Are you seriously saying that a 16 year old kid wasn't as good as one of the greatest trumpet players of all time?
You're not even paying attention. I didn't put up the link, someone else did supposedly as an example of Louis playing the piece. I'm curious to hear what they thought they were accomplishing by posting it.
Quote:
But I have to concede your underlying point: music is a competition and must be won at all costs. Maybe Louis will get lucky and win one someday.
Again, you're not paying attention and you're not grasping my point, I suspect because you don't want to grasp it, you'd rather argue a point I didn't make. My point is that there's more to playing the trumpet than high notes, which seems to be lost on a lot of people in here. _________________ Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
"If it makes you feel better I don't think Arturo's recording comes close to Maynard's either. All it demonstrated was that he isn't the player that prime Maynard was."
Sounds pretty competitive to me.
[quote]Did you check the other vid I posted oh playing the Harry James Concerto for trumpet in high school[/quote]
"Yes. Again, another performance that isn't close to the original. Yeah, high school kid. Again, what's it supposed to be evidence of? That like a lot of high school players he could do a hit and miss rendition of a piece that doesn't come close to the standard of the original? I'd be curious to hear him try it now. My money is on that he still couldn't do it as well as Harry."
Gettin real competitive here.
"I don't think Louis right now could shine prime Doc's shoes, or even Doc at the same age that Louis is now."
Jesus, am I at the Olympics cause there is sooo much competition going on right now.
If you don't think that clip of LD playing Harry's trumpet concerto shows facility, then perhaps I could direct you towards some videos that explain what technique and facility are. Oh wait, let me guess... LD couldn't shine Harry's boots with a floor buffer (or something like that). Not being competitive at all.
Literally everyone except you thinks he's a good trumpet player that can do more than play high notes. But guess what? He's good at playing high notes (among other things) and is making a living playing the trumpet. When you have Wayne Bergeron filming you playing (and nailing) a piece that he recorded, that's saying something.
People like high notes because not everyone can play them well. Louis can and is appreciated for it.
Again, you're not paying attention and you're not grasping my point, I suspect because you don't want to grasp it, you'd rather argue a point I didn't make. My point is that there's more to playing the trumpet than high notes, which seems to be lost on a lot of people in here.
Hi
By listening to a very few videos an assumption seems to be being made that Louis D is a high note player only. He is a very fine all round trumpet player. I seem to remember reading a bio somewhere which said he'd been to the Purcell School as a kid (for our US friends that is a hot house music school for children/young adults) and then on to the Royal Academy of Music.
At neither of these institutions would he get away with just working at the upper register so his education will have been a whole lot more than "just playing high notes".
And whatever you may feel about his playing, his peers whether in London or top international players such as Eric Miyashiro, Wayne Bergeron, Thomas Gansch etc seem to respect his playing.
I must admit I really like his playing, and as a side note I love the arrangements. Callum Au I think was responsible for them - nice work.
Ive been practicing range for the past week using claude Gordon's Systematic Approach and ive hit a G above High C which is insane (but that was just like once and it was really low so whatever) and I don't think I was doing to much effort or stress but my arms do start shaking and so does my abdomen so howwww!!!!???
Physics would allow him an exceedingly elastic upper lip texture located exactly in the area most prone to receive air support. This area where his upper lip would receive the air would be favorably controlled by both the positioning of his teeth and the lip aperture's location relative to
Teeth/mouthpiececup/lowerlip.
Essentially he is able to favorably trap air and force it to sustain a vibration even on the highest notes.
Most of us have certain limitations which prevent the conversion of compressed air into kinetic sound production in the extreme upper register. We may be able to convert our air support into good volume of tone but remain less able to sustain resonance above a certain high note.
Sometimes a good high note player has made kind of a "Faustian Bargain". As I will explain.
He may be able to play easily up to Quad C. But can not get a truly big sound. _________________ "Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
Fantastic, listener-friendly arrangements played beautifully by everyone involved.
