3/30/2024 0 Comments Bass trombone positioning chartWebb was surprised to learn that Campbell had recorded the song: "A couple of weeks later I ran into somewhere and I said, 'I guess you guys didn't like the song.' 'Oh, we cut that,' he said. Similarly, he employs a repeating, monotonic ' Morse code' keyboard/flute motif to mimic the electronic sounds a lineman might hear through a telephone earpiece attached to a long stretch of 'raw' telephone or telegraph line that is, without typical line equalization and filtering: "I can hear you through the whine." Īll the orchestral arrangements are by De Lory, who evokes the phrase "singing in the wire" using high-pitched, ethereal violins to emulate the sonic vibrations commonly induced by wind blowing across small wires and conductors, making them whistle or resonate like an aeolian harp. A second six-note bass lick improvised by Kaye was copied for strings by De Lory and used as a fill between the two rhyming couplets of each verse. One of them, bassist Carol Kaye, contributed the descending six-note intro. Webb's concerns over his song's shortcomings were addressed in the recording studio by adding a tremolo-infused Dano bass melodic interlude performed by Campbell, who had first made his reputation in the music industry as a session guitarist with the prolific but uncredited group of Los Angeles backing musicians known today as the Wrecking Crew, many of whom played on the recording. His uncle had been a lineman in Kern County, California: "I could visualize my uncle up a pole in the middle of nowhere. because I was homesick." De Lory similarly found inspiration in the opening line. "When I heard it I cried," Campbell said, ". Within hours of Campbell's request, Webb delivered a demo that he regarded and labelled as an unfinished version of the song, warning producer/arranger Al De Lory that he had not completed a third verse or a bridge. Despite its real-life roots lying elsewhere, Webb set his song in Wichita, Kansas. Webb "put himself atop that pole" with the phone in his hand as he imagined the lineman talking to his girlfriend. His lyrical inspiration came while driving through the high plains of the Oklahoma panhandle past a long line of telephone poles, on one of which perched a lineman speaking into a handset. Webb wrote "Wichita Lineman" in response to an urgent phone call from Campbell for a "place" or "geographical" song to follow up " By the Time I Get to Phoenix". Widely covered by other artists, it has been described as "the first existential country song." Background and content The same rim, cup, throat, and backbore as 6 1/2AM small shank tenor trombone mouthpiece, but with bass shank.257" "F" throat/413 backbore." Wichita Lineman" is a 1968 song written by Jimmy Webb for American country music artist Glen Campbell, who recorded it backed by members of the Wrecking Crew. It requires a well-developed embouchure.261" "G" throat/420 backbore. The same cup, throat, and backbore as 6 1/2AL small shank tenor trombone but with bass shank. Same rim and cup as 6 1/2A small shank tenor trombone, but with full bass trombone throat and backbore for a rich, compact sound of large volume.276" throat/429 backbore. Produces an easy high register, slightly brighter sound.261" G throat/429 (modified) backbore. Shallower "G"-style cup with smaller throat and backbore than 5G. Same cup, throat and backbore as the 5G with a more rounded rim.276" throat/429 backbore. Old style, shallower model than 5G, facilitates upper range.276" throat/429 backbore. Similar playing characteristics to 4G with a slightly smaller cup diameter.276" throat/429 backbore. Same rim shape and diameter as No.5 small shank tenor trombone. A versatile, large-diameter mouthpiece especially useful when only one trombone is used for both the upper and very low register.276" throat/429 backbore. 3 small shank tenor trombone but with a deep bass trombone cup, throat, and backbore to facilitate pedal tones.276" throat/429 backbore. Larger throat and backbore than the 1 1/2G results in less resistance, larger dynamic range, deeper, warmer sound.319" throat/800S backbore.ĭeep, full, resonant tone big low register even through the pedal tones.276" throat/429 backbore. For many years, the standard mouthpiece for the serious bass trombone player.276" throat/429 backbore. Same rim and cup as 1 1/4G, but with a larger throat and backbore for large, powerful sound, well in tune.319" throat/800S backbore.Ī large mouthpiece with powerful tone in the low register and great carrying power. Among the largest and most powerful bass trombone mouthpieces produced today.319" throat/800S backbore.Ĭup diameter is smaller than 1G, but still very large and deep, with the sonority preferred by the modern American school.276" throat/429 backbore. Mouthpiece Specs: Bach Standard Bass Trombone Bach Standard Bass Trombone Model No.Įxtra large and deep for extraordinary power and depth of tone.
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