Posts made by Kehaulani

@Newell-Post - spot on.

@ericmonroes said in Why not another thread about bigger horns ?:
Anybody can recommend the most expensive trumpet in the world?
Welcome Eric. Maybe try another thread, LOL?

Presently own a Yamaha valve bone that I got mainly because of chop problem on trumpet.
Got hooked by Raul de Souza

Played slide trombone in a North Texas Lab Band. Horn borrowed from Music Department, name unknown.

Played French Horn in the service for two years, as well as Tokyo youth Philharmonic, etc. Own a Hans Hoyer.
Problem on left hand now because of strokes. Actually my brass instrument of choice.
Biggest influence, Herman Bauman

Played Alto Horn in a German city band. Markneunkirchen (East Germany at the time) made horn but I don't remember maker.

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.

fels, you might get a lot out of Sound in Motion by David McGill based on Marcell Tabuteau's and others thoughts on musical expression and phrasing. McGil and Tabuteau's thoughts are very insightful. I'll let the write-up on the book do the speaking. https://www.amazon.com/Sound-Motion-Performers-Greater-Expression/dp/0253219264/ref=sr_1_1?dchild=1&keywords=sound+in+motion%2C+david+mcgill&qid=1605928701&sr=8-1

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.

Acoustically or about trumpet players?

What about symphonic players who might sit very long times without playing, or studio players who come in, blow just a couple of note and record? How is your personal practice?

Do you play in intervals and then take a rest and then play again, or just blow through and end. You should develop a consistent rehearsal schedule to reflect the playing schedule.

Do you blow gentle long tones before coming off of a break?

You may not need exotic methods. just common sense practicing and preparation.

I'm not saying what works for one works for all, but I've played formal classical concerts, big band playing and pop combo work and never did much more than play a few notes.

@SSmith1226 said in Personality and Taste in Classical Music:

@Kehaulani said in Personality and Taste in Classical Music:

Choleric here also. Looking at the definition - not from the survey but other sources - something to reflect on. I see myself a little differently but not completely different.

I prefer the definition from the survey. As far as the definition or description of “choleric” outside of the survey, my wife might agree more with that, except she also was defined as “choleric” by the survey. Lucky break for me!

That was fun but, like a lot of surveys, somewhat arbitrary. For example, Mediaeval or 21st century? I love them equally, what idiom to choose?

Choleric here also. Looking at the definition - not from the survey but other sources - something to reflect on. I see myself a little differently but not completely different.

@scottfsmith said in Valve oils:

@GeorgeB said in Valve oils:

Though he oiled the conventional way that most of us do, he would also pull the first valve slide and inject oil there, and would also squirt oil into the holes at the bottom of the valve caps.

While I don't regularly do this, there is some logic to it. I have found sometimes that the oil does not get to the bottom of the valves and putting oil through the bottom will sometimes un-stick valves that a regular re-lubing didn't fix. I use more oil on the top sides than I used to and don't get this problem much any more.

@Kehaulani said in Valve oils:

I was taught to just squirt the oil down the lead pipe and blow forcefully. Has never not worked.

That is usually touted as a method to prevent red rot, not to lube valves.

Scott, I blew the liquid completely through the horn until it came out the bell, while wiggling my fingers the entire time. Never oiled my valves any other way.

The only disadvantage was if your bell got too oiled and you had to use a mute immediately.

@Dr-GO said in [Valve oils]
For medical reasons I advise against this as I worry about inhaling volatile residue by placing oil in the lead pipe.

Been doin it for over half a century, How harmful could it . . could it (twitch) . . could it (twitch) . . b-be?

I was taught to just squirt the oil down the lead pipe and blow forcefully. Has never not worked.

@GeorgeB said in New book about Harry James:
I just feel trumpet players would really like this book.

And it might be. That's the thing about getting as much diverse info as you can, balances out a subject.

That's on my reading list and I'm looking forward to it. One thing, though. The criticism of Trumpet Blues being negative I don't think is justified. That's the way Harry was. Immensely talented, a drunkard and would ***** anything that walked. Like my ex used to often say, "That's just the way it is".

Damn, man. Do they know what caused it?

And choosing Munchen was definitely the right thing to do. Maybe you would get first-class work in Roma but provincial Italy? No offense to anyone, but I don't think so.

My best wishes and healing thoughts for your safety during the operation and best healing wishes for your recovery.

All my best!

So. I guess you don't enjoy the development section of a Beethoven String Quartet, LOL.

This is off-topic, but for those who might benefit - the trick to sight-reading is to be reading ahead of what you're playing. It also helps to be able to know a compendium of most-used rhythmic patterns. You then see the rhythms ahead of time and match pitches to them when the time comes.

Know your scales. If you're in the key of Eb and see a run from D to D with an Eb, Ab and a Bb in it, don't think of it as D to D run concentrating on playing the chromatics, but just see it as one unit, that of a run from D to D in the key of Eb. Know your scales and how to read them.

Looks like a lot of fun.
I wonder at what point Americans will acknowledge that there is a difference between Prussian music, Bohemian Music and Bavarian Music. Bavarian Music is not German Music. FWIW,

If I were you, I'd contact James Becker at Osmund Music. He recently got a Capri first-valve-slide trigger from Getzen and installed it on my Classic. He does excellent work and is well connected.