Posts made by Kehaulani

@Tobylou8 said in Does a large bore horn take more air?:

Concrete???

Yes. It's for playing Musique Concrète.

I don't collect. I just have a couple of horns to be used in different musical context's.

Ex: Yamaha Z Shew because of its light weight. My daily horn.
Committee for jazz soloing.
Schilke B7 for all around work
Conn "New Wonder" Cornet for older jazz

I think I'm assuming readers of this thread have also read another which talks about the value of pitch-centering practice.

Therefore, I would just quote Bruce Lee when he said, (paraphasing), "Absorb what is useful and discard what is not".

@tjveloce said in The new Martin Committee "thread" from a TM emigrant:

@Kehaulani said in The new Martin Committee "thread" from a TM emigrant:

@tjveloce said in The new Martin Committee "thread" from a TM emigrant:

@Kehaulani Whatcha got there brother? = )

Sorry, I don't understand the question.

I meant “tell us about that horn.”

Thanks. Nothing much to tell, really. I found on eBay what seemed like a closet horn and sent it to Osmun Music to examine and repair anything they might discover, which they did. The horn is a sweety. Plays well.

I've already bought and had reconditioned and sold a previous Committee. Horn safari. Big mistake. I'm going to hold onto this one.

@tjveloce said in The new Martin Committee "thread" from a TM emigrant:

@Kehaulani Whatcha got there brother? = )

Sorry, I don't understand the question.

Maybe I read this wrong, but some of the dialogue seems to be about playing, and working on playing, all pitches in their respective centers, as opposed to working on, and developing the ability, to bend any pitch where it's most effective in the chord/band's intonation.

For example, the best place to play an above-the-staff G may not be "centering" it in it's optimum place on the horn, but bending that pitch a little low. I'm just addressing a wider goal of bending.

Working on centering a pitch gives it a maximum true sound and is a great exercise for those players who don't play with the maximum. meaty sound.

Just that another step in bending notes is to take that well-centered sound and transferring it, to the best of your ability, to places that must be shifted away from the pitch's true center because of intonation requirements.

I know that is remedial training for those who can't play in the center overall. Just pointing out that it is also helpful in training your chop muscles in being flexible enough to adjust to pitches that are a little "out of center" for intonation's sake.

I mean, a lot of music is not "in tune" and needs adjusting to. I have a friend in the Philadelphia Orchestra. When I told him the Orch. played so well in tune, he said "We don't play in tune. We play out of tune together". You not only need a flexible ear to hear that but a flexible embouchure to play it.

One can find the sweet spot with bends but, then, how does that relate to intonation?
All notes on all horns are not in tune.

I suggest that bending tones is more to get your chops to adjusting to various microtones than to find the center pitch of every note - which is not going to always fit in music, intonationally.

I'm not usually too impressed with gear topics but I've got to say, this is really nice.

I believe that Laurie Frink in her Integrated Warmup uses bent notes.

That warm-up, BTW, is a concise group of exercises from Herbert L. Clarke, James Stamp, Vincent Cichowiicz, Bai Lin, and Camine Caruso.

Not much to say excep that it arrived. Here it is:

Then when you're finished, go back and do it all over again.

He says the high notes do not come from the oral cavity's shape but from air compression. But what is compression?

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

@Kehaulani said in Tone Centering for Trumpet (Centering & Tuning) Part III:

be introspective in evaluating what the notes really mean, technically and musically.

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Hi Kehaulani,
. . . where does that leave the person? Music is very subjective so with that said, for me, a good sound is paramount. The first thing that draws me toward a trumpet player is their sound.

To me, sound is an inherent part of your musicality.

@Dr-Mark said in [How about a "Random Meaningless Image\

@SSmith1226 > Are those American Crocodiles?

Side story: In Japanese, for "Thank you"' you can say "Arigato".

An American serviceman, proud that he has learned some Japanese and eager to show it off, ended a city bus ride by getting off the bus and thanking the driver, waving at him and shouting, "Crocodile!"

If it were me, I would contact a Yamaha representative (not salesperson), explain the condition and how unusual it is, and ask for it to be replaced. You want a new lead pipe but maybe starting with your asking for them to replace it (do the work at their expense) might at least give you a higher negotiating position.

What I mean is
1.) practice and
2.) be introspective in evaluating what the notes really mean, technically and musically.

@Dr-Mark said in Tone Centering for Trumpet (Centering & Tuning) Part III:

Did this post help anyone with their sound?

What about introspective practice?

Pardon me sir. Can you tell me what time it is?

Passer-by: Sure. No problem.

First make a sketch of what kind of watch you want. Note all of the ideas on a piece of paper.

Then begin with the design of the watch. Sometimes you can start with the watch case, sometimes with the movement, but mostly do it all together. To make the design of a movement is a full time job. It takes several months from the first line to the last drawing of every part. Draw every part before making it. And leave no doubt to the size or how to make the part.

Each part of the watch is calculated, simulated and verified several times. Then when every drawing is ready, begin to produce the watch parts for the first prototype. At this time check out with which machine or tool is the best way to make the part. Often you’ll need to build first the machine or a special tooling to make just one part.

Once the machine is adjusted, make your parts. But it is a big error to make too many parts at one time. Why? It’s very simple, if you see, when you are working on the prototype it often comes to pass that a change must be made to a part so it will function better. If you have X number of parts in stock, well, you may be tempted to leave the functional, but inferior part as is. But if your stock is nearly empty it is much easier to re-begin to make the part. And, this is, once again, a reason why you don’t work with on stock parts; it is too easy to not make it better.

Making from scratch also means to begin just from bars and plates of metal. So when you make, for example, a pinion, you begin with a bar of 4mm “Sandvik 20AP” steel. If you want to make a plate or a bridge, use a disk of brass or German silver. It takes a lot of work to make a perfect part from scratch.

To ensure the precision of every part, use precise machines like a Hauser Jig-borer, 2 Schaublin lathes, a 4-axis CNC-mill and high precision control devices like the Hauser optical comparator. These and many more machines give you the possibility to make all needed parts for your watches, but also complicated parts like beveled gears.

Once the prototype is really OK, you begin to make the real one. More to follow.

Oh. What? Oh. It’s 10:42.

Not to be glib, but targeting your audience and giving them quality music.