I found out that chasing groupies increased my wind capacities immeasurably. And the prize at the end of the trail significantly increased my respiratory pressure.
Seriously, though, I find this very interesting. As long as you eggheads can keep the information in the realm of we peasants. 
@Dr-Mark said in Ken Burns Country Music History:
I get it! Thank you! Thank you! Thank You!
Faces & Places makes sense.
Man this is cool. You don't know how long I've been chasing Ornette.
Anytime. "Space is the Place." 
@Dr-Mark said in Ken Burns Country Music History:
I still can't get my head wrapped around Ornette Coleman but I still try. Every now and then I'll listen but for now, I don't get it.
A hint, and maybe you know it already: Ornette's basically just Charlie Parker with melodic vs. a harmonic direction. Throw some blues into the mix. I can't even call him atonal, more just keyless.
I've seen him a couple of times and, for me, it was often stretches of nothing great, in particular, and then he'd play a lick that was drop-dead astounding. One just has to listen to him melodically, at least to my ears. Well. I guess it also helps to be oriented to "New Thing" music.
Penderecki, Stockhausen, Berio etc. don't bother me at all and I guess this makes listening to Coleman easier. I still can't get into Cecil Taylor and Peter Brotzman is borderline.
Bright horns and mouthpieces help, but concept and characteristic articulations are most important.
@Dr-Mark said in Bore Size:
@Vulgano-Brother said in Bore Size:
Most horns are my friends, not animals.
All of my horns are my best friends and my most honest and trusted friends have been my dogs. Vulgano, you need a puppy!
My horn's a piece of metal.
When I got assigned to the Pentagon my boss, who had worked there for seven years previously, asked me:
" When you get to Washington, want a friend?"
Thinking I had a contact, better yet a bit of pliable pulchritude, I said. "Yes!"
"Get a dog!" he retorted, LOL.
Music touches our hearts. That simple. And, surprisingly to me, there are those for whom that doesn't apply.
Sophistication? A Mahler symphony is surely more sophisticated than a simple Appalachian folk song. It takes a great deal more sophistication, if not patience, to get through a Mahler symphony than a folk song.
But we should not confuse sophistication with quality. Shelby Flint's, The Ash Grove is a pure and beautiful song accompanied by only guitar. It touches the heart. How can it be more qualitative than a complex symphony?
We shouldn't confuse complexity and a masterly grasp of compositional techniques with quality.
Now, getting down to personal likes, that is very subjective, based on one's background, personal tastes, etc. I personally like, among others, advanced avant guarde music. My background gives me the tools to comprehend and get pleasure out of it. But my mother told me that my favourite song as a child, one that would compel me to go running to the radio, was Hank Thompson's Little Red Wagon. Different strokes and so forth. . .
I am reminded of Stravinsky, who's works could be described by some as very moving, surprisingly stating that he does not include emotion or other extraneous stuff in his music.
My reaction to his music is often highly emotional, yet he, himself, states that he uses no emotionalism in his music. Who knows how the mind works? Certainly not un-influenced by nonmusical events.
Unless the composer openly states his/her intent, I am not a mind reader. I don't presume to put thoughts in their heads. As a tool for performance though, if the information is there, any of a composers' thoughts should be helpful.
@Niner said in So you have a cornet with extra slides:
@Kehaulani Something you didn't know about apparently.
Absolutely right. I am not, nor ever have been, a gearhead or musical instrument historian. Thank goodness there are those who are.
Eeegad! What did you eventually come up with?
@Dr-Mark said in Attracting members who are interested in things musical/trumpet:
Those variables would go for just about any piece. I'm looking more for (for lack of a better description) what colors should be used to make this piece sparkle?
Silver?
I'm not sure what you would be saying in this piece. In this kind of work, I seem to let the music do the talking. I suppose a decision could be made if one wants to play it linearly, or play some parts in a call-and-response fashion. I.e., playing like it is two voices as opposed to one voice unfolding.
It seems to me that beauty is in the eye of the beholder and what one intends depends on how a performer or listener each, personally, perceives a piece.
I've walked away from performances, and have directed them, when I and colleagues who have easily great creds, seem to have been in alternate galaxies, each hearing and receiving completely different things.
