Posts made by Kehaulani

I played a Severinsen in college (UNT) and in the service. Since then, I've had two more of them, getting rid of them, all.

My first one served me well and it was a fine horn. (Two tuning slides, one of the early ones). Although I used it in concert band, it seemed to me to be more commercial and I played in big bands and soul bands with it, as well.

The last two I've had were part of a horn Safari. My use has changed and I lean more towards horns I can darken. While it's possible with a Severinsen, it was easier on some others. The Severinsen was just a little too bright for me. If you want a sound like Doc's, that's fine. I don't.

A word about the valves. It seems almost mandatory to include how they're the best in the business. Hogwash. I've never had a horn with valve problems. That includes various Schilkes, Constellations, Benges, Committees and Yamahas.

Let's say, for the case of argument, that Getzens are 100%. All your other horns are 90%. But you only need them to be at 80%. It's a non-starter.

@Curlydoc said in Very rare Selmer Paris 900 TT C trumpet for sale:

If only I could get it past my wife!

That's what the garage is for.

I would like to say, though, that censorship should be aimed at vulgarity, name calling and other insulting comments and not just a difference of opinion. It's possible to disagree without being offensive.

@Dr-GO said in Did something change?:

You know this is a great site and we have great members here. . So yes, something did change. Our world balance, and risk to lives is being threatened. But one thing I hope never changes, and that is to keep TB as positive and warm and inviting to new members and us old folk as much as possible.

And with less aggressive s*** sturrers.

@Dr-GO said in The One:

@Kehaulani said in The One:

Yeah, and lose the moustache. It stiffens your upper lip.

Actually, it tickles my nose!

That's probably not all.

It sure got quieter around here, suddenly. And less abrasive. I wonder what changed?

Yeah, and lose the moustache. It stiffens your upper lip.

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.

Dr. GO, if I'm not mistaking, you are not a theory-illiterate musician but one who, like Bruce Lee or Bird, for example, have learned it all then let it drop away but retaining, nevertheless, the theory internally. There's a difference.

Bruce Lee said, "Absorb what is useful, discard what is not, add what is uniquely your own." I think you're more in that category.

To those of you who say you don't know from nothing about the elements of music, one thing to consider is that, knowing your scales, arpeggios etc., enhances your ability and ease in sight-reading considerably. You don't have to guess at individual notes but eventually get to a point where you don't see a run of isolated notes but, for example, look at a series of notes going from D to D with an Eb and Bb and see it as ONE thing, i.e. a run in Bb from D to D.

To be a good sight-reader means, not the ability to play note-for-note in real time, but to read ahead while playing temporally what's on the page; while simultaneously reading what will be coming up.

It's not hard, it just takes practice. You may see it as too much trouble, but makes your playing easier and more pleasurable, with less stress.

Dr. GO, I saw something similar to your feeling that you're playing by the seat of your pants but coming out with unexpectedly good results.

I watched an audition for the jazz seat in one of North Texas' Lab Bands. One of the candidates, after the other candidate finished playing, walked out of the room saying to us, "Did you hear that? Do you believe it?" Not a compliment, the way he said it. But it was the other candidate that got the gig.

A few days later, I caught up with the winning candidate and he said, "I just don't get it. I just did what I could, getting through the changes". LOL.

@Dr-GO said in Its Been an Age Long Requirement But How Many Can Do It?:
What was amazing at the Colorado State University audition was an improve piece where they gave me a chord chart only (no recorded rhythm section back up) and told me to start playing. Again, no range requirement which was interesting, and I came out of that audition as lead trumpet (first chair) in their first band!

Don't you suspect that you used lead-book ranges in your improvisation?

Regarding auditions, I have auditioned many times in my life for this and that, as well as having observed and given auditions myself and anything above a High C was optional. It would enhance your chances but not disqualify you otherwise.

Are there auditions that require going up to F above High C? Certainly. But there are tons that do not.

BTW - Enough of this personalized bullying.

@Kujo20 said in Its Been an Age Long Requirement But How Many Can Do It?:

Many singers call notes as they are on piano (in terms of octaves).

The lowest note on piano being A0...the next octave being A1, then A2...etc...etc

I don’t see why other instruments couldn’t do the same. That’s about as easy as it can get.

But can you imagine telling a large ensemble of mixed transpositions to "play Middle C". You'd actually get some middle Cs, As, Ds, Es, etc. all at once. Players relate to their own tessitura, not the Grand Staff.

On another note, it's not necessary to play above a High D. I forget who, but one big name player said that the bread&butter range for professionals was below High C. Heck, Chet Baker made an entire career as one of jazz's most influential players, playing basically diatonically (to a given chord) and below high A. I see no need to deride someone for being interested in playing in their most neeed register..

Man, why do some of you guys have to get abrasive, emotional and crude? Is it really that hard to get your points across and be respectful at the same time?

I think you need the "the" in the phrase, so one would be substituting "C Above The Staff" for "High C". It's a little wordy but it communicates both the note and the concept you want to eliminate. It would communicate what you want. I personally, would opt for brevity.

Why is it called High C?
Because it is related to the lowest note of the same name and can be a system which relates to all brass instruments. System: Low X, Middle X, High X, Double High X. I've personally found it less ambiguous to often just define a note as X-above the staff, X above High C etc. But even using that system, High C seems to be a universally known designation.

Why are notes above High C looked upon as harder than the High C itself?
It seems that for many, it's not really arbitrary. There seems to be something acoustic that makes a High C a barrier. So, it is truly harder as you go above that.

• I would agree, though, that some embouchure formations going to Double High G and beyond is not a problem, but I don't think the average player has found that special embouchure formation for themselves.

Would life be a little simpler if it wasn't called "High" C?
I think so. I had a good friend who was a first-call L.A. studio player (Kenton, Herman, Akiyoshi, et al) who did not conceive of, or call, playing "higher" but "farther out". Maybe it's not the most accurate substitute word, but the concepts there that the notes are not to be thought of as higher.

So, if you don't call it High C, what do you call it?
I've thought a lot of this and can't come up with a good substitute. It's a good system for direct communication. Perhaps the take-away from this, is not to change the terminology but, in pedagogy, to constantly reinforce in the student not to think of it as high, rather just another part of the range.

@tmd said in Please Help Me Understand Something (Pt 2).
The passive-aggression is so thick in this thread, you can cut it with a knife.

Ditto.
Also, I don't see the point in presumptuous and judgmental.

Could I make a reminder, and that is being an administrator of a site can mean a lot of thankless work. So many want to bitch but expect someone else to do all the work. It's a work in progress. Give the guy a chance.

p.s. Does anybody else want to do all the work. And for free?

You said your painting was in the Cochran. There's a Cochran Museum in Austin.

Good grief. What does a lot of this stuff have to do with music or trumpet playing?