Best posts made by Kehaulani

And as a woman friend past, used to say, "What'll it mean to a naked lady riding on a white horse a hundred years from now".

@ROWUK said in Researching old instruments:

@chelpres said in Researching old instruments:

@Kehaulani I asked this same question of a German friend of ours ,who is prone to being pedantic on matters of language.
Her view was that it should be pronounced phonetically...booscher. Then again, there may be regional variations.
Regards, Tom

With the double o in Boosher being pronounced like in "good or wood". The german slightly nasal pronunciation cannot be replicated with english vowels.

While that may be correct in proper German, American families are notorious for bastardizing an original language and transforming it into an Americanized pronunciation.

A near-by town is named Groen but is pronounced Green. Actually, Gruen is green in English but my point is the difference between what was originally the proper pronunciation vs. Americanization.

Buescher was an American company and it's family American. I have seen an official Buescher promotion from the family that emphasises that they pronounce the word "Bisher". Grammatically wrong but hey, they're American, they can call it what they want.

Thanks so much, Jorge!

Seems to me it's common sense - except for the redundant 10,000 hours concept. For string players and pianists it may require an extraordinary number of hours but some instruments, the student has to age somewhat before they can even begin study and that means less total hours.

Also I think some instruments require other ancillary studies so, for some, things like improvisation study, transcribing, etc also require a lot of time but are sometimes calculated in the total hours.

Roy Etzel, I believe. You do know that is highly processed. Hard to tell what his natural sound is.

TH and TB. The land of unrequested answers.

I played the Severinsen at North Texas, in an AF band hitch and in pop cover bands. Matter of fact, I sat next to a guy in a professional big band who had played lead for Woody Herman, and Stan Kenton, et al. , and subsequently a first-call L.A. studio musician who played a Getzen. Wonderful horn. I've owned one since.

I always felt that the Benges were a little warmer so, when I could afford those vs. the Getzens, I deferred to those.

Ref valves , with the exception of once, I've never had a horn with bad valves so I'm not sure of the superiority of Getzen valves.

For their use, Severinsen/Benge . . just what moves you. You can't go wrong with the Getzen.

Just one extra thing, and it may just be a matter of semantics, but for me, networking was never sucking up to someone or meeting the right people. It was a consequence of how and what I produced.

I have excellent contacts but they are just based on knowing what kind of a job I, and my friends, can do. It hit me, and this was later in my career, that networking doesn't necessarily have to be about sucking up, rather a simple matter of common sense. People can't hire you if they don't know who you are.

Yeah. It's like walking in the desert and stubbing your toe on a little pyramid shaped stone pile. You decide to dig it up and, to your amazement, it widens. You do this the rest of your life, discovering that you have been uncovering the Pyramid of Cheops. That's what mastery work looks like.

The question is not how much "gas you have in the tank", it's how to use your breath to support the musical phrases. Don't look for the best places to take a breath, physically, but musically. You may have to make compromises but when you do, the priority should always be musical first.

@newell-post said in Valve Springs:

Does anyone know if Bach sells slightly stiffer than normal valve springs? I can find standard and "light" replacement valve springs. But I would like springs that are just a little bit stiffer, faster, and less "mushy." I know I can try to stretch the standard ones slightly, but I would like springs that come from the factory just a little more "aggressive." Thanks.

@Dr-GO said in Martin Committee Club:

@tjveloce said in Martin Committee Club:
Dayton Ohio where our house just over 4,000 sq ft is just under $400,000.

I empathise. When we bought our house in Hawai'i, it cost $17,000.00. When I visited the Islands recently, I visited that home and was told two similar houses on the same block sold recently for $90,000.00 and a cool million, respectively!

Of course a moderator, as is their right, can close this thread before it gets started, but I thought the original topic is very useful for some, so I'm continuing this topic, hopefully devoid of rancor this time.

First, I would encourage anyone interested, to read the content of the original thread and avoid redundancy. https://trumpetboards.com/topic/736/should-i-go-to-graduate-school

There were pros and cons posted about going to music graduate schools. Does anyone have any further thoughts?

@Rapier232 said in WHAT DOES IT TAKE TO BECOME AN EXPERT?:

@Bertie

Well, for what it’s worth, I was a National Police Firearms Instructor for 20 years. I taught people with absolutely no experience whatsoever from basic level all the way to very advanced close protection and hostage rescue teams. I found some people, including me, were absolute naturals at all shooting disciplines. Others found the skills difficult and some found them impossible and failed to reach the necessary standards required. So I’d disagree, natural talent/ability does exist, and those with it will out perform those without.

That's funny. I recalled that, as an enlisted man who had never held a firearm in my life, I scored an A.F. Rifle Marksmanship Medal the first time out and, years later, after never having ever shot a handgun, I also earned a Side-Arm Marksmanship Medal. Likewise in your experience, while I was shooting there were others that just sucked at firearms no matter how hard and how often they tried.

This is just a slightly off-topic comment, but in general, I'm against circular breathing unless for a special effect. I feel music needs space to emphasize phrasing and without it, it can become monotonous.

If it's for pre-written music that has no place to breathe, to me, that's on the composer/arranger. It's a WIND instrument.

@flugelgirl said in Whay has no one bought this?:

Seems like it went for a reasonable price in that condition. Since I would have bought for resale only, way more than I would have paid, but for a player or collector, nice price.

Well, I'll just keep waiting for a good deal from Quinn the Eskimo.

For sale, BTW.

I don't mean this in an uncharitable way at all, but I think you must have had a bad experience but I don't think it's universal. I've worked with all kinds of musicians and of all different kinds of backgrounds, some with little formal education to those with PhDs and I have never known one that didn't get something out of their education.

Now, some just got an opportunity to play in some great ensembles and make some valuable relationships, while there where others who really increased their knowledge. It was really personal, depending on their level when they started school and what their goals were.

One day during a composition lesson, I looked out the window and across the street at the main entrance to the building and said to my professor, "That's sad. There should be a sign over the entrance that says, "Caveat Emptor". He looked at me, took a pregnant pause, and said, "You have to create your own vacancy".

Long Tones to start out - maybe Chicowicz Long Tones also to get the air moving - then straight into flexibilities. I concentrate on (varies) Schlossberg, Maggio and Spaulding.

Add wind vibrato, a la flute.
Some is dependent on air intensity, some on embouchure pressure, take your pick. It is the results that count.

I'll add, though, that in my experience, hand vibrato is most used in older styles.