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Veterans & Military Musicians

  • RE: ACB Doubler A/Bb Picc for sale - almost unused

    $50 to the USA? I'm curious what import taxes would cost. I'm interested, please PM me. Thanks! @barliman2001

    posted in High Trumpets (Eb
  • RE: The Serpent

    Each genre of instrument goes well with the specific genre of music that was created with it.

    I can enjoy a period piece on either a centuries old (replica) natural trumpet, or a modern Schagerl Piccolo trumpet. Different sounds and different reproductions.

    posted in Vintage Items
  • RE: The Serpent

    @Trumpetb My point is that we do not NEED TO PERFORM WITH the original instruments to get the original intentions of the composer. For some people, myself included, learning and performing with them does however, offer additional palettes of color to use.
    As the trumpet through its history has changed about every 50 years, I would place most of the "blame" for lost technique and tone clearly with the trumpeters. Even in the Jazz genre, how many players just noodle around without really embracing the various periods in jazz? How many can play a convincing Bix or Dizzy chorus? What about a whole evening of 1920s jazz (or 1950s for that matter). Sure, we may hear some licks that apply, but a whole evening? The same is true with cornetto choruses called diminuation. It is not a hard concept, the patterns developed over time and also applied to a certain extent to the baroque period.
    The ignorance that is displayed - even by some (if not many) professionals, is simply laziness not lack of sources, information or role models. It certainly is not hardware based. There are even courses to build your own cornetto or natural trumpet.
    I would not consider anything lost rather ignored.

    posted in Vintage Items
  • RE: The Serpent

    My personal opinion is that we have lost NOTHING. The trumpet has been evolving/transforming about every 50 years and that the issue is more about what the contemporary view of what is acceptable. The end of the baroque era brought the requirements of chromatics that the natural trumpet could not fulfill. An additional handicap was classical modulation of the key signature that ruled out "mean tone" instruments. Initial attempts to get the trumpet chromatic sounded HORRIBLE, that resulted in it losing its "solo instrument" position in the orchestra and it wasn't until the late 1800s until further developments enabled the trumpeter to recapture melodic superiority. With the advent of recording technology, the requirement of security drove the creation of shorter instruments (in Bb, C, D and Eb). In Germany around 1900 the Bb trumpet common today was called the "high Bb" trumpet and the orchestral players using the deep F trumpets commented on the thin sound and lack of color of those Bb instruments. They lost the battle.
    Rediscovery of Bach in the 1920s and 1930s drove development of smaller bore high D, Eb, F and G trumpets. Jazz drove additional changes to the Bb as did raising concert pitch to A=440. Charles Mager bringing french C trumpets to Boston was an additional change. After the second world war, the volume war started. Symphony orchestras (especially the brass) got larger bore instruments to get a "darker" sound that fitted in the orchestral fabric better. Unfortunately, that development increased the loudness, driving orchestral pitch up to the current A=442/443 to make the woodwinds brighter to compete. The string sections got strings that were also much louder.
    Now, to get back to my original premise: trumpeters never had any need to ignore history or lose certain playing techniques. This was and still is their own choice. I listen to recent symphonic brass recordings of Gabrielli and wonder why nothing has improved since the 1960s when Philadelphia, Cleveland and Chicago created their legendary recordings. The reason is choice and ignorance. Ed Tarr and many others have made historical performance practice popular and accessible. Choosing to ignore what has been learned is my definition of ignorant. There is NO REASON FOR A MODERN PLAYER TO NOT ENCOMPASS THE ORIGINAL INTENT OF COMPOSERS FROM ANY ERA. Everything is freely available in our information age. I do not need a cornetto to play Gabrielli or a natural trumpet to play Bach. I do need to understand performance practice, phrasing, articulation and blend to serve the original intent however. It is there for the taking as long as we are not too proud to bend over and pick it up!
    We can learn a lot from these pioneers.

    posted in Vintage Items
  • RE: How about a "Random Meaningless Image...let's see them string"?

