Posts made by fels

I just came home from a rehearsal of a community band. We are reading through potential pieces for our fall concert. I am the trumpet section leader. We are reading grade 4 + pieces. As i talk to the individual members of the section, I know that i am influenced by what i read in TB. I am registered at TH but don't post because i have little to add to that group. I don't post often here at TB; I enjoy reading the various topics, and I pass on the good stuff to the others that i come into contact. Thats cool.

depends on where i am going and what i am playing.
always in there:

lip balm
valve oil
water bottle
ear plugs ( in case i am in front of the drummer)
multi tool
cotton or micro fiber cloths
mutes for the gig
sandwich if i am driving through lunch or dinner

have you checked his site? I purchased "Beyond The C" directly on line and downloaded the pdf version

take off

A "gigging" musician is different from my current experience. I saw a piece from Nick Drozdoff that listed all the tunes that a "gigging" player should know by heart. Too long for me .. although i am familiar with most bu not memorized.

My concerts with the Jazz Big Band and my Quintet are rehearsed -- over and over. I also play in a sight reading big band jazz -- both experiences are great.

I am training myself on an iPad 3 with FourScore. As an Eagle Scout and charter member of paranoids anomymous i will have the hard copy play list easily available. Pedal issues suck. But i have size 13 feet. Generally take of my shoe to use socked foot for control.

@Jolter

have not PMed in this site yet -- but i need to get the score first anyway -- local arranger. Glad to hear of your interest. Please advise of any guidance on PMs

@fels said in Pic mouthpieces:

exploded

explored

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.

@Dr-GO

I subbed in a dance band last summer -- playing second -- the venue had a hard back wall and the drummer was right in front of the back wall - i as in front of the drummer -- LOUD - i eventually had to cut up a handkerchief and stuff it in my ears --now i have the orange ear foam plugs in my mute case kit for such emergencies. It was painful. Not quite on topic -- apologies.

*administrator GLOBAL MODERATOR about 14 hours ago

Vibrato should be something we are always aware of in our playing. When we become aware, we gain control.*

I was subbing in a dance band yesterday afternoon, playing second part. first and thirds were trading back and forth and the section sound was "weird". I found myself using vibrato unconsciously where i would not normally use it, not only that but i was using finger vibrato which i seldom use. So i stopped it. I agree with the being aware to gain control comment.

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.

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.

In a brass quintet, is music interpretation a consensus of the players or is there a tradition or protocol for one member or another having artistic direction?

I play in a quintet. The other four members play in a wind ensemble in the mountains west of us.. the conductor wanted to have a doubt brass quintet for a big 4th event that included multiple groups. OK. I drove 60 minutes to play 20 minutes of sight reading pieces (although i rehearsed them in my studio). Tempos were rushed. Everyone wanted to leave - big crowd but late -- hour drive home. Good Faith and support. Otherwise -- meh.

I usually incorporate "moving long tones" in my practice routine. I find the concept appealing, especially the focus on the sound. There are several examples: some giving credit to Cichowicz, others in the same or similar form, or you can create your own. Major elements include focus on the sound, not overdoing, and alternating registers. Actual Cichowica studies are likely "public domain" since you can find them easily by goggle searching

I upgraded to an Olds Recording at about that time - played in HS - while traveling in Spain during a Junior Year Abroad program, it was stolen form my VW bug. Ultimately replace with a used Selmer Paris.

In our NHorizons community band i find trumpet players coming in and out of the section with Olds Recoders. Fond memories. But i have moved on -- just memories.

A friend ( trumpet player in our jazz and quintet groups) is a martial artist - very accomplished. I sent him a routine for "recovery after illness" that included long tones and various Schlossberg routines. For his benefit I described them as the equivalent of trumpet (Tai Chi). He thought it appropriate.

@Kehaulani

The full warm up includes several other exercises, edited from Clark and Schlossberg. I can post the complete pdf if you wish (or i can figure out how to post the pdf.)

@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.

@Shifty said in Music. What is It?:

It would take an entire book. A good start is This is Your Brain on Music.

This is a great book by the same author who wrote about brain plasticity -- also a rock musician in his youth.

Going elsewhere:

I like to think of potential answers in terms of anthropology - my major in college. The field of ethnomusicology opens the thread to N+ topics. For starters, the purpose or use of most "primitive" (stone to iron age) has been suggested for one or all of the following: religious ritual, sex or sex ritual, and warfare.