTECTED]> wrote:
> When did Robert enlist in the military?I'm concerned with his new
rank, as elucidated in the subject line.
> PFC Marsden
TEN HUT!
Salute Major Patterson! :-)
Salute an army guy? Never
Mariposa Symphony Orchestra wrote:
I've been a puzzled bystander in this thread but really have to speak up now:
When did Robert enlist in the military?I'm concerned with his new rank, as
elucidated in the subject line.
And now, back to the foxhole to dodge incoming attacks.
Sincerel
[EMAIL PROTECTED] wrote:
<< Subject: Re: [Finale] Layout for ABA form
"There's really only two types of music: good and bad." ~ Rossini
"There's no bad music. Except Hawaiian" ~ Pete Barbudi.
This from a guy who played the BROOM? >>
I've never heard anyone play the broom better than h
John Howell wrote:
At 4:31 PM -0400 5/30/06, Kim Patrick Clow wrote:
"There's really only two types of music: good and bad." ~ Rossini
"There's no bad music. Except Hawaiian" ~ Pete Barbudi.
This from a guy who played the BROOM?
cd
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Andrew Stiller wrote:
Mr. Hogwood has a lot more cache with me.
That's "cachet."
"Cache" (pron. "cash") means a small, hidden supply of something.
Hmmm... perhaps Hogwood has left a small hidden supply of something with
him?
cd
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Christopher Smith wrote:
"There's really only three types of musicians: those who can count, and
those who can't." ~ Me
8-)
Some of whom can only count to 4.
And-a-one, and-a-two...
cd
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Finale mai
Darcy James Argue wrote:
These are parts people are bringing into a sight-reading workshop! So
many jazz composers don't even consider page turns -- the issue is not
even on their radar. For this, and many other issues, the prevailing
attitude is overwhelmingly: "the computer will take care
Richard Smith wrote:
If I may be permitted to yank this thread in another direction, I am
convinced that in many (certainly not all) cases, the use of repeats,
endings, DS, al Coda, al Fine, ect. is obsolete. Current practice is
often stuck in the habits of previous centuries and does not refl
Dennis Bathory-Kitsz wrote:
At 05:15 PM 5/24/06 -0400, David W. Fenton wrote:
On 24 May 2006 at 22:20, dc wrote:
Agreed. As a professional translator, I still use Office 97, some ten
years old.
Likewise here. I don't care for any of the later versions of Office
apps.
Make that at least t
Mark Q. Simos wrote:
Hey Finale Wizards:
I am in the middle of a piece for solo cello and am finding myself
frustrated in some extended double-stop passages where the melody is
played high on the string using as a drone an upper string sounding, at
times a unison, at times an upper, at times
Darcy James Argue wrote:
What is the legal precedent for "Fair Use" in this case -- quotation of
copyrighted music in an original composition?
I was under the impression that this sort of thing falls clearly
outside the boundaries of "fair use" -- that even extremely brief
musical quotes
Bob Florence wrote:
Date: Thu, 11 May 2006 19:16:36 -0700
To: finale
From: Bob Florence <[EMAIL PROTECTED]>
Subject: OT: protocol
Cc:
Bcc:
X-Attachments:
Hi All:
I have written a composition for an oversized big band. It is titled
"Appearing In Cleveland"and is a tribute to band leader Stan Ke
Noel Stoutenburg wrote:
No, no question is ever meaningless or pointless.
If that's true, then, you'll be able to answer this question:
How long is a piece of string?
If Kim can't I can: exactly long enough to reach from one end of the
other.
No, it's knot!
(Some projects take me 30-40
keith helgesen wrote:
Am I being over-simplistic in suggesting the ideal 'improvement' on selected
playback;
Highlight (or check-box staff) required staves- select; playback. Listen!
That way one could hear- e.g. 2nd Trumpet, viola, 3rd Trom and tambourine if
one wished! (Bizarre thought!) Or
Darcy James Argue wrote:
S = solo, M = mute.
- Darcy
Thanks!
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Darcy James Argue wrote:
Instrument list and (in Fin '06) Studio View.
The instrument list is ... often not clear. Using FinWin2004, there are
columns with initials above them, but what those initials DO is not
clear, and the documentation (such as it is) is also not enlightening.
Fin 200
Darcy James Argue wrote:
On 05 May 2006, at 9:11 PM, Carl Dershem wrote:
In playback, being able to select a subset of parts for playback (the
sax section, the violins, the [fill-in-the-blank] section.
