Posts made by Kehaulani

@Niner
If that's the case, why are the marks on adjacent tubing, as well?

Thanks lot for the info on Les. I looked him up on the internet. Glad to know that he and Marcia are doing well.

Fun, thanks.

I asked about Les because I worked with him in the past and the last I knew, he was conducting a Florida community band (a hurricane refugee from the Mississippi gulf coast).

The seat assignment philosophy might have been to place a heavy player on each part vs. a top to bottom placement.

Again, congratulations.

That's a painting!? Man, nice chops.

Well, the program looks reasonable but that depends on the caliber of the players. How much is too much depends on the level of the players, so I can't really know, this is hypothetical.

As a general rule, I use an 80/20 ratio; I usually choose a piece of music that the band can play reasonably well 80% accurately on the first read and then devote the rest of the time (relatively) bringing the remaining 20% into shape. Then the overall pacing of the entire program has to be taken into account, so you might want to give the band a little rest with an easier piece, while challenging it with a more difficult piece.

BTAIM, I would never have that kind of schedule, even with a professional band. Because of resources and logistics, I can see why the schedule was so intense and compact, but even in those circumstances, I personally wouldn't have such a schedule.

And congratulations on your selection to play in that band. What a wonderful experience and opportunity.

As an aside, did you run across Les Muncaster?
Also, for those that are sight challenged, could you considering breaking your posts into smaller paragraphs? Thanks.

I think the schedule was dictated by the time constraints and the finances of the participants. In my experience, such a schedule is not common. I would add, though, that the choice of music for the program doesn't sound very wise to me. What was the program?

Goes along with my Johnson and Hiscox sax cases.

@administrator said in Is a $280 New Bach Stradivarius Trumpet too good to be true?:

Only read the title: YES.

Self-evident answer. Agree, and of course.

@Dr-GO said in Martin Committee Club:

@Kehaulani said in Martin Committee Club:

The Committes that are two toned -I'm assumption that's nickel trim?- are they heavier than mono-colored Committees?

I have a neighbor with a nickel trim (Delux) 1952 Committee. I have played it quit a bit. They are not heaver, nor is their balance really different. What I do appreciate is they are a bit brighter... but merely a tad. They still have that creamy, dark sound.

Thanks Dr.

I was meanly joking. The pronunciation by the American Buescher family, is "Bischer".

The Committes that are two toned -I'm assuming that's nickel trim?- are they heavier than mono-colored Committees?

@Bob-Pixley said in Researching old instruments:

The valve caps and finger buttons look like the ones used on old Bueschers.

How do you pronounce "Buescher"?

Frankly, good valves mean to me that I am not distracted by their action while I'm playing; that nothing calls attention to them, that they cause no impediment.

If the servicing was pricey, then the cost of the instrument is not proportional. Questionable?

@ROWUK Well spake, Nave!

Ivan (glad to see you, BTW), so that's typical? Do you see anything amiss from those photos? Thanks.

pss.

Can anybody speculate on what the heck might have made these marks on and around the valve blocks? It looks like somebody was wearing Brillo gloves.

https://www.ebay.com/itm/Vintage-Martin-Committee-Trumpet-original-Lacquer-and-case-Dark-Warm-and-ready/323842177331?hash=item4b667f7933:g:kTkAAOSwpEldD-DI

Yeah, I'm tired of reading about Getzen having the best valves, bar none.
I've had two Severinsens whose valves were fine. But I've also had a modern Schilke and Yamaha with excellent valves, as well as two Connstellations and a Committee. All had valves that were as good as the Getzen.

Well, as they say, "Sounds like a personal problem, to me".

I'm back to long tones because I'm rebuilding chops, but "in my day", I substituted long tones with "moving long tones", like the Cicowitz exercises and Concone, paying attention to all the processes and goals of static long tones, just moving; definitely not as boring and more musically nuanced. Maybe you can try that and see if it gives you more incentive.