@administrator said in LONG TONES:
@N1684T said in LONG TONES:
Appreciate the worm up routines. Haven't even been able to play my normal 10 minutes a day for a while, but will give these an honest trial. Thanks!
I should hope you never "worm up" on the trumpet.
Must be a French thing.
Any news on Kanstel? And ow many members do we have now?
Are the two related? 
What I can't understand is why he didn't use one of the most effective binders made . . duct tape.
I interpret "Leadpipe Buzzing" to mean buzzing directly on the leadpipe, not the mouthpiece.
I'll try again. (Gremlins.
I am curious as to -
@Newell-Post said in Eb Trumpet Question:
Any suggestions other than to go buy a Schilke Eb cornet? I can't justify that level of investment. Thanks.
Did I miss something? If you're not going to buy any other equipment then don't you either have to make due with you have or not do the gig? I don't understand the question. Maybe I'm seeing this too simplistically.
Can anybody point me to a Bill Adams warm up routine? I would like to compare. Downloadable PDF perhaps? Thanks.
I used to play in a really good band with an excellent singer that did some of the Estevan's songs, but add that authentic Latin feel and additional instruments, and there was a rhythmic depth to her band that just wasn't duplicated by my band, no matter how technically clean
Ref getting up and dancing, I used to play in a big band who's leader loved Latin music. Actually a passion of his. When we would get a good Latin groove, he danced around uncontrollably. "The rhythm is gonna get you". 
Did anyone see the George and Ira Gershwin Awards last night? Gloria Estevan was in top form but her daughter? Absolute killer, both as a singer and as a Latin Percussionist. Wow!
I got Double High C in 37 Weeks and all was well . . .
. . . not.
I have had several strokes and am on a road to recovery. I want that fully understood. But . . .
I've posted this before, but one of the best things that affected my approach for playing high notes on trumpet came, ironically, from playing sax. Although I started off life as a trumpet and French horn player, and played professionally on both, I played sax professionally for a couple of decades and was a woodwind minor on my Master Degree.
When compared to trumpet, instead of going through all this angst and gyrations to produce a high note, I just depressed my thumb. Using that concept of just relaxing and making minor adjustments helped my trumpet range immensely. I didn't overreact, playing-wise, and just relaxed (relatively).
Specifically, and this will vary based on preferences and needs, I got the most benefit from Jeff Smiley's The Balanced Embouchure and the Maggio system. My range increased from an obtainable High C and workable A above the staff, to a workable E above High C and a playable Double High C.
Dr. G - " I got an offer to play in another band from my entire evenings performance."
There can be some real spin-offs from these.
One night in Germany, the weather was horrid and the streets snowy, icy and bare. Locals knew better about going out in this weather. I wasn't going to go to a jam session, but, actually an hour after t had begun, I decided, "what the hell".
I went, the stage was sparer than usual, meaning more playing time. A critic from the paper was there that night and I was surprised the next day to read a really good story, singling out me and my playing. That exposure unexpectedly paid off in many ways.
It's great for networking, but has benefits to all sort of players, like getting experience playing for audiences or playing with people you don't usually play with. Or playing music you might not usually play. And, now that I think of it, even, maybe, having to deal with some awkward or negative aspects, as well.
@Dr-GO
This is an excellent opportunity and implies wider participation and questions/solutions. I'll start on an etiquette note.
Go to the first session without your horn. Listen.
Hear the level, observe the protocols carried out by the regulars.
Meet participants in a non-competitive ambiance. Just network and eventually ask what you need to do to join in, next time.
Maybe others have other suggestions for jam session participation.
Well, everyone can find an internet home they are comfortable with. I've given this forum a good chance to show something substantial to benefit both inquirers and contributors, alike. But I haven't seen it raise any higher than a glorified lounge. I guess that's where it's going to lie.
To all those negative comments about Trumpet Herald, yes, it has it's "stars" and fair share of one-upmanship but that's real life. At least, in addition to gags and pretty pictures of gear, it gets around to having discussions on meaningful topics, from time to time.
I guess my main criticism of that site would be it's lack of meaty discussions on things musical, outside of gear. Sax on the Web, while also having it's fair share of gear stuff, gets down to the nitty gritty of musical tools and interpretations also.
@administrator
DMA carries with it a title of Doctor. You may not wish to use it and even the owner may not to wish it, but it is still an earned title and the bearers have a right to use it instead of Mister. Also, employment, or lack thereof, does not imply competency.
Uh, dudes, my double entendre is still flying overhead. I know the grammatical difference. That was a joke.
This turned into a very timely topic because I just saw something that I thought was very hip on open-access cable T.V. that defied category, especially because it would challenge some definitions of music. It was what most would cause noise with a nice use of space. The space set off the sound so that you listened to the sound, when it came, more acutely. I don't know what one would call it. It was music to my ears.
Maybe a re-reading of Cage's Silence is due. BTW, the ensemble was a group of local young people, no oldies in the group. Nice to hear such unstructured avant guard still lives.
