Posts made by Kehaulani

Did you google "jens lindemann mouthpiece rant" ?

Here we go again.
There are two ways of calling notes. One 1)os related to the Grand Staff when expressing pitches (concert) to a mixed group of instruments, the other 2) when addressing like instruments.

For the first, look it up on google and have fun. I usually just say "concert X" and let the various instruments figure out what octave works best. If they are relatively ignorant, I give then their playing pitches.

For 2) relate everything to C in the staff. That is Middle C. The one below it is Low C, the one still further below that is Pedal C. Back to Middle C, the one above that is High C and the one above that is Double High C. For the one above that, well, good luck.

1&3 is also to sharpen middle D and also to change timbres in an improvised solos, i.e. going back and forth between 1 and 1&3 on a middle D.

I don't see the point. The stone pillars out front tell me when the Summer and Winter equinoxes are. Works for me.

Jokes and Gear. What more would one want?

@J-Jericho - thanks.

Pardon me for asking, ('cause I just don't know), but what is there of so much worth on TM that one wants to access or download?

I'll about bet that if we haven't heard anything by now, TM is dead?

If rowuk posts here he might disagree with me, but regarding the Circle of Breath explanation, and that it might be too much to process all at once, I would think that some of this information might, in real life, be parsed out over a couple of lessons. Which translates to several weeks. If presented like that it gives more time for it to sink in.

The basis for this concept probably can be given as introduction, but unfolding all of the information may take a little time. And for those needing more clarification, I'll bet a teacher will pace himself.

I am not commenting on its content, just reproducing rowuk's procedure for anyone who wants it..

Although I love Horn Bands, I particularly enjoy the use of horns in a more integrated sound like in various colors, integration, et. More from a compositional attitude. Matrix: Clea.

Are you willing to take over the project?

Everybody who wants to keep this, please copy and paste/save to your computer. Glad to help, just that I don't want to keep doing this. K'lani.

Cycle of Breath

1. The first step is a prepared body. If our chest cavity is "collapsed", we have to inflate it with force. That is pretty stupid. When we are sitting or standing up straight but relaxed (yoga is VERY good for this), all we have to do is inhale. We can get a huge amount of air without having to pressurize the lungs by force. Learning to prepare the body for playing is easy with beginners and increasingly difficult for players with more experience as they have to break habits to make new ones! It is important to have this activity monitored.

2. Once the body is big and relaxed, we draw a big circle. The left side (moving clockwise) is inhale and the right side is exhale. Notice at the top and bottom of the circle that it is still round - no disturbances. Our transition from inhale to exhale and exhale to inhale must mirror that. We do not hold air in, it is either moving in or out. We have to practice getting BIG breaths without building up tension in the throat or upper body. We use the diaphragm to inhale, but subconsciously. We don't need to think about how those muscles work, we just give them the big, relaxed body and they know what to do!
   We do not need to "push" our air out, we just exhale. Generally students have a BIG problem getting a big breath and then just exhaling. There is so much "learned" tension present that they need weeks to get this down.

3. Once our breathing works (in my lessons that means when I am satisfied - not when the student thinks that they are done), then we replace exhale with play. We do not tongue notes, we just switch to exhale and what happens, happens. The goal here is to develop the breathing apparatus and lips so that we are so relaxed that sound comes at the peak of the circle with no kickstart by the tongue. A couple of weeks of long tones this way shows us a lot about everything that we have been doing wrong. Notice how Rashawn in the youtube just exhales a triple C? Completely free of hard work! This is how it has to work in every register. Just exhale the note.

4. When I am happy with this stage, the student exhales into lip slurs - same principle - no tongue! Just exhale! Another couple weeks goes by to "perfect" this (it is never perfect) and we have made a considerable step forward. Our tone is no longer dependent on the tongue to reliably speak - regardless of how high or low, loud or soft. Generally with no tongue applied, we can lip slur a fifth to an octave more than we had before. The range caves when making music because we are still missing too much stuff.

5. At this point I have very specific things to learn to add the tongue. Critical here is that we do not use the sledgehammer tonguing that we needed when we were using pressure, we have to develop infinitely small "T", "D", "K", "G", "L", "R" attacks that are only used to "articulate" the beginning of the tone that occurs at the peak of the Circle of Breath. The tonguing must occur EXACTLY at the point where we switch from in- to exhale. If we tongue too early or late, we screw up the transition. This means we are back to long tones and trained ears and eyes to insure that old habits don't screw up what we have now carefully built. Once long tones work, we can tongue the initial intro into the lip slur. If our tone without attack was clean, the articulation is only frosting on top of the cake!

6. Following this, the student gets easy tunes like from the hymnbook and we work on proper breathing and articulation of real music.

This Circle of Breath is as far as I am concerned the biggest deal in trumpet playing. Without being able to do this, the rest can't ever click. It is as simple as inhale/exhale. The problem is understanding what we have done to ourselves: how sloppy we sit, stand, walk. How crappy our posture is, how caved in our upper body is, how tense our neck and shoulders are because we hang our heads, how brutal our tonguing is to kickstart a screwed embouchure that uses excessive pressure to enable playing at all. In addition we have a learned unwillingness to accept very small steps of improvement because we have learned to download cheats and believe the idiots that claim to have silver bullets for problems. We do not even notice the small improvements and therefore get frustrated that we haven't experienced the "miracle". I won't even get into lifestyle and attitude.

The human state is a product of what we repeatedly do. We need challenges and successes. We need the wisdoms to prepare ourselves adequately for the challenges any time that we can. That foundation can carry us a long way if it is solid.

I saw my lifes motto in a pub in Belfast a couple of years ago: Life is too short for cheap beer. We can add a lot of other things important to our wellbeing besides beer to this motto.

Did I overlook a step-by-step process, without slang, on how to post a photo? I need one. Thanks.

Conn New Wonder here. Gives me the sound I want.

@administrator said in Cannot upload pictures.:

@Kehaulani said in Cannot upload pictures.:

I can't upload a photo in the Signature Section. It does not say anything about pixels or anything else. It just does not complete.

OK, I will look into that later today.

Done, Senor. Thank you.

I can't upload a photo in the Signature Section. It does not say anything about pixels or anything else. It just does not complete.

@Lawler-Bb said in Rock, Pop, Classic 70's "Horn Bands" from back in the day?:

I’m a huge fan of this genre. My horn band covers a lot of music from this time period, but it’s proving to be more and more difficult to add to our following.

I went from playing Soul Music in the 60s to last in Germany, which I found much less compartmentalized and more ecumenical than the U.S., playing Classic Soul, Disco and Pop. Nothing like it, IMO.

@Tobylou8 said in Fine Tuning:

All I can say so far is that this is one of the best mobile experiences I've had ever!

Obviously you haven't joined The Mile High Club.

I had a Schilke B7 and I was very happy with it. Sold it, simply, to get money to explore other brands. Nothing negative about it.

I am against a Schilke-specific sub-forum. I don't like a plethora of sub-forums unless there's a good reason to do so. Remember, if you have a Schilke sub-forum, you'll need one for Conns, Martins, Getzens, you name it. A virtual plethora. IMO, it would needlessly complicate the organization of the forum.