Posts made by Dr GO

I started an exercise routine using the Bowflex in which I have put together 15 Exercises (9 focused on chest; 6 focused on abs) and have found this to have increased my playing dynamics considerably. Here is some research that backs up such a fitness routine:

Chest. 1993 Oct;104(4):1203-4.
Maximum respiratory pressures in trumpet players.
Fiz JA1, Aguilar J, Carreras A, Teixido A, Haro M, Rodenstein DO, Morera J.
Author information
1
Servei de Pneumologia Hospital Universitary Germans Trias i Pujol, Badalona, Barcelona, Spain.
Abstract
We studied whether experienced trumpet players can develop higher pressures with their inspiratory and expiratory muscles than untrained subjects. Twelve male trumpet players (mean age, 22.4 +/- 3.3 years) participated in the study. All of them had played the trumpet for at least 4 years and were nonsmokers. Twelve healthy male subjects (mean age, 23.3 +/- 3.1 years) participated as a control group. There were no differences in spirometric parameters between both groups. Maximum respiratory pressures were higher in the trumpet player group (trumpet players: Pmax 151.3 +/- 19.8 cm H2O; Pemax, 234.6 +/- 53.9 cm H2O; control group: Pemax, 106.7 +/- 10.4 cm H2O; Pemax, 189.6 +/- 14.6 cm H2O). We concluded that in young trumpet players, maximum respiratory pressures are higher than in young people who do not play wind instruments. This is most probably a consequence of respiratory muscle training with a wind instrument.

But wait... There's more. Strength and Endurance seem to be more a function of the cheeks and lips. The tongue... Not so much!

Med Probl Perform Art. 2015 Jun;30(2):90-5. doi: 10.21091/mppa.2015.2015.
Facial and Lingual Strength and Endurance in Skilled Trumpet Players.
Potter NL1, Johnson LR, Johnson SE, VanDam M.
Author information
1
Department of Speech & Hearing Sciences, Washington State University Spokane, PO Box 1495, Spokane, WA 99210-1495, USA. Tel 509-368-6894, fax 509-358-7500. nlpotter@wsu.edu.
Abstract
Trumpet players produce and manipulate sound through their instrument by articulating the lips, cheeks, and tongue to create a proper airflow. These sustained muscle contractions may result in increased facial and lingual strength and endurance. The purpose of this study was to determine if adult trumpet players who practice at least 6 hrs/wk differed from adult non-trumpet-playing controls in strength and endurance of the lips, cheeks, and tongue.

METHODS:
This case-control study involved 16 trumpet players, 16 healthy controls balanced for age and sex, and 1 trumpet player 25 years post-Bell's palsy. Strength and endurance of lip, cheek, and tongue muscles were measured using the Iowa Oral Performance Instrument (IOPI Medical, Redmond, WA). Maximum strength was the greatest pressure value of three encouraged trials. Endurance was the length of time the participant was able to sustain 50% of maximum strength.

RESULTS:
The findings indicate that trumpet players had greater facial strength and endurance, which was objectively quantified using commercially available equipment. The trumpet players had greater cheek strength and greater lip endurance than controls. Tongue strength and endurance did not differ between the trumpet players and controls. Tongue strength was negatively associated with age, which is consistent with previous studies. The trumpet player with a history of Bell's palsy had decreased cheek strength and endurance on his affected side compared to his unaffected side, although this difference was comparable to the differences between right and left cheek strength in trumpet players without a history of facial nerve damage.

And the Evidence is In:

Med Probl Perform Art. 2017 Dec;32(4):201-208. doi: 10.21091/mppa.2017.4038.
Fundamental Tongue Motions for Trumpet Playing: A Study Using Cine Magnetic Resonance Imaging (Cine MRI).
Furuhashi H1, Chikui T, Inadomi D, Shiraishi T, Yoshiura K.
Author information
1
Dep. of Oral and Maxillofacial Radiology, Kyushu University Hospital, 3-1-1 Maidashi, Higashi-ku, Fukuoka 812-8582, Japan. Tel +81 92 642 6407, fax +81 92 642 6410. furuhashi@rad.dent.kyushu-u.ac.jp.
Abstract
OBJECTIVE:
Though the motions of structures outside the mouth in trumpet performance have been reported, the dynamics of intraoral structures remain unelucidated. This study explored the tongue's movement in trumpet playing using cine magnetic resonance imaging (cine MRI) and demonstrated the effects of intraoral anatomical structures on changes in pitch and dynamics.

METHODS:
Cine MRI was applied to 18 trumpet players, who were divided into two groups (7 beginner, 11 advanced) based on their ability to play a certain high note. They were instructed to play a custom-made MRI-compatible simulated trumpet. Pitch-change tasks and dynamics-change tasks were assigned. The positions of the anatomical points and intraoral areas were identified on outlined images, and the changes associated with each task were evaluated.

RESULTS:
A forward and upward projection of the tongue was observed in the production of higher pitches, and there were no significant differences in all areas. In louder dynamics, a backward and downward bending of the tongue occurred, the tongue area became smaller (p<0.001), and the oral cavity area became larger (p<0.001). No significant differences between beginner and advanced trumpet players were seen in the changes in pitch and dynamics.

CONCLUSION:
It was demonstrated using cine MRI that certain tongue movements were associated with each task. Tongue protrusion in the production of higher pitch and bending in louder dynamics can be rationalized using acoustics theory and the movements of anatomical structures. These findings seem to be consistent regardless of the player's proficiency.

