Joined: 21 Apr 2016 Posts: 130 Location: Somewhere in the mountains of North Georgia
Posted: Sat Nov 11, 2017 1:10 pm Post subject: Help with Range Breaks and Other Issues
The infamous range break. (Almost) everyone has one yet (almost) no one knows how to fix it. Mine, for example, is at double A.
I can play every note up to double A from pp to FFF(F), in tune at that. My issue is that above double A things get a bit tricky. Up to double A I have control, but above it my range is not near as consistent as I would like. For example, when my chops are functioning as they should I can slur between double G and Double C at basically any dynamic I might need (or not need). When I may have stiff chops, slightly chapped lips, stiff lips, ect... or I have been playing hard for a while though I *sometimes* can still slur between double G and C, but either the C will be weak/thin, I won't be able to play it loud, or it just simply won't come out (as in my lips stop vibrating entirely).
Also, I have a secondary issue where I can't really "slot" (if anything up there really counts as slotting) anything between the A and the C. I can slide up to Bb from A most of the time (though it always feels slippery), but I can never seem to get the B. It feels like the next step in the harmonic series is between the Bb and B and I just can't get over the "bump". What I find so strange about this is that I can get over this "bump" from the double G straight to the double C and from Double C I can slide down to the B, but I can't slide down to the Bb.
On a final note, I have a third issue with control. When my chops are acting normally I can usually slur between Double G and C, as I said. What is weird is that when I do slot double C I can occasionally (key word here) slur up to D, but almost 100% of the time my chops just squeeze out and I jump directly to super C. What's even more unusual about this is that when I do squeeze to super C everything seems to become easier and I have an unusual level of control pitch and dynamic wise.
What I am asking is if anyone has any pointers or tips on either how to remedy these inconsistencies or how to work around them. I greatly appreciate any advice I get, though before someone says get a good teacher I have to tell you that there are literally none within an hour of where I live and that money is a little tight for my family and myself as it pertains to non essentials.
Thanks,
VintageFTW
(P.S. I play with zero gap using any mouthpeice due to the design of the receiver of my trumpet, not that this is a bad thing because I just so happen to like zero gap. It occurred to me this could be relevant.) _________________ 1880's Thompson & Odell Boston
1880's L&H "Henry Gunckel" Sole Agent Cornet
1903 L&H "Improved Own Make"
Early 1900's Marceau Cornet *B&F Stencil
1922 Holton-Clarke Cornet
1954 Elkhart built by Buescher 37b
...And many more
Joined: 21 Apr 2016 Posts: 130 Location: Somewhere in the mountains of North Georgia
Posted: Sat Nov 11, 2017 2:40 pm Post subject:
I'll try and film myself at some point. I can't right now because my chops are THRASHED from marching a parade earlier today and subsequently practicing since I got home. (I've been playing since 9:30 this morning with minimal breaks... it's 5:40 right now.) I mean, I still have a really loud G and A, but not a chance of nailing a Double C. _________________ 1880's Thompson & Odell Boston
1880's L&H "Henry Gunckel" Sole Agent Cornet
1903 L&H "Improved Own Make"
Early 1900's Marceau Cornet *B&F Stencil
1922 Holton-Clarke Cornet
1954 Elkhart built by Buescher 37b
...And many more
Apparently it's common to hit a snag around A. I was surprised to discover once I could actually play a dependable G/Ab that the horn behaves differently above there. I can knock the crap out of an Ab - the A is more stubborn and while I can slur up to a dub C playing chromatically between Ab and C is another story. Apparently high A gave Bill Chase problems. I've seen video of my all-time hero Doc fudging a flat high A because he was clearly having a hard time getting it up to pitch. Arturo's intro run from F to dubC on his recording of "Maynard Ferguson" is fumbly, he kind of smears his way up to the C. From what I understand on Maynard's own iconic album performance of it the F G A dubC was actually a "mistake", it's written F G A Bb C - he broke from the A to the dubC missing the Bb altogether but it came out so huge and perfect-sounding they left it alone. So even some strong players have issues in that area of range. _________________ Getzen Eterna Severinsen
King Silver Flair
Besson 1000
Bundy
Chinese C
Getzen Eterna Bb/A piccolo
Chinese Rotary Bb/A piccolo
Posted: Sat Nov 11, 2017 11:32 pm Post subject: Re: Help with Range Breaks and Other Issues
VintageFTW wrote:
The infamous range break. (Almost) everyone has one yet (almost) no one knows how to fix it. Mine, for example, is at double A.
