Yes. There are books that have a collection of characteristic rhythmic patterns. What I mentioned above dealt with pitches but there is another facet, rhythm. It's the same concept, though, and that is seeing rhythms, too, in characteristic groups rather than individual elements. Good point, flugelgirl.
I got a play test om a horn I ordered too. Nice touch. Hope it Arrives O.K. Enjoy.
It would behoove Al to study the lyrics.
Just "business as usual", here. My practice regime hasn't changed. But broadly, it just seems to me to be common sense. Practice like you always did but compensate for lost ensemble playing time by,
1.) using the technology to play in "contrived' ensembles, . . - if you don't know the technology, this is a good time to learn.
2.) Increase the time, difficulty of additional exercises/etudes,
3.) Organize a set of tunes like you would, otherwise, have been playing in an ensemble, both in difficulty and time.
Also, if your so inclined, have a bit of fun. Music Minus One and Aebersold have a wealth of jazz and classical play-alongs, some with ensemble to orchestral accompaniments. Nothing like playing a Mozart solo piece with full orchestra accompaniment.
A word about individualism. First a caveat. I have always been, at heart, an improvising jazz musician. And my related equipment has usually been compatible with that aesthetic.
But if I was playing a predominantly orchestral and small-group music with some detours playing "Pops" repertoire, my choice in an instrument would not be the same.
Today's classical music (American) has certain expectations in sound and equipment. Yamaha and Bach with some side excursions to Schilke et al.
If you are primarily looking to playing in large, classically oriented and related ensembles, one of your considerations is how you blend with the other players and there is an understanding of what that is.
I do not know Blackburns, but regarding that, or any other horn, I would consider your goals and expectations, as well as the expectations of your colleagues and musical directors in making your selection.
@Bob-Pixley said in What Is Your Favorite Version of the National Anthem?:
Except for the "President's Own" Marine band of course. They are a professional band and receive a bare minimum of military training in conduct, military etiquette, uniform regulations, etc.
Yep. They don't even go through basic training. I'm told that's one reason their official name is The U.S. Marine Band and not the Marine Corps Band.
@GeorgeB said in Staying in top playing shape post band shutdown:
@Kehaulani, But at my age everything is a challenge.
Yeah. I got up this morning. Wasn't sure if I could. 
Good grief. Isn't the OP's question simply which of two horns to buy? You play them both and pick the one that plays and sounds the best and is well built.. If it's a tie, go with nostalgia or it's mystique to you.
It's not rocket science or polemics or pseudo creative writing 101.
Raymond Scott is the absolute bomb!
Not only was he a great composer, but an excellent music director. And he worked with a string of legendary players. Well worth looking into.
You might benefit from the Berklee School of Music Theory Course. It's available in PDF form and download is free.
Be aware of one thing: trumpet is a Bb instrument, while the course materials are in Concert Pitch. In other words, if you play Concert Pitched music on the piano, you play it one step higher on trumpet. But for just studying theory, don't worry about transposition. That would apply only if you are playing trumpet and piano.
Although I can play violin, I've never thought of it that way. Violins are tuned sharp-keyed friendly.
Most of my sharp-key playing has been in pop bands and I have interpreted their preference for sharp keys not because they are thinking of adding notes up, but because, for the guitars, sharp keys are easier to play in.
This only applies to American pistoned valves. I played trumpet professionally in military concert and big bands and in pop/soul bands and never was anal about different sounds per valve combination. The body follows the mind.
That's not to say that, occasionally. on certain sustained tones blending in a section, I might not have used an "alternate" fingering, but usually you just have a clear mental picture of the sound you want to produce and get out of the way of your physiology. Your body's smarter than you think.
Or, you can be like me and work under the radar for decades.
A lot of hard feelings about using fake bugles, but I hope that doesn't extend to the people who have given their time and resources to acting in absence of real buglers.
Does Classic, in this sense, mean the Severinsen?
Since it's new, contractual obligations may prohibit the name Severinsen. So does the Classic actually hearken back to the Severinsen or are they two different horns?
I loved just turning on the computer and playing through a number of tunes using Band in a Box. Total control. You can speed it up or slow it down, while staying in the same key. Or you can change keys if you want. And a huge choice of tunes.
Some of my favourites:
There Will Never Be Another You
Milestones
So What
Ceora
Sunny
and a ton more
I'll about bet that if we haven't heard anything by now, TM is dead?
@Dr-Mark said in Trusted Sellers:
Unfortunately, in today's world a person can sue a ham sandwich.
An interesting comment on that. When I first arrived in Germany, that spilled boiling coffee lawsuit in the U.S. was met with, "That would never happen here".
Thinking that implied that there would never be a lawsuit was met with, "No. It means that none of us would admit, publicly, to having done something that stupid."