Bach Trombone
Check out this page if you are looking for Bach Trombone
 |
 Bach 6 1 2AL trombone mouthpiece  US $40.00
|
 BACH TROMBONE USA NO NUMBERS ON IT INSTRUMENT WITH HARD CASE US $199.00
|
 VINCENT BACH 12 TROMBONE MOUTHPIECE US $9.99
|
 1978 Bach 36 Trombone W F Attach LT Slide Corporation Model NEARLY MINT Cond US $931.00
|
 Bach 42AG Trombone Amazing Horn US $2,500.00
|
 Yamaha YSL 356R F trigger trombone Rose brass bell w Bach 6 1 2 AL mp US $399.00
|
 Bach 42BO Stradivarius Series F Attachment Trombone US $1,699.99
|
 Gold Plated Bach Megatone 1 1 2G Bass Trombone Mouthpiece US $50.00
|
 Bach 1 1 2GM Bass Trombone Mouthpiece US $20.00
|
 Bass trombone model 50b2 bach silver and gold plated US $1,875.00
|
 BACH STRADIVARIUS 42G LARGE BORE PROFESSIONAL TENOR TROMBONE GOOD CONDITION US $1,100.00
|
 Selmer Bach Trombone Case US $39.99
|
 Bach Trombone Mouthpiece US $10.00
|
 Gold Color Trombone Mouthpiece 5G size Large Shank For Bach 42 or Yamaha US $15.50
|
 Bach trombone US $26.00
|
 Vincent Bach Selmer Bundy Silver Plated Trombone w Case Mouthpiece US $99.99
|
 Bach 42BO Stradivarius F Attachment Trombone US $2,000.00
|
 Greenhoe Bach 42G Trombone Bell Section Only Lightweight Friedman Bell US $899.99
|
 Bach Brass Trombone with Hard Case US $140.00
|
 BACH 7C TROMBONE MOUTHPIECE EXCELLENT CONDITION US $26.00
|
 BACH 7 TROMBONE MOUTHPIECE NR MINT US $12.99
|
 Bach 42B Trigger Closed Wrap 11508 Trombone with a Bach Gladestone Case US $745.00
|
 Vincent Bach Corp 5G Trombone Mouthpiece Large Shank US $35.00
|
 Prelude by Conn Selmer Trombone TB711 Student Bach 12C US $399.00
|
 Bach Selmer trombone mint condition US $80.00
|
 Bach Trombone Large Bore Mouthpieces 3G 4G 61 2A US $59.18
|
 Bach TB300 Bb Student Trombone w case US $99.99
|
 CONN KING BENGE BACH OMEGA Trombone Rubber Bumper US $3.41
|
 BACH Trombone US $99.99
|
 Famed Bach Trombone Replica Jewelry Pin 24K Gold Plated US $19.99
|
 1980s vintage Trombone JSL 432 Jupiter w vincent bach 12c hardcase no reserve US $69.99
|
 Bach Omega Trombone Silver Plated US $99.95
|
 BACH Style 12C Small Shank Trombone Mouthpiece NEW US $16.99
|
 VINTAGE VINCENT BACH CORP 12C TROMBONE BARITONE SILVER MOUTHPIECE US $19.99
|
 Bach TB200B Trombone US $850.00
|
 Bach 50B Stradivarius Bass Trombone US $2,000.00
|
 Brand New Bach 50A3 Bass Trombone US $4,989.00
|
 TROMBONE Vintage Lafayette Couesnon Paris France w 2 Vincent Bach Mouthpieces US $320.00
|
 Bach Trombone US $35.00
|
 Bach Trombone Rubber Bumper Slide Tip alto tenor bass 423650tb300tb200 more US $5.70
|
 BACH USA Brass Nickel Trombone Mouthpiece Case US $159.95
|
 Brand New Bach Stadivarius 42A Hagmann Tenor Trombone US $3,369.00
|
 Vincent Bach Soloist Trombone 135mm Bore Copper Bell US $799.00
|
 BACH STRADIVARIUS TROMBONE MODEL 36B 36 Bb W F ROTOR ORIGINAL CASE OWNER US $499.99
|
 Selmer Bach Brass Trombone Good Condition US $400.00
|
 Bach Trombone Bore Cleaner NEW US $14.23
|
 BACH 341 4G LARGE SHANK TROMBONE MOUTHPIECE US $64.29
|
 BACH Trombone 200 B with F attachment Brand New Ships FREE Worldwide US $1,695.00
|
 Selmer Bach TB300 Student Trombone with Case US $399.00
|
 BACH MERCEDES II TROMBONE PLAYERS HORN US $229.00
|
Why Johnny Quits Music Early
Why do a large number of kids quit music early?