I can play every note up to double A from pp to FFF(F), in tune at that. My issue is that above double A things get a bit tricky. Up to double A I have control, but above it my range is not near as consistent as I would like. For example, when my chops are functioning as they should I can slur between double G and Double C at basically any dynamic I might need (or not need). When I may have stiff chops, slightly chapped lips, stiff lips, ect... or I have been playing hard for a while though I *sometimes* can still slur between double G and C, but either the C will be weak/thin, I won't be able to play it loud, or it just simply won't come out (as in my lips stop vibrating entirely).
Also, I have a secondary issue where I can't really "slot" (if anything up there really counts as slotting) anything between the A and the C. I can slide up to Bb from A most of the time (though it always feels slippery), but I can never seem to get the B. It feels like the next step in the harmonic series is between the Bb and B and I just can't get over the "bump". What I find so strange about this is that I can get over this "bump" from the double G straight to the double C and from Double C I can slide down to the B, but I can't slide down to the Bb.
On a final note, I have a third issue with control. When my chops are acting normally I can usually slur between Double G and C, as I said. What is weird is that when I do slot double C I can occasionally (key word here) slur up to D, but almost 100% of the time my chops just squeeze out and I jump directly to super C. What's even more unusual about this is that when I do squeeze to super C everything seems to become easier and I have an unusual level of control pitch and dynamic wise.
What I am asking is if anyone has any pointers or tips on either how to remedy these inconsistencies or how to work around them. I greatly appreciate any advice I get, though before someone says get a good teacher I have to tell you that there are literally none within an hour of where I live and that money is a little tight for my family and myself as it pertains to non essentials.
Thanks,
VintageFTW
(P.S. I play with zero gap using any mouthpeice due to the design of the receiver of my trumpet, not that this is a bad thing because I just so happen to like zero gap. It occurred to me this could be relevant.)
Vintage,
Most of the high A cut-off point is caused by pinned lips. Excessive arm pressure is a clue here. There are several dynamics going on around high A,
1. Arm pressure increased as mentioned.
2. Air pressure is greatly increased. This can throw the upper lip deeper into the mouthpiece making it less responsive to your demands. A situation similar to arm pressure. Obviously arm pressure can bury our chops deep inside the mouthpiece cup too.
3. Once pinned or thrown out of its normal alignment due to those factors found in upper register production? Certain notes become extremely tricky to sustain. For years I could not play a high A flat. It always slipped up to at least an A. Oddly enough my high G was and still is about as loud as anyone's. It certainly is not wanting for volume anyway. Here's how Ive remedied my former condition.
First, l learned to back off the arm pressure by greatly strengthening my facial muscles related to the embouchure. Similarly I also learned to RELAX all of my vibrating flesh inside the mouthpiece.
By learning to blow high notes with just ordinary contact pressure and a loose formation inside the mouthpiece? My upper lip stopped distorting itself inside the mouthpiece. It began to allow the high A flat and above to emanate nearly the same as the high G below.
Lastly? I stopped trying to blow with such a big sound above high C. First I just got a piece of each note. Then expanded the volume in increments.
The process took a while. In fact I'm still going through it in degreez.
Another hint: please dont be a hero and blow a Bach 3C on these notes. Sure some cats can do it. And do it well. They also are probably fairly gifted (but dont realize it). Think for a minute about how large the trombone mouthpiece is. Its made for either t-bone or euphonium and plays exactly one full octave lower than the trumpet.
Yet the trumpet mouthpiece cup is probably only 1/4 the volume of the t-bone piece!
Okay now when you start ascending above high C? You're sorta placing the same demands on a trumpet player as what a lower brass player would be burdened with had he started playing trumpet parts on his trombone!
So in order to "equalize" some of the playing demands or just make practical, musical results in the extreme upper register even possible at all?
I decided to reduce the cup volume of my own mouthpiece to be a little less than 1/3rd the volume of a conventional trumpet mouthpiece like the Bach 3C. Its not for everyone but works fantastic for me.