@Dr-Mark said in Good Instruments For Those Starting To Play:

@Dr-GO said in Good Instruments For Those Starting To Play:

Screw the budget! Get the kid the easiest horn ever built to be the first horn they ever play.... The Harrelson Summit!

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Hey everyone!
If you go to the New Topics area, you can get adoption papers so Dr-GO can be your parent. Which reminds me, "Hey Dad, I need a Harrelson Summit"

What's "apparent" is that most here on TB are over 18, so adoption won't fly; however, I am open to being the designated administrator of their estate. I do have the license to find such individual to lack mental capacity to make this transition seamlessly easy.

@Dr-Mark said in Bore Size:

@Vulgano-Brother said in Bore Size:

Most horns are my friends, not animals.

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All of my horns are my best friends...

Telling me nothing I didn't already know about you Dr. Mark... you are are just a horny kind of guy!

I believe we are creatures of feedback. Listening to the horn and feeling it's feedback is highly influential to how I play the horn.

My flugelhorn gives me a rich buttery feedback so I do everything in my power to fill it with puffs of air that allow that buttery sound to float. I back off on the attack from the dark feedback my Martin Committee gives me to enhance the soft darkness of it's rich tone.

HOWEVER, with all of that said I truly believe The Harrelson is a chameleon. I get to control the sound on that horn that will then determine the feedback that horn gives me. I can make it sound like a flugelhorn, create an airy throaty sound, snap on a Harmon and produce the same Committee textures of Miles Davis, or peal the pain off the wall when playing lead. Control... I love Control!

@Kujo20 said in Good Instruments For Those Starting To Play:

We’ll have to start a list in this thread of horns that fit an average budget that members can attest to quality (like the suggestions in the posts above).

Screw the budget! Get the kid the easiest horn ever built to be the first horn they ever play.... The Harrelson Summit!

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

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

@SSmith1226 Well... Jericho's post is random and meaningless for sure........ I think. Here is an example that doesn't require much thought to know it is random and "meaningless".

Now there’s a person who doesn’t take his career too seriously.....

Poor self esteem as well. Bet you he takes $hit from anybody.

@Niner said in A little humour:

Gives a whole new perspective to being "Tea'd off".

@Kehaulani said in Jazz Song #3 - So What:

@Dr-GO said in Jazz Song #3 - So What:

That's only a part of the equation (Minimal Structure Theory on jazz improvisation)

Dr. Go, some of my comments are more philosophical than about Minimal Theory, itself. Can you give me a good internet source for Minimal Structure Theory as applied to improvisation that summarizes this technique? The only thing I can find is doctoral-thesis length. I've never heard of it or it's value. Thanks.

Gary, did you read the article I posted on Minimal Structure Theory. I have posted the initial description and it was not a thesis. It was an article published in an international journal written by two senior faculty at their perspective colleges. Please, read that article carefully and you will understand.

@Kehaulani said in Jazz Song #3 - So What:

That's just a way of over-complicating music. "Paralysis by analysis".

Actually it's a method of communication. If you don't understand the shit then it's just shit. Read the pages defining Minimal Structure. Let's learn how to communicate. THAT is what jazz improvisation is all about. We gotta try to get to that level.

@Kehaulani said in Jazz Song #3 - So What:

@Dr-Mark said in Jazz Song #3 - So What:

@Kehaulani said in Jazz Song #3 - So What:

This is what to toy around with at the improv section

Back in the day, we used our ear.

That's only a part of the equation (Minimal Structure Theory on jazz improvisation)

@Dr-GO said in Jazz Song #2 - Take Five:

@administrator said in Jazz Song #2 - Take Five:

I never knew this song had lyrics. Interesting.

Check out Al Jarreau's vocal version on YouTube. It's the best!

Sorry. Here is Al's vocal version:

@Comeback said in Soap Bubbles:
...Busking is common. I have a question: If I play on a street corner and am paid to stop and go away, am I a pro trumpeter?

Depends on what trumpet you are playing at the time...
because...
[wait for it]...
[wait for it]...
[wait for it]...
IT COULD BE A CONN

@tmd said in Good example of a bad example:

What about the people who post about the inconsistencies in certain light bulb makers, about so-called "cheater" light bulbs, or about LBSO's from Asia (light-bulb-shaped objects)?

Mike

Mike. I can only speculate at Watt are you referring to.

By the way... A real joule of a post, Mike!

Thanks so much for shedding light on this conflicted thread, and in a way that makes light of the topic.

@Dr-Mark said in What Is A Good Practice Routine?:

@Kehaulani said in What Is A Good Practice Routine?:

When you're a pro, there can be a tendency to be hard-core.

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You sure got that right! There are times my approach to practice seems more athletic than artistic.

The only athletics to my practice routine is the 2 hrs chest and abs BowFlex routine I do prior to my trumpet routine which is then totally artistic.

Great news! Thanks for the update.

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

@Dr-GO
Oh my! I remember ducking under my desk in grade school.

3rd grade for me. Ms Brown was the poor teacher having to put up with my ANALytical humor.

@Dr-Mark said in A little humour:

HiSSmith1226,
What's the most musical part of the body?
The nose!
You pick it and blow it.

Ah you have never heard me after eating Mexican food. I become very musical from a more Southern region.