When it comes right down to it... just writing the note on a cocktail napkin gets the message across.
Spinal Tap: note on a cocktail napkin.
I've got Total Range, Vulgano. Maybe I'll take another look at it. If my memory is right, though, he just stole exercises from Spaulding and, if so, something would just rub me wrong to use it. I'll take another look at it, though.
p.s. I just looked at it. It seems to have ripped off a lot of stuff from Spaulding. Further it's what I would call, "garbaged up" with extraneous markings. And it also waits until later to use pedal tones, so I'll stick with the Maggio.
Thanks for reminding me of it, though. I appreciate it.
I decided I finally have time to do the one-day-on, one-day-off, Double High C in 37 Weeks system. The exercises are a lot like the Magio ones, so I figured I've got nothing to lose.
But after a couple of weeks of spending half my time not playing, it's driving me nuts. So back to Maggio and The Balanced Embouchure. Anybody else try this system and just go nuts with so much time on their hands?
I was at a jam session once, and the tenor player played some nice stuff for most of the evening. Then after he had played the head of a tune on tenor, reached behind him off the bandstand and came up with a trumpet and killed it some more. What a surprise.
I, myself, harrumph, have played professionally, Trumpet, French Horn, Alto, Tenor, and Soprano Saxes, Recorder, Irish Penny Whistle and Irish Natural Flute,
There are plenty of multi-instrumentalists. Kenny Dorham also plaed good tenor sax. I heard Ira Sullivan play on trumpet, a very tasty head to a tune, the rhythm changed and the solo came in on sax. I was Ira. There's Maynard on Bone and Euph. Gunhild Carling, who plays just about everything. Multti-doubler James Morrison and the list goes on.
@Dr-GO said in Vernacular (of range):
Is it just me or does anyone else have this trumpet dyslexia where I just cannot play a C trumpet for the life of me as the fingerings are just not matching with what my ears wants to hear.
I knew a guy, pretty good musician, who played C Melody Sax exclusively, because he had the same problem as you. He eventually quit playing, altogether, because he also had problems adjusting to pianos, or ensembles, that were not playing exactly on pitch.
I, OTOH and just to use an example, have played and adjusted to instruments in Bb, C, D, F, and Eb with little to no problem. As a matter of fact, I used to switch between C Flute, Eb Alto Sax, Bb Soprano and Tenor Sax and Trempet on the same gig. Ironically, the biggest problem was also going between Bb and C Trumpet.
@Vulgano-Brother said in Vernacular (of range):
International Standards (ISO) name the C below the treble staff and above the bass as "middle C." (That makes sense because it is in the middle between the two staves.) Middle C is C4. Pedal C is C3 and C in the staff a C4.
Just be aware that there are differences when a group of trumpeters are talking and when you're playing in a large ensemble with mixed instruments.
Usually, if you're with like-minded instruments, you might call your notes where they lie in your instrument's staff. When working with mixed ensembles, the conductor may identify them by using a Grand Staff (look it up). In my case, I usually referred to notes by each instrument's tessitura, but if it's for a group of mixed instruments, you are usually talking about something related to the notes they have right in front of them, and there's no need to compromise the system.
You might ask, 'What about combos, where there are no written notes"? I still relate the notes to each instrument type, depending on their own terminology.
In other words, I can't think of situations where I had to use the definition of notes by the Grand Staff or some acoustic/scientific precision. Theoretically precise? Yes. But hardly practical.