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Heavy rehearsal on cornet negative for trumpetplaying


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Seymor B Fudd
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PostPosted: Fri Sep 14, 2018 8:57 am    Post subject: Heavy rehearsal on cornet negative for trumpetplaying Reply with quote

Didn´t know where to post this - and it is just an observation - I wonder if anyone else has experienced the same thing:

We have a big concert coming up and I have practiced more than ever in my life - on my cornet, mouthpiece a Wick Ultra 7C. More than ever means 2-3 hours a day or more (liptime) - routine as follows:
Caruso 6 notes x2, Laurie Frink nr 1, then Roll outs (BE way), tongue on lips, then Roll ins (BE way) interfoliated with Roll outs. Several times the Roll outs&Roll ins. And lip slurs the BE way. After that the music we shall play; intricate passages (like Poet and Peasant, solocornet) and very endurance demanding stuff. I´ve been very keen on not "overusing" my lips. Double pedals have been very very beneficial in this by the way.

The result: Never ever been in this shape, nailing everything, easily passages high C up to D and virtually not tired at all after heavily reahearsing the whole concert program. A wonderfull feeling, never felt that way and I have played in this brassband 60 years.....

Nice of course. But the other day I was supposed to play lead in a slightly below medium level big band - I did endure it but my high register was absent - above high C, even the B was shaky sometimes - like I lost the bearings to the higher register. I did not touch my trumpet until the same day.
Generally this is not the case as I´ve finally attained a routine where I play the trumpet as much as the cornet.
The mouthpieces have just about the same rims, even V cupish, but of course the trumpet piece is shallow in comparison.
Not that this presents a problem in the longer run - but I was a bit surprised.
Feedback loops could be involved - I´ve expressed as my opinion in some posts that there are differences between cornet and trumpet playing - so heavy into the cornet playing what comes back (including resistance, sound you name it) is different. And of course the mouthpieces themselves, the cornet piece provides more "space" for my lips; shallow mpc:s may demand more etc. Or other variables!?!You may find others!
As I brought my cornet along I played the concluding tune on it; however this score did not present anything higher than high C and that was easy.
I want to add that - nope it did not sound as a trumpet

Would be fun to get responses to this experience of mine!
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Tpt_Guy
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PostPosted: Fri Sep 14, 2018 9:29 am    Post subject: Reply with quote

It's tough to make an assessment, but it seens like it's possible that while you got into great shape playing so much on cornet and the mpc gives more lip room, perhaps your lips are maybe puffy just a small amount when you play. It wouldn't hamper your cornet playing, owing to the extra cup room, but in a shallow trumpet mpc such could hamper your upper register.

Have you tried the higher register on trumpet using a deeper mouthpiece? Even a slightly deeper one may make a difference.
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Don Herman rev2
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PostPosted: Fri Sep 14, 2018 10:08 am    Post subject: Reply with quote

In a similar situation I found I tended to lose the "knack" of trumpet whilst focused exclusively on cornet/flugel playing. What I try to do since is to at least "touch" the trumpet every other day (or every day if you have hours to practice -- I wish I did!) and run through a few basics and range studies just to keep my trumpet "chops" up. I found the Reinhardt warmup #57 that Rich graciously provided worked well with just a little supplemental material. Otherwise, the mental and physical shift to cornet and flugelhorn makes the trumpet feel strange when suddenly called upon to play it.

Which reminds me that I need to dust off my picc and D horns as they will likely see use this fall and I've neglected them all summer...
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falado
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PostPosted: Fri Sep 14, 2018 11:29 am    Post subject: Reply with quote

Hi, years ago I was in the 2nd Marine Airwing Band at Cherry Point, NC. Our new band officer relentlessly had us playing marches every day. I’m talking rehearsing 8:00-12:00 and 1:00-4:30 or 5:00 every day unless we had a job and one jobs (change of commands and ceremonies) He was into rehearsal for rehearsal ske. We would do a pre-ceremony mini concert where we played one march after another with barely any rest for 45 minutes to an hour before every ceremony. We played concert band and big band (I was the lead player) only as needed (Holiday, spring, and summer concert series). We once went 180 days in a row without a day off. Some of this stuff was trumpet, some on cornet (we once did a concert series where a trio of us trumpet players did Buglars Holiday on a matching set of antique silver cornets, I think they were Conns). Anyway, I noticed that going from a couple weeks or a month of constant marches made it real tough to suddenly play lead, like I had lost a good portion of high chops, but I could play marches all day. My solution at the time was to play Clark 1 and 2 softly, cascading it starting on f# and plenty of Irons or Colin. I started my day with flexibility exercises, ended with Clark and flexibility. Otherwise the chops were always stiff and no high range. Additionally the mouthpiece came off the the face even for a 1 beat rest and no need to play real loud unless absolutely necessary. Or prodded by our directors hand (that was often). He was a maniac and often referred to as the “Animated Captain W@#$%%^.