Frankly when I listen to the noted professionals who have reputations as strong high note artists I always prefer the sound on those who go with shallower cups. It not only sounds better but bigger. Just so long as they customize the back-bore and throat size on their mouthpieces. Make them bigger that is. A typical #27 to #28 throat is too small to get a truly big sound if the mouthpiece is really shallow. Maynarf actually used a #15! Thats huge. I use a #23 which is still big but has more projection.
I dont like to mention names except for positive remarks. Like I'm never gonna say "So & so" sounds a lot better than "this & that" on his high notes. Not in a public forum. About the closest I come is to say that Maynard had the best and most consistent, fat tone. And he generally played fairly shallow pieces but with very open back-bores and throats. _________________ "Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
I dont like to mention names except for positive remarks. Like I'm never gonna say "So & so" sounds a lot better than "this & that" on his high notes. Not in a public forum. About the closest I come is to say that Maynard had the best and most consistent, fat tone. And he generally played fairly shallow pieces but with very open back-bores and throats.
This is probably true, but it's probably worth mentioning that many of the people who play mouthpieces that are bigger/deeper generally do so because they're required to play more than just high notes I think.
For example, if you listen to Arturo in his Dizzy + Schilke days he sounds a lot louder and more focused in the extreme upper register than he does these days (and was playing a small mouthpiece and tighter horn than he does these days). But even then, compared to Maynard, his sound probably was still on the small side. But, Arturo has rarely (never?) played concerts where he's just there to play high notes the way Maynard was. He'd play Triple Cs, Double Pedal Cs and furious bop lines in every octave in between. I think players in that position need something more forgiving than a super small/shallow mouthpiece.
It's more than just equipment though. These same players also then need to divide their practice time over a lot more areas of playing than just playing fat high notes.
And I think this is applied even to Maynard himself when he was in his early days, where he did some improvisation that was more than sliding around while doing shakes in the upper register. (Not meant as a criticism, just an observation)
Which is simply to say that sounding like Maynard at his best was a full-time, specialist job in itself, even for Maynard.
---
Most players (including myself) would kill to have a range to Double A that they can play from pp to FFF(F) as you said.
This may not be helpful and I'm certainly no expert, my extreme upper register not at all on-the-gig usable, and definitely not FFF capable, so this is not really advice, just a thought that occurs to me for you to take or leave as you wish. But you could try working from your highest range down through the break. Perhaps gliss from High C to Double C, and then play chromatically down and back up through the break? I imagine it will not be a quick fix, but it could help you find a slot for that note.
You could even try working on that range on piccolo trumpet, which will have firmer slots? Build some muscle memory that way?
I dont like to mention names except for positive remarks. Like I'm never gonna say "So & so" sounds a lot better than "this & that" on his high notes. Not in a public forum. About the closest I come is to say that Maynard had the best and most consistent, fat tone. And he generally played fairly shallow pieces but with very open back-bores and throats.
This is probably true, but it's probably worth mentioning that many of the people who play mouthpieces that are bigger/deeper generally do so because they're required to play more than just high notes I think.
For example, if you listen to Arturo in his Dizzy + Schilke days he sounds a lot louder and more focused in the extreme upper register than he does these days (and was playing a small mouthpiece and tighter horn than he does these days). But even then, compared to Maynard, his sound probably was still on the small side. But, Arturo has rarely (never?) played concerts where he's just there to play high notes the way Maynard was. He'd play Triple Cs, Double Pedal Cs and furious bop lines in every octave in between. I think players in that position need something more forgiving than a super small/shallow mouthpiece.
It's more than just equipment though. These same players also then need to divide their practice time over a lot more areas of playing than just playing fat high notes.
And I think this is applied even to Maynard himself when he was in his early days, where he did some improvisation that was more than sliding around while doing shakes in the upper register. (Not meant as a criticism, just an observation)
Which is simply to say that sounding like Maynard at his best was a full-time, specialist job in itself, even for Maynard.
---
Most players (including myself) would kill to have a range to Double A that they can play from pp to FFF(F) as you said.
This may not be helpful and I'm certainly no expert, my extreme upper register not at all on-the-gig usable, and definitely not FFF capable, so this is not really advice, just a thought that occurs to me for you to take or leave as you wish. But you could try working from your highest range down through the break. Perhaps gliss from High C to Double C, and then play chromatically down and back up through the break? I imagine it will not be a quick fix, but it could help you find a slot for that note.
