@trumpetsplus said in The value of scales:
"Scales" present a wonderful opportunity to "grade" players. Apply a demerit for each wrong note. This is not what I teach at all.
I agree and really appreciate your point. This is truly an abuse of their use. I can recall back in Middle School and even High School, this is exactly how they were applied. This is truly a wrong application.
Scales are highly influential in providing a foundation in which to build your voice. Those scales stick in your mind as a bridge that helps coordinate phrasing. Scales are a part of the phrasing and where the rest of the phrasing then goes from the scale base, well that becomes your voice, and you own it from that point on.
I still work on scales and rudiment phrases to this day, as that foundation needs to be reinforced so it will not someday crumble.
@georgeb said in Need some information on this item.:
Yeah, none of those gadgets for me. I know a lot a people will disagree with me, but I don't even buzz. I found the time is better spent with the horn on my face.
Always love GeorgeB comments as we almost always agree. Once again, his advice is well served. I find buzzing adds nothing when you have a trumpet available to put your mouthpiece on.
THE ONLY TIMES I buzz is when I need to practice an have no trumpet available, such as on a Disney Cruise where they will confiscate your instrument if you bring it on board.
@tornado1957 said in Need some information on this item.:
Quite obvious its a BUZZIT! Duh!
I just want to know more about it. Like age, what you do with it, and is it worth anything? Never seen one, that is why I'm seeking some help here!
Please refer to my "serious" reply. I truly believe buzzing is best done against "controlled" resistance. The Buzzit does not off this option.
@vulgano-brother said in What are pedal tones on the trumpet?:
@trumpetsplus I've noticed that the mouthpieces that work best on a given trumpet, the ones that make the trumpet "sing," make for an easy in-tune Pedal C.
Agreed: Using anything else risks producing a puddle tone.
Seriously, just using the mouthpiece by itself will be more effective and develop lips better by holding a towel at the end of the mouthpiece.
Tongue in Cheek at this point: I call this assembly the Towlit. I can sell that to you for a fraction of the price of the Buzzit.
I personally change position of fingerings depending on the progression I am to play, and in some cases the horn I am using. As for both of my 4-valve flugelhorns, there is no finger hook on the bell as I did not want this to get in the way of the dexterity of using that fourth valve. Of interest, the Getzen came as a standard feature to NOT have a finger hook. The Kanstul had the finger hook standard, and I had to ask the Kanstul company to LEAVE THE HOOK OFF when I placed the order. They complied with the request and it has made me a very happy flugelhorn player.
As for my trumpets, I adjust finger position depending an the nuance I want to get out of a tune. Bebop gets the the "correct" details to keep the fingers rounded and directly over the buttons for the most rapid response and dexterity. However, for ballads I like to change the grip to place my dip joint over the keys as this allows me to slow and even when needed, half valve an attack of a note so as to get more "personality" out of a passage.
@dr-go said in Wired after a Gig:
I am playing a gig tonight at a coffee house (Wholly Grounds). I think I'm going to be doubly wired!
Here is a clip an audience member posted on facebook of a brief moment of me playing at the coffee house last evening. I will leave it up to you to rate how wired I was at the time:
https://www.facebook.com/stories/1222546287858279/UzpfSVNDOjEwMjI1NzQ1NDAxMjA2Mjg1/?source=notification¬if_id=1620407678780327¬if_t=camera_post_user_tagged&ref=notif
@bigdub said in Traits that make a great sight reader?:
...I see a possible app or program coming where the player will be able to see a progress bar running below the staff indicating a very close proximity to where one should be in the music.
The tempo would have to be adhered to, naturally. I could see this being possible.
I would definitely like something like that.
Even better, the player can progress to the bar, order and then consume a gin and tonic, inhabitations then released, go back to the stage and read through the music like a pro at a tempo whatever the player damn well sees fit to play without stifling limitations!
I definitely like something like that.
@stumac said in Olds Recording 1951 era plays flat.:
@mike-ansberry Can you check the slide lengths against another?, perhaps it was a special built in low pitch A=439.
If it is of any help I can measure my 55 Recording when I get back home at the weekend.
Regards, Stuart.
I have a '53 Recording. I am at work now but will measure it's lead pipe when I get home. I have played that horn only in church with a church organ, but never at a gig. Come to think of it, I had to play against the church organ with the slide all the way in.
I also have a '67 Recording that use to be my standard gig horn with no tuning issues, so will compare the lead pipes on both the LA and Fullerton model and get back with you.
I am playing a gig tonight at a coffee house (Wholly Grounds). I think I'm going to be doubly wired!
@j-jericho said in A little humour:
@dr-go Lithping, are we?
Nah,,, said it with the Harmon mute in!
@administrator said in Mouthpiece issue:
A wider rim will likely lead to quicker fatigue. That's been my experience, at least.
It does... and a deep cup to this... it's like fatigue running up hill!
Relaxing and opening the embouchure are key to get the notes below F#. But for me these pedal tones are a piece of cake WITH NO WORK on my 4 valve flugelhorns, as long as I keep my embouchure OPEN. That 4th valve just makes bridging so the pedal tones so much easier, but once that 4th valve is engaged, the fingerings for all the notes change.
