Sometimes you have to make your own.
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.
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.
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 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?
I've listened to to them a bunch in the past. Very approachable for the player and very marketable for the public.
There's a question that pops up on Facebook. What music do you turn off immediately when it comes on? She is one of them for me.
The schtick get's in the way of the music and I feel the music suffers for it. I get that she has skills. No denying that. But all the theater turns me off.
@richard-iii I sold a King 7M cornet mouthpiece several years ago. As I recall, the medium diameter cup had an all-purpose/versatile "S"-type profile, sort of a combination of a bowl shape blending into a bit of a "V" taper as it approached the throat, and the rim was rounded.
A very good way to describe it. Further there is a bit more mass in the cup area. At our last band practice, my friend tried it and asked to borrow it. I'm a little afraid he will make me an offer I can't turn down.
If you can find one, the Cleveland C vintage cornet mouthpiece is very nice. The shank contour seems to be unique for that era. I have two of the mouthpieces and the only difference is the rim. I also have a H. N. White C mouthpiece and it is slightly different with a smaller bore size.
FYI, I also have Cleveland mouthpieces for trumpet and euphonium/baritone that work very well too.
I also have a King 7M cornet mouthpiece that is simply fantastic. I have it loaned out to a friend. These are much harder to find that the Clevelands.
It is either a King Long Cornet or King Master cornet. Value depends on condition and which one it is. The Master is more due to demand. General range is $300-$800 approximately. Condition is of course also important. If there is significant compression loss, drop the price accordingly.
I know, and I don't like to be a stick in the mud but I've seen threads fall apart because of too much humor.
If we want to keep members and attract new ones who come here looking for help and suggestions with their playing then we should take a long hard look at what we are doing.
Kehaulani, who I hope is okay because he hasn't been here in sometime, was one who shared my thoughts on this matter. He felt there was too much humor in threads dealing with the technical aspects of playing the trumpet.
In the old days of TrumpetMaster, many threads devolved into joke time. It seemed to be a popular pastime for contributors. In contrast, TrumpetHerald attracted fewer jokesters. Therefore if I wanted knowledge, I went to TH. If I wanted silly, I might visit TM. I rarely found anything of valuable (for me) content on TM. But I still visited it and now TB on a daily basis just in case. I frequently start to comment, but then think, oh why bother and skip it.