Best posts made by Kehaulani

@administrator

I currently own an Adams F1 Flugelhorn and I think it's fantastic. I would definitely go visit ACB since you're pretty close to begin with.

Second he motion on Adams F-1. I've got one. With the right mouthpiece, you can get a classic Qouesnon sound,

I don't like it, either, but I think it originated with union rules between the Screen Actors Guild and the Musicians Union as to who could do what.

ROWUK said "Moving air is ONLY necessary to get the lips vibrating . . "

Well, how do you get the lips to continue vibrating? Don't you need air for that, too?

Great, I'll bet the confidence feels good.

I don't think you're going to attract more members until you can provide a core of more helpful and applicable information for brass players of any walk. To me, this forum focuses more on non-musical things. It seems more of a glorified Lounge. It's a matter of proportion. I think people need a more tangible reason to frequent the site.

There's nothing that says members can't joke, post pictures, and other leisure things. It's just a matter of priorities. If I wasn't already a carry-over, I would have a hard time finding reasons to be a forum participant.

You may find another Flugelhorn better suited to your needs. The Adams F-1 was my choice, so here was my criteria.

*I wanted a Couesnon-type sound. A Flugelhorn that would give me a sound similar to this. https://www.youtube.com/watch?v=oF7Wx_pdWeg&list=PLfJndz0utgONWpSfdEMuW74Ajzf3WNOLG

*needed as lightweight a Flugelhorn I could find,

*and, of course, good playability and excellent workmanship.

Can't post independently, so posting here (sorry),
Youtube Video

@Tobylou8 said in Does a large bore horn take more air?:

Concrete???

Yes. It's for playing Musique Concrète.

@Vulgano-Brother said in Do you see what I see??:

Reel-to-reel tape works great when you can slow it to half speed. You get to hear all the crap. Useful too for transcribing solos. (Had fun in college transcribing a Chase solo, then playing it down an octave with a trumpet mouthpiece on a valve trombone--sped up, it sounded a lot like Chase.) Doesn't help when tuning intervals, though. Experiencing resultant tones doesn't work through a speaker.

Let's not extol the virtues of playing at half-speed and down an octave lower too much. I was raised under that system. That's how I learned tunes/transcribed solos. Sucked compared to what you can do today. Ever try to transcribe a bass line an octave a complete octave LOWER?

Unless the composer openly states his/her intent, I am not a mind reader. I don't presume to put thoughts in their heads. As a tool for performance though, if the information is there, any of a composers' thoughts should be helpful.

@Dr-GO said in Easter Services:

You know, what I find that adds stress to these performances is that the vocal chorus requires the performer to repeat the verse, typically four times. That repetitive playing I find fatigues the embouchure more than range fatigue.

What prevents you from giving the performance an arch? Why not play a verse, lay out a verse, etc.?

It might behoove us to continue using the Jazz category unless there exists a need for something more. Sure is a lot to work on, though.

BTAIM, I'm partial to this:

If you can just blow air into the mouthpiece and produce a sound without your lips touching, you have discovered something rare, indeed.

I have another question, too. Where are all the other forum members and potential members? Too theoretical and pedantic for them?

Kurt Thompson? "Hi. I play trumpet. I'm better than you".

Not dodging the answer, but wouldn't this be a topic for another thread, both to narrow content and to call attention it, rather than burying it in a thread with a title that some people, by now, wouldn't even open?

Well, the program looks reasonable but that depends on the caliber of the players. How much is too much depends on the level of the players, so I can't really know, this is hypothetical.

As a general rule, I use an 80/20 ratio; I usually choose a piece of music that the band can play reasonably well 80% accurately on the first read and then devote the rest of the time (relatively) bringing the remaining 20% into shape. Then the overall pacing of the entire program has to be taken into account, so you might want to give the band a little rest with an easier piece, while challenging it with a more difficult piece.

BTAIM, I would never have that kind of schedule, even with a professional band. Because of resources and logistics, I can see why the schedule was so intense and compact, but even in those circumstances, I personally wouldn't have such a schedule.

And congratulations on your selection to play in that band. What a wonderful experience and opportunity.

As an aside, did you run across Les Muncaster?
Also, for those that are sight challenged, could you considering breaking your posts into smaller paragraphs? Thanks.

Rock & Roll with horns (that was the topic, right)? Electric Flag, album: A Long Time Comin'.

Youtube Video

(Why isn't this working?)

@OldSchoolEuph said in Structure of the Trumpet by Yamaha:

We need fluff. Not everyone wants or needs to be a gearhead. Some just want a 4th grade book report level of understanding . .

That's me. And I'm no dummy. I'm just not interested in the physical minutiae of the trumpet. I'm from the school that puts the most emphasis on "the body follows the mind". No reason others shouldn't be interested in detailed information. There's room for both.

My only skepticism is if so much interest in digging deeper and deeper into the physics is an ignoring of making music. After all, that is the goal of playing trumpet, isn't it?

About the article itself, is it possible this is a translation? In that case, some words or phrases might not come off as intended.

Thank you. As a stroke survivor several times over, regaining trumpet strength has been a major chore. Very discouraging. That vignette helps.

I asked about Les because I worked with him in the past and the last I knew, he was conducting a Florida community band (a hurricane refugee from the Mississippi gulf coast).

The seat assignment philosophy might have been to place a heavy player on each part vs. a top to bottom placement.

Again, congratulations.