@ssmith1226 said in TrumpetBoards.com Quiz:

@j-jericho

You hit the nail on the head. Yesterday, a good friend of mine, and fellow trumpet player from Miami, sent me this link to the Library of Congress’s “National JukeBox”
( https://www.loc.gov/collections/national-jukebox/about-this-collection/ ). One of the first recordings I stumbled across was Herbert L Clarke’s May 18, 2012 revording of “Southern Cross”.
Your prize for answering correctly is your own personal Sousa Band Concert recorded in the early 1900’s. The link to this, in the National Juke Box is immediately below. The specifics about the Herbert L Clarke recording is below the link.

The JJericho, AKA Rick Martin, Grand Prize Sousa Concert:

https://www.loc.gov/collections/national-jukebox/about-this-collection/playlists/sousas-band-in-concert/

Nice prize. Thank you!

I am every day confronting this question and I have no answer that will either be convincing or satisfying.

Perhaps it is easier to declare who has "it" instead or trying to define what "it" is

Miles had it
Chet had it
Louis had it
Bix had it
African tribal music has it
Japanese folk music has it
Japanese drumming has it
Zen flute playing has it
Whale-song has it
many more than I can list here have it

It is everywhere if we look for it and yet not everyone has it, although it appears that all are capable of it if they choose to be.

Often we search for it and reach for it and it eludes us but the pull is so strong that we never give up the search for it for in the reaching for it we do sometimes attain it and when that happens we are uplifted and listeners are fulfilled and they are filled with wonder.

It is never an intellectual exercise but instead it is an emotional connection and the notes we play are the vehicle.

Musicians who can attain it look into their own souls and use their skills to represent what they find there, the listener receives it and if the musician has attained it, it reaches in, to the very heart and soul of the listener.

Then the listener begins to dance or they begin to weep or they are transported to a different place a better place, but always they are moved beyond words.

Words are sometimes used to try to describe it, words such as hypnotic transcendental meditative but they all seem to fall short.

I have been lucky enough to have witnessed it many times but I have never been able to quantify or define it.

Always it arrives when it is not looked for as though it is in hiding and must be tempted out like a frightened deer or a mouse, but seeking it out and trying to illuminate and bring it out scares it away.

It is an experience like dance and is fleeting and is gone before it can be annotated, can we annotate a dance can we annotate colour can we annotate fear can we annotate pleasure, we can perhaps annotate the actions of something, for sure we can annotate a note in a stave or a phrase but the emotional experience of it cannot I think be annotated.

So what is music, perhaps all we can really say is this - Music is an emotional experience that envelops us and moves us to a different and often a better place.

Maybe there are not "natural" players, but there certainly are wunderkind!

@barliman2001 The Astronaut's March would have been a vast improvement. Does it have lyrics? Maybe we could write some and submit them to the Space Force. What they have surely can't last very long. Or maybe we could write some lyrics for the Belgian Paratroopers.

@Kehaulani

Loving both of those thanks for the share

I am speaking of the playing back of recordings only.

If a note is played on let us say a trombone and the slide is lengthened the pitch falls but there is no tempo as such it is a single note.

If this pitch is played within a piece of music then there are notes preceding and notes following the note in question.

Now we have tempo and pitch together.

If we record this music consisting of pitch and tempo and we speed up the playback of the recording then the pitch rises, they are locked together by the recording medium.

If we slow the playback the pitch falls, again they are locked together.

We can of course in a live performance slow the tempo while keeping the pitches correct, but the thread was only concerned with playing back on a computer, a recording of a performance and the pitch changed while the tempo of the recording was unchanged.

With a cd or a tape recording or a pressed LP, if you alter the tempo you alter the pitch.

Computers can however take a recording with a tempo and pitches and slow the tempo while keeping the pitch constant, or change the pitch without altering the tempo.

I therefore have said pitch and tempo in the real world are locked together but in the computer world they are not locked together.

Or do you perhaps know of a way of changing the speed of a gramaphone or of a tape machine without altering the pitches. I have never seen that I would be very interested in learning of it.