    Are they going to turn Oktoberfest into Septembersemifest?

    posted in Lounge
  • RE: 1970s Bach Mercedes trumpet

    Was it a good deal?

    posted in Bb & C Trumpets
  • RE: Subcontrabass Trumpet

    A case is the least of your worries…

    posted in Bb & C Trumpets
  • RE: The past lives on and we are judged by it

    I do not think that I have missed anything. It is a simple fact that our lives are far more public than we realise and that brings a bunch of opportunities - good and bad.
    As far as someone "secretly" recording me and publishing, that would only be a (solvable) problem if my name or picture were attached somehow. Especially in Germany, there are very fast venues to take care of situations like this.

    That being said, my practice sessions are generally purposeful and I think for the most part it is audibly very clear what I am working towards. I almost never "noodle around". This means if a recording was made without a picture or video of me or my name, I probably would not care. The chance of someone "stealing" my practice work and making money with it is so unlikely, I have never given it any thought.

    The idea of a private detective digging dirt up about trumpet practice sessions reminds me of Guy Noir of "a Prairie Home Companion" fame. Garrison Keillor is my hero!

    posted in Lounge
  • RE: The past lives on and we are judged by it

    I would heartily disagree that "warts" are bad. Why can we not accept that we are human, fallible but capable of development? A recording of a live concert by a school band, symphony orchestra or church choir is a time document - showing various realities and triggering honest memories. That is far more "valuable" than pimped material where we would like to portray ourselves as superheros.
    As far as the bar for putting stuff on YouTube, we are simply feeding the beast. Like with social Media in general, "weak content" prevails, not because of lack of talent, rather because of lack of humility. I have no trouble rubbing that in peoples noses years later. A CD passed around to friends and family would have been enough but wanting to be a movie star clouded our common sense.
    It becomes even more problematic when we try to help the misguided by critiquing the posts. Then the excuses start and those in a position to help are attacked for misunderstanding the purpose behind publishing.
    Nope, I say our recordings are what they are and bad decisions are no different. If our first posted recordings are weak but we show incredible growth, we are good model roles. If our performances stay weak but we continue to post, we learn something about that person. Also not a bad thing. Black and white lists are available for most forms of social media.
    The choice has ALWAYS been ours but the results involve others whether we like it or not.

    posted in Lounge
  • RE: Do you ever feel like.....

    @administrator only considering a few aspects...
    There is always a "cost of business". When the recording industry was in its infancy, the ensembles had to play an entire side of a record. The musicians did not have a "second chance". I believe in the beginning, that made them more interested in playing safe instead of "with abandon".
    Fast forward to the recording to multichannel analog tape. Now we could splice out things less desirable, reality became something else.
    Fast forward to digital recording (starting further developed perhaps in the late 1990s). Now we can manipulate with surgical precision pitch, rhythm, phrases or even individual notes. In addition we can add all sorts of "vitamin supplements" like reverb and instrumental effects, we can modify the size and directivity. We do not HAVE to, but we are FREE to.
    In spite all of this real musicians have always been very selective about what influences affect their playing. The possibilities are also tempered by the physicality of their playing. How many "reference" recordings of major concertos have working symphonic players as the soloists?
    Enter AI with a huge database of what has been (albeit a very incomplete database). How are the styles across centuries linked? How is the physicalities of the instruments implemented? Do we really need an even blonder Barbie with Botox lips for better embouchure, 100-20-100 hourglass figure for better breath control?
    Of course we can maintain that the pop industry could produce ever more cheaply. I am also convinced that "serious" music could benefit from AI but not in ways that we currently consider. Just like the fact that it took the digital recording industry a decade to develop its own new face and voice, AI still has a long way to go. I can reference Googles Bach Doodle project which in my view is HORRIBLE! Experiments to finish various symphonies have also failed by not even sounding like the original composer - in spite of dedicated database training.

    We also have an ethical issue when we "colorize" black and white photography or let dead musicians perform notes that they never played. Even more critical is when movies get soundtracks from samples and the musicians that created the samples as basis for AI get no credits or money!

    I have recently found something else (the exact opposite): a young lady Alma Deutscher that composes and improvises as if she had been born in the early 18th century. This lady has unbelievable instrumental talent as well as ability to improvise. This is my next best thing.

    posted in Music Discussion