Your thread initiating posts have always been thought provoking and by listening and hearing to what you have offered has enriched the process. May you also continue on your future paths with the keen skills to listen and hear, and in so doing, may your heart be healed.
I stopped looking once I took delivery of my Harrelson. There is no better modern horn that I have played, with a range of versatility, amazing dynamics and slotting control and design options that allow for fine adjustments. With that said, my Martin Committee still is the one. That horn really understands me.
@barliman2001 said in Having to play in too many sharps?:
@GeorgeB said in Having to play in too many sharps?:
@Trumpetsplus said in Having to play in too many sharps?:
@GeorgeB QED
Sorry, Ivan, my ignorance is probably going to show here: What Is QED?
Originally, it's Latin and the abbreviation for Quod Erat Demonstrandum, meaning, "what was intended to be demonstrated". The abbreviation was first used in mathematics.
"So it is proved" is another interpretation of QED. And Barliman, quid pro quo if you agree, yes?
@Rapier232 said in Mute Musings:
I physically cannot change mutes on a quaver rest".
And when you attempt to do this, bells are at high risk to get scratched and dented!
I had the honor of playing for Jamey Aebersold who has a jazz series that goes by his name at the Cincinnati Main Public Library. He had our quintet open the newly remodeled Main Branch building. It was truly an honor.
Here is one of my favorite Trumpet Players I would never have heard of if it wasn't for my morning workouts that I listen to to keep my pace up an the Elliptical while listening to Luna (Latino Jazz). It is Pete Rodriguez. Not only is he playing the amazing trumpet parts on this piece but is also the vocalist:
@Niner said in How about a "Random Meaningless Image...let's see them string"?:
Remember little Moron jokes when you were a kid? I found where he lives now days.
AND this is the traffic sign displayed at the other side of his yard:
@Kehaulani said in Structure of the Trumpet by Yamaha:
@Dr-GO said in Structure of the Trumpet by Yamaha:
My response to the first comment I do not feel the method of lip vibration is insignificant when it comes to is an efficiency component that does differ among various methods used in vibrating the lips.
Can someone put this in other words, please? I have no idea what it means. Thanks.
Kehaulani, refer to tj's post 16. I will repeat the link here for ease.
Youtube Video
Greg Spence describes this in another prospective. The key point is at 2:42 where he states: Restriction of the acoustical perspectives of the lead pipe that creates a feedback of the pressure that sets the lip into vibration.
This is the idea I have in mind in the comment you quoted. What ever embouchure technique is used at the mouthpiece end, and I agree we should be well past this by now, it is the resistance transmitted by the lead pipe that is felt by the human physical component (the lips). So in the Yamaha trumpet series, the ongoing discussion as to the components of the trumpet the help relieve this resistance are also important. This is a direction that I believe Rowuk can lead the discussion as he is very knowledgeable as to horn structure.
Kahaulani, does this video help? Thanks for your ongoing attempt to try to understand.
@Dr-Mark said in What is Your Definition of a Well Balanced Routine?:
Hi Kehaulani,
Do you know the one thing I don't see on any of in the posts, mine included?
SIGHT READING
That is what I do when I rehearse with the Generation's Big Band on two of the 4 Thursdays of the week. The other two (the first and third) are gig nights at Mila's Suburban Cafe and The Milton Club. I love the rehearsals for that reason. The site reading. And they ARE rehearsals. I find site reading that is put in front of me from someone else's choice (not mine) is even more empowering as my bias to tunes I already have in mind to site read are eliminated.
And tonight I play the Jazz Central Jazz Jam where a multitude of performers bring charts to the gig; however, this is less about site reading as it is playing the jazz standards, most of which, I already know.
Treatment Option Comparisons for Trumpet Elbow (lateral epicondylitis)
Here is a link to exercises to rehab nerve injuries involving the arm:
http://www.askdoctorjo.com/content/neural-glides-ulnar-median-radial-nerves
@mrhappy said in Trumpet Elbow!:
Anybody here ever have to deal with that type of thing? Looking for some advice or techniques... maybe some sort of brace thing??
Thanks...MH
For all brass players, the prevalence rate of Trumpet Elbow is around 5%. Here is a table from the medical literature the puts this in perspective of other muscle injuries:
The daily routine I use:
Eugene Blee warm ups.
Read through actual charts
A. Those for the next gig (classical, church, big band or small ensemble)
B. Those from the the Real Book series
End with Etudes to keep articulation, fingering and lip flexibility skills in shape.
@ROWUK said in Structure of the Trumpet by Yamaha:
I consider the buzz or alternate start of lip vibration to be an insignificant semantic argument with no redeeming value. We are talking about the same thing: ignition of the lips, initialization of the vibrating mode.
Let me start with the second comment first. Agreed, both are just methods of ignition to energizing the air withing the horn.
My response to the first comment I do not feel the method of lip vibration is insignificant when it comes to is an efficiency component that does differ among various methods used in vibrating the lips. When an individual plays demanding performances, efficiency does matter, don't you think?
Here is the trumpet master of the pentatonic scale. Enjoy.
@Niner said in Mute Musings:
One thing that intrigues me is that my old Harmon from the early 60's is different from the modern Harmon that looks generally the same...
This is particularly relevant with the wha wha Harmon mute. I have a 60's vintage (noted above) and a 2010 vintage and while they look more similar there is definitely a feel difference in the aluminium AND definitely a sound difference. That 60's vintage is so dark and rich (albeit the cork is worn). While the 2010 has a more metallic sound (with an intact cork character).
Of interest, that 60's vintage fits my Committee and Harrelson like fine leather racing gloves, but the 2010 just is impossible to keep in tight with those horns. Alternatively, the 2010 version fits my other horns much better. So is it the cork or the design?
I have also found that mutes can change performance by just changing the condition of the cork. My 1960's version original Harmon has the cork wearing down more and more. The more it has worn, the better it is sounding.
By the way if Trumpetsplus is reading this, you posted a comment with a diagram on cork thickness once on TM. If you still have this, could you post it here once again, as it will soon be time that I will need to replace the cork on that aging Harmon mute. Much thanks in advance!
@Comeback said in Mute Musings:
If this ramble has a point, it is this: There is much to consider when making mute selections!
Jim
You make a mute point. Actually an interesting thread topic!
@SSmith1226 said in Elmer Churampi:
An interesting video on how much practice makes you an “expert”.
I am a firm believer in the 10,000 hour rule, at least for we mortals. As for Elmer Churampi, that rule need not be followed as some truly amazing individuals such as he has extraordinary synapses that do not require those 10,000 hours to organize.
Then there are the pentacostal scales.... or is that pentationic... doesn't matter, as I can play them in any tongue!