No, but you could use an interlude of "Who Let the Dogs Out". 😁

@j-jericho

Well, I am surprised. This fellow can sing. I never thought I would ever hear those old ballads from the lips of Robert Palmer. Thanks for sharing.
George

At this point, I think I just have to chip in with the story of how I got hooked into big bands... 1993... I was a fairly competent amateur player with lots of experience in brass bands and wind bands, some orchestral stuff and already a vast repertoire of church stuff. No jazz experience whatsoever. Then, one Saturday morning, I got a phone call... a very Bavarian, very bearded voice at the other end...
"I've heard you're a trumpet player." -
"Yes?" -
"We are a big band." -
"Yes?" -
" You have a red shirt?" -
"Yeees??" -
"Free this afternoon?" -
"Yyeees?" -
"Be at the Saint Florian Restaurant at three." CLICK.

Spoof or truth? Well, the place was not too far away, so I collected everything I thought I might need... rotary Bb, rotary C and picc, black jacket and bow tie... (my usual church gig outfit) and went there.

In my innocence, I thought it might be just a short gig, with probably a third or fourth trumpet awol, possibly an hour's sight-reading of easy stuff, cash in and get out... "otherwise you don't hire a guy you don't know anything about four hours before a gig"...

What I found...

an Austrian wedding, and the band scheduled to play for the afternoon coffee break, then provide dinner music and continue to play for the dancing until dawn... the guy who had gone awol was the 1st trumpet, and they expected me to fully replace him for a whopping 16 hours or so... with a repertoire I had never seen or played before... I had to come clean about my big band experience so far, so trumpet #3 stepped up and I filled his place and managed to muddle through somehow... interestingly enough, they did not throw me out afterwards with catcalls and rotten eggs, but invited me in as full replacement for the now promoted #3. I stayed with that outfit for a full eleven years, playing another 196 weddings with them, 40-50 balls, and smaller gigs, numerous... have never been without a big band ever since.

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Nice article! The one exception to the boot camp requirement is the “President’s Own” USMC band in Washington.

Arban's has lots of good stuff in it. I believe that Tom Hooten did a revision of Arban's. It would be worth looking into purchasing that edition.

What you are looking for is "Christmas song partner songs." Partner songs are what you call two songs that have exactly the same chord changes, so that you can have two people (or two groups of people) sing them (or play them) at the same time, resulting in some nice harmonies and countermelody effects.

Choirs sing "partner songs" all the time (something I learned in previous jobs I've had where I taught both band AND choir. If you do an internet search for something like "Christmas partner songs," you will find some results for what you are looking for. Here's a good list of these that I found with a quick search: http://musicedresources.weebly.com/35-partner-songs--rounds.html Not all of the partner songs listed there are Christmas partners, but a good number of them are. If you search some more on the internet, you can probably find even more lists of partner songs like this.

"Rudolph The Red-Nosed Reindeer" and "Have a Holly, Jolly Christmas" have exactly the same chord progression, and therefore this is a case of 2 partner songs that are BOTH Christmas songs. (Both songs were written by Johnny Marks.)

The way that choirs usually perform partner songs (and what would also probably work great for your jazz combo) is to first have everyone sing (play) song #1 all the way through, then immediately everyone then sings (plays) song #2 all the way through, then divide up the ensemble so that half (or some) are singing (or playing) song #1 while the other half of the group are singing (or playing) song #2.

@administrator said in Doubling on alto trombone:

Which reminds me....Maynard had some kind of frankenhorn with both a slide and valves. Anybody remember what this thing was called?

It was a “FireBird”, Holton ST303. You can buy one from Gamin Brass on eBay for $14,000, or Berkley Winds, a Chinese brand, makes a facsimile that on eBay for $1250. A friend of mine has the Berkley model but pointed out to me that it’s trombone slide was also the tuning slide, therefore not very practical.

@J-Jericho said in Doubling on tenor sax:

@Dale-Proctor The mouthpieces in your Bach Mercedes case look fairly deep... or is that an illusion?

They are what I’d call a medium C-cup depth. The gold one (top one) is a Connstellation 9C-W, and the silver one is a Curry 3C.

@J-Jericho My mistake I thought the instrument came to you from a prior user.

Non the less your maintenance regime is excellent and proved its worth.

I do understand that breaking in a new horn can be problematic.

I do see however a great similarity with both of our methods of breaking in a problematic horn.

The method is always the same. Clean the valves clean the valve block lubricate the valves. Keep it clean keep it well lubricated.