[3] EQUIPMENT
[3.1] How old is my trombone?
There are a couple of Web sites that relate serial numbers to
manufacture dates. Try:
<http://www.musictrader.com/serialnos.html>
<http://www.missouri.edu/~cceric/sn/index.html>
Bach: <http://www.selmer.com/htdox/tb14.htm>
Conn: <http://www.whc.net/rjones/connindex.html#index>
[3.2] Where can I buy trombones, mouthpieces, mutes and gig bags?
If possible, buy from your local music retailer or they will
disappear. New instruments can usually be purchased at 15-40%
off retail price. If you don't live near a music store or your
local music store doesn't stock the product in which you are
interested, try contacting the manufacturer and asking for the
location of the nearest dealer. There are several places on the
Web where you can purchase trombones and/or accessories. Here
are a few of them:
<http://www.giardinelli.com/>
<http://www.hickeys.com/>
<http://www.osmun.com/>
<http://www.wichitaband.com/>
<http://www.wwandbw.com/>
[3.3] What should I do to keep my trombone in top playing condition?
See URL: <http://www.fcasd.edu/teachers/traugh/trombone.html>
See question: [4.6] "What can I do to keep my slide in
alignment and working freely?".
[3.4] What is the difference between a large bore, medium bore
and small bore trombone?
On Fri, 18 Jul 1997 12:43:20 MST, Dennis Clason
<dclason@cbae.nmsu.edu> proposed the following definitions
in the message entitled "Re: Bach 36BO":
... Bore description Bore size (thousandths [of an inch])
---------------- ------------------------------------
... Small 490 or less
... Medium 500 to 509
... Medium large 525
... Large 547 (some nearby oddballs at 536 - 540)
... Extra large 562
... Small dual 490/508
... Large dual 547/562
...
[3.5] What is a "peashooter"?
A "peashooter" is a mildly derogatory term for a small bore
trombone (see question [3.4] "What is the difference between a
large bore, medium bore and small bore trombone?"). This term is
used mostly by trombonists who would probably be happier playing
the euphonium :-)
[3.6] How is bore size measured?
On Sat Jan 4 09:46:44 1997, Wayne Tanabe <BRASSRX@aol.com>,
wrote the following in the message entitled "Re: Measuring
the bore of a trombone (or any brass instrument)":
...Bore size on trombone is measurement of the inside slide
tube of the hand slide. If the lower slide tube is larger
than the upper slide tube, then you have a dual bore
instrument. Trumpets, flugelhorns, horns, euphoniums, and
tuba bore sizes are a measurement of the tuning slide tubes
(inside slide tubes) of the valve section...
[3.7] What is a dual bore instrument?
On Sat Mar 1 14:40:20 1997, Richard Corliss
<rcorliss@TIGGER.STCLOUD.MSUS.EDU> wrote the following in the
message entitled "Re: What is "dual-bore" slide?":
...'Dual bore' refers to a trombone that has slides with two
different bores. The discussion of euphoniums and baritones
I think failed to note that trombones differ with respect to
of how conical they are. By having a small bore slide followed
by a larger bore slide the instrument becomes more conical -
more like a euphoniums.
The size of the bell and the character of the tubing that
leads to the bell, of course, also comes into play here. I
have a Olds Artist horn that is small bored but it is dual
bored and has a large 8 1/2" bell. The bore size is similar
to my King 2B but the dual bore and the large bell makes the
instrument very different....
[3.8] What is an F attachment?
An F attachment is the extra tubing and valve attached
to some Bb trombones. When the valve is engaged,
the pedal tone in first position is F instead of Bb.
The engaged F attachment makes 1st position similar
to 6th position in the unengaged instrument, 2nd position
is similar to 7th position in the unengaged instrument,
3rd position would be the same as 8th position (if an 8th
position actually existed) in the unengaged instrument etc..
The distances between positions when the F attachment is engaged
are longer than when it is not engaged. There is room only for
5 (almost 6) positions on the standard slide when the F attachment
is engaged. Some alto trombones have a Bb attachments and
some bass trombones have 2 attachments, one usually in F and
the other in another key.
The F attachment has three main benefits. One, the lowest
possible pedal tone on the instrument is now 3 (or 4) semitones
lower. Two, some missing notes in the trombone range are filled in:
Eb, D, and Db immediately below the bass clef are now playable--
C (usually, depending on how you tune the F attachment) and B are
still missing. Third, and possibly most importantly, many
alternate positions are created which can aid in legato playing,
fast passages, ornamentation etc.. Some of the disadvantages
include: a significant amount of weight added to the instrument;
the extra weight and bracing can possibly deaden the sound of the
instrument; the sound through the F attachment can be of a
different quality than that through the straight instrument; and
there are many new positions and intonation adjustments that have
to be learned.
