Posts made by Kehaulani

Diverting. I'm addressing the "why" question, which was posted by the post's originator.

You consider one, off-hand remark, hijacking a thread? O.K.

BTW, don't misunderstand, please. I hope this forum does take off and offers a warmer environment than TH. To that end, I'm just responding to the question, as part of my input, as to why it hasn't taken off more than it has.

@Niner said in King Liberty:

@Kehaulani Well.... when I first suggested the idea rather than respond to the suggestion you participated in a protracted conversation about a movie called The Adventure's of Buckaroo Banzai rather than speak to the question.

I don't think there's anything wrong with side trips, to add personality to the site, as long as the original question gets answered. instead of just being sent off-track with irrelevant things. Help me out. What thread are you referring to? I don't find it.

I am a certified Yamaha teacher. My experience is that the success of Yamaha schools, while providing a great system of wind tuition, relies on the participation of singers, guitarists, keys, and drummers. The size of a program like this doesn't necessarily reflect the quality or style of music taught. It is modern, not relying on paradigms that are 200 years old.

This post is, for me, exactly why this "new forum isn't exactly taking off" - jokes and gear . . and pretty pictures.

If people want a lounge type format, that's fine. I'm just making a contrast. Where's the music? I want to learn and discuss things about music, not peripheral stuff.

I recently got frustrated and decided to just go back to Sax on the Web. It has it's fair share of equipment stuff, too, but it's also balanced with more meaty musical topics, and it applies to music, in general, not just sax players.

Again, I'm just expressing what is important to me, people can have what they want. This is not what I want, primarily. . The old forum at least had a scattering of trumpet techniques and musical elements, responded to by people who knew what they were talking about. I tried a couple of times and the responses were sparse.

This is a safer place to go than TH and played an important role. Additionally, the format is newer and appears more professional. I don't know all the behind-the-scenes factors but, about updating format, the TH owner doesn't appear to care.

Please don't misunderstand. I don't mean to diss. the posters or take anything away from them. Just expressing what I personally am looking for.

There has been discussion, that part of the family may even have Belgian roots. Give it up. It's Bisher.

If you want something that's music industry made, Yamaha makes a silicone slide stopper. I use these.

https://www.amazon.com/Yamaha-Trumpet-Silicone-Slide-Stopper/dp/B01FCCYXE4/ref=sr_1_1?keywords=yamaha+trumpet+accessories&qid=1564101379&s=gateway&sr=8-1

I've read all three pages of this thread and could've just missed it, but what are the Committee's best years?

I realize that there may be instruments here and there that are uncharacteristically good that fall outside this range, but what is the safest range to buy within?
I'm referring to medium bore, BTW.

Thanks.

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

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

In theory, the trumpets are already full of air. We only need air to sustain the buzz and modulate it for sound quality and volume.

But doesn't a smaller bore instrument require less air to do that and wouldn't a smaller bore horn make putting the air into the horn more resistant, thereby requiring less air to put the embouchure into motion?

Giving the phrase, forgetting the scientific reasons, that the smaller horn requires less air and a large bore horn more?

@ROWUK said in Researching old instruments:

@chelpres said in Researching old instruments:

@Kehaulani I asked this same question of a German friend of ours ,who is prone to being pedantic on matters of language.
Her view was that it should be pronounced phonetically...booscher. Then again, there may be regional variations.
Regards, Tom

With the double o in Boosher being pronounced like in "good or wood". The german slightly nasal pronunciation cannot be replicated with english vowels.

While that may be correct in proper German, American families are notorious for bastardizing an original language and transforming it into an Americanized pronunciation.

A near-by town is named Groen but is pronounced Green. Actually, Gruen is green in English but my point is the difference between what was originally the proper pronunciation vs. Americanization.

Buescher was an American company and it's family American. I have seen an official Buescher promotion from the family that emphasises that they pronounce the word "Bisher". Grammatically wrong but hey, they're American, they can call it what they want.

When in doubt, default to Imelda Marcos.

I've worked out of the Claude Gordon (CG) system, as well. Keep in mind that the pedal tones are one octave below in CG and two octaves below (double pedal tones) in BE and do different things, do not eliminate one or the other. In some other cases, exercise goals duplicate themselves, so only one of these exercises are necessary, avoiding duplicity.

If it were me, I'd follow the BE lesson plan as found in the book as a warmup and to begin the playing day, then follow on with the CG system, keeping in mind that the Clark, etc. exercises work for both, so you only have to do them once.

It probably adds a little more exercises but there is some duplicity that can double up on, so the added time is probably 15 or 20 minutes extra. I think this is a good way to go.

I've read a bunch of threads on this and they all devolve into other factors. All I want to know are the playing differences between medium and large bore horns, i.e. flexibility, tonguing, and most of all, does a large bore horn actually require more air.

This question does not ask for any technical info like measurements, and does not ask about tone differences. Only, does a large bore take more air and are there any differences in articulation. Thanks a lot.

I've used it for a couple of years and have had two, in-person lessons with Jeff.

I like the system (BE). To me, it's valid in that it acknowledges a roll-in embouchure for high notes. Then, through a set of exercises, reconciles the use of both rolled-in and roll-out embouchure, balanced embouchure, if you will.

In the book, he mentions playing other exercises, which he does not provide. I asked him about that and he mentioned also using the mainstream books, like Irons, Clark, etc. for other technical facets. In that matter, it's like Claude Gordon's system.

I think he has used some approaches of Claude Gordon and others, but his basic work on roll-in/out approach and his supporting exercises are unique. You might get a balanced embouchure but not a balanced technique until you add the supplementary material.

@flugelgirl said in Whay has no one bought this?:

Seems like it went for a reasonable price in that condition. Since I would have bought for resale only, way more than I would have paid, but for a player or collector, nice price.

Well, I'll just keep waiting for a good deal from Quinn the Eskimo.

"Desirable" is subjective.

BTAIM, moot now.

If you're still there would you buy this and for how much?

I don't understand what is wrong with this. What am I missing?

https://www.ebay.com/itm/1954-MARTIN-COMMITTEE-TRUMPET-BEAUTIFUL-MEDIUM-BORE-WITH-ORIGINAL-CASE/163784847646?hash=item262256711e:g:IrAAAOSw6ZRdM0cj

Why not? I've seen Roadhouse probably over fifteen times. Stopped counting at thirteen on Calamity Jane.

I've got a pair of those as souvenirs from The Crazy Horse Saloon in Paris.

Of course one should always have a general awareness of everything one is doing, but I believe, unless needed for unusual conditions, vibrato should be unconscious, i.e. spontaneous and intuitive .