@Doodlin said in Valve combination 1 and 3:

Thanks for the replies. I find it fascinating when learning about the different acoustical properties of musical instruments.

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@GeorgeB some arrangers of marches are very unimaginative and write nasty parts for 2nd and 3rd cornets/trumpets don't they? My suggestion is to get your double-tonguing up to speed. It's far easier to cruise through a long stretch of semi-quavers even if you can single tongue at that speed.

A few years back a teacher gave me an exercise to develop triple-tonguing that is equally applicable to building double-tonguing speed and technique: Simply pick a scale that is comfortably in your range - maybe F major and start - (F) tktk tktk taaaaa (G) tktk tktk taaaa and so on, up and down the scale. Do it slowly at first, concentrating on getting the articulation clean and even. Getting the articulation clean is more important that speed ( +1 for the suggestion above to practice just "K" articulation too).

I won't buy into the discussion about tuku vs taka except to say that it's a case of what ever works in you head - dugu dugu works for me ☺

For those of us who don't like to scrub out horns on a regular basis, one good scrub, followed by Herco Spitballs once a week will keep the nasties out, especially when combined with good oral hygiene. The only horns I have to scrub are the newly acquired ones. Once done, I inspect the insides periodically to find them clean every time.

@Dr-Mark said in Mental approach to practice and performance:

@GeorgeB said in Mental approach to practice and performance:

Yeah there is a little bit of all that stuff in me, so you understand what I am going through today, and for the next couple of weeks...

Just hang in there and when you feel right, start back soft and short sessions.
By the inch its a cinch, by the yard it's hard

You are so cool, Dr-Mark. If it wasn't for the fact I don't like needles, I would have that little saying tattooed on my forehead so that I'd see it every morning in the bathroom mirror...☺

@Dr-Mark said in What Is A Good Practice Routine?:

What does your routine look like?

Since college, I've divided my routine into 3 sections -- working on the chops, technique, and music. I currently spend about 30 minutes in each area.

Embouchure - long tones, tonguing, lip slurs, etc. , mostly from "Trumpet Solfeggio", sometimes using Clarke or Arbans.

Technique - Scales, patterns, etc., mostly from "Patterns For Jazz".

Music - Memorizing and practicing jazz standards.

Mike

His concept of going out vs. going up was taught to me back in the 60s when I sat next to a guy who had played lead for Kenton and Herman and went on to be a first-call L.A. studio musician. That concept of thinking of range in incremental steps going in and out vs. high and low was liberating for me.

As an aside, I played professional woodwinds for about 20 years in between stints as a brass player, and there is no particular "up" (at least as compared to conventional trumpet playing), pedagogically, in sax plating. Even now, when I play high, I just think of flipping an octave key on and off. Previously, I used to used lot of tension and visible muscling for "high" notes.

I'd be glad to contribute to an already existing thread, or course of study, as a contributor but not as a primary. It's an interesting idea.

This may sound a little disingenuous, but I think the above requirement is important, that the course of study/information should "make sure educational experiences are appropriately challenging".

And, to me, that means a place for a qualitative exchange of ideas and not just frequented by yet another person just looking for easy answers and not particularly interested in doing the hard work, themselves.

And that goes for forum members, too, who buy into this by giving in to obvious answers and doing the work for the student, themselves. Nobody really benefits from this.

Hi Niner,
It sounds like Willie Nelson should be singing along with B.B., "The night life, ain't no good life, but its my life"

Dr-GO,
That's Joey Alexander. he's skilled way beyond his years. He reminds me of a girl named Tina S on guitar. She just rips through Beethoven's Moonlight Sonata 3rd mvt. and she' around 16.
https://www.youtube.com/results?search_query=tina+s+moonlight

My 2c worth: Anything you learn (and assimilate) in all keys makes you more fluent, period.

@Dr-Mark said in Tuning Tendencies:

@Richard-III said in Tuning Tendencies:

Totally agree with the behind the bell and the actual sound being different. I've recorded many a practice and performance and listened back. Some instruments have issues to work around and others are just about perfect, with no slide use. Listen to some old recordings before there were slides and recording technology to correct tuning and they managed to play in tune. So why not now?

That's a great question but I'm not knowledged enough in antique trumpets to answer. I know little to nothing about old horns. However, there are people on this site that can field this question. We have serious brass technicians and trumpet builders that can answer your question. Possibly trumpetsplus or flugelgirl can help.

I guess everyone doesn't know about the longer first and third slides in older trumpets? Players were expected to listen and play in tune. The low D and C# were much closer. The D in the staff tended to be a little flat. Each horn had its tendencies, You learned them and played in tune. My newest trumpet was made in the early sixties. My favorites were made in the late thirties and early forties. They are quite easy to play and easy to play in tune.

@ROWUK said in Jaw Position and the Upper Register:

Now, one word of warning. I learned first hand at TrumpetMaster that pedantic, repetitive posting never results in anyone taking ones side. Generally the target audience just goes away shaking their heads. Sometimes passion is too close to politics or religion (with a small R).

Lesson learned. Showing off book learning is no way to help people. Thank you.

@ROWUK said in Playing Like A Girl:

Any ideas why I listed these people?

No

@Bob-Pixley said in How Do You Give the Audience a Sonic Experience?:

Dynamics. Make the soft sections really soft and the loud parts really LOUD! Contrast is your ally for keeping the music interesting. Of course, playing well is a given, and yes, if you look like you're glad to be there and are having fun, the audience will respond.

I so agree. This is essential. The power of dynamics (especially playing softer) really brings the audiences' ears into understanding the musicality behind the performance.

Hi Mike,
Here's something to try if you're up to it.
First, take in a breath like you're yawning.
Next, start on first space F and blow as if you're simply exhaling (not forced)
Next, going up, play A, then C, then F. Don't force the air, just naturally make the aperture smaller and see what the abs do on their own.
Next, start on F at the top of the staff (blow easy!)
then going up, play A, C, and F above high C.
If you maintain a (non-forced) wind, the abs will tighten on their own.
I can only speak for me but if I consciously tighten the abs, I'll lose the note.
Once you get the connection between "as I make the hole smaller (not forcing the wind) the abs will tighten on their own" It will all make sense. No joke.