<HR>
See question "[6.12] How do I tune the F attachment?" for
F attachment tuning inforamtion.
See question "[3.19] What is the difference between dependent
and in-line valves on bass trombones?" for bass trombone
attachment tunings.
[3.9] What is all that extra tubing on some trombones?
It is most likely an F attachment, see question
[3.8] "What is an F attachment?".
[3.10] What is a convertible trombone?
It is one where the F attachment (see question [3.8] "What is
an F attachment?") can be removed or replaced as needed.
[3.11] What is a Thayer Valve (TM)?
On Tue Jan 23 23:37:25 1996, Topher Logan <topher@iamerica.net>
wrote the following the the message entitled "Re: Thayer Valves?":
...The valve is known as an "axial flow valve" and the concept
behind it is to eliminate the hard corners the air used to
have to take on a conventional valve (even with an open wrap).
You'll know one when you see one, Gregg, by its unmistakable
conical shape.
Most people who have played on horns with the Thayer agree
that the response is much better, particularly in the trigger
range, and some people notice the dynamic tendencies of their
horn are improved (i.e. the louds are more controllable, and
the softs less "dangerous"). Also, with fewer moving parts,
there is less to go wrong with the valve....
[3.12] How can I tell if I have a "real" Thayer Valve (TM)?
On Fri Jan 24 20:56:54 1997, Douglas Yeo <yeo@yeodoug.com>
wrote the following the message entitled "Re: "Thayer Valve"
History":
For clarity, here is the current situation:
Three companies make "Thayer valves:"
1) Thayer Valve International L.P (TVI)
Owned and operated by Orla Ed Thayer, the original
inventor of the Thayer "axial flow valve". These valves
have Ed Thayer's signature on them.
Located in Waldport, Oregon USA
(See ad on page 60 of Fall 1996 ITA Journal)
2) O. E. Thayer Company
Operated by James Nydigger
This was the original company Ed Thayer founded many years
ago but he no longer is associated with this company. To
say that it irks him that his name is on this valve is an
understatement.
Located in Albany, Oregon, USA
(See ad on page 17 of Fall 1996 ITA Journal)
3) Edwards.
They make their own version of the Thayer valve. Ed
Thayer was involved in the original discussion and
licensing of his valve to Edwards. Edwards "Thayer"
valves are legitimate.
Several companies are using "Thayer" valves:
1) Bach. Plans to use O. E. Thayer Valves as an option on
some models.
2) Conn. Apparently is using O. E. Thayer Valves as well on
some horns....
[3.13] What is the difference between a tenor and a bass trombone?
On Sun, 16 Nov 1997 12:47:29, Adrian Drover
<adrian@gemscore.demon.co.uk> wrote the following in the message
entitled, "Re: stupid!Differences tenor vs bass":
...
OK, here's the low-down. Both the tenor and the bass are
basically the same length and both produce a pedal Bb two
lines and a space below the bass clef when in open 1st
position. The bass however has additional tubing to
facilitate those tones below E (one ledger below the clef).
So do some tenors, but the bass usually has more.
The biggest difference is in the bore. The bass is wider,
producing a darker tone and enabling the low notes to be
produced more easily and with fuller bass tone. Because of
this, you do not expect the bass 'bonist to play "Getting
Sentimental Over You" in the same key and octave that
Tommy Dorsey did, just as you would not expect a tenor
player to imitate a George Roberts style bass counterpoint.
Range-wise, you could say that the relative compass of a
bass 'bone is probably a 4th or 5th below that of the tenor,
but is actually able to produce a fully chromatic decent
of an octave and a half below that of the valveless trombone.
The bass 'bone valves also facilitate easier alternatives
to some of the awkward position changes in the low register.
...
<HR>
See question "[3.19] What is the difference between dependent
and in-line valves on bass trombones?" for a discussion
on bass trombone tunings.
See question "[3.23] Where can I get information about the
bass trombone?" for more information on the bass trombone.
[3.14] What is the difference between a soprano trombone and
a slide trumpet?
On Thu Feb 20 10:59:40 1997, Matt Varho <BassBonist@aol.com>
wrote the following in the message entitled "Re: My ignorance?":
(NEED PERMISSION!!!!!!!!!!!!)