Louis has a beautiful sound, an outstanding command of the horn, and an eye and ear for production in the Youtube era. He's a special talent who should be celebrated for he's offering.
Joined: 04 Oct 2015 Posts: 805 Location: South Carolina
Posted: Sat Jun 10, 2017 10:19 am Post subject:
Quote:
JoseLindE4 posted:
Fantastic, listener-friendly arrangements played beautifully by everyone involved.
Louis has a beautiful sound, an outstanding command of the horn, and an eye and ear for production in the Youtube era. He's a special talent who should be celebrated for he's offering.
+1
Very good all way round. Louis' music is particularly welcome given the relative paucity of big bands recording nowadays. Simply great stuff. I wish him all the best.
Regards,
Grits _________________ Bach Stradivarius 37 (1971)
Schilke HC 1
Getzen 3810 C Cornet
King Master Bb Cornet (1945)
B&S 3145 Challenger I Series Flugelhorn
Life is short; buy every horn you want and die happy.
Joined: 02 Jan 2002 Posts: 5675 Location: Glen Burnie, Maryland
Posted: Mon Jun 12, 2017 8:53 pm Post subject:
Wow - what a thread. It's unfortunate that these threads get this way.
For me, Louis Dowdeswell is one of the most exciting young high note artists to come on the scene in a long time, and what is he now, all of 23 years old?
For anyone in this thread bagging on anything he does, just where were you as a player at 23? I'm willing to give the kid a break and say that anything that anyone says about what might be considered a "deficiency" about how or what he plays is really getting fairly petty about it.
The real tragedy here is that he's coming of age now. Can you imagine what kind of a career he'd had if he'd come on the scene in the 1940s? We'd talk about him in the same kind of reverent tones we use when we talk about Doc, Harry Louis, and Maynard.
He's clearly put in a lot of work to refine his chops so that he can play like that, and my hat is off to him. _________________ Patrick Gleason
- Jupiter 1600i, ACB 3C, Warburton 4SVW/Titmus RT2
- Brasspire Unicorn C
- ACB Doubler
"95% of the average 'weekend warrior's' problems will be solved by an additional 30 minutes of insightful practice." - PLP
Joined: 20 Apr 2016 Posts: 1063 Location: New Glasgow, Nova Scotia
Posted: Tue Jun 13, 2017 3:31 am Post subject:
[quote="trickg" ]For me, Louis Dowdeswell is one of the most exciting young high note artists to come on the scene in a long time, and what is he now, all of 23 years old?
He's clearly put in a lot of work to refine his chops so that he can play like that, and my hat is off to him.[/quote]
I couldn't agree more. _________________ GeorgeB
1960s King Super 20 Silversonic
2016 Manchester Brass Custom
1938-39 Olds Recording
1942 Buescher 400 Bb trumpet
1952 Selmer Paris 21 B
1999 Conn Vintage One B flat trumpet
2020 Getzen 490 Bb
1962 Conn Victor 5A cornet
Joined: 25 Mar 2010 Posts: 5299 Location: Central Texas
Posted: Fri Jun 16, 2017 11:48 am Post subject:
trickg wrote:
Wow - what a thread. It's unfortunate that these threads get this way.
For me, Louis Dowdeswell is one of the most exciting young high note artists to come on the scene in a long time, and what is he now, all of 23 years old?
For anyone in this thread bagging on anything he does, just where were you as a player at 23? I'm willing to give the kid a break and say that anything that anyone says about what might be considered a "deficiency" about how or what he plays is really getting fairly petty about it.
The real tragedy here is that he's coming of age now. Can you imagine what kind of a career he'd had if he'd come on the scene in the 1940s? We'd talk about him in the same kind of reverent tones we use when we talk about Doc, Harry Louis, and Maynard.
He's clearly put in a lot of work to refine his chops so that he can play like that, and my hat is off to him.
You pretty much described the situation perfectly. Johnny Curmudgeon won't like it much, but everybody else probably can find more common ground with you on this one. _________________ "Music is like candy, you throw the (w)rappers away."
