Based on an instrument that they built for Joe Alessi. Hmmm. Aren't all trombones (even the el cheapo ones) based on some great
instrument? When I read marketing trash like this, I wonder why they do not build that exact model. With todays material science and still available "old world" manufacturing skills, it is certainly possible!
@j-jericho Yes, there are means to go around blocked sites. The problem is that the "free" VPNs are serious security risks. Even although I use a Mac with all of the proper security tools, after using one of those VPNs, strange porn sites can pop up in the browser.
For a Buescher that I am not going to buy, not worth it. For the seller, limiting their market and possibly better selling prices.
I think:
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Our central nervous system is a very fickle thing. It can remember things that we did decades before and can "store" "rewards" for things that we have done. There are many schools of thought on how to deal with these hard wired reactions. Some recommend seeing a shrink, others start yoga class or Alexander Technique lessons. Others (like myself) find a Feldenkrais or a Cranio Sacral therapist. This method actually deals with helping us get a new inner organisation. The therapy is very gentle and everyone that I know that has taken it seriously has reaped large benefits.
In your case, you did the right thing first: checked for physical damage. Now I would recommend going to https://www.davemonette.com (no, I am not trying to sell a mouthpiece or trumpet - and he will not either). Click around the site and see if anything rings. If yes, then click on "Contact" and write a short description of your situation. Then either call or wait for an answer. You can also google Moshe Feldenkrais if you want to know more about some of the background
I am convinced that this is a very good way to get over this. There are no painful massages or physical rehab punishment. Normally, we notice "improvement" right away but many times, we need more time to get out heads around what is going on. Dave is very in tune with brass players. He is very to the point about the way things work in his world. You can write if you have more questions, I will be on the road this week on a business trip so I will not be monitoring 24/7.
@walter-sk Microns separate easy and hard removal. It is still a simple job for a tech but "all your strength" could make the repair very costly.
I have had students with this problem. It can happen if one lays the trumpet down with the 2nd slide underneath. It takes a small hit (no dent) and it is microns out...
Training wheels/ breath marks. Sounds like fightin‘ words!
Nothing could be further from the truth.
Measures on a tank of air? Equally juvenile.
We have to inhale in a way that lets us exhale without having to release „compression“ or „expansion“ muscle tension first. One of the major flaws in tanking up for maximum measures is that we create tension that we have no routine to remove musically for.
Yes, we can expand breathing capacity. That involves an organized, prepared body, no brute force!
Sara Niemietz with Snuffy Waldon or Post Modern Jukebox. This lady has so much fun singing, it is contagious. Inspirational!
The safest place to cut a trumpet is where the bell enters the valve block. Cutting it at the tuning slide can make for some wacky intonation.
@_mark_
I believe that you are not in any position to comment on anything except the symptoms that you notice. Trying to "analyse" the issue with no base knowledge just leads to useless hardware and embouchure changes.
Irregular teeth are no issue unless you learned to play on perfect teeth and then they got messed up in an accident (ask me how I know).
Moving the mouthpiece around is poison and where exactly it is, is certainly not a problem for getting started and playing up to G on top of the staff. My experience is that a proper daily routine promotes evolution - not revolution. Embouchure is fine motor activity, not building a six pack. Low impact repetitions! Lipslurs, longtones!
I am sure that multiphonics can be generated with a combination of lips and humming/singing or only with a weak embouchure. The mouthpiece in the "wrong place" would not be the cause of the double buzz, rather simple weak chops from lack of constructive practice.
I do not consider scales to be evil or out of place. They are simply part of the low impact repetition toolbox that can give a student patterns for recall in many different contexts. They are an essential part of holistic development in my world. I use them for teaching just about every technical discipline that a trumpeter must develop: time, transposition, intonation, articulation, range. Naturally they are not the "only" things taught. We had a discussion about proportions during practice/ lessons at TrumpetMaster. I remember agreeing with several about approximately 1/3rd body use, 1/3rd technical studies and 1/3rd tunes/repertoire. We discussed the issues surrounding a "too rigid" structure and having the student in clear focus. During periods of high dedication, we the teachers can raise the bar at many levels - if we have a method to even define the bar..
My personal view is that we must feed our internal reward system. Measurable success changes the way that our central nervous system processes stimuli. Mosche Feldenkrais and several Yogis deal with this at an even higher level.
Proper use of scales makes the Haydn, Hummel, Neruda, Tartini, Verdi Requiem, Tschaikowsky 5 certainly "easier".
