Posts made by Vulgano Brother

Once a month they would fire up the Feuriger Elias, and stop at our village in Germany.

@Kehaulani My nephew used to drive Maybach's from point A to point B as a summer job.

They weren't allowed to go through the McDonald's drive-through.

@Kehaulani Near Stuttgart. Roughly 1990 - early 2000s.

@Kehaulani I worked in Germany some with a Japanese trumpeter who studied in Vienna and later the Spaulding method. He had wonderful technique and a consistent "double-high D" (concert) but had a sound like a laser beam, even on his Ganter.

He didn't work a lot.

Charles Peters' “Total Range” is progressive, uses many of the same exercises (without the chin-tuck thing) as in 37 weeks, is to be used daily, AND as an adjunct to other playing.

Worked for me and my students.

@Kehaulani "C4" is two syllables long. "Middle C" (which might mean "low C") has three. "C below the staff" has five.

I'd be happy with "C4."

@Dr-GO, in contemporary German brass-lingo we called a double high C a "C5," (B4 concert pitch) and the pedal C a "C1."

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.

Played Bach and Handel with a couple other trumpet players on A piccolo trumpets and our first rehearsal was something by Handel, so the parts were notated in C. Took us a while to figure out that one of us was talking in sounding pitch, one in written pitch and one in A. Depending on who you asked, the same note could be a "D"," "C" or "F."

The biggest thing I learned from my first chamber music experience wasn't intonation or listening, but appropriately listening to and responding to constructive criticism and other points of view.

That is what brings us from players to musicians.

I have the feeling Dr. M was more of a trumpet player than musician.

Jimmy Owens spoke in terms of Eastern and Western approaches instead of Jazz and Classical in a clinic I attended. This piece sounds Western to me, and therefore, in a classical style.

Back when Rowuk and I joined TM as moderators, there was a lot more trumpet talk. The lounge and the Cage were for other stuff.

@Kehaulani said in Today's crazy Maynard piece:

My list of his records that bring me the most pleasure are roughly from the late 50s to his M.F. series.

"Live at Jimmy's" belongs in the classic range in my opinion. "Chameleon" is where he started to lose it.

Slur two, tongue two is not Baroque. Slur two slur two comes closer.

Ansel.

Nickel balusters would indicate maybe an early Elkhardt?

I am a great Bible expert and even know the name of Noah's wife. It was Joan. Joan of Arc.

@GeorgeB said in Fast Tempo and old farts:

@fels
Thanks for the advice. It's the traditional type of march so probably 120+ but any march gives me trouble. I'm playing 1st, along with two others, and there are 3 playing 2nd/or 3rd.
I find the two bar intro tricky on the arrangement ( key of G ) we are using. First bar descending goes : G natural, F sharp, E natural, E flat, D natural, C Sharp, C natural, B natural.

The first run is almost, but not quite chromatic. Could this be adding to your problems?

It might be your fingers. Doing patterns slowly enough that we can play them perfectly builds muscle memory, and lets us "play" faster than we can read.

But only if the fingers cooperate.

I learned Zen practice from my shampoo.

"Lather, rinse, repeat."