Best posts made by fels

@GeorgeB said in Favorite Music:

@Kehaulani said in Favorite Music:

Along the lines of Sinatra with instrumental (band) is a very hip album, Sinatra and Basie at the Sands (Las Vegas).I may be wrong, but I think some of the songs were arranged by Quincy Jones.
Youtube Video

You are correct, sir. Not only were the songs arranged by Quincy Jones, but he was also the conductor. I still have the LP released in July 1966 where it clearly states : Arranged and Conducted by Quincy Jones. The tracks were recorded during performances in January and February of 1966. It was and still is one of my favorite Sinatra albums.

One of favorite albums -- introduced to us by friends at dinner 20 years ago -- go to album for pre dinner music.

I am not a N+1 player. I have purchased four trumpets since 1965. The first was an Olds Recorder. I was playing a Conn beginner horn and went to the music store for an upgrade (7th Grade?). I tested the Olds. The sales guy commented about the Eflat intonation , but i generally liked the sound.

1970 - Olds was stolen - needed a horn -- went to a different music store - different town - limited funds - they pulled out a Selmer Paris (very used) not to0 discerning -- good to go.

1983 - starting to get serious again - went to another store - asked for their pro models - Bach 37, probably a Severinsen - plus a couple of others. Valves on the Bach were superior, Bach had great tone - bought the Bach.

2014 - had been researching other horns for fun - friend (section player)said a local store had a Schilke X3 on sale - new -- tried it -- loved the sound - loved the valves - loved what i could do with it -- bought it.

Now I periodically pull out the Bach --thinking it may blend better in quintet or generic band environment.. But I still like the multiple tones and sounds i get from the Schilke. I can make it blend with whatever I am doing.

So for the time being, I am happy.

Tone -- Valves -- flexibility -- weight

I have asked a friend who is attending the Mendez Institute this week to ask this question during the week. I will report back when he tells me what he heard there.

Thanks for the responses to date.

I am playing in small groups coached by local Phil players. They (and I) have done their research (studies by UC (Colorado ) and CSU). Last week the pros asked if I had a bell cover. I responded that I had left my Crown Royal bag in my kit bag. Then I remembered that I was wearing a Buff neck sleeve. I took it off and wrapped it around the bell. I could not tell any difference in tone or playability. Problem solved.

Another note -- the phrase "Science is Science" has become trite. Science is a process. The "Conclusions"
can and will vary considerably.

Our Brass Quintet played for Jewish service a couple of weeks ago. Several folks came up afterward and suggested we schedule another service followed by additional music after the service in the community room. We would love to do this but would like to include Klezmer. Any suggestions for brass quintet arrangements in klezmer style?

@flugelgirl

I have opined before that you may or may not find your idea of the best horn -- you have to be patient and it will find you

Thirty or forty years ago I was playing a Selmer Paris and wanted something better....I went to our local music store and played several "pro' horns. I selected a Bach 37. Payed it for the next 20 to 25 years. A Schilke X3 was available at the store and that has been why horn since. I still play the Bach, but do not like its weight. I bought my Courois Flugelhorn unseen on Craigs List. There are better (cosmetically) flugels out there, but I can make the Courtois sound the way I like -- it found me.

Our Brass Quintet played for and Advent function (Lutheran Women) and for the Stratton Home (assisted living). Same program for both - namely mostly Dean Mounts arrangements. Last Saturday. Each was about an hour long.

I posted earlier (year or so ago) about the effects of Mohs (4 layers) surgery on the back of my neck that seemingly resulted in nerve related issues that impacted my left cheek and lower lip. Still seems to be a problem but may be
lymph related.. Relative to kidney stones, I had one some years ago but was related to hyperparathyroidism. Surgery removed one HP and PTH tests show normal -- not trumpet related seemingly. On the other hand (sic) I have a prolapsing hemorrhoid that responds directly to lead playing.

Jr High School (Middle School)
JFK Assasination
Was called to the school office
Played Taps while the flag was lowered to half mast.

Post 9-11
Played for Catholic Mass for Stewardess who died in the PA crash

Taps for the deceased (and fallen) - 82nd Airborne annual meeting Colorado Springs ( early 1990s)

Last December I had pneumonia and did not play for about three weeks. I followed "rehabilitation" routine for about a week and was soon back to where I was prior to the pneumonia. Mostly the routine was strict adherence to Early pages of Schlossberg.

I complain about two hour rehearsals in our jazz band (I am playing lead) BUT. those weekly two hour rehearsals gradually build up your endurance.

My practice sessions are much shorter, often several times during the day with long periods in between.

