Posts made by administrator

@administrator said in The difference in timbre caused by using additional valves:

I use alternate fingerings often on the C trumpet. Most C trumpeters just get used to playing E & Eb on the staff with alternates. At least, those who play Bachs do that. The tone is compromised somewhat but intonation is far more important in an orchestral setting.

I know that Jim Becker used to do something called "blueprinting" when he worked at Osmun Music. I've never personally encountered a Bach C trumpet where those notes were in tune.

As Bix, and all artists, are, in part, a product of their time and culture, I would have to say "no." Not that there aren't people as talented; just that the combination that produced "Bix" is simply not possible today. Just my thoughts.

I'll transpose it to H, hope that helps.

I use alternate fingerings often on the C trumpet. Most C trumpeters just get used to playing E & Eb on the staff with alternates. At least, those who play Bachs do that. The tone is compromised somewhat but intonation is far more important in an orchestral setting.

@rowuk said in The difference in timbre caused by using additional valves:

@administrator The Monette Raja C is unlike either.

my Bach 229L C has a very even tone over the whole range with the typical Bach core. The only real issue is that there is a specific volume where the instrument jumps from "creamy" to "screaming". This volume is "loud" but NOT consistent over all of the registers. When I practice repertory with the Bach, I target this issue to prevent accidentally becoming too obnoxious on stage.

My Heckel rotary Bb has a dark and resonant low register, a very clear and articulate midrange and a bright high register. The sound holds together at any volume.

The Monette is a completely different animal. It can be played with core to fuzzy, dark to bright anywhere in all of the registers. Above all however is the "thickness" of the tone that creates more sum and difference (resultant) tones with other instruments than any other of my horns. I would say that it is more colourful BUT puts more pressure on the second trumpet to blend.

The most fun is when in a section with multiple heavy Monette horns. I have 2 ensembles with this state. Life is easiest there.

Very intriguing. Yes, I love listening to Manny Laureano. I believe he is the only major orchestral principal in the USA who uses one, but I could be wrong.

@ROWUK this may be completely off topic, but do you find your Monette (speaking of timbre) to be more like an American or a German rotary trumpet? They do tend to have a unique sound signature all of their own.

I do like the wide range of timbre that the rotary trumpet can achieve. I hear it all the time when I watch the Digital Concert Hall (Berliner Philharmoniker).

Same trumpet on Reverb.

https://reverb.com/item/64424980-1970s-martin-handcraft-committee-trumpet-t3460-serial-551036-kenosha

Saw this on local classifieds. Is the silver original? I did not know that they plated these trumpets from the factory.

https://classifieds.ksl.com/listing/70489669

Looks like you have yourself a neat little gem. I'd hold onto that.

You can post it here in the classifieds. Trumpetherald marketplace is also a very good location, but their software is a frustrating experience, to say the least!

@dr-go said in How about a "Random Meaningless Image...let's see them string"?:

PU-E! If they just left out the "ue", then no more PU-E!

A couple letters make quite the difference!

There is a scene from the Show Better Call Saul where there is a vinyl record playing in the background. It sounds like a flugelhorn. Does anybody know what this recording is?

I wish somebody would have called me to play just about anything! Super dry over here.

Well, you have to understand that this thing basically digests oceans of data and connects A-to-B. So, it will certainly get things wrong. Artificial "intelligence" is actually not intelligent at all -- it's just an algorithm that's constantly evolving.

I say, "delete 'em all!"

Prompt: Describe for me the transition of Miles Davis from straightahead jazz to acid rock. Write a 5000 word essay as if you were a jazz studies professor.

As a jazz studies professor, I have had the opportunity to study the career of Miles Davis in depth, and I have been particularly interested in the transition that he made from straightahead jazz to acid rock in the late 1960s and early 1970s. This transition was a major turning point in Davis' career, and it marked a significant shift in the direction of popular music as a whole.

To understand the significance of this transition, it is important to consider the context in which it took place. In the 1950s and 1960s, Davis was one of the most influential figures in the world of jazz, and he was known for his innovative and experimental approach to music. He was a pioneer of the "cool jazz" movement, which rejected the more traditional and virtuosic approach of earlier jazz styles in favor of a more relaxed and understated sound.

In the late 1960s, however, Davis began to feel that the world of jazz was becoming too rigid and formulaic, and he began to explore new musical directions. He was influenced by a number of different genres, including rock, funk, and blues, and he began to incorporate these elements into his music.

The result was a series of groundbreaking albums that marked a major departure from traditional jazz. Davis' album "Bitches Brew" is perhaps the most famous example of this transition, and it is widely considered to be a classic of acid rock. The album features extended jams, heavy use of electric instruments and effects, and a raw, improvisatory approach that was unlike anything that had come before it.