"Slide trumpets are played by trumpet players.
Soprano trombones are played by trombonists.
Nyuk Nyuk Nyuk Nyuk."
<HR>
On Thu, 20 Feb 1997 17:40:46 +1, Edward Solomon
<esolomon@fore.co.uk> wrote the following the in the message
entitled "Re: My ignorance?":
(NEED PERMISSION!!!!!!!!!!!!)
"...A slide trumpet possesses a _single_ slide, quite short,
along which the whole instrument moves. The pitch can be
lowered by about a semitone. The instrument is always played
by a trumpeter.
A soprano trombone, however, cannot be equated with a slide
trumpet. It generally has a larger bore and a six or seven
position slide. Pitched in Bb an octave above the tenor
trombone, it is occasionally played by trombonists, but
more often that not by trumpeters. It is (apart from one
or two low notes) completely chromatic, which the slide
trumpet is *not*."
<HR>
On Thu, 20 Feb 1997 19:08:10 -0500 (EST), John Cather
<JCather761@aol.com> wrote the following in the message
entitled "Re: My ignorance?":
OK, I have to put in my 2 cents worth here. I play both
soprano trombone and slide trumpet, and I'm somewhat
knowledgeable about brass instrument construction. Mr. Solomon
is referring to an ancient instrument called "Tromba da
Tirarsi" or drawn trumpet. This instrument led to the
development of modern trombones.
The slide trumpets I have seen are typically .450" to .470" in
bore size. The trumpets have a conical lead pipe. The soprano
trombones I have seen, have bores from .400" to .440"
typically. They have no conical lead pipe. They are more
cylindrical than the trumpets. They also take a mouthpiece
that is shorter that the trumpet. (cornet mpc length) I
have heard these instruments wrongfully called slide cornets.
The biggest difference is in the mouthpiece. The cup is far
deeper than a trumpet. The throat size is much larger than
trumpet. The back bore is less conical, but larger. And
there is no receiver gap like there is in a trumpet.
Finally, the acoustic design (primarily bore shape throughout)
seems to be different. I cannot make my soprano trombone sound
like my slide trumpet, and vise versa....
[3.15] What is a valve trombone?
It is one that has a valve section similar to a trumpet's,
instead of a hand slide.
[3.16] What is a marching trombone?
S. Lee <questions_comments@writeme.com> sent the following
information:
A marching trombone is a lightweight marching
baritone-like instrument. It is not as thick vertically
and gives a long slender appearance. Three valves replace
the slide action while marching, and the tone quality is
like that of a trombone. The bell is 7 to 9 inches in
diameter and the mouthpiece is a standard trombone's.
[3.17] Is getting my instrument cryogenically treated useful?
On Mon Nov 11 13:01:56 1996, Nick Eastop
<106137.1013@CompuServe.COM> in the message entitled
"Re:Trombone In The Ice Box" quoted Wayne Tanabe
<Brassrx@aol.com> about this topic:
...
Now for non-ferrous metals there have been almost no studies
done concerning cryogenic freezing and non-ferrous metals
(brass, copper, silver, gold, and nickel). There is one study
done though with this type of metal which is a study done
freezing wire made of the different non-ferrous metals. This
was a study about cryogenics and torsional oscillators. What
is known is that the freezing process does in ferrous metals
reduces the residual and tensile stress left in the metal from
the forming process. This is basically done through relaxing
the metals structure at the atomic level. Its known when one
anneals a piece of brass the extreme heat allows the metal
to move to a more relaxed position and the grain structure
become more even. The other thing that happens is brass
become very soft when annealed so sound characteristics are
changed in the process. Freezing or cryogenics does not
allow movement of the structure itself.
When the metal in musical instrument are formed (drawn, spun,
stamped, honed, or bent) the metal structure is dislocated.
All the freezing process does is to relax the dislocation of
the metal, this in turn allows the metal better able to
transmit resonance and to develop sound more efficiently.
The second and more important thing that is accomplished in
freezing non-ferrous metal is when the freezing process is
done the grain spacing (spaces between the grain in the
metal) is reduced. The benefit of the reduced spacing is
with the spacing smaller between each grain less energy is
used to transmit sound or more important resonance energy.
The instrument is more efficient in its ability of the
production or development of sound....