I hope this helps. Dave
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PostPosted: Fri Sep 14, 2018 3:06 pm    Post subject: Reply with quote

Deleted by dfcoleman

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falado
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PostPosted: Fri Sep 14, 2018 5:19 pm    Post subject: Reply with quote

We got a MUC, Meritorious Unit Citation, and a hand shake. Learned some valuable things. When you can’t rest as much as you play, play at 80% or less and get a transfer ASAP. However, this same guy was very protective of his troops and would back you up when you had problems provided you were up front and in the right. He was an extreme workaholic who had no sense of time when rehearsing or performing. He also felt if you had notes on the page you had better be playing, darned bassoon players. There were 3 if us on 1st for march jobs and we would work out sneaking in 4 or 8 bars rests here and there. I specialized in in pickup notes and 1st and 2nd endings and got thanked for that. The Capt. would occasionally catch the others taking a gaping breath while I was playing. He always gave me eye contact and mouthed thank you on occasion. I heard the other players got in some trouble after I left the band. Seems they relied on me too. I was a strong aggressive-player back then.
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brassmusician
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PostPosted: Sat Sep 15, 2018 1:06 am    Post subject: Reply with quote

Always the possibility of a problem like this when you haven't touched an instrument for awhile. You got really used to everything about how the cornet responds and lost the knack of the trumpet. Shouldn't happen again if you play both each day.
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LSOfanboy
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PostPosted: Sat Sep 15, 2018 1:24 am    Post subject: Reply with quote

Tpt_Guy wrote:
It's tough to make an assessment, but it seens like it's possible that while you got into great shape playing so much on cornet and the mpc gives more lip room, perhaps your lips are maybe puffy just a small amount when you play. It wouldn't hamper your cornet playing, owing to the extra cup room, but in a shallow trumpet mpc such could hamper your upper register.

Have you tried the higher register on trumpet using a deeper mouthpiece? Even a slightly deeper one may make a difference.


My personal thoughts are that the above post is the most likely.

The mechanics of the two instruments are the same; short of having a physical blockage or leak in your trumpet, changing instruments shouldn't have the effect on range you are describing. Many players here will have Piccs, Ebs, cornets or flugels that barely get played but I would suspect that (at least the stronger, more consistent players) most wouldn't be worried about losing their fundamental abilities when picking one up after a long time.

As Tom said above, it is probably because you have let the deeper mouthpiece of the cornet cause micro-adjustments in your set-up. A deeper cup allows the lips to protrude further, which is not a desirable habit if you wish to use shallower equipment (if you only want to stick to one mouthpiece its not a problem). I suspect that when you picked up your trumpet your lips were protruding a little too far into the shallower cup and cutting out as you ascended.

The key to managing any mouthpiece changes is familiarity, so you have two options:

1) Play both mouthpieces every day (or close to every day at least). I wouldn't recommend switching them too frequently in one session. Personally I would do separate sessions on each mouthpiece, or only make one switch in a session. Going back and forth is just confusing for your face and will hamper the productivity of your practice (unless you want to focus on honing the ability to quick-change throughout gigs, but that tends to come with time and familiarity anyway).

2) Use the same mouthpiece for both instruments. My suggestion would be finding a brand producing two part mouthpieces like Warburton and sticking to a middle of the road top (perhaps a 4MD or 5MD) and then you can use the same top on trumpet or cornet. What is more, you could use a tighter backbore for the lead stuff, which would be helpful too. Another great brand for this is A.R. Resonance; Tony makes a great variety of sizes and you can use the same top on trumpet, cornet or flugelhorn backbore, which is terrific!

I experienced many of the same problems when starting out playing lead in addition to my classical work. My original solution was no. 2 (in fact I used a 4MD) but over time (years) I developed no. 1 and now use a whole variety of depths. I have learned though, no matter how confident I am, I will always make sure I prepare a week or so in advance if I am planning to use a shallow mouthpiece.

