It's a good approach. When I was in D,C., I and the other arranger used to have regular ear-training sessions with one another. It started with simple melodies phrases and two-note harmonies. We ended the two-year stint by playing atonal melodies and note clusters. Good approach.
Howeret, I do not like the playback on this tool
When I was in a multi=service band s in D.C, it was pointed out to me by a Marine Bandsman that there is The Marine Band and Marine Corps Bands. Depending on your perspective, some took pride in belonging to one type orthe other.
Self-explanatory. Jokes, pretty pictures, etc. No reason why posters wouldn't want to kick back and talk about a variety of things, but I would see that as a diversion, not a primary activity.
This is not to be mean-spirited or judgmental in the least, but just a reason, personally, for how I want to spend my time on the internet. If we can't come up with a greater proportion concerning things trumpet, I'll probably just drop in from time to time to say "hi". (Not that anybody cares, 
. )
Anybody want to talk about alternate chord changes or phrasing in the Haydn? 
Idiots. Just goes to show you that people can now produce professional and authoritative looking materials with information when they don't have a clue. To paraphrase, "Let the reader beware"!
BTW, I own that movie about Chet. It takes just a snapshot out of one period in Chet's life. It's not a full, chronological bio. It's impressionistic versus exact fact but it's interesting and a nice way to spend a little time.
@Newell-Post said in Community Band:
The program is still under development, but will probably include the "Department of Homeland Security March".
Do you have to stand in long lines before you can play it?
Does Trent not sound good on anything?
Newell mentioned a rock band, which reminded me of my first rock band. I was in the 9th grade in this photo. This is the Tikis Band. Dig the instrumentation, LOL (although one of the guys on guitar played piano, Jerry Lee Lewis style).
An aside about Sammy, I have heard from an extremely qualified musician that Sammy Davis was the most talented person he ever worked with, and he worked with many.
I still remember the first time I ever saw him. It was a character on some 50s 1/2 hour B&W program where he was a member of an Army squad, where the people bullied him.
At the end of the show, some members decided they would throw a dud hand grenade and feign panic and see what he would do. When they didn't scatter, he threw himself on the grenade, willing to give his life up for his squad.
They just stood there looking at each other being humbled and moved by Sammy's unselfishness. It was very moving, and I had an eye on Sammy ever since.
I made no mistakes whatsoever. Very inspirational. Stayed home and contemplated my belly button.
When I started reading this thread and it clumped trumpet technology/sound in a 50 year grouping, my mindset was as if I was reading about something historical, antique, distant past. Then I realized that last 50 year clump wasn't in the historic, distant past. It was within my lifetime! 
@J-Jericho said in A little humour:
When you are dissatisfied and would like to go back to youth, think of Algebra.
Hey, I liked it so much, I took it twice. 
I spent most of my developing years, and early professional years, playing a lot of music by Art Wigggins and Sammy Nestico. I was raised, tangentially, around the Air Force and was in that service, early in my career. I think both of these guys were in the A.F. at the time.
Nestico was a masterful writer. I thought, after a while, that he got a little redundant, but his control of composing/arranging techniques was outstanding.
Music aside, his arranging book is excellent and shows, not only a masterful understanding of his tools, but a very practical use of them.
Playing with people better than you can be a big eye opener. Perhaps one of the biggest eye openers with that for me, is not technical or musical stuff, but simply to see a role model for which the word "commitment" truly means.
@moshe said in glad there's no fighting here:
I absolutely hated the fighting in Trumpet Herald and in Trumpet Master.
Long-time members who acted like bullies year after year.
Moderators who let them get away with it.
Moderators banning the victims rather than the bullies.
But this new forum is a pleasant environment full of nice people.
Thank you !!!!!!!!!!!!!!!Morris / moshe
Oh, yeah? **** you, Moshe!
Yes, and his orchestration had surprising depth.
I remember getting into a (harrumph) "discussion" with a conductor colleague about my use of only one bassoon when it was written for four. My philosophy was that people can't miss something they don't know was there. I don't think I've ever done that piece with all four bsns. yet, it never seemed to make a difference to the listeners. That's masterful writing.
I agree. I have a good director friend who routinely would have rehearsals while on the road and also the days of the concert. And he became very successful, so . . . But OTOH, I don't recall ever doing that. In my opinion, the music should be well played in and ready to go before a tour began. I would rather spend my time off around the pool.
I'm not sure how this jibes with some of your experiences, but I added cornets to my band's trumpet section and when we played music that specifically called for cornets, the cornets had a softer, rounder sound than the trumpets, who had a more direct sound.
No offense intended, but some might want to plug up some holes in their musical education. A tuba is an integral part of a brass ensemble, which is what street jazz is made of.