<HR>
On Mon Jan 8 13:11:31 1996, Gary Sloane
<sloane@comrade.engr.sgi.com> wrote the following in the message
entitled "Re: attachments and old thread":
"I tried otherwise identical Bach 42Ks at the ITA in Las
Vegas last spring. One had been cryogenically treated, the
other not. Everybody could tell the difference -- so much
so that I insisted that the plain factory horn sounded and
felt better, to everybody else's astonishment -- until we
found, by inspecting the serial numbers, that I had confused
the two.
I bought the frozen one only to find that the .547 bore was
too large for my liking. $160 Canadian sounds like a good
price, though.
One caution: freezing can make a good horn better, but it
will never make a bad horn good; and freezing is intended to
replicate the lack of stress ordinarily provided by time, as
in ~30 years...."
<HR>
On Sat Aug 20 02:25:54 1994, Howard Anders <h.anders@trl.oz.au>
wrote the following in the article entitled "Re: Bach 36BO's and
36K's":
(NEED PERMISSION!!!!!!!!!!!!)
This whole business of cryogenically treating your
trumpet/trombone, lacquer vs no-lacquer, Monette vs Bach, gold
brass bells or red brass bells, instruments made from silver
vs brass vs gold, putting your instrument in an MRI (intense
magnetic field) etc, etc, etc, has been just about
"thrashed to death" over and over on the trumpet mailing
list! I feel sad to think of people wasting their money on
dubious at best, & useless at worst, treatments of these
kind that make NO audible difference! As far I understand
the most important factors are the shape of the air column,
as dictated by the shape of the instrument and mouthpiece,
& the oral characteristics of the player. I'm not meaning to
start a flame war, but goodness, we've been through all
this over & over on the trumpet list, & these
fancy & expensive treatments make NO perceptible difference. I
think we all from time to time, hear what we want to hear, but
there is no scientific basis for it. I say this cause I've
been through it myself. Spending hundreds of dollars & more
on mouthpieces, treatments, better instruments etc. all to no
avail! I still sound the same, and the only thing that
improves my playing is intelligent practice, so let's save
our money and talk about playing, practicing, and music.
[3.18] Where can I get my instrument cryogenically treated?
<http://www.osmun.com/re.htm#RE>
<http://www.tecsolv.com/cryo/>
Ted Sparks Musical Services (416) 609 1079 Toronto, Ontario
Brass Bow, 700 E Northwest Hwy , Arlington Hts, IL, 60004, USA,
(708) 253-7552
[3.19] What is the difference between dependent and in-line valves on
bass trombones?
See the "New Method for the Modern Bass Trombone" by Eliezer
Aharoni <eanogmus@netvision.net.il> published by Noga Music
for a very thorough description of bass trombone tunings,
position charts and exercises.
<HR>
Douglas Yeo has a Web page regarding this, see:
<http://www.yeodoug.com/valves.html>
<HR>
On Wed, 15 May 1996 15:14:11 -0500, Dennis L. Clason
<dclason@cbae.nmsu.edu> wrote the following in the message
entitled "Re: Bassbone valve systems":
...
History
-------
There are two valve systems in use for double valve bass
trombones. The dependent (also called stacked) system places
the F/E valve on the neckpipe of the trombone, and the second
valve on the F/E attachment tubing. Because the second valve
is on the F/E attachment, depressing the valve lever has no
effect unless the thumb valve is depressed. Thus the
expression "dependent". Dependent systems were developed
first as a response to a few composers treating the bass
trombone as a completely chromatic instrument from low B
(rather than low C). Bartok figured prominently among that
group.
In-line valve systems were developed by Burt Herrick and Larry
Minnick in the late 60s and early 70s. This system places
both valves on the neckpipe, and hence they can operate
"independently" of one another. In-line systems have the
disadvantage of always blowing against the resistance of two
valves, instead of one. This drawback is lessened by things
like overbore valve sections, Thayer (and Thayer-inspired)
valves, open wrap, etc. Olds made the first production
in-line valve system basses in the mid 70s. The other
manufacturers have since followed suit, and some do not
produce dependent rotor basses (Conn, Holton and Benge).
In-line systems are thought to provide some added facility,
because a fourth overtone series is available. While that is
an indisputable fact, the advantage it provides is
questionable, especially with some of the second valve
tunings in use today.
Tunings
-------
Dependent systems were originally sold with a flat E tuning.
