Anybody remember DOS?

Does anybody remember DOS?

The computer I first interacted with looked like an electric typewriter. It was wired into a mainframe elsewhere. You typed in the commands (I was learning to program in BASIC), waited, and the results typed out magically in front of you. For me, it was pretty addictive stuff.

I remember writing a simple program to calculate how long it would take to cut the grass in my back yard. The program's result was correct within 30 seconds. Exciting stuff! It also made cutting my grass that time a lot more interesting.

Even though DOS was slower and more work, there was a joy of understanding in having the power to control that little machine in front of you.

Eventually, along came Macs, Windows, bulletin boards, html, Netscape, Firefox, Chrome, Facebook, Netflix, iPhones, android, iPads...

I wonder what names I'll need to add to that list in ten years.

Would anybody seriously suggest going back to DOS? (or punched cards before that?)

That brings me to my point (I usually have one): trombones have to deal with tenor and alto clef. I'm not ready to dump tenor, but alto? Have you ever played Prokofiev with some of the crazy changes between bass and alto clef...usually right in the middle of an exposed passage? Why doesn't somebody just re-write the parts to make them easier to read?

How about the offstage parts in Pine of Rome? Bass clef transposed?

Jumping over to French Horn and Trumpet: why do they continue to learn all those transpositions? They're not using tuning crooks anymore.

Or to really annoy everyone: Why are the musical instructions in a foreign language (just playing Devil's Advocate here)?

My point is this: in technology, even though we may feel proud about mastering the intricacies of an earlier system (such as DOS) we don't cling to it. Yet in music, we do. We don't move on, upgrade or innovate in the world of music notation. 50 years from now, trombonists will still be slogging through studies in alto clef. Hmm, why not learn mezzo soprano clef or baritone clef?

I can almost hear someone saying, "If I had to learn transposition, you're going to have to learn it as well. It builds character!!"

Is that person still entering commands

at the DOS prompt?

=============

Post blog comments:

1. Actually, I think tenor clef is the most natural clef for tenor trombone. What if we just started beginners in tenor clef?

2. If music were a more profitable business, innovations would have appeared long ago. I suspect music publishers can't afford to rework all those transposed parts.

Free Duets!

My computer hard drive sometimes feels like a museum of old ideas. I don't get rid of much (and, yes, I use redundant back-ups), so there's a lot of old stuff sitting around in there.

I'm hard at work on my latest series of books and, as I looked through this digital museum, I came across these duets. I'm not sure why I wrote them...probably just to have some nice lyrical stuff to play in lessons.

I don't think they've ever been printed out or played.

So, have at 'em. I don't make claims to great music but they probably won't cause damage ...

Six Lyrical Duets

Now, if you're racked with guilt about downloading free music, I *do* have a PayPal account....

(hey, you never know, there might be some eccentric millionaire out there!)

The Most Significant Development in Music Education

I was thinking about this the other day.

There is a new development in the field of music education. The more I think about it, the more I realize how profound it is.

That development: YouTube

OK, it's now time for my "you young whippersnappers" moment...

When I was in college and had to learn a new piece or be inspired by a new player, what did I do?

• How many professional trombone recordings were available?
• Who was performing within driving distance?
• Could I afford the time and money needed to see them perform?

Imitation is enormously powerful. Young players need to see and hear top players in order to set the bar.

YouTube does that.

Yes, there can be laughably bad videos. That guy trying to explain triplets was a screamer.

But (I hope) everyone saw through that.

I type "mozart tuba mirum" into the search box and I get 519 results instantly.

I'm a trombone professor and yet, in one morning, any of my students can gather more information about performances of this excerpt than I could in all of my studies throughout the pre-YouTube era.

For instance, if one of my students said, "You know, Solti once had the trombone player stand for the Mozart Requiem solo." I would probably reply with, "No way. Where did you hear that nonsense?"

How about this search: "joseph alessi trombone"

291 results

"arthur pryor trombone"

103 results

"ravel bolero orchestra"

652 results

Of course, youtube also gives us...

"justin bieber"

1,380,000

Stop and reflect for a moment on just how profoundly this is changing the world of teaching and learning music

Youtube: Riding with Ian

In case you haven't seen it:

I prefer gStrings

Hey, get your mind out of the gutter. I'm talking about the Android chromatic tuner app.

OK, so here's the story. This is a busy week I'm having:

Saturday - Verdi Requiem

Monday - Stravinsky Octet and Soldier's Tale

Tuesday - Kroeger Tres Psalmi Davidis for Trombone and Soprano (Tina Stallard rocked!)

Friday/Saturday - I'm playing bass trombone (yes, Russ, bass trombone) with Charlotte Symphony (the two Romeo and Juliette's ... Prokofiev and Tchaikovsky).