You could even try working on that range on piccolo trumpet, which will have firmer slots? Build some muscle memory that way?
This is a good post. That and very responsibly written. We know its a good post because he's making it clear that much is still left unknown. Perhaps unknowable. That and he advises the O/P to look for other opinions.
Generally speaking the person who admits his limitations on a subject probably has a valuable opinion. Conversely the person insisting he is absolutely correct is likely holding a less helpful opinion. The two types of references are a little like asking your both your history professor and your cab driving friend from your bowling team about the Civil War.
The history prof will tend to preface all of his comments with something like,
"While I did write my graduate thesis on the Battle of Gettysburg I'm still certain that others have more expert opinions tcounty own".
Conversely your cab driver will run on for fifty minutes inisting his word is golden and no one else's thoughts on the matter counts...
But back to the small/shallow piece vs large mouthpiece idea. Yes I agree, Arturo is not out there trying to satisfy the pure high note loving audience. Aa perhaps there really was only one person who ever filled that bill and kept it going. Biviano did try to start his own band in 1975 or so and it was quite good. However the market for high note playing bandleaders was filled by the very man who invented the industry. And he's been gone since August, 2006.
So Arturo is definitely trying to appeal more to the connisseur of jazz in general. And yes it is aheckuva lot easier to create the finesse necessary for Jazz on a medium to large mouthpiece.
But back to cut-off points. These days I look at cut-off points as interesting examples. As understanding them explains much about how we actually play the instrument. And I can see that the poor guy stuck at high C might give his right arm just to blow a good G. This because so many trumpet players have this limitation. In fact just the mere fact that over 95% of trumpet players are stuck under high D is highly instructive all on its own.
And if you're among the fortunate few who have broken through above the D? It is likely that you'll face yet another sticking point somewhere just north of high G. Although most trumpet players stuck perpetually under the D wont see a high A cut-off point even as a limitation.
I use shallower pieces on high note jobs to gain better control, power and endurance. Currently one ensemble I'm with gives me most of the intricate high note parts. The rest of the time I could be on any book between first and fourth. Lemme tell ya,
Its damned hard to blow the fourth trumpet book on something even smaller that Schilke 6A. But nothing else creates such a valuable work out. As Ive found that whatever super shallow mouthpiece Im using on a given gig will gain the most by playing the lower tones with strength and a big sound. In fact sometimes playing the lower tones double forte is harder than playing the lead book loudly. In fact there may be no better exercise anywhere. _________________ "Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
And if you're among the fortunate few who have broken through above the D? It is likely that you'll face yet another sticking point somewhere just north of high G. Although most trumpet players stuck perpetually under the D wont see a high A cut-off point even as a limitation.
For me, I am able to get (squeak) as high as the F over Double C, but that whole octave from High F up is basically not worth having. Have tried getting some volume on those notes, but I just end up in air, tension, mouthpiece pressure wrestle that ultimately just means I use a lot of effort trying to play a marginally louder squeak.
I think my problem is pretty much an anatomical I think. I have a big droop of pink in the middle of my top lip and my top teeth are long enough that if I roll it in to get the droop out of the way of the airstream, there's a 1/4 inch of teeth in the way instead.
If I try and compress the lips, the centre stops vibrating.
If I add much in the way of corner tension, the air basically wants to get diverted into two streams around protuberance.
I've seen a video with Wayne Bergeron, where if he just blows a stream of air through his lips, he gets this perfect, oval-shaped aperture in his lips. If I blow air, no matter what I do, my aperture is just a slit that looks like a ) turned on its side. And I can't physically make the aperture narrower. If I try, the whole thing just stops vibrating.
To get a nice opening for the air like Bergeron can just blow into existence, I have to open my teeth over an inch. It's not particularly helpful for playing haha
I do fine by rolling in the top lip, and I can get a big sound from a small, shallow mouthpiece (Like a warburton WCC top), and gliss up to a pretty loud G over High C, and pop that up to an okay Double C when things are working. But starting a note / articulating above High E I run into problems getting the note going.
Have tried things like the palm exercise, but again, I get to around High E and adding more embouchure tension/compression/whatever stops the vibration, adding more air causing the air to want to divert around the droop, stopping that means adding tension, which shuts of the vibration again. A vicious cycle.
I mean, I can lip buzz a High F (concert Eb) sometimes higher even but once I add the mouthpiece *shrugs*.
