TromboneChat

Way too much if it's actually supposed to be background for a violin solo.

Nah, it's in keeping with the rest.

Which direct-to-VHS religious epic did this originally accompany?

ithinknot wrote: ↑Wed Mar 13, 2024 12:39 pm Nah, it's in keeping with the rest.

Which direct-to-VHS religious epic did this originally accompany?

It does sound like that, like Moses parting the Sea! I was just curious what others thought about the clip, since we're supposed to be posting more about music on the forum. That's the new hip thing to do

I personally feel like the bass trombonist was trying too hard.

The first 32 measures of an obscure harpsichord concerto?

What's the piece? Holst? I doesn't sound familiar to me. Not way too much for my taste, but a little bit over the top.

It's the ending of Maslanka Symphony 4. I wanted to post more but didn't want to overstep fair use.

That bass trombonist sounds like they’re juggling chainsaws. I’d dial it back from 11 to 9, but I love the enthusiasm and wouldn’t want to lose it entirely.

Lots of Holst and Shostakovitch influence there! One would have to see the score and know what the conductor is asking before deciding the bass trombone is out of line. Very intriguing - Shostakovitch wrote a lot of very noisy endings, similar to this, to some great pieces, so maybe this Maslanka Symphony is a great piece! Definitely makes me want to check it out!

This is exactly why I don't really like band pieces.

Maslanka's symphonys are great pieces of music! But lots of bands muscle through them too much, exactly like this band does. I have played many of his pieces and only the really good conductors are up to the challenge to bring out all the nuances in a part like this, but still maintaining the high energy Maslanka asked for.

For this example, to my taste: Brass back off, listen to the woodwinds, chords have to sound full - not just loud.

Here's the page on the composer's website:
https://davidmaslanka.com/works/symphony-no-4-2/
There's a couple different recordings and a preview score.

Looking at the score, there's four trombone parts and a lot of that punchy low stuff is doubled between Trombone 3 and Bass Trombone.

JohnL wrote: ↑Thu Mar 14, 2024 1:14 am Here's the page on the composer's website:
https://davidmaslanka.com/works/symphony-no-4-2/
There's a couple different recordings and a preview score.

Looking at the score, there's four trombone parts and a lot of that punchy low stuff is doubled between Trombone 3 and Bass Trombone.

Actually, John, I think the recording I posted is in line with those studio recordings in the link you sent, now that I'm listening. There is one, the second Illinois one I think where the bass trombone is not present enough. I think the one I posted, the bass is a bit too into it. They seem to be dead on pitch wise though.

I couldn't read the score on my phone but if I recall correctly, that part is written fff or something like that. Not only are all the brass going nuts, but the woodwinds are too, and there is also a pipe organ with every stop open.

It bothers me more than it’s not together.

Please note I’m just a college student without extensive knowledge, just stating my preferences and experience playing this two years ago.

I played this with a joint wind band, 3 college ensembles plus a few dozen community members and professionals. Rough estimate of 180 members, with fairly equal section proportions. We had 3 trombones to a part, and all of the 3rd tbn’s played bass trombones b/c of the low c’s (the ending is doubled in the bass and 3rd tbn)

On bass trombone, the part I was given had seven f’s written in at the descending line. The chords beforehand should be significantly lower, but I believe the descending line is supposed to be like that. For the rest of it, agree with y’all, as a whole too much volume for the ensemble.

th

Burgerbob wrote: ↑Thu Mar 14, 2024 12:04 am This is exactly why I don't really like band pieces.

ere.

This is the piece that ignited my love for music again after COVID stole two years of my life

180???

The recording this was lifted from had only one on a part, for all but the woodwinds I believe.

It's the percussion that pushes it over the edge. If you could get those high pitches in tune and dial back the big drums and cymbals, the rest of it is fine.

harrisonreed wrote: ↑Thu Mar 14, 2024 2:27 pm 180???

We went to a different venue than normal purely because we needed more space. The percussion, brass and low reeds took up the stage, plus 3 rows in front of the stage that were purely woodwinds. Cuyamaca College Band, Point Loma U wind ensemble, Grossmont College, (maybe sdsu? At least lots of musicians from sdsu I’m not sure if it was official) many players from the San Diego Winds, plus lots of local high schoolers (i was one of those). It was gnarly

I agree with Aiden and bitbckt. If it were dialed back just a tad, a smidge, a jot, it would be more balanced. And WCWTR180: it’s not together.

I’ve played a couple of Maslanka pieces. Right now I’m in a community college band filling in (a favor to the director) and we’re playing the Mother Earth Fanfare. There are moments that are really emotional, but most of it leaves me cold.

The biggest problem to me is that the bass trombonist can't control the volume they are playing, and it doesn't sound good. Their time is also all over the place, as has been mentioned. I think if those things were good, it wouldn't be too egregious.

But regarding the balance, I actually don't think the problem is the balance within the ensemble...I think the bass trombonist is being unnaturally favored by the recording. Certain halls and mic placements will do that, and to me this sounds very much like there's an area mic somewhere in the bass trombonist's line of fire.

When I was studying at Indiana University, I played bass trombone in the IU Wind Ensemble and we once gave a concert at the American Bandmaster's Association convention. We also gave the same concert at IU the night before, and I have the recordings from both nights. The IU recording is nicely balanced, while in the ABA recording the bass trombone totally dominates the ensemble. They had a few area mics suspended from the ceiling to record the ABA concert, and one was pretty close to the tubas and bass trombone. I'm not saying I never played too loud on that concert...I was a college freshman bass trombonist, after all...but the difference in balance is night and day between the two recordings and the position of that one particular mic is pretty obvious in the ABA recording.

Sadly, the recording in the OP isn't even particularly tasteless or imbalanced as far as band recordings go. I can think of one recording on YouTube where the bass trombone is seated at the end of one of the rows and the balance is WAY worse...like "bass trombone concerto with concert band accompaniment" level imbalanced. Nicely played in that case, but every note just demolishes everything else.

Then, of course, there is this gem:

Finetales wrote: ↑Thu Mar 14, 2024 3:40 pm Then, of course, there is this gem:

That represents the shepherd's cry of alarm: "Hey!"

J’accuse! Et, J’accuse-moi!

Finetales wrote: ↑Thu Mar 14, 2024 3:40 pm Then, of course, there is this gem:

Blame that Tex-Mex burrito the bass trombonist ate just before the concert!

Had a friend listen to the first recording and he said it sounds like an acoustic bass player who’s low string is too loose, or perhaps they aren’t pressing the fret down all of the way.