I'm also the happy new owner of a Droid X, which I love. So today I downloaded two tuner apps for my droid: Cleartune and gStrings.

Cleartune cost me $3.99 and gStrings was free (ad-supported). I tested both during the rehearsal break with my phone on the music stand and other people playing (but not right next to me).

Cleartune, which looked prettier had two significant drawbacks: the needle was too twitchy and it couldn't read low notes. Around low F (an octave and a 5th below middle C) the tuner couldn't read me.

gStrings, while not as slick-looking, had a steadier needle and, amazingly, was able to read my instrument down to a pedal F. And that was before I discovered that it has custom tessitura settings for instruments ranges (I've never seen that in a tuner before).

Both apps had customizable temperament settings (I suspect this isn't much of a programming challenge). With respect to just intonation, I was confused. I always think of just intonation as tempering notes with respect to a given tonic pitch. So..what pitch is it scaling to?

[OK, you can set it to tune to one specific pitch as opposed to auto chromatic tuning so maybe that's where the just tuning comes into play. Not clear, however.]

Oh yeah, gStrings doesn't appear to be available for iPhone. I'm sure you guys have a lot of great choices as well.

Just be careful about using the search term "gStrings."

Wagner at the Ballpark

OK, bass trombones. Here's a little something I cooked up on the fly the other day. It's nothing fancy but may be useful.

It is the famous Rheingold excerpt played using an organ setting in general midi. The tempo is quarter note - 60.

Yeah, I know it uses equal temperament but you may find that french horn section isn't planning on just intonation. If you can lock in with this, it's a good start at any rate..

Here's the mp3 file.

If you want to tweak it, here's the midi file.

ITF Reflections #5: It isn't always snake oil

Whenever I go to a trombone convention showroom, I carry with me a good dose of skepticism. I've seen some pretty ridiculous things.

However, I had a pretty mind-blowing experience at the Edwards booth when I spent some with Christian Griego and their new model, the "Alessi" model T396-A.

Now you might think that, given my last name, I play an Edwards. Wrong, I play a Shires and absolutely love it.

Here's the thing, though....

This new Edwards trombone is what they call an acoustically-tunable fixed instrument. Basically, if I understand correctly, this trombone doesn't have a removable lead pipe (I could be wrong about this, though). What it definitely does have, though, are these three threaded holes near the tuning slide (I think they call it an "harmonic bridge"). The horn comes with a variety of small bolt-like pieces made of different metals which can be screwed into these holes.

At the outset, I felt pretty confident that I was about to have another 'snake oil' experience. However, as Christian began to add or change these metal pieces I was amazed by the difference in the instrument.

He would make the smallest adjustment and it was as if he had handed me a different instrument. One time, the change was the same piece/same hole but he screwed it in from the opposite side. Even this caused a big difference in the way the instrument responded.

Am I ready to leave Shires?

No, but I'll admit that, if my horn were destroyed or stolen, I'd have to look closely at these new Edwards trombones before I automatically go back to Shires.

This time, it isn't snake oil. I think he's really onto something here.

ITF reflections #4: Advantage Eastman

OK, so I had this blog post waiting around for me to finish. At the ITF in Austin I wanted to try playing some mid-priced trombones.

Back to back I played an Eastman and a Getzen. I've seen some good Getzen's before so I'm not trying to knock them but in this one comparison, I've got to say..

Clear advantage: Eastman.

What about quality? Well, I've heard people blast both brands at times. Others say they've had no trouble. YMMV

By the way, as far as I know, Andreas Eastman doesn't exist. Fictitious name.

If this is true, seems a little tacky.

Still I suppose it would sell more products than a name like, say, Ignaz Gooberfeltzer.

Instant-On Radar...and maybe a new kind of tuner

As I listen to a student play, I'm listening to a variety of things and usually forming a strategy of how to proceed next.

Sometimes when the student finishes, they sometimes ask me about something other than the thing(s) I was focusing on. For example, maybe I'm really focused on their rhythm and they ask me about intonation.

For some reason, this makes me think of police speed traps. If I understand correctly, the radar gun can be in an "instant-on" mode where it sits there silently until some unlucky driver comes by going faster than some preset speed.

As I listen to a student play, I think I must have something analogous to that radar gun. Even if my attention is on phrasing or rhythm, a really out-of-tune note can come along and set off that radar gun in my mind.

That reminds me of a different tuner design that could be useful. The SmartMusic software has a feature in which the program listens to your note and plays it back ('in-tune' at least in the equal temperament world).

So, if we combine that SmartMusic feature with the notion of instant-on radar, we get a tuner that sits there silently as long as you are close enough to the desired pitch. If you stray beyond a certain amount (maybe 10 cents) the tuner starts playing the note.

I'd buy it.

Happy Holiday Hardware Hunting

Everybody loves scavenger hunts. (well at least you do if you're on the winning team).