All the best
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Seymor B Fudd
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PostPosted: Sat Sep 15, 2018 7:59 am    Post subject: Reply with quote

LSOfanboy wrote:
Tpt_Guy wrote:
It's tough to make an assessment, but it seens like it's possible that while you got into great shape playing so much on cornet and the mpc gives more lip room, perhaps your lips are maybe puffy just a small amount when you play. It wouldn't hamper your cornet playing, owing to the extra cup room, but in a shallow trumpet mpc such could hamper your upper register.

Have you tried the higher register on trumpet using a deeper mouthpiece? Even a slightly deeper one may make a difference.


My personal thoughts are that the above post is the most likely.

The mechanics of the two instruments are the same; short of having a physical blockage or leak in your trumpet, changing instruments shouldn't have the effect on range you are describing. Many players here will have Piccs, Ebs, cornets or flugels that barely get played but I would suspect that (at least the stronger, more consistent players) most wouldn't be worried about losing their fundamental abilities when picking one up after a long time.

As Tom said above, it is probably because you have let the deeper mouthpiece of the cornet cause micro-adjustments in your set-up. A deeper cup allows the lips to protrude further, which is not a desirable habit if you wish to use shallower equipment (if you only want to stick to one mouthpiece its not a problem). I suspect that when you picked up your trumpet your lips were protruding a little too far into the shallower cup and cutting out as you ascended.

The key to managing any mouthpiece changes is familiarity, so you have two options:

1) Play both mouthpieces every day (or close to every day at least). I wouldn't recommend switching them too frequently in one session. Personally I would do separate sessions on each mouthpiece, or only make one switch in a session. Going back and forth is just confusing for your face and will hamper the productivity of your practice (unless you want to focus on honing the ability to quick-change throughout gigs, but that tends to come with time and familiarity anyway).

2) Use the same mouthpiece for both instruments. My suggestion would be finding a brand producing two part mouthpieces like Warburton and sticking to a middle of the road top (perhaps a 4MD or 5MD) and then you can use the same top on trumpet or cornet. What is more, you could use a tighter backbore for the lead stuff, which would be helpful too. Another great brand for this is A.R. Resonance; Tony makes a great variety of sizes and you can use the same top on trumpet, cornet or flugelhorn backbore, which is terrific!

I experienced many of the same problems when starting out playing lead in addition to my classical work. My original solution was no. 2 (in fact I used a 4MD) but over time (years) I developed no. 1 and now use a whole variety of depths. I have learned though, no matter how confident I am, I will always make sure I prepare a week or so in advance if I am planning to use a shallow mouthpiece.

All the best


Thanks a lot for these nice comments! Yes - I agree and do hold it likely that its mostly about my lips not getting enough space. (but a certain part of it is the difference in the "feeback" loops) In fact when I finally found the two mpc:s that I use now, The Wick and the Stork VM6, rims alike, V cups etc. I started out using the VMS6 (which I use for the D/Eb trumpet) for lead. However it presented problems so I switched to the VM6 which felt much better.
Most of the time I split my practice between trumpet and cornet; as of right now this is an extremely busy cornet time - after sunday back to normal.
Comforting to read that I´m not alone. And Falado - "iron man" military grade endurance.....can´t say that I envy you. Poor lips! The conductor a trill sergeant??

I´ve had a hard time combining these extremes, brass band cornet and lead trumpet but slowly, in a state of becoming, things begin to function.
The idea that I should have an even deeper mpc than the VM6 has crossed my mind. A long safari ended when I found these mpc:s and I fancy both of them (all three) but maybe I should get a deeper Stork, should be V-cupish, in times like this one. or one with a tighter backbore - good idea thanks!
I could add that when I bought this Bach 1B Commercial something made the high register bearings wobble - not so with my old King. Hence I´ve sold the Bach, now waiting to test a Hub van Laar B5. I don´t mean to say the Bach was bad, on the contrary, I heard it being played upon by a pro - his sound was fantastic, better than his regular Artisan. What I found out, I think, was that I do need a certain resistance in the horn whereas the Bach was too easy to play! 48 years with the King did not make things easier...
So tighter backbore - could be!
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falado
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PostPosted: Tue Sep 18, 2018 5:50 am    Post subject: Reply with quote

Thanks Seymor, I tried to return a PM to you, but couldn’t get it to go through. If it did you will get a few of the same PM. Here my reply.