@administrator said in Mouthpiece issue:
A wider rim will likely lead to quicker fatigue. That's been my experience, at least.
Maybe you should try some mouthpieces from the baroque era. They are much larger than modern mouthpieces and have very large flat rims - but no shortage of high notes!
Pedal tones are the fundamental tones based on the length of the trumpet. They correspond to 1 wavelength. The next tone (2 wavelengths) in the partial series is an octave higher - on an open trumpet, low C. 3 wavelengths corresponds to a second line "g". 4 wavelengths is third space C., 5 is E, 6 is g on top of the staff, 7 is Bb above the staff and 8 wavelengths are C above the staff. Notice that every doubling of the wavelength is an octave higher for C 1, 2, 4 and 8. For G 3 and 6.
@barliman2001 Thank you Elmar!
In my world, range is not really a function of mouthpiece or embouchure, it is "mostly" the synergy between the blow and lip tension. I can play my highest notes when I am most relaxed. When I increase embouchure tension, I have to "blow harder" and that makes life more "difficult".
My "secret" for range is slowing down. Longtones with minimal (not zero) lip or mouthpiece pressure. Once the juices are flowing, then lots of EASY lipslurs. I use the Earl Irons Lip Flexibilities book.
Before we get to mechanics, we have to get our breathing under control. I use a visualisation called "the circle of breath". Envision a large circle. From 6:00 to 12:00 is inhale, from 12:00 to 6:00 is exhale. Please note that the transition from inhale to exhale is perfectly smooth - just like the circle. That means that your inhale is timed to be finished exactly at 12:00 and that you have not gone into "compression" - where you need to release tension to even exhale. At 6:00 the opposite happens.
I am talking about practice habits here to "organize" breathing/body use and playing. When performing, we can not always maintain "best practices" as the RESULTS justify the means. Our daily practice is to refine the bodies part of playing and generally less tension is more range, articulation, tone and endurance.
@administrator said in Traits that make a great sight reader?:
Hearing the intervals is the easy part. Making that instant connection to which note it is is much harder. Hearing harmonic changes is even harder than that.
I know too many players that site read very well but miss the musical message - even with more time. It is a question of the talent mix.
There are various traits that make for good site reading.
@_mark_ Well Hakan Hardenberger is in my view with a couple others, at the top of the heap.
@_mark_ Then all that is left is to be patient and remember that thousands of low impact repetitions build good habits. Getting in a hurry is pure poison. I have a glass of water near my practice chair. If things get congested (tonguing, breathing, chops, brain), it is amazing how much a sip of water helps.
@_mark_
It is (maybe not) funny, but I have NEVER had a beginner walk away from the first lesson with what you describe.
"Too much" pressure is NOT an issue for the first weeks/months of playing and if your face is capable of forming the letter "M" without nervous twitches, you are only a moderate breath away from a stable first note.
That first note can be practiced with just buzzing the lips, buzzing with the mouthpiece or buzzing with the mouthpiece and horn. We do not need to squeeze the lips together with high pressure, the normal letter "M" is enough for the first open tones - normally open G and low C. Resist the urge to mess around with the valves until your "M"-bouchure is steady.
The trumpet actually only needs a wisp of air to ignite the tone. A LOT of players exercise WAY TOO MUCH EFFORT in basic tone production. Do not try to hyperventilate after reading how much "air" the so called experts pump through the horn. Do not try and form a six pack in your face.
Trumpet playing is thousands of very low impact repetitions. There are no short cuts.
Slow down, find someone who plays reasonably well from a local band or school and get the beginnings in a decent direction.
@jessie, Technically EVERY valve ALWAYS does something - maybe not what we want, but something. This has nothing to do with being a beginner.
The lips are the tone generator. I will assume that you can play a low C, a second line G and a third space C reliably.
The ONLY choices are: the valves lower the pitch or they prevent air from going through/are VERY, VERY stuffy. If the horn is complete, there is no chance that they have no function.
On an open low C the pitch must change. On an open second line G, no valve and valves 1+3 CAN have the same pitch. On an open third space C, 2+3 can have the same pitch. On an open 4th space E, 3 or 1+2 can have the same pitch. For beginners, we do not need to even talk about higher notes.
If the beginner has no reliable pitch whatsoever (or just blows air through the horn), then the valve makes a difference, but the weak embouchure is not capable of sustaining any tone. In any case I suggest getting a lesson to get the hang of playing resonant tones - and getting the horn checked out. The lesson does not have to be from a virtuoso. A music teacher in school or one of the better brass players in a school or community band can speed up the learning process a lot.