Best posts made by Kehaulani

I measured the distance from eye to music stand, then had bifocals made. Bottom lens for reading music, top lens (distance) for seeing conductor, MD, crowd. Work with your optometrist.

@Dr-GO What I still want to know, scientifically, is . . . How does Scotty beam someone up?

It would be nice if you gave credit to the composer and performers.

@ButchA - does it go up to 11?

rowuk tell me if I'm off track. I would just add these observations.

Shallower cups (not diameters), can emphasise the upper partials and de-emphasise the lower ones, aiding the sound to being more easily heard if playing lead or in an electric combo. This is an acoustic phenomenon, not a range building one.

Deep cups, for many, are just harder to sustain playing high notes over a long period of time, and generally enhance the roundness or depth of the tone, pushing out the lower partials at the trade-off of the upper ones.

And some mouthpieces just enhance a certain sound preference.

This doesn't mean that any of these factors can't be "overcome", in and of themselves. To use an analogy though, you can get from New Hampshire to California in a BMW or a Volkswagen Beetle. It just depends on how you want to travel.

This is almost Zen like. Looking at the finger pointing at the moon instead of looking at the moon, itself.

We seem to spend an awful amount of time talking about how we should talk about things trumpet/musical rather than talking about trumpet/music itself.

@ButchA said in Update on my "saving grace" mouthpiece...:

Wow... I owe a world of thanks to the user "Newell Post" for offering to sell me his Bach 10¾CW mouthpiece!

CW mouthpiece? What, is that for playing Bob Wills?

Happy Holiday Season to all my friends of various faiths (or none).
May you find tranquility at this season.

@Dr-GO said in [Valve oils]
For medical reasons I advise against this as I worry about inhaling volatile residue by placing oil in the lead pipe.

Been doin it for over half a century, How harmful could it . . could it (twitch) . . could it (twitch) . . b-be?

How wonderful! I envy you. Viel Spaß!

I went for several summers in a row playing concerts for beachside cities in Sicily.

Spent the days in blue waters, white sand, pulchritude, outdoor Pizzaria. Then evenings, outdoor concerts in pleasant weather, then more great food. I was a pig in slop. What more could a little Hawaiian boy want?

"Best bang for the buck" is in the eye of the beholder. There are gear-knowlegeable posters who know brands/models much better than I, but the best horn I've found is a Conn 38B Connstellation.

They seem to be around $1,200.00. Some good other horn buys can be had in the $600.00 - $800.00 price range, but I don't consider them professional. and I guess this is where "Best Bang" comes into play.

A Connstellation is a professional quality horn. I believe it has the same qualities of new, professional horns costing three times that much. It has been played in the full gamut of playing situations, from symphony to jazz combo.

One good examole is: https://www.youtube.com/watch?v=uBXzw7Llhpk&t=1060s
or here:

An aside is that the finish on Connstellations is almost bullet proof and they have held up well, cosmetically, for those who care.

1&3 is also to sharpen middle D and also to change timbres in an improvised solos, i.e. going back and forth between 1 and 1&3 on a middle D.

I'm wondering (jazz-wise), that, if you want a Committee sound (whatever that is), that all you need is a horn in the ballfield, the right mouthpiece and the right attitude and you can have it. I wonder if the sound-image in one's head is not given enough credit.

@Dr-Mark said in How to Listen to Classical Music: Motifs and Seeds "Musical Arguments":
I've been so lost sometimes it felt like I was on a bad side of town without GPS but all I had to do is go back to the melody for a while and start again with little motifs once my comfort level returned.

As an aside - about being lost -

A friend left for music school (jazz emphasis) and the first time I saw him back was at a jam session. He was accompanying a vocalist and his note choice was really interesting.

I figured he got a holy grail at jazz school, so when we took a break, I told him how much I liked what he had done and how different it was from before he went to conservatory, and I aked him what he was doing.

He looked at me and said, "I didn't do anything special . . . I was lost". LOL

The sound has to come from someplace before it is amplified by the trumpet. And how is it possible to produce sound with one's lips kept apart?

Also, a buzz can take place inside the mouthpiece/horn and then lose it's formation when the contact with the mouthpiece is removed . . . unless we have a different concept on how to define buzz.

I thought this was resolved. When there is no sound, it can't be further amplified. No buzz no sound. The sound-source doesn't manifest itself out of the blue.

As promised:

@Dr-Mark said in Structure of the Trumpet by Yamaha:

@Dr-GO said in Structure of the Trumpet by Yamaha:

Dr Mark PLEASE STOP the PERSONAL ATTACKS. Another administrator clean up on aisle 3.

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Attacks? Nope, everything I said is true. You are a hospital employee who argues with the Yamaha Corp.
Time for me to practice.

Oh come on, now.

Regarding the implants, this doesn't relate to classical playing but if all else fails, there's always the example that there is life after new teeth: Chet Baker.

I coincidently was just checking out my printer and printed out a transcribed solo by Chet. I was astounded to notice that he only played one G above the staff. The rest of the solo was lower! And it was good. Didn't need no stinking high notes!

As Rudolf Abel said in Bridge of Spies, Would that (the information) help?

Play it at a speed that you can play it error-free and then play it again regardless of tempo, but this time in a purely musical/expressive manner. Then combine the two, gradually playing it faster but never ignoring the musical phrasing.