Thanks, we evacuated, I live in New Bern, NC, to the north and are heading back today. Looks like our home is okay, but my classroom at Pamlico County Middle School (I teach middle school band, the whole school) got flooded. I don’t know to what extent the room was flooded, but I will loose a lot of my instrument inventory. I may do a post after I survey the damage today or tomorrow.

Thanks again, Dave
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Seymor B Fudd
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PostPosted: Tue Sep 18, 2018 6:08 am    Post subject: Reply with quote

falado wrote:
Thanks Seymor, I tried to return a PM to you, but couldn’t get it to go through. If it did you will get a few of the same PM. Here my reply.

Thanks, we evacuated, I live in New Bern, NC, to the north and are heading back today. Looks like our home is okay, but my classroom at Pamlico County Middle School (I teach middle school band, the whole school) got flooded. I don’t know to what extent the room was flooded, but I will loose a lot of my instrument inventory. I may do a post after I survey the damage today or tomorrow.

Thanks again, Dave


NopeI did not get a pm! Please try again!
Concerning the possible threats form Florence - nope I´m the wrong guy!
Sun is shining brigtly in a nice breeze, over here in southern Sweden!
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Louise Finch
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PostPosted: Thu Sep 20, 2018 10:10 pm    Post subject: Reply with quote

LSOfanboy wrote:

As Tom said above, it is probably because you have let the deeper mouthpiece of the cornet cause micro-adjustments in your set-up. A deeper cup allows the lips to protrude further, which is not a desirable habit if you wish to use shallower equipment (if you only want to stick to one mouthpiece its not a problem). I suspect that when you picked up your trumpet your lips were protruding a little too far into the shallower cup and cutting out as you ascended.


Hi Seymor

Sorry, I'm a bit late into the discussion and have read no further than the post I partially quote above, which has been on my pc for a couple of days, waiting for me to find a moment to quote from it. This would be my suggestion too.

All the best

Lou
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Seymor B Fudd
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PostPosted: Fri Sep 21, 2018 4:28 am    Post subject: Reply with quote

Louise Finch wrote:
LSOfanboy wrote:

As Tom said above, it is probably because you have let the deeper mouthpiece of the cornet cause micro-adjustments in your set-up. A deeper cup allows the lips to protrude further, which is not a desirable habit if you wish to use shallower equipment (if you only want to stick to one mouthpiece its not a problem). I suspect that when you picked up your trumpet your lips were protruding a little too far into the shallower cup and cutting out as you ascended.


Hi Seymor

Sorry, I'm a bit late into the discussion and have read no further than the post I partially quote above, which has been on my pc for a couple of days, waiting for me to find a moment to quote from it. This would be my suggestion too.

All the best

Lou


Thanks Louise!
I think, in retrospect, that my intense practicing on the cornet highlighted the dilemma of playing brassband (front row) cornet and lead trumpet.
Of course I could use a somewhat deeper mpc doing the latter - however I doubt that I could endure long dance gigs on a deeper mpc.
I´m so very dependent on rims being alike so when I found the Storks they sided so well with the Wick. And the looong meandering safari was over.
Another solution is to practice mostly on the shallow mpc - I´ve done that shorter periods but I´ll try again. Didn´t seem to present adverse effects on the cornet stuff - well made me somewhat "edgier" and our director was not late to point that out.
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PostPosted: Fri Sep 28, 2018 2:16 am    Post subject: Reply with quote

hello

i solved this problem playing everyday my lead mpc and my deep one (Bach A type) during warm up and fundamentals. A bit confusing for the first days or week, then all was ok.

Yes trumpet has a greater resistance, and can cause this kind of issue you encountered.
Maybe clean the trumpet, sometimes dirt comes quicker than we think, even when we're regularly clean the horn...
best
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Seymor B Fudd
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PostPosted: Sat Sep 29, 2018 3:20 am    Post subject: Reply with quote

JVL wrote:
hello

i solved this problem playing everyday my lead mpc and my deep one (Bach A type) during warm up and fundamentals. A bit confusing for the first days or week, then all was ok.