I think comparing any aspect of a players sound to the standard in any aspect will always be unfair to the player. He may not be Maynard or Mendez but seems to me thAt very few of us might be good enough to criticize anything about his play. We aren't talking about bionic beings where we can clone Maynard's range, Mendez breath control, Bud Herseth tone. I hear a lot of people criticize hear, but odds are 95% or more cant hang with this guy by any measure. It's been my experience that real musicians enjoy what is good in a performer and look inside themselves before throwing stones.
Rod
Joined: 24 Nov 2001 Posts: 615 Location: Hilton Head, SC
Posted: Sun Jun 18, 2017 6:54 am Post subject:
Check out the article on him in the current Journal of the International Trumpet Guild. He's the real deal, a first call player in London's West End, plus lots of other high profile gigs. _________________ Tom Barreca
Posted: Sun Jun 18, 2017 9:17 am Post subject: louis dowedswell
Quote:
I think comparing any aspect of a players sound to the standard in any aspect will always be unfair to the player. He may not be Maynard or Mendez but seems to me thAt very few of us might be good enough to criticize anything about his play. We aren't talking about bionic beings where we can clone Maynard's range, Mendez breath control, Bud Herseth tone. I hear a lot of people criticize hear, but odds are 95% or more cant hang with this guy by any measure. It's been my experience that real musicians enjoy what is good in a performer and look inside themselves before throwing stones.
Rod
VERY well said!!!!! This kid is an awesome player!!
I think comparing any aspect of a players .... I hear a lot of people criticize hear, but odds are 95% or more cant hang with this guy by any measure.
Rod
I just listened to this guys you tube including 'rocky' and I have to change the percentage above to 99% with fair surety. Great lead sound and would have been more than welcome with Kenton or Herman or any big band. He sounded good enough on the rocky piece that I certainly don't think he suffers much in comparison to Maynard at least on that piece. And that chesty lead tone is rare these days and he certainly has that, range and intonation on his side in spades so what is it he needs to improve dramatically enough for us lesser players to point out. Examples of sound and specific instructions would be appreciated by all of us I'm sure.
Rod
I just listened to this guys you tube including 'rocky' and I have to change the percentage above to 99% with fair surety. Great lead sound and would have been more than welcome with Kenton or Herman or any big band. He sounded good enough on the rocky piece that I certainly don't think he suffers much in comparison to Maynard at least on that piece. And that chesty lead tone is rare these days and he certainly has that, range and intonation on his side in spades so what is it he needs to improve dramatically enough for us lesser players to point out. Examples of sound and specific instructions would be appreciated by all of us I'm sure.
Rod
I like the way Wayne and Louis play the trumpet. Both are top call in the studio environment. But studio recordings don't do a lot for me in the present day, where brass is often compromized by a lot of digital equipment run amok. Capital records way back routinely recorded without the effect you have of strict processing, within sterilized chambers.
Not comparing players as LD can play this easily. Note how well the trumpet is recorded on the out chorus..
He is currently subbing for WB on the Big Phat Band European Tour, says it all really !
I hope WB ran that by the TH crowd hahaha. Awesome - he deserves it!! _________________ Maestro Arturo Sandoval on Barkley Microphones!
https://youtu.be/iLVMRvw5RRk
Your point is that "there's more to playing the trumpet than high notes, which seems to be lost on a lot of people in here".
This is the “High Range Development” Forum. The original post was about how easy it was for him to play in the upper register. A brief discussion about how he achieves this followed.
You entered with:
“His strength seems to be high notes, I've never heard him do anything that I considered particularly technically impressive. I imagine he'd seem a lot more mortal trying to match Maynard's take on "Maynard Ferguson" or Doc's "Chimes Festival" or "A Song For You”.
You made it about iconic high note players and the over all facility they have. This was a left turn. You questioned his ability to play anything other than a relatively relaxed high note.