Again, already possible (and very easy) with mute/solo, mute/unmute
all, etc.
I&#x
Johannes Gebauer wrote:
Not that I really have the time, but this is something which I have been
wanting to start a long time ago.
There are numerous things which I think Finale could do much better if
small changes were made. This is not really about feature requests for
new features, just a
Andrew Stiller wrote:
Most paper comes in huge industrial sizes that can be cut down, which
is how print shops get their paper. I order mine through Xpedx.
A word of warning: I did this with a ream of full-size cover stock, wh.
I had cut down to 2 reams of 11X17 and one of legal size. Carryi
Jacki Barineau wrote:
Hi, Everyone - Is there some way to tell Finale NOT to play back the
chords that are entered above a staff line? I need to hear the song
without the chords Finale is trying to play :)
Thanks!
Jacki
Under the "Chords" pull-down menu, the last item is "Enable chord
D. Keneth Fowler wrote:
To the wisdom of the list,
Time for a new pointing device. Would someone describe for me in a short
statement the operating principle(s) of the cordless mouse beyond the
obvious concept in its name? What (is) are its most redeeming
feature(s)? Many thanks from this ol
Raymond Horton wrote:
Man, I keep my monitor set on that 1800 x 1200 setting for max detail in
Finale but I gotta learn to reset it for email, so I don't mis-type so
much - it makes me look like an idiot1
I just changed the default magnification in my browser. It's MUCH
easier. :)
cd
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John Bell wrote:
On Apr 3, 2006, at 6:29 AM, Phil Daley wrote:
How about art?
Is the an art masterpiece that is not on canvas?
It's an entirely false analogy. But since you ask: Leonardo's Last
Supper, Michelangelo's David...
Not to mention the Mona Lisa.
cd
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Eric Dannewitz wrote:
I also hear a rumor that Michael Brecker has died.
http://forums.chisham.com/viewtopic.php?t=13767
I hope this is a really BAD April fools joke
If so, it would be in incredibly bad taste. What a loss! :(
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John Bell wrote:
On 31 Mar 2006 at 12:48, Lon Price wrote:
All of this said, I do believe that in general the popular music of
the 60s was far superior musically than today's music, but is that a
true statement, or just my own personal taste? I dunno.
If you were to pick any week at random f
dhbailey wrote:
Robert Patterson wrote:
Then, as now, almost all contemporary music was/is dross. ("Then"
being whichever period, era, or style is your preferred poison.)
As with all creative efforts, Sturgeon's Law applies to music.
Sturgeon's Law, originally coined to apply to written fic
Aaron Sherber wrote:
Hi all,
I found this setting in previous Finale versions, but now in 2006 I
can't seem to find it.
When I hide a rest, it displays on screen as grey. Where is the setting
to *really* make it hide?
Ummm... in the Speedy Entry Tool click the rest and then 'o' (for
obsc
Robert Patterson wrote:
Then, as now, almost all contemporary music was/is dross. ("Then" being
whichever period, era, or style is your preferred poison.)
As with all creative efforts, Sturgeon's Law applies to music.
Sturgeon's Law, originally coined to apply to written fiction was "90%
of
Noel Stoutenburg wrote:
Jacki wrote:
On Mar 26, 2006, at 3:54 AM, Noel Stoutenburg wrote:
Maybe. But since the exact details of how to do it depend upon
knowing more about your score, more information would be useful.
Does the part of the music you need to shift lie in only one layer?
Raymond Horton wrote:
For anyone who is interested in the threatened Chapter Seven bankruptcy
on April 1 of the Louisville Orchestra and how negotiations have sunk to
that point, see the excellent series of articles (presently four) by
Drew McManus starting on this page:
http://www.artsjourn
Christopher Smith wrote:
"Carrot"-type accents
Caret!
No - she was talking about the elongated, orange, high-in-fiber
markings. Not exactly common, but what can you do?
:)
No, actually I'm pretty sure I know what I meant and it wasn't about
vegetable markings. Spelling is more the iss
Andrew Stiller wrote:
"Carrot"-type accents
Caret!
No - she was talking about the elongated, orange, high-in-fiber
markings. Not exactly common, but what can you do?
:)
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dhbailey wrote:
I suppose one can drive their 68 VW Bug to work as well as it can
pretty much do the same thing as a new one.
Actually the '68 bug is probably illegal because it does not and
can not meet current emission standards. Yugo, anyone?
Eeeewww!
How about a nice Model A?
