My routine is simple, and balanced: 1 hour in the morning playing technical stuff and 1 hour in the afternoon playing the songs I love. And, like Dr. Mark, I have my 5 horns on stands in my music room and throughout the day I'll pop in and pick one up and blow something.
@Dr-Mark said in Artist on BOARD:
Hi BigDub,
You've figured out how to say something with paint.
I couldn't agree more. Maybe Wayne doesn't do it on purpose, but so far several of the paintings he posted here spoke to me. One even had me wanting to jump into the painting and follow the road to find out what surprise may be up around the bend. To me, that painting is a masterpiece.
@rowuk said [ If things get congested (tonguing, breathing, chops, brain), it is amazing how much a sip of water helps. ]
That is so true. I get up, sip some water, walk up and down the hall, then go back and face the music and things start working again.
In my younger playing years I started with some formal training ( a few months at a music conservatory and a year taking lessons from a great local professional trumpeter ) and that formal training stayed with me and got me back in the saddle when I started playing again after a 50 year hiatus.
But age did change things for me and there were a few problems that a local semi-pro friend of mine was able to help me with.
OMG, Wayne, that waterfall is amazing. The entire painting is amazing. Dr.Mark said it right, " You are a blessed man. "
Me. too. I favor my older horns above the newer ones. I especially love the 1942 Buescher and the 1952 Selmer Paris.
So sorry I bothered you about that BigDub lockout thing. Get well soon !
@Dr-GO
No, Doc, in the early stages of my comeback there were some minor things, but mostly I needed advice on finding the right mouthpiece. The Bach 10.5C that I used in my teens and twenties just didn't work for me in my 80s. Too much in the chops had changed, including a full upper denture that I didn't have in my younger playing days.
I own 2 Selmers. One is a medium bore 1952 model and the other a medium large bore 1959 model. The '52 model has a smaller throat and none of my mutes fit it properly, but the '59 with its larger throat can accommodate all my mutes. I expect this is because of the different size bores.
Posts getting derailed can be annoying, but ok as long as someone gets things back on track. I will stick with a thread if it is interesting .
@Bob-Pixley
This is pretty much where I am, too. The band I am in calls for a lot of As and Bs below high C but only once have I been called on to play a C in an arrangement. And I couldn't always do it, even though I play a D over high C every morning in my practice routines.
@BigDub said in Artist on BOARD:
Back to another non-commissioned-my-own-choice-of-subject-matter paintings. I was very happy with the results of it.
This is a farm not even 5 miles from my house. That might be a huge surprise for those who share a certain opinion about New Jersey!
Love this one, Wayne. Looking at it I felt the need to put my sweater on. And again, I am wondering what is over the crest of the hill ?
The 1959 K-Mod was made in Paris and response is not quite as good as the 1952 Selmer Paris but has a similar warmth in its tone. The '52 may be more responsive due to the smaller bore, and the valves are faster than the '59 K-Mod. Of all my horns, the 1952 Selmer Paris remains my favorite horn to play with small groups, but not with the 35 member band I play with. When you push the '52 the sound is not as clean and warm. I hope this answers your question.
George
If I login using Microsoft Edge, everything on the page is frozen. I get logged in normally when I use Google, which is what I am now using.
I wonder how many others are locked out and unable to complain because they don't know the admin's e-mail address.
I don't know about the rest of you, but the loss of regular band practice and playing gigs affected my playing. I noticed I was losing endurance and the range was starting to suffer. To combat this I increased my daily morning practice from approximately 50 minutes of horn on chops to 70 minutes, spent more time on the more difficult exercises ( especially 2 octave scales in all keys ), individual range exercises, and as well, I increased my afternoon playing of tunes to match the morning practice time with horn on the chops. Now things are coming back for me.
How 'bout you folks after zero band participation ? Any troubles ?
@BigDub
Great, Wayne. I just made it my pc wallpaper. Merry Christmas to you and yours.
George
I agree that the Selmer horns have a unique sound and I think it is because of the tone ring on the bell. I have a 1942 Buescher that has a tone ring similar to the Selmer Paris horns. It is my second favorite horn for solo work.