So, readers of this blog, I'd like to propose a scavenger hunt that will most likely involve a trip to your neighborhood hardware store (and might invite a few stares, as well).

The theme: "Expensive Gadgets that May or May Not Help But We're Reluctant to Buy Them Because They Cost So Darn Much"

(EGMMNHBWRBTBTCSDM, for short)

The first item is one I've discussed a posting some time ago. Please note, I'm not endorsing this thing (in fact, I don't endorse it!). I'm just saying that, if you really really want to get one, you can find a much cheaper version at the hardware store.
The device in question is the Power Lung. My blog posting, ETW (part 2), pretty much slammed it but pointed out that you could run to the hardware store and buy a ball valve that seems to do pretty much the same thing.

Ball Valve...89 cents
Power Lung Series P617B..$100 (on their website today)

Hmmm, which price do you prefer?

OK, so here are the next items I think we should hunt for. I haven't tried either one for aforementioned reason that they are somewhat pricey and I don't know if they're valid.

Hey, they may be great.....or maybe not. I dunno.

But.. if we can come up with a cheap hardware store version that does pretty much the same thing...COOL!

New Item #1: Chop Sticks
These are a working out of an idea that has been around for a long time...holding something like a pencil between your lips to strengthen the embouchure.

The starter kit of chop sticks rolls in at $24.95. Maybe it's great, maybe not.

Let's see if any of you are motivated to run to the hardware store to find something comparable and a whole lot cheaper.

New Item #2: P.E.T.E. The Personal Embouchure Training Exerciser
This is newer, I think. Once again, maybe great, maybe not. It costs $34.95 for the plastic version, $39.95 for the brass version and $69.95 for the gold-plated version.

Look closely at the shape of it and then try to find a good substitute.

If you find something that could work as a good substitute, email me the jpeg and I'll blog it.

Happy Holiday Hunting, Scavengers!

Weston Sprott on an iPhone app

I just learned of a new iPhone app from a company called Music in Reach. They have playing info focused on a variety of instruments.

Weston Sprott, second trombonist of the Metropolitan Opera Orchestra has collaborated on the trombone version of the app.

Here's an example video of Weston talking about hand position. You can find other videos like this as well as an ad for the app here on YouTube.

My first impression: it's nice to see that the first people to come out with such a product have done a good job. (of course, maybe they weren't the first..who knows)

Still, a very nice service for only $1.99.

...and this from the iBone developer

After my last post, I got this email from the iBone developer:
============
The idea was to make something playable by the pro, useful to the student, and still palatable and fun for the complete novice. Thanks to the mobility and accessibility of the phone/ipod, I see it as a useful tool to do things like learn scales and songs, work out alternative positions, practice ear training by playing along with iTunes, etc... all in places and at times when you simply can't use the real thing.
For the complete novice, there's an integrated Songbook which shows you how to play in real-time in a game-like fashion. If we do our job, this could be an opportunity to bring more people to the instrument, and at least raise awareness and appreciation among the video-game playing masses.

Here's a link to the official site: http://ibone.spoonjack.com
And the press relase: http://finance.yahoo.com/news/iBone-Brings-Bone-and-Band-to-prnews-14879239.html

========================

So, one question remains: is that third position E-flat in tune?

An iBone app? Really??

Further proof that some people have way too much time on their hands.

(But I'll confess I'm a little jealous)

(notice the overtone series in the background)
(also, notice that tilting the phone seems to affect volume).

High Speed Film of Embouchures (don't eat while watching)

I've heard about these movies for years but had never seen them. Interesting...and a little disgusting.

Basically, the films show high speed images of the lips vibrating as seen through a clear mouthpiece. Some big name players including Bill Watrous, Stuart Dempster, Larry Wiehe and George Roberts.

Thanks for David Wilken for getting this up onto YouTube.

Part 1: downstream embouchures



Part 2: upstream embouchures



Part 3: multiphonics

C.S.I. Slide-O-Mix

OK, I think I'm onto something here....

It started when one of my students, (let's call him Alex [or Joey]) commented that, "Everybody's Slide-O-Mix seems to work better than mine."

Then I thought about my Slide-O-Mix Rapid Comfort and how it used to to be have thick texture but was now watery.

Then another student (let's call him Colt) pointed out his theory that maybe HEAT had an effect on the stuff. In other words, once it had been exposed to heat (like being left in a hot car) it became watery and didn't work as well.

No sooner do I mention "Colt's" theory to one of my private students than he says that exact thing happened to him: Slide-O-Mix left in a hot car for a few days had become watery.

AHA!


Research grant needed.....$1,500,000 ought to cover it.

13 Good Minutes

On my website you can find drone tone files.
12 files, each 65 seconds, droning on pure perfect fifths

(3:2 ratio, top note raised 2 cents, all that jazz)

Played back to back, the files last 13 minutes.