I'm not sure what you are getting at and my words may be inadequate. I'll mention one thing, I tend to perform/conduct/hear music abstractly vs. conjuring up visions or intents.
If you're looking for more, perhaps you could provide more specific information. Let me know if you need any more information.
YMMV (obviously) but I can honestly say that physical appearance and peer pressure never had any significant influence on the choice of horns either by me and my school-aged peers or subsequent students. Maybe it's regional and maybe it's cultural, but it was just never a factor.
The closest I got was that some students may have felt a slight superiority by playing the same horn as the primary trumpet teacher/big-gun player in our region, but that's it.
@Dr-Mark said in Attracting members who are interested in things musical/trumpet:
When performing on trumpet, Bach's Gigue from Partita No.3 for Violin,
what should the mindset be with this piece?
Man, that's a big order.
Well, like I said, I'm not a high-level professional on trumpet performance, but, musically, I would be particularly concerned with length of notes, the articulation, length of phrases, dynamic shape and sounding "trumpety" vs more string-like. I would also check the edition of the transcript.
Another point is that at least for most players, I suspect, is that they were not necessarily glued onto one style of music. Both my grandfathers were amateur musicians (the old days), and they played folk, old time, pop, country swing, light classics and legit solo material, you name it. And not just my grandfathers but most of their siblings, as well. Also, they played more than one instrument. I suspect this reflects the norm vs. the specification as implied in the series.
@Dr-Mark said in Attracting members who are interested in things musical/trumpet:
@Kehaulani said in Attracting members who are interested in things musical/trumpet:
My background is in composing, conducting and playing woodwinds. I've got tons of experience in those. I studied trumpet and played in Lab Bands at UNT as a student and played trumpet in the for one tour in the military and in soul bands.
Holy SH**!
Your background is in composing and conducting! For Pete's sake you could be showing us how Bach is put together and why it works. You could be showing us how to approach Paganini. Damn it Man, your a wealth of information in a desert of dummies and I'm clearly one of the bigger dummies. You could be giving us advice on not just how to play a piece but how to "think" about a piece." You could be showing us how to listen and what to listen for in a particular piece. You're just not another Saturday night horn blower, you're a trained conductor and composer. There's a button called New Topic. Share some of that stuff between your ears and make us all better for doing so.
I'm open to any questions. It seems to me, though, that the majority of posters just aren't interested in digging into any of this, that much. But, like I said, I'm open to all questions.
@Dr-Mark said in Ken Burns Country Music History:
@Bay-Area-Brass said in Ken Burns Country Music History:
"Can anyone think of a "country artist" trumpet player?
Danny Davis stands out but trumpet (and other wind instruments) have been part of the ever changing country music scene for a very long time. There's Wayne Jackson of The Memphis Horns, Toby Keith has used a three piece horn section for a long time, Thomas Rhett has Frank Houston, Jake Owens did a remake of Ring of Fire, Josh Abbott Band used Grooveline Horns and Lady Antebellum used horns on the song You Look Good. One of the best (or at least my favorite for now) is Chris Stapleton and Justin Timberlake at the CMA Awards doing Drink You Away. Every ass was out of their seat when the song was playing. It was just that good! From Jewel to Alabama was standing and without horns, it would not have been as good. As far as artists, even Sonny Rollins cut a country album, Way Out West.
Good information but let's not get side-tracked. The original criticism seemed to me to point out that these players hadn't been noted, but the historical progression of the music hadn't yet gotten to that point in the series, had it?
@J-Jericho There are small bore and large bore playing instruments, but there are also other compensating physical things in the design that may mediate the bore size. I think they can be different but the end result of a bore plus all other factors may compensate so that you don't feel the difference on some horns.
I really don't think of it very much. A low-end Yamaha in good shape should give a beginner all the horn s/he needs, although I played a bottom line Bach maybe 20 years ago. I really liked. If a person's already got a good working hand-me-down horn, I'd use it, but I sure wouldn't go out of my way to find a vintage horn that has more distinct tonal qualities.
I have played and owned all three. I am not aware of a big difference except that my cornet sound is a little more "pretty" and round, and I don't play very forcefully on flugelhorn