Yes trumpet has a greater resistance, and can cause this kind of issue you encountered.
Maybe clean the trumpet, sometimes dirt comes quicker than we think, even when we're regularly clean the horn...
best


Interesting! Lately I´ve begun to combine the two horns in a (for me) new way: I do all the practice on the leadmpc/trumpet but whenever I become really tired I do double pedals on the cornet. Main point lips are muscles so treating them like an athlete would - should be beneficial; I try to carefully monitor the state of my lips choosing whatever mpc that will enhance the elasticity of the lips. Of course I do play the cornet every day but not at all to the same extent. Keeping the "cornetty" attitude alive is necessary. Different animals.
As I wrote I have to watch out for possible edginess, but my usable range on cornet has become enhanced. And to my amazement using the Eb trumpet (we have an arrangement on Penny Lane, lowered, where I try to play the picc solo) seems more easy.
So in all practicing more on trumpet/lead piece seems surprisingly beneficial. The more shallow (same rime, same diameter, both V cupish) lead mpc seems to demand more accuracy shaping the aperture, at least for me - in general making me more attentive to how I do this.
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gstump
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PostPosted: Sat Sep 29, 2018 6:53 am    Post subject: Reply with quote

I do not feel your cornet practice and performance schedule took away from your trumpet lead work. I also believe if you went from the cornet schedule to a lower section part in a commercial big band you would not notice a problem.

Lead parts exploit the high range and high volume levels. There is a reason orchestral players avoid them like the plague in most cases.

Regarding lead work: use it or lose it. I believe all that hard work on "honest" cornet practice will translate to better playing on trumpet but it will take a few days of heavy lifting once your performance schedule lightens up.

Best of luck,

Gordon Stump
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LSOfanboy
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PostPosted: Sat Sep 29, 2018 8:27 am    Post subject: Reply with quote

gstump wrote:
I do not feel your cornet practice and performance schedule took away from your trumpet lead work. I also believe if you went from the cornet schedule to a lower section part in a commercial big band you would not notice a problem.

Lead parts exploit the high range and high volume levels. There is a reason orchestral players avoid them like the plague in most cases.

Regarding lead work: use it or lose it. I believe all that hard work on "honest" cornet practice will translate to better playing on trumpet but it will take a few days of heavy lifting once your performance schedule lightens up.

Best of luck,

Gordon Stump


Hi Mr. Stump,

That is a very interesting point, and I think that at the very highest level I would agree. However, as Mr Fudd outlined, he is not playing at a top professional level, and so I do not personally agree with your statement in this instance.

It is my heartfelt belief that a well practiced and efficient player, in whatever field of playing, should be able to manage to play convincingly across all idioms without too many problems. Rudimentary lead playing, piccolo work, orchestral playing and chamber involvement can all be covered by a player with strong technique and, again, efficiency.

Now, if we want to describe the very top levels of playing- where a professional lead player is expected to possess extra-ordinary power to a double A all day long, and where a symphonic player is expected to have near-flawless response and dynamic control for the same period, we tend to see players choosing to avoid the other camp, but this is a world where livings are made or lost on extremes. What is more, this professional context runs on 'getting the job done', and so it tends to be the best person for the job employed to do something- there may well be other very capable players but if you are fixing a lead trumpet player for a tour, do you pick someone who ranks 9/10 for the job (say a highly proficient symphonic player) or an out and out lead player who ranks 10/10 for the job? Even though the former player would still have put in a brilliant performance it is a no-brainer who gets picked.

When we discuss a (with the greatest respect) slightly lower level, where a lead trumpet player will suffice with good style and a reliable high F and occasional G, with far less pressure to deliver every phrase with near 100% accuracy, this kind of playing can easily be managed by a very competent player alongside other styles and performances. At the end of the day, there is nothing particularly specialist about having that sort of reliable range (I would wager that the majority of Principal trumpet players in serious professional orchestras possess that) and it is simply a question of the style fitting more than anything.

I maintain my original advice that, in Mr. Fudd's case, a sensible head for practice and equipment management, as well as a solid technique and maintenance of it, will be more than sufficient to manage. Unless your career and living is reliant on playing one style to the highest possible level, I don't believe a player should feel limited to one part or another (providing he possesses sufficient technique).

I hope this can add to the discussion.

All the best
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gstump
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PostPosted: Sat Sep 29, 2018 8:50 am    Post subject: Reply with quote

You can disagree with me, it's ok!! Of course I am not wrong on this.

All the best,

Gordon
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Seymor B Fudd
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PostPosted: Mon Oct 01, 2018 7:43 am    Post subject: Reply with quote

gstump wrote:
You can disagree with me, it's ok!! Of course I am not wrong on this.

