Don'cha just love the Internet?

Well, my first reaction is, if you are a guitar teacher why are you posting on a trumpet site?

To your question: stress can cause headaches. Guitar hell can cause stress. But if it persists, I would have a talk with my doctor since it could be something else.

It don't mean a thing . . .

{'m not doing squat. But I'll share this blast from the past.

On July 4th during the 200th Anniversary of our country's founding, I was at Ft. McHenry in Baltimore harbor, home of the Star Bangled Banner. I watched a firework reenactment of the bombardment of the fort from a sailing ship that was in the harbour. On the ship, playing the National Anthem was the Tonight Show Orchestra and Doc Severinsen. It doesn't get much more overwhelming than that.

Beautiful women, good hearty food, good cross-section of arts. What more could a guy ask for? Czech it out.

(No, I don't live there. Just worked and visited.)

The thing to remember that is paramount, is that Jazz/Blues is an aural art. You need to hear and internalize it, not read it.

Yes, reading books can be helpful. But until you get the feel in your ears, everything is just peripheral.

Listen to some Blues and Jazz music and sing along with it until a listener cannot tell that there are two performers. You have to, without an instrument, internalise the feel. When you do this, as a by-product, you pick up idiomatic articulations, phrasing and all the other elements of music. Then -

Learn the six-note Blues Scale and start playing simple blues with these notes. You'll discover that a basic Blues has only three chords and the Blues scale fits over it very easily. The Jamey Aebersold Play-Along, Nothin' But Blues, (Vol. 2) is one good starting point.

After you/ve doing all that, begin playing along with recordings. You can also start transcribing useful licks to practice. Miles' solo on So What from Kind of Blue is a good starting point for transcribing. While it's not a Delta Blues, it's simple enough to use to learn transcribing techniques.

I can feel the crisp chill in the air. Great work.

I don't see how there wouldn't be. In Germany, I conducted, at any given time, two city bands, a university band and a jazz band and played in another city concert band, jazz band and combos.

I lived near Kaiserslautern, Germany is a city of about 100,000 people. Prague has about 1.36 million people. Surely the opportunities are even better.

You'll find that in large cities there are sections of town, often going way back to when they were separate villages, that keep their identities and have their own musical groups. Furthermore, Prague certainly has surrounding villages that also have their musical groups.

Another thing you may find useful it that the people may look on you, at first at least, as something unique and show you more interest.

Scientifically, I can't answer your question. But, practically, I oil my valves by putting oil into my leadpipe and blowing it through my horn and in half a century, I've never had a horn with red rot. This is in a range of horns from brand new to the turn of the 1900s.

As anyone used to reading my posts would know that I am a minimalist - I think there's way too much micro-analysing and over-thinking on things trumpet,

So, with that being said - I don't oil my valves individually. Maybe once a week, I blow some oil from my mouthpipe through the entire horn and out the bell. Been doing this since Jr. H.S. and that was a long time ago.

I do think, though, that the oil makes a difference, so use that judiciously. (And even speaking of minimalist oil, for several years my oil was a mixture of 3-in-One oil and White Kerosine. Fuggataboutit.)

Good luck with the Mendini. A lot of those Chinese woodwinds are good at first then start falling out of adjustment after a while and then begin a frustrating thing of never-ending adjustments. Keep an eye on that and maybe you'll have some luck with it.

Also, when you start playing, know that reeds can be frustrating and, what may seem difficult to get a sound out, may just be that your reed is too stiff. Conversely, if your reed is too soft, you may have trouble with high notes.

I played Saxes professionally for about two decades. I think you might have more sucess, if you're going to play trumpet and sax if, at least in the geginnings, if you play Trumpet first and then Sax. I think that sequence is a little easier on the chops.

I disagree that Alto is easier to play than Tenor. I played Soprano, Alto and Tenor. I would say that the higher you go in saxes, the more muscle power you need in your embouchure. Another diference is in hearing the tones in the horns' respective ranges.

Have you settled on a Sax? If not, you can get a lor of help at Sax on the Web (https://www.saxontheweb.net/).

The thing to remember that is paramount, is that Jazz/Blues is an aural art. You need to hear and internalize it, not read it.

Yes, reading books can be helpful. But until you get the feel in your ears, everything is just peripheral.

Listen to some Blues and Jazz music and sing along with it until a listener cannot tell that there are two performers. You have to, without an instrument, internalise the feel. When you do this, as a by-product, you pick up idiomatic articulations, phrasing and all the other elements of music. Then -

Learn the six-note Blues Scale and start playing simple blues with these notes. You'll discover that a basic Blues has only three chords and the Blues scale fits over it very easily. The Jamey Aebersold Play-Along, Nothin' But Blues, (Vol. 2) is one good starting point.

After you/ve doing all that, begin playing along with recordings. You can also start transcribing useful licks to practice. Miles' solo on So What from Kind of Blue is a good starting point for transcribing. While it's not a Delta Blues, it's simple enough to use to learn transcribing techniques.

You never know what you'll find in Prague.
Bill Clinton plays sax.
.

I don't see how there wouldn't be. In Germany, I conducted, at any given time, two city bands, a university band and a jazz band and played in another city concert band, jazz band and combos.

I lived near Kaiserslautern, Germany is a city of about 100,000 people. Prague has about 1.36 million people. Surely the opportunities are even better.

You'll find that in large cities there are sections of town, often going way back to when they were separate villages, that keep their identities and have their own musical groups. Furthermore, Prague certainly has surrounding villages that also have their musical groups.

Another thing you may find useful it that the people may look on you, at first at least, as something unique and show you more interest.

Man, if I had a dollar for every time I played that. My first pay gigs were dances and some combo jazz. But I started playing in a "Soul Band" in the mid-sixties with Soul Man, Sittin' on the Dock of the Bay, Mustang Sally etc. Great music and great fun. Enjoy.

{'ve been to the opera in both Vienna and Munchen and it doesn't get any better than that.

Beautiful women, good hearty food, good cross-section of arts. What more could a guy ask for? Czech it out.

(No, I don't live there. Just worked and visited.)