That's
Noel Stoutenburg wrote:
Actually the '68 bug is probably illegal because it does not and can
not meet current emission standards. Yugo, anyone?
But my understanding is that under U.S. law, vehicles need only meet the
emission standards in place in the year in which they were built, so
that
John Howell wrote:
I suppose one can drive their 68 VW Bug to work as well as it can
pretty much do the same thing as a new one.
Actually the '68 bug is probably illegal because it does not and can
not meet current emission standards. Yugo, anyone?
Eeeewww!
How about a nice Model A?
Tha
Eric Dannewitz wrote:
Carl Dershem wrote:
John Howell wrote:
At 4:28 PM -0800 3/3/06, Eric Dannewitz wrote:
I suppose one can drive their 68 VW Bug to work as well as it can
pretty much do the same thing as a new one.
Actually the '68 bug is probably illegal because it does not an
John Howell wrote:
At 4:28 PM -0800 3/3/06, Eric Dannewitz wrote:
I suppose one can drive their 68 VW Bug to work as well as it can
pretty much do the same thing as a new one.
Actually the '68 bug is probably illegal because it does not and can not
meet current emission standards. Yugo, a
Mark D Lew wrote:
On Mar 3, 2006, at 5:46 PM, Dennis Bathory-Kitsz wrote:
Please, not a Mac/PC war.
Agreed. It benefits no one.
I think we can offer personal input without making it a war.
I use PCs a lot at my day job, but I've always preferred Macs for home.
A significant part of tha
Kim Patrick Clow wrote:
I am having a bit of a tough time with entering this phrase in Finale:
http://www.bytenet.net/kpclow/finale/violin.jpg
By the way that last group of notes are two 32nd notes followed by a
dotted 16th.
I'm certain I have to create a tuplet for the last two groups of n
dhbailey wrote:
I'm surprised no one has yet mentioned _La Sonnerie de
Sainte-Geneviève du Mont de Paris_ by Marin Marais. It has just about
the shortest possible passacaglia subject (3 notes).
So the title is longer than the theme?
So it would theme. ;-)
I thought tho.
cd
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Andrew Stiller wrote:
I'm surprised no one has yet mentioned _La Sonnerie de Sainte-Geneviève
du Mont de Paris_ by Marin Marais. It has just about the shortest
possible passacaglia subject (3 notes).
So the title is longer than the theme?
cd
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Rodney Waterman wrote:
Make that a "365 day, ONE composition each day project" ... whew!
Rod
Dennis
The 365-Day Composition Project sounds fascinating. You might be
interested to know that Brazilian composer/performer Hermeto Pascoal
completed a 365 composition-a-day project, 'Calendá
Aaron Sherber wrote:
At 12:42 PM 2/20/2006, Neal Schermerhorn wrote:
>Imported a MIDI and something weird happened. What should be high hat is
>cowbell. (I do not need more cowbell!)
Hey, man, you *always* need more cowbell.
Can we somehow tie this to the thread about percussion in Baroque
Dean M. Estabrook wrote:
Mein Gott ... I'm just remembering my MA Thesis, which composed in
1965 or so, and consists of 87 pages of score for 22 wind instruments.
I, of course, hand copied the thing using india ink on vellum from
Cameo Music in Hollywood, working 8 hours per day and averagi
John Bell wrote:
I understood "noodling" to refer to a kind of mindless jazz
improvisation (not something string players are known for), but next
time we have some American string players here I'll ask them to noodle
and see what happens.
Mindless? Free-form, perhaps, but if well done, d
John Bell wrote:
On 18 Feb 2006, at 22:38, Darcy James Argue wrote:
However, with string sections, you have a lot more leeway than you do
with winds or solo strings, as half the section can keep playing while
their stand partners turn the page.
No Darcy please! That is not acceptable!
May
John Howell wrote:
At 10:31 AM -0800 2/17/06, Carl Dershem wrote:
Darcy James Argue wrote:
It's like an alto player playing one of Duke's Johnny
Hodges features and straightening out all the bent notes.
That's where "elevator muzak' comes from.
Actually muzak i
eshbmusic1 wrote:
Can anyone tell me how to get a C with a slash through it to represent
cut time in Word without changing fonts? I imagine there is a
diacritical I could get on the international keyboard, but just don't
know which one or how to enter it.
Thanks!
Erica Buxbaum
ALT-0162
--
h
Kim Patrick Clow wrote:
Not far removed from the accordion,but mouth harps were used for basso
continuo sometimes.
