Posts made by Dr GO

@tmd said in ii/ V7/ I in All Twelve Keys:
...And I agree that learning everything in 12 keys is a good goal to have. But the vast majority of the Real Book tunes are in the keys I listed. There are a few exceptions, like Wave and Take Five.

Mike

That is how Claudio Roditi taught me improve. He had me prepare a lesson from a transcribed solo of a jazz performer and my lesson was to run that solo through all 12 keys. This really helped the fluidity of my phrasing (which is why I feel comfortable soloing in ANY key).

@Dr-Mark said in ii/ V7/ I in All Twelve Keys:

@tmd said in ii/ V7/ I in All Twelve Keys:

It "scares" you? Many people are "awfully dependent" on it?
Why?

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There's been more than a handful (more like a fist full) of times I've been at a jam and someone calls (for example), Autumn Leaves. .

Specific to Autumn Leaves... I love playing my improv hitting on the flatted 5th of the chords that progress by. Adds some refreshment to the traditional changes. Leaves a lasting impression don't cha know!

What's all the BIG DEAL about Giant Steps! It's so simple, even a kid can do it:

@Dr-Mark said in Problems with Air and Nose:

@Kehaulani said in Problems with Air and Nose:

Well . . you do know what they call a doctor who was last in his class?

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Dangerous!

Dr Mark. I so agree. And what scares me about the current age of medical education is we are not permitted to assign grades, only pass or fail. So we no longer know who graduates last in their class. We are now teaching the generation of medical students that played T-ball as kids, where no one kept score, and everyone won the game.

So what if the doctor amputated the wrong leg, after which the correct leg is finally removed. Everyone is a winner. The doctor gets twice the pay, the patient finally gets the correct leg removed, and the patient cannot sue the doctor as he won't have a leg to stand on.

@Carsen-Abraham said in Problems with Air and Nose:

@Dr-Mark I can do everything except for sing without air coming out of my nose. Should I be trying to strengthen my soft palate so it doesn’t give out?

Carsen-Abraham. I searched PubMed and while there are articles (as our administrator posted) that tell you about the problem, there is little on reports of therapy. In the medical literature the most specific recommendation I could find is REST. They recommended 3 months of NO TRUMPET PLAYING. There is little comparison evidence to go full court press on this recommendation.

While resting the pallet makes sense (that IS what we as physicians recommend for any sprain), ANOTHER option is to try to BUILD back the pallet. That is where the vertical smile comes into play.

When most traditional trumpet players buzz, they are doing a lateral smile... they use muscles of the cheek and jaw that project East and West. I am recommending you use muscles that go North. The muscles of the cheek that insert into the zygimatic arch (bones along the lower eye sockets). Smile toward your eyes. THAT is a vertical smile. It pulls the pallet up not out. This will hopefully close the gap causing the air leak AND give you the BETTER TRUMPET embouchure that will increase your endurance with the minimum amount of strain. I have discussed this technique before on this TB forum (as well as on TM) as the Phwooooooo techniques as that is the sound this embouchure makes... not that inefficient disgusting buzz that most trumpet players seem to have drilled into their heads.

I have circled in the figure below the muscle groups to which I refer:

Watch my embouchure in this video of me playing:
https://drive.google.com/file/d/1HaK1sYi5_cfSw3C1N7Hv-Y9oA3PliAaR/view?fbclid=IwAR1MakCr297ZHEIPTQSav-MpA2DdE_aQVK43HU44d9KpLI-oir7Rh32ahB8

Note how my eyes buff out (not my jaw) when I play. Not how there is a ridge between my Orbicularis and jaw. That is because the muscles filling in the space (the buzz muscles) are not in use. This is the vertical smile that produces the Phwoooooo sound. Hope the anatomical and video illustrations help you but this together.

...OR come to me... I can always use more cash:

...OR not because here is your problem. You most likely have a hyper mobile soft palate or velopharyngeal Insufficiency. Many times, this relates from over playing prior to the problem starting Before you spend lots of cash on people like me, try these steps:

1. Play with a good posture
2. Rather than buzzing, try playing with the Dr O patented "vertical smile" with the coroners of you lips up (not out) or others have called this to "smile inside". This helps close off the pharyngeal passage
3. Consider backing down the length of your practice sessions which may help eliminate the fatigue creating the insufficiency

Hope this helps.

Here is an example of use of rests (and notes) in Kenny Dorham's, writing genius in his composition "Short Story" at the swing section:

Its such a nice use of space in the first series (quarter and eight rest) introducing the first whole not phrase, than a subtle triplet quarter rest to set of the next whole note phrase then bam on beat 3 to bring home the last of the three whole note phrases. Here is how it sound in the song (first entry starts at 0:28):

Another perspective, but the HARDEST thing for me to read on any chart, classical or jazz, are NOT the notes, but the rests. The rests are truly the most important aspect of a musical piece to me, and the print that keeps my vigil most focused, because when not to play is I feel more important that when to play.

Anything Miles Davis. But hear is one that is nothing but space: "Eighty-One" written by Ron Carter:

What works is that it gets you into the song by enticing you to listen closer.

@mdwilliams said in Shallowest flugel mouthpieces?:
I do prefer deeper V shaped peices on flugel in general.

Thanks!

This just in: U versus V mouthpieces. Read this one with a grain of salt, as this research while reporting on tonal quality does not report on the range of tonal variability between the two types of cups:

J Acoust Soc Am. 2013 Nov;134(5):3872-86. doi: 10.1121/1.4824338.
Trumpet mouthpiece manufacturing and tone quality.
Zicari M1, MacRitchie J, Ghirlanda L, Vanchieri A, Montorfano D, Barbato MC, Soldini E.
Author information
1
Dipartimento Ricerca e Sviluppo, Scuola Universitaria di Musica, University of Applied Sciences and Arts of Southern Switzerland, via Soldino 9, CH-6900 Lugano, Switzerland.
Abstract
This article investigates the relationship between the shape of the mouthpiece and its acoustical properties in brass instruments. The hypothesis is that not only different volumes but also particular cup shapes affect the embouchure and the tone quality in both a physical and perceivable way. Three professional trumpet players were involved, and two different internal cup contours characterized by a "U" and a "V" shape with two types of throat junction (round and sharp) were chosen, based on a Vincent Bach 1 [1/2] C medium mouthpiece. A third intermediate contour was designed as a combination of these. Over 600 sound samples were produced under controlled conditions, the study involving four different stages: (1) Simulation of air-flow, (2) analysis of the sound spectra, (3) study of the players' subjective responses, and (4) perceptual analysis of their timbral differences. Results confirm the U shape is characterized by a stronger air recirculation and produces stronger spectral components above 8 kHz, compared to the V shape. A round throat junction may also be preferable to a sharp one in terms of playability. There is moderate agreement on the aural perception of these differences although the verbal attributes used to qualify these are not shared.

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".