I was recently asked to participate in a pops/patriotic brass band concert as part of a Monday night concert series in a local park on July 6. No rehearsal, band members seated 6’+ apart. Should be interesting if it actually happens.
That said, I haven’t been motivated to practice much during the past few months of shutdown, so now I’m playing catchup to get back into shape by then. Second cornet, so that will be a little easier...
Pic from a previous concert - that’s mine on the left.
@OldSchoolEuph said in Vernacular (of range):
@Dale-Proctor said in Vernacular (of range):
Well, I’d call the E and F at the bottom of the staff low E and F, since there are none lower on the trumpet (at least naturally). That would make the E and F at the top of the staff middle E and F. From there upward, the notes would be high F#, G, A, B, C, D, E, and F, with the doubles beginning with F# again. Maybe that’s arbitrary, but there’s a bit of logic to it.
When I was in good shape (as a low brass player, and in bass clef), while I could get notes a little higher and a little lower, I basically had a controlled 4 octave range bounded by 5 Fs. By your system, there would not be a single "double-" in my controlled range. So I would have high F, F, Low F, ---something----, and then pedal F. Seems like I am missing a label.
...but I was talking treble clef trumpet...
About 7 years, beginning after high school. The small university I attended had no music program other than choral, so I went those 4 years + 3 more without playing, mainly because of no opportunities. I then joined a local concert band someone told me about, and worked my chops back into shape by starting out on last chair and after a few years, playing the 1st solo part.
Well, I’d call the E and F at the bottom of the staff low E and F, since there are none lower on the trumpet (at least naturally). That would make the E and F at the top of the staff middle E and F. From there upward, the notes would be high F#, G, A, B, C, D, E, and F, with the doubles beginning with F# again. Maybe that’s arbitrary, but there’s a bit of logic to it.
It’s pretty easy to keep straight - Dr. Mark used to be on “go” all the time, but now he’s gone. Dr GO is the board’s comedian.
@BigDub
These are all photographs I took. In my opening comments, I asked people not to post photos they found on the internet, just ones they actually took themselves. I took most of them in the 1980s when I travelled a lot with my job. I literally have hundreds of them, but so far have managed to scan just a relative few, these mostly taken in Alabama.
@veery said in Railroad Photography:
First one reminds me of BigDub's paintings.
Me too. That’s why I led off with it. 
@adc
The Virginia Creeper trail in southwestern VA is a really nice one.
Anyone here into photographing railroad subjects? Years ago, I was interested in both photography and trains, and took a lot of photos of them, mostly with an old Miranda 35mm camera. I still like photography, but I don’t chase trains any more...lol
Anyway, to get things started, I’ll post a few of the ones I’ve taken for any who are interested. Feel free to post any you have taken, but please don’t post generic pics found on the net.
@Dr-GO said in Seeking input on Rules:
“...Artists on Board... On TB this was started by a painter. It does seem to be heavily weighed toward one individual. I was the one who stated this parallel thread on TM. It was started not as a promotion, but as an acknowledgement of a painting I purchased from a prior trumpet player artist living in Florida that had a unique eye for painting the trumpet in a dynamic way. This thread then brought out a multitude of artists, as that was the point of my thread that was called "Artists among artists". It worked, as it brought out a lot of TM members passions in painting, photography, wood carvings. On TB, we just apparently do not have the same "volume" of trumpet players involved in other forms of art. Clearly we have one that is very involved and I still find it of value to see all the contributions that individual has made. With that said, it should not be a retail effort on the part of the artist, and I have not seen that to be the case. My challenge to everyone here: If you have other forms of art that you do (I know wood working is one of them as shown by several on this forum) then please contribute to that thread so it does not appear to be a one man show. As that artist originally titled the thread Artists (not Artist) on board. So Artists... Contribute.”
I would have contributed some photography, but since that thread was started by an individual to showcase his art and he never asked for other artistic input, I would feel like I was stepping on his posts.
Keep it simple - no profanity, no name calling, nothing unrelated to trumpets/cornets/flugelhorns/etc. and musical topics in general. That gives topics a pretty wide latitude without excessive rules. Be civil to your fellow members if there’s a disagreement on some point, and keep things PG in case younger people are looking in.
@scottfsmith said in Company Timelines (Besson, Diston-Keefer, Frank Holton, Vincent Bach):
One small addition to the Besson timeline, The Besson "Breveté" (patent) for the modern trumpet is from 1867. Here is an illustration from that patent .. it looks like a modern trumpet, eh?
The top one is in A I think and the middle one is in C.
I am sure there were some examples made in this period but they don't appear to have survived or are still in an attic somewhere.
I’d guess the bottom one is in Eb, since that was a predominant key for brass instruments at that time, and the shape is similar to some Eb cornets.
I’ve barely touched a horn for the last couple months. I was in pretty good shape in preparation for Easter, but since then, I’ve probably dropped to the “unwashed masses” level of playing. I suppose I’m not too motivated to practice if there’s nothing to play for. It will come back pretty quickly when I hit the practice room regularly, though.
1969 Olds L12 flugelhorn with GR/Melk leadpipe. Restored by Southeastern Musical Services.
Here’s an obscure one, interesting to me because I own one of his instruments.
H. Lenhert, Philadelphia, was in business from 1867-1914. Henry G. Lehnert (1838-1916), founder of the company, arrived in Boston from Saxony ca 1860 with his brother Carl. Early Boston directories indicate that they both worked either for E. G. Wright or for Graves & Co., then joining Freemantle & Co. before establishing business as Henry Lehnert & Co. In 1866 Henry moved to Philadelphia and started his brass musical instrument manufacturing business. He held a patent for the tapered cornet leadpipe and frequently used Allen rotary valves and German silver in the manufacture of his instruments, which had a very good reputation for quality. In 1875, he patented a line of bell-forward “Centennial” lower brass instruments that rested on the player’s shoulder. From 1876 through 1914, his instruments bore the trade name "American Standard". He and his business passed away in 1916.
