Best posts made by Kehaulani

LOL. As a former resident of Germany, I imported many instruments and never had a problem. Just make sure that your PayPal has a good fraud insurance and get UPS to do the packing and then have them insure it.

Where some sellers have a problem is that, without a written O.K. regarding the actual shipping cost from the seller, they won't get the item sent from the seller. So this means one trip to the shipper for packing and cost estimate, then going home and waiting for an O.K. of the shipping cost to from the buyer, and then another trip to the shipper.

So, for some, the objection isn't regarding one having a foreign address rather than a bunch of running around that they don't really want to do. Depending on where the seller lives with respect to the shipper, he just might not want to mess with the running around.

The only way around this that I know, is for the seller to have a shipping charge that both parties agree to, regardless of the actual cost. In that case, take nothing for granted and have a solid paper trail.

Well, my first horn was a hand-me-down silver cornet from Austria. I stopped by some relatives on my way to Japan. My cousin had just gotten a new trumpet and wanted to know if I wanted his cornet, which I took. Took a lesson from my cousin-in-law who became almost legendary in his region, so got off to a good start. Not much later, the valves froze on me and I got a used, no-name American cornet for fifteen bucks. What did I know?

Changed it about five yeas later for a K-Modified Selmer trumpet in 1960. I think it was a really good horn but I got a new trumpet teacher and he influenced me into getting a new Connstellation. BTW, I later learned later that he got kickbacks from a certain music store. But, like I said, what did I know? Nevertheless, it was a good horn and served me well.

No pictures unless hieroglyphics are accepted.

You're very welcome.

@Dale-Proctor said in Lip Flexibilities:

I like the green Schlossberg book for flexibility studies.

Is there a chartreuse one?

@dr-go said in Easy way to increase air supply for brass players:

In this study, this device if used daily, can increase inspiratory lung volume by 16% in 30 days.

I climb a set of stairs with a cup of coffee in my hand at the start of each day. It works. Anyrhing is better than nothing.

. . . .

@flugelgirl said in First Horns:
It plays like a sewer pipe,

LOL!

Here we go again.
There are two ways of calling notes. One 1)os related to the Grand Staff when expressing pitches (concert) to a mixed group of instruments, the other 2) when addressing like instruments.

For the first, look it up on google and have fun. I usually just say "concert X" and let the various instruments figure out what octave works best. If they are relatively ignorant, I give then their playing pitches.

For 2) relate everything to C in the staff. That is Middle C. The one below it is Low C, the one still further below that is Pedal C. Back to Middle C, the one above that is High C and the one above that is Double High C. For the one above that, well, good luck.

I got my copy from the Internet in pdf for free.

https://www.trumpetherald.com/forum/viewtopic.php?t=159549

@ACB said in Gorgeous Hub Van Laar Oiram in gold plate!:

the OIRAM trumpet was designed by the Belgian architect Mario Garzaniti.

Good Belgian name.

Try Legends, too. They do excellent reproduction work.

https://legendsbrass.com/trumpet-mouthpieces/

Louis Prima had the answer back in the 50s: High Note Grease.
(The Lip.)

I can't do justice to Berliner's book, but it really gets into the guts of Jazz expression. It's almost analogous to reading War and Peace or The Rise And Fall of the Roman Empire, LOL.

https://www.amazon.com/Thinking-Jazz-Infinite-Improvisation-Ethnomusicology/dp/0226043819

Well, knowing the true acoustical combination of wind and lips has helped me be aware of not having to muscle the lips. But nevertheless, I can't wrap my head around one blowing air into the mouthpiece then into the horn without the lips vi vibrating. And that vibration is what I've always known as a buzz.

Maybe you let the lips vibrate instead of using a forced buzz but you still have to relax and contract them as you ascend and descend, n'est-ce pas? And isn't that vibration a buzz?

Is it free?

@dale-proctor

No tools, Dale. Thanks for the guess on the age, though.

A little disrespectful. perhaps, but Tim Went on Trumpet Herald is a regular contributor who has a ton of Broadway-type shows and is willing to give advice about playing shows. Nice guy. His pseudonym is trpthrld. As an afterthought, John Mohan is an experienced show player, on TH, also.

You can buy them outside of St. Jacome, too.
https://www.amazon.com/celebrated-studies-cornet-Goldman-Bousquet/dp/9333187731/ref=sr_1_2?dchild=1&keywords=N.+Bousquet's+36+Celebrated+Studies+for+Cornet.&qid=1592007408&sr=8-2

Well, I've just resolved the conflict by, finally, just ignoring it. I used to be a big, although relatively unsuccessful. buzzer, both free-buzz and mouthpiece buzz. i no longer try to have a buzz as the main source of the sound but thinking more of the sound emanating from a vibrating column within the horn which, in turn, causes the lips to vibrate. BTAIM, I no longer worry about the physics.

This what I do.
*Start with leadpipe blowing to start the sensation of letting the vibration come from as passive and relaxed lip formation as I can. Then, as I play the trumpet, I ty to keep that relaxed, passive formation as I blow. Then carry that concept throughout the playing day.