After all, the goal was to give the player a low B, and the
flat E tuning accomplished that. Prior to the advent of double
valve basses, the player who needed a low B would pull the
tuning slide to retune the F attachment to E. This was an
obvious starting point for the second valve -- push a
button instead of pulling a slide. One might argue that
pulling a slide is a more natural act for a trombonist than
pushing a button, but I won't. After these things had been
around for a while, bass players began to think that low E
was not particularly helpful, and something else might help
more. After all, with low E tuning, the B is _still_ down
at the bottom of the slide stocking. Bach makes the most
comprehensive set of second valve crooks that I'm aware of.
They come as Eb, D and Db. The most commonly used second
valve tuning (can I say the standard tuning?) is D. So, a
bass trombone has fundamentals of Bb (open), F (valve 1)
and D (valve 1 and 2) with this tuning. Incidentally, the
Bb (open) and F (thumb) can be taken as given. The D tuning
makes a "pedal" Bb available at the end of the handslide.
Some people refer to that as "7th" position, but a D trombone
with a Bb slide length doesn't have a seventh position -- the
note is actually in 5th position on the D trombone. And I
probably should note here that one cannot take an E pull as
necessarily present on the F attachment of a double valved
bass. It ought to be, but there are too many exceptions.
The original Minnick/Herrick independent systems I've seen
were tuned as G on the second valve (Olds also followed this
pattern, Holton provides a G crook for their double rotor
bass). This tuning gives as additional series (G [finger],
very flat E [both valves]). I surmise that people converting
from dependent systems had some problems with that, because
the stock tuning on these instruments now is a very flat G on
the finger valve. This gives fundamentals in the following
series: D (both valves), and sharp Gb (finger). On my
independent rotor bass, there's about a two inch drop on the
handslide to bring the Gb into tune. There are alternate
crooks available for some independent basses. Bach sells
crooks for the 50B3O in G, D, and C. Edwards sells a D
crook, and will build your horn in G or bG at your
preference. With D tuning on the finger, low B is in 1st
with both valves down. Using C on the finger, you get
something akin to a flat Bb or possibly A with both valves,
I would guess. The tuning information is summarized in the
table below.
Valve Fundamental
System Open Thumb Thumb+Finger Finger
---------- ---- ----- ------------ -------
Dependent Bb F D --
Bb F E 1/ --
Bb F Eb 2/ --
Bb F Db 3/ --
Independent Bb F flat Eb G
Bb F D flat G
Bb F B D 3/
Bb F ?? flat Bb or A C 3/
Notes: 1/ Pretty much obsolete now
2/ Stock tuning for Bach 50B2 and some Yamahas
3/ Rare, but available as options from Bach and
Edwards
...
[3.20] How should I go about selling my instrument?
See the Trombone-L Instruments for Sale page which
is maintained by, Daron Bilyeu <tenortrombone@hotmail.com>,
at the following URL:
<http://thunder.indstate.edu/~bilyeud/forsale/>
Other alternatives include:
a.) Post to rec.music.makers.marketplace?
b.) Post to Trombone-L?
c.) Check out the Band Exchange at
<http://www.orbonline.net/~bandex/>.
d.) Check out Windplayer Magazine at
<http://www.windplayer.com/>
e.) Check out Planet Link classifieds at
<http://www.amtexpo.com/ads/>.
[3.21] What is a cimbasso?
On Thu Feb 2 07:59:23 1995, Randy Campora
<campora@peabody.jhu.edu> wrote the following in the message
entitled "What's a Cimbasso?":
(NEED PERMISSION!!!!!!!!!!!!)
I the most basic terms, cimbasso as originally used in Italian
meant simply _Brass Bass_. Nowadays it means a valve
contrabass trombone, cylindrical in design, usually the lower
body of which rests on the floor, and the bell is angled to be
more or less parallel to the floor.
But in the old days, they often wrote for Cimbasso simply
because the composer had no idea what kind of brass bass
would show up in the pit, owing to the great variety of kinky
instruments the Italians had.
<HR>
On Thu Feb 2 12:23:11 1995, David Hummer <DGH@JILA.COLORADO.EDU>
wrote the following in the message entitled "cimbasso":
(NEED PERMISSION!!!!!!!!!!!!)
For those of you who are curious about the cimbasso, look in
"The Tuba Family" by Clifford Bevan. There is a photograph of
one opposite page 97 and an interesting discussion on the
"Great Cimbasso Mystery" on page 212.
<HR>
On Thu Jan 23 15:36:53 1997, Jennifer A Yost
<yostjen@mail.auburn.edu> wrote the following in the message
entitled "R: e Cimbasso":
(NEED PERMISSION!!!!!!!!!!!!)
