Topics created by J. Jericho

@SSmith1226 Amen!

@Vulgano-Brother Wow! It must be well over fifty years since I last heard them. Thanks for posting! There was an oddball album I bought at the time that had a brilliant assortment of then-contemporary themes (including wry musical humor) using J.S. Bach as a basis. Lost in the shuffle of years; I still think about it from time to time.

The notion that tightly slotting horns are easier to play in tune is a myth in my world. We do not play "well tempered" we play relative to the other notes. This is called "just tuning". We need the horn to respond evenly because we need to bend the pitch to stay in tune in relation to others.

The notion of how a horn "slots" has more to do with how well we hear ourselves. In an overly reverberant bathroom or staircase, an instrument will appear to slot better than that same instrument when played outdoors on a cold day. If we insert earplugs (in our ears), the horn will slot noticably worse than if we just got our ears cleaned.

Sure, we want instruments that can securely be played in tune. I believe that the physics of resonance place limits on what works. I also would not agree that heavy instruments necessarily have less overtones. My heaviest trumpet is the one that is most easy to play and projects the best. It is the most brilliant too.

In many cases, we can improve instruments that are difficult to play. This can be accomplished by moving braces, cleaning the grunge out, aligning the valves and to a certain extent improving the mouthpiece shank/receiver connection. Sometimes a smaller mouthpiece can make our sound get to our ears more easily. I have had several students wanting to get a "darker sound" that ended up just being mushy. Recording their sound with various instruments can prove to them that they were following a "less worthy" goal.

Heavier valve caps on instruments not designed for them can make resonance more stable but as a rule have a cost in sound and intonation.

There is also a notion that some instruments project in a way making them easier to hear. This can help match the expectations in our heads to what the trumpet actually sounds like. When we match instruments to our sound concept, they are easier to play.

Update: This variation does apply to Studio trumpets, cornets, and trombones. Also, there is a third variation resembling an illuminated movie theater sign.

The part with those quarter-note triplets was pretty amazing. Really, a great solo.

The BEST trigger option is no trigger: My Martin Committee has the slide eliminated as it is not needed as intonation is pitch perfect without it.

Then next easiest feature is then the Olds trigger slide concept. So easy to use, and so ergonomically friendly.

😲 😁

I once met HM, many, many years ago (around 1990), at the official opening of an exhibition about the Domesday Book in the Public Record Office (now National Archives) in London... I was there for the exhibition which enabled me to view many documents that I needed for my PhD thesis in one place instead of spread out all over the country... so I had planned to be there on Day One and stay as long as needed. I was in the exhibition hall when suddenly a group of obvious security officials appeared, a red carpet was unrolled and a tape was slung across the entrance - mind you, there were about fifteen visitors already inside because the exhibition had opened at 9 am and by this time, it was 11 - then the Keeper of the Records arrived, in full robes and panoply, a couple of other officials lined up, and then HM arrived, in a pigeon-blue costume with matching hat. Someone dropped on one knee to present HM with a cushion with the scissors on it, and she cut the tape and declared the exhibition opened, and proceeded down the hall to see the exhibits, most importantly the first volume of the Domesday Book dating back to 1068... and had to pass me. She addressed me with " So why are you so keen on the exhibition that he could not wait for me to open it?" and I stammered something about not knowing that there would be an official opening. "Why shouldn't there be?" was her reply, " Anyway, success to your research." and was gone.

@Seth-of-Lagos that's true, I loved the playing of Maurice Murphey. Being a well-rounded musician is always a good thing.

It went well and it felt good. Played as written above, very traditional. I did not hear any other trumpets (or other instruments) playing. So I was it for my area. Looking forward to next year.

That's O.K. the supreme court will see to it that you are very familiar with that word.

Blast from the past. (Waaaaay past, LOL.) That Marshall Brown record made an impact on me. I think "Copley Square" was the first real jazz big band (not "dance band") chart I learned.

Found myself in school several years later with some of Marshall Brown's alumnae. He had a who's who of H.S. players and I think was influential in developing credible jazz programs in the schools.

@barliman2001 said in Here's a nice little daily warmup...:

@georgeb That's not more uncommon than Chuck Daellenbach of Canadian Brass turning the tuba round 360° while playing the Tiger Rag... he's been doing that for almost forty years now...

That is the most spasmodic videography I have ever seen.

@georgeb I'd say that his interview skills are on par with his other abilities. He certainly knew how to make her reach deep inside for answers to his questions. Wynton really makes people not only think, but also enables them to discover things about themselves that they hadn't considered before.