Posts made by Kehaulani

I am the school of, "If it ain't broke, don't fix it". I oil as necessary.

BTW, taking flugelgirls suggestion, I have switched from Hetman to berp products mainly because they last longer and I'm lazy.

In that general genre, do you know:
Charles Tolliver
Ira Sullivan
Kenny Dorham
Dizzy Reece
Booker Little

Is it free?

I would add that, once you have associated the modes with the scale degrees of a particular scale (C Ionian, D Dorian, E Phrygian etc.) you need to run all mode forms using the same root, i.e. C Ionian, C Dorian, C Phrygian and so forth.

It took me a while before I intuitively arrived at releasing the beginning of the note with the change point between inhale/exhale. I did it a long time before I knew I was doing it, and that tangible realization came about when I was teaching winds. Sometimes the process is reversed. In having to articulate things for a student, you can find ways of verbalizing things you've been doing all along but just didn't stop to reflect on the process.

I don't think this is anything new but it is a nice way of consolidating and presenting the technique. This is a nice, clear way of articulating exactly what you're doing and how you do it. Nice, rowuk.

I was first introduced to Ira on the tune "It Could Only Happen To Me" from his Horizons album. He plays somewhat rubato on trumpet then it goes into a soft straight ahead, medium tempo on tenor sax. A friend was sandbagging me and didn't tell me it was Ira an both trumpet and ax. He played both with equal mastery. Great player who always had a lot to say in his playing.

@Dr-GO said in Louis Armstrong’s Trumpet:
Please read my post carefully, I said Creole roots... Jazz roots...

I did read it carefully and you didn't say anything about any musical roots, just ethnic ones.

@administrator said in Louis Armstrong’s Trumpet:

So, perhaps . . you would sound like Herseth on Herseth's horn, or like Satchmo on Satchmo's horn.

Hah, hah. I doubt that.

@Dr GO, can you give me a source of Armstrong being Creole? I don't recall that and would love to fill in the gaps. Thanks.

I think a simple statement to the good doctor would have been enough. I don't think he meant to be insensitive.

For what it's worth, though, I did cringe a little when I read that. There were times in my life that I didn't even come close to earning just a part of the tax money, much less the income and lifestyle it represents. I'm sure the good doctor earned his money but so did I. I'd rather not be reminded of that. But sometimes life just isn't equitable. That's just the way it is.

About the horn, itself, it would be nice to have a part of history but I really don't care and I would never pay that much money, or anything close to it. For me horn's a tool, not a collector's item. But if I was going to have a horn that represented a piece of history, I'd rather have Lee Morgan's or Adolph Herseth's or Fats Navarro's horn. Different strokes . . .

There is some historical info on the Gustat/Heim mouthpiece below. You may enjoy reading the text.

I have used a number of Gustat/Heim mouthpieces from various makers. The best and most accurate one I have is a replica that was made of Miles' original mouthpiece especially made for Wallace Roney to play in a special concert with Miles, featuring Miles' music.

I love that piece but it doesn't do as much for me, who also likes the dark side, as my present Reeves. My sentimental one is the original Holton G-2.

I am not sure Gustat/Heims are shaped in a pure V shape like in the drawing. I've had a number of them and they seem to me to be somewhat V shaped but not a pure funnel.

And let the buyer beware. The rims are narrower than conventional rims and some find it uncomfortable. I personally, have no problem with the rim size.

https://legendsmpccom.fatcow.com/legends-heim-2.html

How do you remove a PVA?

Play better or sound better? I got a horn back from a PVA and swear it sounded darker before, which I preferred. And, although theoretically the PVA "blueprinted" it, I don't think it played btter than before, also.

Thanks, just wondering. The urge got the better of you eh, LOL? I think we've all been there.

I pulled the trigger on an Eterna Classic lacquered. Wrote Getzen just after I ordered it but when the answer came back it was too late for me to renege. Amazingly, I love it and it is now my go-to trumpet.

@Gendreauj said in Recommendations for used silverplated professional trumpet:

Won the bid for the Getzen Canadian Brass trumpet. Cost for trumpet was $530.00 dollars. Including shipping and taxes was $588.00 dollars. Sent an email to Mary Rima at Getzen asking what year the trumpet was made. Also any information on this model and what current model it is most like. Wondering which of my mouthpieces work best for that trumpet.

I hope you don't take this defensively gendreauj, but why buy a trumpet and then ask those questions? Inquiring minds want to know.

Trent Austin is good.

I've had good luck with Osmun Music, also. If you don't see what you want, ask for it. They put out feelers for a Schilke for me and got a demo version in excellent shape but at a reduced cost. I don't know if they do that for everybody, but there's nothing to lose by trying.

Sometimes you can get good B-stock horns from WWBW.com.
Chuck Levin's Washington Music
Wichita Band Music Co.
Steve Dillard

Regarding used, professional horns under $850.00, you'll have to rely on other vintage heads than I. I've bought plenty of used professional horns but they've all hovered around $1,500 or more.

I'll just jump in here so you'll know you're not being ignored. I don't know of any professional trumpets in that price range.

Really well done, guys. Enjoyed the camaraderie, thanks.

This is a very lucid description that all, wondering what "slotting" is, or isn't, should read these concise but substantial words. Thanks, Rowuk.

But the narrower this "nailing a note on the head" is, the more different it is when getting into remote keys. A low D may may need compensating for in some keys but no problem in others.

On a far end of the scale, is the Committee, which has "loose" slotting. The advantage to this is that you might lip any note and still keep easily-produced good tone.

The downside of this is that, if you can't produce excellent intonation and turn this to your advantage, your intonation may be squirrely.