If you really wanted him to prove his technical medal why not go straight to the jugular… a Herbert Clark Theme and Variations solo. Is this not the true test???
I submit that you too made it about high notes.
The OP point was the relaxed high note and how is this done.
There has been evidence offered that Louis has proven his ability and this has been recognized by world class players. So let us turn our attention away from the, is he really that good argument as I think it matters not to your main argument. Your main argument of,” there's more to playing the trumpet than high notes” is certainly valuable but might not be as relevant when placed in the “High Range Development” Forum. This is the place to revel in all things upper register.
We are not that concerned with other facets of playing here.
So how does he do it; Upstream player with excellent air support and control, proper use of compression and tongue position, good ears, studied the sound and approach of the greats and many hours refining his approach.
I don't think you need to lift weights to play in the upper register. I don’t think you need to physically shake when playing in the upper register. It is that overly physical approach that diminishes facility. Technique is the key to playing in the upper register.
We are not that concerned with other facets of playing here.
Clearly some aren't. Are you the official spokesman for "we"?
The "we" I represent is more impressed when playing high is combined with a more broad overall ability on the instrument.
Quote:
So how does he do it
The biggest percentage of it is that he was born with the right tools. Which answers the OP's question. I'm sure he puts in a lot of practice, uses air, etc. but the fundamental reason is the physiognomy he was born with. I.e. like various people with a knack for high notes it isn't something he had to work that hard to accomplish as evidenced by the fact that he was doing it at a young age. Others have curiously provided evidence that at that same age his technical facility wasn't anything special. But he could play loud high notes with relative ease. It would be great if it were as easy for me. Maybe he's since developed into a technical beast, I don't claim to have a comprehensive awareness of his work - the only thing I've seen of him are more demonstrations of loud and high. I'll give him credit - his high range is more musically executed than that of many others I've heard.
Quote:
Video link - Jon Ruff loves that his Stomvi gear is simply easier to play!
Great, more support of my assertion in another thread that using one particular hardware setup over another is legitimate and not a slacker's way to skate by. _________________ Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
I suppose I should refrain from appointing myself as the spokesman for, “we”. Again I do not disagree with your assertion that an overall level of musicianship should be established before we fawn over a person playing high notes. I did not see a need to delve into the depths of the players technical and musical abilities for the proposes of the OPs question. How does he do it was a good enough question for discussion.
To say he was born with this ability is not an unfair statement. I think he at a young age discovered how to do it and has been able to match his approach to a physical make up that is conducive to success.
That being said to simply state he was born with the tools and stop there is not offering the OP information about HOW he is doing it. It is in the dissection of HOW that some (including me) might find a kernel of information that is the missing piece of the puzzle. Yes my friend it is true that even armed with the most accurate information describing this process there are those that will not be able to soar amongst the clouds. So then play like Chet Baker. There is so much music to be played below high C.
I will never drive a Bugatti Veyron. I am not going to be consumed by that. I will never be able to do a myriad of things physically or financially that would be incredible to achieve/experience. I refuse to let this make me bitter. I shall enjoy what I can do and try to become more proficient so that I can enjoy this even more. This is the human experience no matter what we do or who we are it is simply part of life. To allow ourselves to be become bitter destroys us from within. Sharing the joy of each others success and finding our own happiness changes everything.
“Great, more support of my assertion in another thread that using one particular hardware setup over another is legitimate and not a slacker's way to skate by.”
YES!!!!! I will stand next to you my brother arms locked and defend this position!
Equipment can and does make a difference and it can make a significant difference. I have experienced this many times myself and have seen it many times while working with players. Yes practicing to improve is priceless but the right equipment can open doors to a new level of capability. Let me know if you need testimonial my brother I will be happy to aid you in this discussion.
This is a friend of mine that tried some Stomvi Flex mouthpieces. I filmed this so he could have a comparison later. He did not need to reference the video his experience in the moment told the story. Yes he is still using the mouthpiece.
You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot vote in polls in this forum
hahaha. Awesome - he deserves it!!