...For those of you interested, there is an article in the
Winter 1996 Tuba Journal regarding the Cimbasso. The article
is written by Clifford Bevan and entitled "Any More for the
Cimbasso?" Just to summarize--after research, Bevan discovered
that the Cimbasso was an Italian bass trombone: It "had been
defined as a narrow bore tuba in B-flat; an ophicleide; and a
bass, or maybe contrabass, trombone" (Tuba Journal 50).
The article gives any information and resources you may be
looking for....
[3.22] Where can I get information about the contrabass trombone?
See Douglas Nunn's <d.j.e.nunn@durham.ac.uk> Web page
"an exceedingly small list of links relating to the
contrabass trombone" at URL:
<http://capella.dur.ac.uk/doug/contrabass_trombone.html>.
[3.23] Where can I get information about the bass trombone?
See the "New Method for the Modern Bass Trombone" by Eliezer
Aharoni <eanogmus@netvision.net.il> published by Noga Music
for a very thorough description of bass trombone tunings,
position charts and exercises.
See Douglas Yeo's <doug@yeodoug.com> "Resources" Web
page at URL: <http://www.yeodoug.com/yeores.html>.
[3.24] Where can I get more information on the alto trombone?
See Robert Kehle's <rkehle@pittstate.edu> Web page,
"Alto Trombone Homepage", at URL:
<http://www.pittstate.edu/music/altotrombonehomepage.html>.
[3.25] Where can I get more information on the soprano trombone?
See Douglas Nunn's <d.j.e.nunn@durham.ac.uk> Web page
"Everything you didn't really want to know about soprano
trombones, piccolo trombones, and slide trumpets, and
consequently never asked..." at URL:
<http://capella.dur.ac.uk/doug/small_trombone.html>.
[3.26] What are some standard trombone mouthpiece dimensions?
See the following URL off the Trombone Homepage:
<http://www.missouri.edu/~cceric/mmp.html>.
[3.27] How can I remove the lacquer from my bell section?
On 25 Jun 97 12:06:32 -0700, Van Strandberg
<van@smtp.gkd.com> wrote the following in the message
entitled "Re: lacquer":
TRUST ME.. This works,.. Fill your bathtub with HOT
water, and 1/4 cup of rubbing alcohol.. after about
20 min, drain, and fill one more time with SCALDING
hot water.. Next, about 1/2 hour later, boil a pot
of water, and slowly pour it over your bell. Use a
sponge to wipe off excess lacquer...
[3.28] What is an "open wrap" trombone?
On Fri, 19 Sep 1997 22:28:52 -0500, Tom Izzo
<jeanvaljean@ntsource.com> wrote the following in the message
entitled "Re: open wrap vs. ?":
...
Open wrap (or open wrapping) is a "straightening out" of
the bends in trombone valve attachment tubing (see
question [3.8] What is an F attachment?). In other
words, fewer bends. The advantages are a freer blowing
instrument (when the valve is engaged) because there is
less resistance. Disadvantages can include a greater
potential for damage because the valve attachment tubing
is not as well protected. But it all depends on the
brand, some brands' open wrapping processes are not as
"exposed" as others.
...
[3.29] Where can I send my instrument to get it lacquered
in different colors?
The L.A. Sax Company can do this for approximately $250.
Check out the following Web page for more information
<http://www.lasax.com/cfinish.htm>.
[3.30] What can I do to alleviate shoulder problems caused
by a heavy dual-valve bass trombone?
On Sat, 13 Dec 1997 03:17:17, Eliezer Aharoni
<eanogmus@netvision.net.il> wrote the following in the
message entitled, "Re: Back/Shoulder Pain":
...
I claim that double valve instruments are dangerous for
your health. The combination of their weight, plus the
fact that your left hand simultaneously supports AND
activate the triggers, causes abuse and faster ware of
the shoulders. A more detailed warning is on the inside
cover of my "New Method for the Modern Bass Trombone",
4th edition.
What I suggest is:
1. Get also a single valve (another instrument,
bell, or detachable unit that can replace your double valve).
2. Do a big part of your practicing on the single valve.
3. Split practicing into shorter sessions and bigger brakes.
4. Do relaxing exercises for your hands and shoulders in brakes.
5. If you have a trombone stand, try resting your left elbow
on it when you play. Adjust to the right height and tighten
strongly so that it doesn't collapse.
6. See an orthopedist and a physiotherapist.
7. Do some swimming - very relaxed without straining. Swim some
on your back, using arms' full range.
Hope that helps.
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