Sometimes you have to make your own.

The Conn 80A's are great.

@adc said in Favorite Cornet:

Nice. I can't stand to play a new (old) horn until I thoroughly clean and sanitize it.

I can't stand to wait. I play it right out of the box the minute I get it. Then I take it in for cleaning and repairs. I also want to know the before and after of that process.

After:

I think it also relates to math ability. Rhythms seem to be a problem for people. It's not the notes, it's the rhythm. People get lost. Also having the beat in the back of your head that allows you to know where in the measure you are is huge. I've been in so many groups where a difficult passage means the player slows down and is immediately lost.

And then there is the reading text issue related thing. When you read text, do you look at all the letters? Of course not. You read the sentence. Same thing in music. You read the phrases. You see the whole line. No?

Or are you thinking of how to produce the sound and playing and can't spare attention to the music?

I think there's something like that going on?

Well, since this thread popped up, I'll relate a recent occurance.

Last Saturday was the first band practice in over a year. Trad jazz. New band. Never met these people before in person.

For a year I've practiced playing from lead sheets and doing improv. Occasionally use backing tracks. But mostly just improvising on the songs. I start in a different key and practice that too.

I wondered how it would all sound when playing with others. The answer? Wow, pretty darn well. The pandemic has given me the time to work on improv in the safety of my own home.

Now I say, "Give me the solo, man!"

Any theory involved in what I did? No. But also I've spent a year listening to a lot of music in this style. So that gets internalized and comes out.

Would it happen if I listened to another style. Yes. Works that way too. Listen, internalize, play and away we go.

So you are going to sub with an instrument that sounds okay and you have many mouthpieces that you can choose from. And you are not going to spend more money on anything else. And the time is short. What do you want to hear other than pick the best sounding combination and practice?

Sometimes the planets line up just right between you and the cornet. Mine is a H.N. White Clevelander with the original mouthpiece. I have two of them just to make sure if anything ever happens, I can play the spare while I'm getting the primary fixed.

@georgeb said in Traits that make a great sight reader?:

@dr-go said in Traits that make a great sight reader?:

I believe the hardest part of sight reading is being able to count. What really trips me up the most is reading where NOT to play (the rests) more so than were TO play (the notes). It all comes down to the rhythm, the feel of the song. That is what I find most challenging regarding sight reading.

I would have to agree with Doc on this part of sight reading, especially the rhythm. I don't realize how wrong I sometime get this in new pieces until I am playing with others. Then it all falls into place.

I've always found sight reading easy. But with difficult rhythms, I still use a pencil to mark downbeats in a measure. I've had band mates try this and they were amazed at how much it helped. I'm surprised at how little people mark their music to help themselves.

I'll just stick with my Toreador. Have fun with the Conn.

I spend most of my time playing french horn. Or as we like to call it, horn. Does that qualify as a bigger horn?

As for why there isn't another thread, possibly because players of other horns don't spend all their time talking about it online?

Last night I had a gig with a jazz big band. I played a Conn 80A cornet in a section of trumpets. I thought I sounded appropriate. At the break, my friend the trombone player told me he heard a really dark and smokey sound coming from the trumpet section during a solo. He looked over and it was me. He knows that cornet so knew immediately the source of the sound difference. I should add that I was playing a shallow mouthpiece. I guess I didn't have quite the sound I thought I did.

Check TB and TH for cornet discussions. They generally don't go on very long and are not frequent. Many trumpet players have never played a cornet. Many players have no idea what they would do with a cornet.

So, small market with limited interest answers your question.

@j-jericho said in Body Mapping for Trumpet Players:

@dr-go said in Body Mapping for Trumpet Players:
I would love to hear commentary as to how member agree or disagree with some of this concepts. Here is a pdf of the original article. Enjoy!

https://digitalscholarship.unlv.edu/cgi/viewcontent.cgi?article=3683&context=thesesdissertations

This study is a nice checklist for achieving a relaxed, comfortable, efficient way to play without unnecessary stress. Thanks for posting it! I suspect that many players automatically do most, and perhaps all, of the suggestions made in the paper, especially if they''re in tune with their own bodies. Explaining why each part of the body is optimized in selected positions is good reinforcement. The mention of a goal for how to use the embouchure and air is a nice addition, too. The suggestions for additional reading are comprehensive and very welcome!

In your subsequent post you mentioned the pinky ring. Personally, I use it by default, because I find that doing so positions my fingers for maximum mechanical advantage, and because this has the resultant benefit of introducing the minimum of side force on the valves, prolonging valve life. Other than a valve trill involving an open note and a valved note, which can involve the wrist in playing the trill faster when the pinkie ring is not used, I find no difference in speed and effort in fast passages whether the pinkie ring is used or not. Besides, not having to choose when to use the ring is one less thing to have to deal with, however small this decision may be.

Interesting. Lately when going from mute to different mute quickly when playing, my pinky stays in the ring. I've found it to help stabilize the horn on my face and make playing easier.

@chef8489 I am so envious of your complete set. Beautiful!

How about this? The cornet mouthpiece has a smaller hole at the end than a trumpet mouthpiece. Smaller hole means less air. Smaller hole means though conical after that they can be the same, the smaller hole always starts smaller and therefor the totality of the conical nature will always be greater.

Anyone want to guess why the serial number was removed? My thought is that it was stolen at some point.

I'll be watching this thread to see if anyone has a better source. I have a King 2280 euphonium with a serial number that starts with A and then six numbers. I can't find anything with reference to letters like that.

Question for the OP that I should have asked in the first place. Was there any sign of visible bruising after the original injury?

Thanks for the answers. Most concerning is the numbness/tingling. If that were absent I would suggest a number of physical therapies. However, due to the neurological involvement and the location of the possible entrapment I am concerned greatly. Without getting into cranial nerve distribution, if you had entered my office with these complaints, I would refer you to a facial specialist in neurology. I think the answer is out there. I would not go to a generalist as this area requires its own specialization. You might be facing some surgery. Best of luck.

Do you find areas that are painful to pressure? Does pressure there create any other areas of pain? With pressure can you then contract the muscles?

Are there any areas of numbness? When you look in the mirror are there drooping areas? When you purse your lips, again in the mirror, is the contraction symmetrical? If not what do you see? We'll start there.