Over 50 years ago Rudolph Flesch pointed out that the loss of phonics in the schoolroom meant Johnny couldn't read. After that smart parents and educators demanded programs that taught children the sounds of the letters first, then how to blend those sounds into words.
But there is more than that, because an integrated phonics program not only uses the sight and auditory senses to teach reading, but kinesthetic activity such as writing to reinforce what the students see and hear. The end result has been outstanding success for students who have been taught to read and write using a simple phonics methodology.
That same student who responded positively to the multi-sensory reading program, however, will quite often quit music in his teens. Why? For the same reason that kids used to give up on the three Rs: One or more of the ‘Rs' are missing. And in the case of music, two of the ‘Rs' are missing: Reading and ‘Riting - especially the ‘Riting part.
In the music environment slow learning results in bored students, Bored students don't progress rapidly, not because they are incapacitated in some form, but simply because don't know how to do something. And the something in this case, is read music - fluently.
Why can't they do this? Because their reading skills are not developed in a systematic fashion when the student first learns music. Students go to piano lessons, are given a few pieces to learn each year and expected to play them to perfection. They memorize the piece in the first week, then repeat it over and over, week after week, aiming for perfection.
Rather than perfection, though, comes boredom. Because even though they memorized the piece in the first week, the remaining five weeks they were on that program meant they never had to read another new note. This is comparable way a child will memorize a story and pretend he is reading. But pretending to read is not how you develop reading fluency.
What I am suggesting is that fluent reading skills are the missing element in the teaching of music that causes many students to quit. They quit in their teens because at this age students are seeking peer recognition.
They certainly won't get recognition for their music skills, however, while they are still playing elementary pieces of music. And they are at this level because they are intimidated by the number of notes on the page in the more advanced compositions.
If they cannot get recognition for their violin or trombone skills, they'll drop that for something else - a football, a basketball, or maybe nothing, and simply hang out with their friends. Idle time.
And parents begin to say to themselves, "Why on earth did I spend that money on music lessons? It was just a total waste."
Prodigy musicians, like Mozart, certainly had a special aptitude. But they also had something else when they were young: they were taught how to write music. Not when they were 18-years old, but when they were five or six. And that's what enabled them to become extraordinarily successful.
It is now recognized that "talent" is the result of diligent work, at least 10,000 hours of practice at something - anything. If it is piano, it means 10,000 hours at the keyboard. If it's golfing, it's 10,000 hours on the course and range, day in and day out, with clubs and putter.
It's imple. You take aptitude and apply constant practice, and you end up with "talent." The prolific composer J.S. Bach, when asked the secret of his genius, replied, "I was made to work; if you are equally industrious you will be equally successful." It took 46 years to collect his output into 60 volumes. That's talent.
The earlier students get those 10,000 hours under their belt, the sooner their "talent" displays itself, because now they are well-honed, well-developed thinking students who have the mental and physiological disciplines for their instrument, sport or occupation.
Just as in literature children are taught first to write letters then words, joining words to make sentences, combining multiple sentences into paragraphs, then on to short stories, so too they need to be taught the musical alphabet which, unlike language, has only seven letters spread out across five lines and four spaces.
Add to the letters the range of octaves, the use of measures (units of rhythm), blend in the grammar rules of good melodic writing, of which there about eight, develop first the short phrase, the 8-bar then 16-bar melody, then move on to form which allows longer compositions in a structured environment.
To write music requires the ability to read. Many music students quit in their teens because they cannot read accurately, quickly translating quite a few notes on the written page into productive music. And they can't read because they can't write. Reading and writing go together like love and marriage.
So they hand in their notice: "I'm out of here." Because Johnny or Mary or Sally or Peter cannot read effectively at all.
The home school or classroom music student can overcome this problem with the right tools of learning. And it's time parents and teachers demanded not only phonics for literature, but music programs that teach kids how to read and write - fluently and early.
Then it will no longer be said, Johnny can't read music. And if he can read fluently, perhaps it will never be asked, "Why did Johnny quit music early?" - because he's still hard at work, heading towards that 10,000 hour goal when he, too, will be recognized as "talented".
About the Author
If you want to know more about a step-by-step,creative music program that successfully teaches children from 8+ how to read, write and play music, Click here. Ian Hodge, Ph.D, lives in East Lansing, MI. He is a music educator and business consultant with 30+ years of teaching experience.
Comments