While some jazz purists were initially skeptical of Davis' new direction, it quickly gained widespread acclaim, and it helped to pave the way for the fusion and jazz-rock movements of the 1970s. Davis' transition from straightahead jazz to acid rock was a major turning point in his career, and it had a profound impact on the direction of popular music as a whole.

Overall, the transition of Miles Davis from straightahead jazz to acid rock was a significant and influential moment in the history of music. It marked a major shift in the direction of popular music and helped to pave the way for the fusion and jazz-rock movements of the 1970s.

Prompt: Explain to me why trumpet players no longer use low f trumpets.

Response:

Low F trumpets were once popular among trumpet players, particularly in the classical music world. However, they have largely fallen out of use in recent years for a number of reasons.

One reason for the decline in the use of low F trumpets is that they can be difficult to play. The low F trumpet has a longer and narrower bore than a standard trumpet, which can make it more challenging for players to produce a clear and focused sound. In addition, the low F trumpet requires more air and more precise control of the lips and mouth to produce a good sound, which can be difficult for some players to achieve.

Another reason for the decline in the use of low F trumpets is that they can be difficult to tune. The low F trumpet has a much wider range than a standard trumpet, and it can be challenging to get all of the notes in the range to sound in tune with each other. This can be especially difficult in ensemble settings, where the trumpet is expected to blend with other instruments.

Finally, the low F trumpet has largely been replaced by other instruments that are better suited to playing in the lower range. For example, many players now use a piccolo trumpet or a flugelhorn to play in the lower range, as these instruments are generally easier to play and to tune.

Overall, while low F trumpets were once popular among trumpet players, they have largely fallen out of use in recent years due to the challenges of playing and tuning them, as well as the availability of other instruments that are better suited to playing in the lower range.

Prompt: Write a 5000 word article describing why Adolph "Bud" Herseth was such a pivotal character in the history of brass playing. Use the following phrases, "chicago brass sound," "clarity of sound," "pure musicianship."

Response:

Adolph "Bud" Herseth was a pivotal character in the history of brass playing, and his contributions have had a lasting impact on the world of music. As the principal trumpet player for the Chicago Symphony Orchestra for over 50 years, Herseth helped define the "Chicago brass sound," a term that is often used to describe the exceptional clarity and precision of the brass section in this renowned orchestra.

Herseth's playing was characterized by an exceptional clarity of sound that was unmatched by any other brass player of his time. His control of the trumpet was flawless, and he was able to produce a beautiful, pure sound that was both powerful and nuanced. His musicianship was also impeccable, and he was able to bring a deep understanding of the music he was performing to every performance.

In addition to his technical prowess, Herseth was also known for his pure musicianship. He had a deep appreciation for the art of music, and he was able to bring a sense of passion and emotion to his playing that was truly special. His performances were always infused with a sense of beauty and depth, and he was able to connect with his audience on a profound level.

Overall, Adolph "Bud" Herseth was a true master of the trumpet, and his contributions to the world of brass playing have had a lasting impact. His exceptional clarity of sound, technical mastery, and pure musicianship have set him apart as one of the greatest brass players in history, and his legacy will continue to inspire brass players for generations to come.

This bot, in particular.
https://chat.openai.com/chat

I gave it the following prompt:
Write a 5000 word article describing the pros and cons of mouthpiece buzzing for trumpet players.

The response (took about 2 minutes):

Mouthpiece buzzing is a technique used by trumpet players to improve their overall playing ability and to address specific issues in their playing. It involves buzzing the lips into the mouthpiece of the trumpet without the trumpet being present, using the same muscles and techniques as when playing the trumpet.

One of the main benefits of mouthpiece buzzing is that it allows players to focus specifically on their embouchure (the position of the lips and mouth when playing a brass instrument) and the muscles used to control their sound. By buzzing the mouthpiece, players can get a better sense of what their embouchure should feel like and can work on developing the muscle control necessary to produce a consistent and clear sound.

Mouthpiece buzzing can also be helpful for players who are working on specific technical issues, such as range, endurance, or tone quality. By isolating the mouthpiece and focusing on specific elements of their playing, players can more easily identify and address any problems they may be having.

However, mouthpiece buzzing also has some drawbacks. One potential issue is that it can lead to overuse of the muscles in the lips and mouth, which can lead to fatigue and potential injury. It is important for players to take breaks and vary their buzzing exercises to avoid overuse.

Another potential issue is that mouthpiece buzzing can lead to a disconnect between the mouthpiece and the rest of the trumpet. Players who rely too heavily on mouthpiece buzzing may have difficulty transferring the skills they have developed to actual trumpet playing. It is important for players to balance their mouthpiece buzzing with actual trumpet playing to ensure that they are able to transfer their skills effectively.

In conclusion, mouthpiece buzzing can be a useful tool for trumpet players looking to improve their playing and address specific technical issues. However, it is important for players to use it wisely and to balance it with actual trumpet playing to ensure that they are able to transfer their skills effectively and avoid overuse and injury.