Put them on your ipod and spend those 13 minutes playing along with the drones, making things up as you go. Long tones, melodies, lip slurs. Just play beautifully and listen carefully.

Here's a link to the drones..

Here's a link to a summary of pitch adjustments needed for certain intervals.

A question of angle

Here's one from the "crazy idea" department.

For posture: stand tall and bring the horn to you.

For most people, this will result in the horn angling down a bit.

Ahhh, marching band season when so many are told to angle 10 degrees above horizontal (or something like that).

How to resolve this problem?

No perfect solution but I guess bending at the waist is the least bad.







This raises a question that seemed dumb at first but......

Why is the bell angled the way it is? What if the bell angled up a bit.

I'm not talking a "Dizzy Gillespie" angle..















But still, what if the bell angled up a bit? How dumb is this idea?

For that matter, what if the slide angled slightly to the right? Wouldn't that make the longer positions easier to reach?

Worth considering, I think.

Zoom H4 - no moving parts

I recently put down some money on a new recorder, the Zoom H4. So far I really like it. I used to use a mini disc recorder and like it but was plagued with the problem of transferring data easily to the computer in order to burn CD's.
This new recorder records directly to an SD card (same as they use with most digital cameras) which you can easily pop into a computer.
A few other features...

• It can take up to a 2GB card.
• Using this card, you can record up to 380 minutes of .wav files or 34 hours of .mp3 files
• It has two stereo mics built in (they seem to record quite well)
• It has jacks for two XLR mics and can provide phantom power
• It can directly connect to a computer via a USB connection
• It has multitrack recording capability (4 tracks)

If you are serious about succeeding on the trombone, you need to record yourself regularly. You'll need to make audition tapes and demo tapes. This little machine does a beautiful job with a minimum of hassle.

Generally you can get it for around $300. I paid $279 from minidisco.com.
Here are some links if you're interested:

Minidisco site
Product review
Another product review

Hey Santa (part 2)

OK, so maybe Dec. 25th isn't quite the right day for this post but I figure the big guy was booked up in the toy department.

I remember I did a part 1 last year, so I guess this is becoming an obligation.

What do I want for Christmas this year?

Some way for more people to find
live classical music a relevant, vital part of their lives.

(cue: snores, sound of crickets. OK I admit this is a little abstract, maybe I should have just asked for some Slide-O-Mix Rapid comfort and about 30 slide sprayers since I keep losing mine).
But think:
How many of your regular neighbors have attended any concerts featuring classical musicians?

Every year I see those hopeful young students wishing to pursue a career as a performer.

With what job??
How many performance majors are churned out every year?
How many openings are there in jobs paying over, say, $15,000?

(Gee, Brad, Merry friggin' Christmas, ...Scrooge)

I've seen glimmers of hope ...

• When I lived in Iowa, the local cable company included, free of charge, a fine arts channel. It ran a bit like on older MTV, playing videos either of live performances or just nature scenes with classical music in the background. Of course Time Warner doesn't bother with it here, no profit I suppose.
• Watch people react when they hear the music from Lord of The Rings. Not often do you see that kind of strong emotional reaction to orchestral music. Were he alive today, do you suppose Wagner would be doing film scores?

That reminds me of a secondary wish (related to the first): could someone get Peter Jackson and Howard Shore to put together a 30-40 minute montage of scenes from the trilogy with an orchestral score to be performed live and THEN make the whole thing available on rental for a reasonable price. I'm guessing that any orchestra programming this would be pretty much assured of a sell-out crowd (*and* a younger demographic).

• I bumped into a really good PBS series, Keeping Score, which helps people to become familiar with classical masterpieces.
• A friend of mine, Phil Rehard, is involved with a new kind of concert series in Buffalo, NY. Patrons are expected to buy a subscription to the entire series (individual event tickets aren't available). If I understand correctly, the artists are contracted in such a way that, if the series doesn't sell enough tickets, they can cancel and not have to pay the artists. I believe it has been a big success (no cancellations) thus providing another venue for great musicians and great live music.

We can sit back on our heels and complain about how all the jobs are drying up or we can find a way to do something.

Reach out, become relevant, or watch our art wither away.

William Tell: Off the hook?

A quick question to think about: the William Tell excerpt is marked at hn=108. I don't believe I've ever heard a recording at that tempo.
Check out the William Tell recordings on TromboneExcerpts.org and you'll find they're all doing the run in the high 90's.

Here's the rub. Normally we should listen to recordings to guide us in our excerpt preparation. But what if the recordings let us off the hook??? Do you really walk into an audition and play it at 96 or 100?

Is that being accurate or is it copping out?

(Actually, I'd really like some famous guy to say,
"Oh you should really play that at 96"
thus saving me hours of toil.)