Best posts made by Kehaulani

I finger this thread with a 2,

@GeorgeB said in Staying in top playing shape post band shutdown:
@Kehaulani-When I get this first Charlier down I am going to celebrate with a double shot of Jack Daniels

And if you don't get it down then, what? The whole bottle?

Anything beats the 2/3, 3-in-One oil and 1/3 kerosene mix I used when I had no money.

So, one octave is from the lower to higher note of the same name. C-C, F-F, etc. Two octaves are just that, twice the distance. So, in trumpet terms, G below the staff to G in the staff is one octave. Then that G in the staff to G above the staff is the second octave. Put them together and you have a two octave scale.

I am really sorry, Amzi. I hope you continually improve.

To qualify what I am saying, I have had two major strokes and several minor ones. My vision's impaired, I have some physical coordination problems, am wheelchair borne, and have trouble with concentration.

Probably a big thing you will have to deal with is patience. One just can't do what one, formerly, could do and it's frustrating and depressing. For example, I haven't gotten better than Lesson Seven in Harold Mitchell's Book One (Beginner). By contrast, I could, formerly, play in Book Three with a range of Double High C.

I would say, one thing that might be critical to you is to get good and consistent physical therapy. And listen to your therapist.

Amzi, you might not recover at a pace you want. For those of us that had former lives being goal-oriented, it's a major paradigm shift is to go from blazing towards an end goal but to become more aware and engrossed in the process. You may have to go from practicing to play the Haydn to practicing for the sake of practicing.

At any rate, patience and optimism. Good luck.

I would add that, once you have associated the modes with the scale degrees of a particular scale (C Ionian, D Dorian, E Phrygian etc.) you need to run all mode forms using the same root, i.e. C Ionian, C Dorian, C Phrygian and so forth.

Triple by-pass?!! My condolences, tj, and glad to see you well.

This will, no doubt, elicit a knee-jerk reaction from some who are either offended or who wonder who the heck I think I am. Fair enough. But I think this needs airing.

There is value on any forum for a Lounge, to let members let off steam and to discuss things that do not fall under the general category of the Forum's main intent. This Forum, however, has begun, and stayed, in the realm of "Loungeism". Jokes, pretty pictures etc.

As long as there is no widespread interest in pursuing questions about trumpet pedagogy and musicianship, it will not grow. I've noticed that there were members in the former forum who no longer participate. It seems sort of self-evident.

Although I love Horn Bands, I particularly enjoy the use of horns in a more integrated sound like in various colors, integration, et. More from a compositional attitude. Matrix: Clea.

That was beautifully expressed.

Conn New Wonder here. Gives me the sound I want.

I won't address this generally, but just give you my experience.

I traveled from U.S. to Germany and back, and traveled around within Germany, with a Carol Brass pocket trumpet.

Carol Brass makes a pocket trumpet with a normal-sized bell so your mutes should fit it. I only took a Yamaha Silent Mute, which fits flush with the bell so I didn't need any extra space for it.

The taking up of space and the extra weight were negligeable. I put the horn, without a case, in my suitcase. It was well insulated and saved you the extra annoyance of carrying another piece of luggage around.

BTW, with the Carol, I never felt this was a compromise instrument, like using a plastic instrument, for example. It sounds and plays just fine on its own.

@barliman2001 said in Conn 80-A Cornet:

@kehaulani Lyre screw is missing...

I guess I'll have to knock another hundred dollars off of that, that being such a crucial part of any horn.

Good grief, here we go again.

OP, I didn't see it above and I might have just missed it, but make sure you're not using too much pressure. That will kill endurance quicker than anything.

@Dr-GO
This is an excellent opportunity and implies wider participation and questions/solutions. I'll start on an etiquette note.

Go to the first session without your horn. Listen.
Hear the level, observe the protocols carried out by the regulars.
Meet participants in a non-competitive ambiance. Just network and eventually ask what you need to do to join in, next time.

Maybe others have other suggestions for jam session participation.

curlydoc, I'm a little late to the game but I'm so sorry for your falls and broken ribs. Must've been very painful and restricted.
I've just got two comments:
Continue to better health.
Long Tones.

Dr. G - " I got an offer to play in another band from my entire evenings performance."

There can be some real spin-offs from these.

One night in Germany, the weather was horrid and the streets snowy, icy and bare. Locals knew better about going out in this weather. I wasn't going to go to a jam session, but, actually an hour after t had begun, I decided, "what the hell".

I went, the stage was sparer than usual, meaning more playing time. A critic from the paper was there that night and I was surprised the next day to read a really good story, singling out me and my playing. That exposure unexpectedly paid off in many ways.

It's great for networking, but has benefits to all sort of players, like getting experience playing for audiences or playing with people you don't usually play with. Or playing music you might not usually play. And, now that I think of it, even, maybe, having to deal with some awkward or negative aspects, as well.

Ah, thanks. I was curious about it because my main teacher had studied with Schilke. Sure enough, that exercise is exactly the same one and played in the same manner that my teacher taught me. We used an exercise from Arban. I think we played p. 129, but the 16th notes were played as long as you could play them. Blastissimo, but without breaking up.

Vibrato also depends greatly on style. It's different if you're playing in an orchestra or jazz combo. On legit sax, I always adhered to the concept hat vibrato is an inherent component of the sound. In pop and jazz, it's more variable.