The Anita Kerr Singers were also the back up for Al Hirt's "Honey in the Horn" album -- One of the best of Al's albums.

I had pneumonia several years ago (before COVID), although not as severe as described here. Was diagnosed a few days after a quintet Christmas gig. I did not not play for a couple of weeks and was weak for longer. I used a "recovery routine" based on selected Schlossberg drills and that was very useful. I still use them now as part of my rotating warm-up routine. And yes, I now have had the pneumonia vaccine.

@Dr-GO

Made it so

Thanks for asking --

I did not pursue the search much further. This is the third (or fourth) time i have exploded the pic. And the third or fourth that i decided i did to want to go further in that journey. Just not for me . It distracts from my focus on what i am doing with the B flat trumpet.

@GeorgeB We have programed Liberty Bell several times for performance in our Community Band. Trumpet section averages about 10 players. I am not familiar with all of the parts (1,2 3 ) but possible issues may be:

What tempo is being used? This is a traditional 120+- type of march. Playing it faster may cause some issues.

Depending on the part- lower parts (2and 3) may have some fingering combination or sequence issues. Look for alternative fingering solutions.

Don't play too loud - loud playing and fast fingering are often cross purposed. Try practicing softer and slower until precision and muscle memory are established.

From a judgmental perspective - I feel the same as Rowuk.

Preferences depend on my specific mood and circumstances.
In the evening preparing dinner, i am fine listening to jazz, trumpet, big band, guitar, Segovia or classical flute. Depends on what i am preparing. If i want to sit down and listen -- it is objective oriented. Years ago while i was living in Denver, the classical station played all 9 Beethoven Symhonies on New Years Eve, ending with Missa Solemnis. On several occasions i would listen to the entire broadcast. On the other hand, i may
do the same thing with Miles Davis and Dave Brubeck.

@Dr-Mark
Training dogs and practicing the trumpet are similar endeavors. Once started, both require constant attention to detail and commitment of time. It is never "over."

This is not a hijack -- just an example.

Our jazz band is rehearsing Oliver Nelson's "Hoe Down" for performance in March. Measures 20 and 21 is a bebop riff appregio up and down that is very difficult - especially at fast tempo. I have been playing it very slowly to get the notes in my head and let my fingers and embouchure coordinate. It is still difficult -- my plan is to keep practicing slowly until i do not have to think about it. The tempo is much faster than Liberty bell and the riff comes immediately after the main theme statement -- so there is no time to think or prepare -- it has to be automatic --I saw other responses above that reinforce that -- practice until you don't have to think -- because sometimes you simply do not have time.

@administrator
Glad to reply with my experiences.
My range topped out at High C (above the staff) since I entered college in 1967. I would work at it over the next twenty years but without instruction.

My first real lesson (age 40+) was with a symphony chair who immediately started me on long tones and Earl Irons. Ten or fifteen years later i joined a community band. My C was pretty advanced compared to the other players, but it was not strong all the time. Then I played more often and started practicing more. Was accepted to the Jazz band sub group and started being more challenged. I participated in the Mendez Institute (DU) and took a lesson from Al Hood (DU). Then a lesson from Marcel Marchetti (USAF Falconaires) - then changed my practice routine and started keeping notes. Then the Jazz band leader became Tom Fowler from Wichita State Jazz program. Charts became professional level and the lead part required Ds and Es and an occasion F or G (above the staff). Started a daily routine three ring binder with with bits from Adam, Fink, Schlossberg, et al. Use it every day. Integrated with this was more play time (I retired) so I am playing 4+ - 2 hour rehearsals a week. Then I added Hickman's Beyond the C.

That is what I have been doing now for about five years. My workable range now includes an E above the staff and I am working on the F.

Take Aways:

Important factors for Range Development are:
Professional Instruction
Multiple methods and sources
Motivation
Time
Practice
Patience

If I had all of the above when I was 18, I may have developed a reliable above the staff range perhaps to the coveted DHC.

However, although I enjoy listening to Maynard, I really don't care for the current lead music that depends on the extreme register. The repertoire that I want to play does not include DHC. So if I can play the E and perhaps the F, on a regular basis, (and musically), I will be happy and satisfied. Of course, achieving that goal and then maintaining it, at age 70, will require constant practice.

I generally don't think about it. It comes and goes depending on what piece i am playing. Sometimes (Cilieto Lindo) I will consciously try to add a stronger vibrato but that is a style issue. In our brass quintet the second trumpet and i will try to match vibrato or delete it entirely depending the piece, but we generally try to sync.