Not far removed? We generally seat them on the other side of the
orchestra! (Just through the double doors and behind the stairs, when
possible).
cd
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Phil Daley wrote:
At 2/17/2006 01:20 PM, Darcy James Argue wrote:
>On 17 Feb 2006, at 11:12 AM, Christopher Smith wrote:
>
>> He also claims that each out-of-tune note Dylan sings is an
>> integral part of the work,
>
>What makes you think it isn't?
Didn't Cage say that coughing and snee
Kim Patrick Clow wrote:
> Would a tambourine in a Bach Orchestral Suite be that much of a musical
> faux paux?
Not as much as the use of Accordion or Bagpipes would be.
Nah - it depends on how used, as always.
cd
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Darcy James Argue wrote:
>> He also claims that each out-of-tune note Dylan sings is an integral
part of the work,
What makes you think it isn't?
Though I might have said "an integral part of that rendition," since,
as you note, Bob does it differently each time. But there's nothing
wor
Chuck Israels wrote:
On Feb 17, 2006, at 7:57 AM, Johannes Gebauer wrote:
On 17.02.2006 Chuck Israels wrote:
Thanks Johannes, for improving my meager understanding of German.
Now I understand "Hauptbanhof" better too.
That's a very interesting one: a lot of Hauptbahnhöfe are in fact
a
Lawrence David Eden wrote:
Greetings,
What is the best way to write an instrument switch in a woodwind part?
For example:
I want Clarinet in Bb for the first 20 measures, and then a switch to
Alto Sax in Eb for 20 measures...then back to Clarinet.
I have to do this fairly often in jazz band
John Howell wrote:
At 11:04 PM -0800 2/10/06, Carl Dershem wrote:
Mark D Lew wrote:
Sounds more like the opening song from Music Man, to me.
Rap: shameless music that'll drag YOUR son and YOUR daughter into the
arms of a jungle animal instinct.
Nah - that's the second song.
Mark D Lew wrote:
Sounds more like the opening song from Music Man, to me.
Rap: shameless music that'll drag YOUR son and YOUR daughter into the
arms of a jungle animal instinct.
Nah - that's the second song. The first one is the one on the train.
:)
cd
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John Howell wrote:
At 10:58 AM -0500 2/4/06, Kim Patrick Clow wrote:
I'm wondering if anyone has thoughts on the impact Finale has made on
publishing music.
Let's not limit this to Finale. Computerized digital engraving, per se,
has made an enormous impact. It enables anyone who formerly
Williams, Jim wrote:
Under no circumstances should anyone infer that I am writing this
because I play the noble and mellow EUPHONIUM--the KING of
instrruments--and refuse to play trombone*. I merely revel in the
joys of unintentional grammatical irony.
Hm. My euph is an Olds.
:)
cd
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Eric Dannewitz wrote:
Of course, there is always the joke:
"What do you call a Trombone player with a pager?"
Optimist
I always heard it:
Q: What's the definition of a cocyekey optimist?
A: A trombone player with a beeper.
cd
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bill wrote:
Christopher, I hope you are not offfended by that. Being an ex-lead
trombone player, I always envied the bass. So much cool plumbing! I could
never afford it, but I always loved the sound.
Sorry to be sophomoric, but bass trombones rule...and violists
I think bass trombonists a
bill wrote:
I think bass trombonists are cool.
Don't worry - you can get help.
:)
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Christopher Smith wrote:
The funniest part was the delivery. Think of Robert Barone, the big
brother character from Everybody Loves Raymond, the TV show, delivering
it in a deadpan monotone.
Plus, the bass trombonist really was speaking out of turn, as he should
refer to the section leader f
*This collection is tough on drummers -- but, hey, somebody has to do it
- lts of oldies but a few new ones.*
Q: What is the difference between a drummer and a monkey?
A: You can train a monkey.
Q: How does a lead singer screw in a light bulb?
A: He holds the bulb and the world revolves around h
John Howell wrote:
At 5:41 PM -0500 1/30/06, David W. Fenton wrote:
On 30 Jan 2006 at 9:48, David Froom wrote:
So, Carl, yes you are exactly right. Get rid of high prices and
snootiness, and classical music of every stripe flourishes.
Er, when somebody pays the musicians so that the aud
David Froom wrote:
So, Carl, yes you are exactly right. Get rid of high prices and snootiness,
and classical music of every stripe flourishes.
David Froom
Sounds like a fun series! Does Don Patterson play with you guys?
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