Posts made by Kehaulani

@tjcombo

Yes, I'm not talking about tone or balance, for example. I'm suggestion that more sophisticated technology can't improve precision.

@tjcombo said in Leonid and Arturo:

for all of their great talent, this band is "just" a cover band.

Yeah, but they have the blonde.

. . . and the sound gear enables far tighter, precise performances.

How does the sound gear make for tighter, more precise performances? To me, precision is one thing and balance is another.

Wynton said something elsewhere very colourful and so true. "Everybody wants to be the hero but no one wants to slay the dragon". There you have it.

When I first started playing, a few weeks in, I had a similar experience with my teacher that Wynton had. He gave me a lesson one day for which I was unprepared. I'll never forget it. When we came down the stairs my parents asked how'd it go and he said matter of factly, I had to practice or it was "a waste of my time and your money". And he was fully prepared to walk if it didn't get better. He didn't care. Man, I practiced after that.

Wynton also says that "You have to practice". I think I've written it before, but Dave Liebman in his book on sax playing wrote, "Practicing isn't something you like or dislike. It's just something you do."

I'm not sure there is anything unique or romantic about this. I definitely believe in giving credit where credit's due, but I've heard music like this my entire life. And playing on the street, let's not overlook the setting. This is a prime location in a jazz capital of the world. If it didn't pay, they likely wouldn't be doing it.

Busking tells me more about the sad state of music business today that such talent busks for tips to make ends meet. Keep in mind that most of them have other musical jobs as well.

I made a full-time living in my latter phase of music making by putting a mosaic of music together. Phase one, I was a composer/arranger soley, phase two a conductor soley, but the latest phase, I had to put arranging, conducting, teaching and playing - and that included busking - together to keep the wolf from the door.

And, while the number of gigs remained constant, I often had to travel further and further to do them. YouTube, et al, for free should be against the law. I still don't understand the lack of controls. It has transformed the music business.

One other thing regarding spontaneity - Shaye strikes me as being a bit controlling. I bet all of this, except for the improvised solos, is well rehearsed with little left to chance.

@Dr-Mark said in Leonid and Arturo:

Hi Kehaulani,
I'm taking my daughter to see Leonid & Friends in Dec in Orlando. Her exposure to horns is mostly Balsom, Hardenberger, Helseth and classical pieces etc.. I hope she likes it! Sometimes figuring what a sixteen year old likes is a crap shoot.
Also, if you like Arturo, there's a group called Irakere I use to listen to in the late 1970's early 1980's (the first album) If you've not heard the group and get a chance check them out, I think you'll like them.

I've known about Irakere for decades. That group has an interesting history.

This is just a little gift for my Arturo friends out there. Leonid cooks. And here is Arturo with them
Youtube Video

Roy Etzel, I believe. You do know that is highly processed. Hard to tell what his natural sound is.

Lots of clips on YouTube. Trumpet player is Shaye Cohn. Happens to be the granddaughter of saxophonist Al Cohn, FWIW.

http://tubaskinny.com/

@Dr-Mark said in Structure of the Trumpet by Yamaha:

@Dr-GO said in Structure of the Trumpet by Yamaha:

Dr Mark PLEASE STOP the PERSONAL ATTACKS. Another administrator clean up on aisle 3.

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Attacks? Nope, everything I said is true. You are a hospital employee who argues with the Yamaha Corp.
Time for me to practice.

Oh come on, now.

@Bob-Pixley said in Structure of the Trumpet by Yamaha:

You don't "buzz your lips" while playing. Your lips flap in the breeze when you blow into the mouthpiece.

Bob - honest question Nothing argumentative, but don't you describe lips flapping as the
result of an embouchure?

@flugelgirl said in Structure of the Trumpet by Yamaha:

Sounds like maybe a few other folks could benefit with some time alone with a trumpet on their faces instead of arguing.

If her lips are touching then we seem to be talking about the same thing using different words. Regardless, I'm out of this one. "Hast la vista, baby."

If you can just blow air into the mouthpiece and produce a sound without your lips touching, you have discovered something rare, indeed.

I have another question, too. Where are all the other forum members and potential members? Too theoretical and pedantic for them?

The sound has to come from someplace before it is amplified by the trumpet. And how is it possible to produce sound with one's lips kept apart?

Also, a buzz can take place inside the mouthpiece/horn and then lose it's formation when the contact with the mouthpiece is removed . . . unless we have a different concept on how to define buzz.

I thought this was resolved. When there is no sound, it can't be further amplified. No buzz no sound. The sound-source doesn't manifest itself out of the blue.

fels, that image doesn't download or open.

Want to clean out a room? Eat a Burrito before you set up that chair and music stand.