All the best,

Gordon



LSOfanboy and Gordon!
Thanks for your input! Carefully read and hopefully understood!
Well, I tend to agree with both of you! I´m not a professional, for sure, not even on a "slightly lower level" - but a dedicated amateur who practices a lot, still on the positive side of "cost/benefit", but maybe approaching "best sell date" (soon 76). Range is my main problem - I´ve played in big bands since the late sixities so style is fairly good - but of course I´m still a learner. Somewhat complicated sometimes since most of my experience stems from swingera style. Modern big band playing often differs when it comes to accentuations etc etc.
Extensive practicing brass band stuff plus appropriate etudes has provided me with technique sufficient for most scores I encounter - of course (and again) there are always new challenges, and, beware, our brass band is slightly below medium level, miles below the top bands. All this practicing has been of the outmost use playing in the big bands - even better was my decision to take lessons, notwithstanding this was just a couple of years ago . In the same way playing lead (or lower parts which I´ve done in several big bands as a substitute) has provided additional knowledge of timing, endurance etc.
A real pro should be able, as you write, to play whatever style/band he/she is hired to. But as LSOfanboy writes, playing lead demands a special attitude&know - how. And so succinctly expressed by Gordon: " there is a reason orchestral players avoid them (lead parts) like the plague in most cases".....I believe , as Gordon - going directly form my heavy cornet schedule to a lower section part in a commercial big band should be fairly uncomplicated (as long as I brought along my experience of "big band styles".
Many variables to consider! I think that my lips got a bit swollen, did not fit adequately into the lead mpc so to say; Since the brass band concert a fortnight ago I´ve practiced mostly on the trumpet (the lead mpc). I have noticed that this mpc seems to (very subjective of course) require more keen attention shaping the aperture - imagining an oldfashioned key hole, one with a round hole and a trapezoid below, sort of, the sides of the trapezoid vital in "carrying" the hole....(hoping you can follow me..) - the sides of the trapezoid more vital playing the lead mpc. The "hole" more demarcated.
The cornet mpc admitting more slack....down to a certain limit?!?
As if I had to be slightly more observant playing the lead mpc?
Following this (maybe completely wrong) assumption my over all embouchure should benefit from lead mpc practicing. ???!!!
_________________
Cornets:
Getzen Custom Series Schilke 143D3/ DW Ultra 1,5 C
Getzen 300 series
Yamaha YCRD2330II
Yamaha YCR6330II
Getzen Eterna Eb
Trumpets:
Yamaha 6335 RC Schilke 14B
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Selmer Eb/D trumpet (1974)


Last edited by Seymor B Fudd on Wed Dec 12, 2018 3:53 am; edited 1 time in total
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Louise Finch
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Joined: 10 Aug 2012
Posts: 5461
Location: Suffolk, England

PostPosted: Thu Oct 04, 2018 12:32 am    Post subject: Reply with quote

Seymor B Fudd wrote:


Hi Seymor

I'm extremely sorry for the very belated reply. I haven't been on here for ages, owing to having been really busy, and missed the email notification of your reply.


Thanks Louise!

You are always very welcome.

I think, in retrospect, that my intense practicing on the cornet highlighted the dilemma of playing brassband (front row) cornet and lead trumpet.

I completely agree.

Of course I could use a somewhat deeper mpc doing the latter - however I doubt that I could endure long dance gigs on a deeper mpc.
I´m so very dependent on rims being alike so when I found the Storks they sided so well with the Wick. And the looong meandering safari was over.
Another solution is to practice mostly on the shallow mpc - I´ve done that shorter periods but I´ll try again. Didn´t seem to present adverse effects on the cornet stuff - well made me somewhat "edgier" and our director was not late to point that out.

A difficult situation. I find orchestral trumpet playing or dance band 3rd/4th trumpet easier to double with brass band cornet playing than lead trumpet.
Apart from the time when I play in an old time dance band, which played music for dancing, waltzes, fox trots, quick step, latin etc., with a lot of above the stave playing but nothing above high D, I've tended to stick with 3rd and 4th in big bands, so I don't have to play anything shallower than a 3C.

However that doesn't help you, since you are doubling brass band solo cornet and lead trumpet. I think that the only way to really do it successfully, is to practise equally on both set-ups.

I'm sorry that I can't be more helpful.

Best wishes

Lou

_________________
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