Not very helpful for the original poster, but sharing it caring, right?
(Sorry OP)
And if you're among the fortunate few who have broken through above the D? It is likely that you'll face yet another sticking point somewhere just north of high G. Although most trumpet players stuck perpetually under the D wont see a high A cut-off point even as a limitation.
For me, I am able to get (squeak) as high as the F over Double C, but that whole octave from High F up is basically not worth having. Have tried getting some volume on those notes, but I just end up in air, tension, mouthpiece pressure wrestle that ultimately just means I use a lot of effort trying to play a marginally louder squeak.
I think my problem is pretty much an anatomical I think. I have a big droop of pink in the middle of my top lip and my top teeth are long enough that if I roll it in to get the droop out of the way of the airstream, there's a 1/4 inch of teeth in the way instead.
If I try and compress the lips, the centre stops vibrating.
If I add much in the way of corner tension, the air basically wants to get diverted into two streams around protuberance.
I've seen a video with Wayne Bergeron, where if he just blows a stream of air through his lips, he gets this perfect, oval-shaped aperture in his lips. If I blow air, no matter what I do, my aperture is just a slit that looks like a ) turned on its side. And I can't physically make the aperture narrower. If I try, the whole thing just stops vibrating.
To get a nice opening for the air like Bergeron can just blow into existence, I have to open my teeth over an inch. It's not particularly helpful for playing haha
I do fine by rolling in the top lip, and I can get a big sound from a small, shallow mouthpiece (Like a warburton WCC top), and gliss up to a pretty loud G over High C, and pop that up to an okay Double C when things are working. But starting a note / articulating above High E I run into problems getting the note going.
Have tried things like the palm exercise, but again, I get to around High E and adding more embouchure tension/compression/whatever stops the vibration, adding more air causing the air to want to divert around the droop, stopping that means adding tension, which shuts of the vibration again. A vicious cycle.
I mean, I can lip buzz a High F (concert Eb) sometimes higher even but once I add the mouthpiece *shrugs*.
Not very helpful for the original poster, but sharing it caring, right?
(Sorry OP)
Hmm, are you familiar with the "two aperture theory"? This is a major point in Stevens-Costello. While some aspects of that method simply wil not work for many trumpets the two aperture idea seems to me to be 100% applicable. It just only makes sense.
William Costello pointed to both the lips and teeth as two separate aperture supporting each other. I have recently started referring to the teeth as similar to bookends. They hold the vibrating together. Teeth on the inside, mouthpiece on the outside.
While most systems only look at the relative percentage of lips inside the mouthpiece? You know, upper to lower lip ratio, this is barely much more than a cosmetic analysis.
It is the amount of upper lip below the upper teeth which regulates how much sound, if any we have above high D. And its almost always the high D where the limitation begins. Usually where the tone cuts out totally.... This is very useful evidence my friend. Because my feeling is that you're only a long weekend, or less from tweaking your chops ever so mildly and starting to blast away DHC's. I really mean that. Would stake my life in it.
Then there's the concept I've been fooling with. An alegbraic notation of the ratio of tension vs elasticity in and outside the mouthpiece. Beyond that?
One of the most astounding paradoxes of mouthpiece choice is that on some, perhaps many trumpet players is that they can open up their tone much better on shallower mouthpieces.
I hate to sound cocky and I'm not even trying to take credit for the above three ideas but my guess is that tge solution to your register woes is found in one to all of these three simple ideas. What impresses me is that you belong to that lucky few who can squeak up to infinite notes.
I was never that way although I always had impressuve volume. Was only very recently that I started popping decent F's above DHC. And they HURT! As Doc Severisen said to Johnny. But enough of my history.
I swear my friend, you're soon going to turn this engine over and its gonna freaking rock!! _________________ "Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
Joined: 21 Apr 2016 Posts: 130 Location: Somewhere in the mountains of North Georgia
Posted: Mon Nov 13, 2017 7:46 am Post subject:
Thank you SO MUCH for all of this info. As for the mouthpeice volume, I play a 70's Schilke 13a4a for everything. I blend with Bachs, Jupiter Xo's, and Zeno's with relatively little issue and it just feels and sounds good with spot-on intonation, for me at least, for every type of playing I do. The only time I find myself switching to a larger mouthpeice is either for more classically oriented solo repertoire where I need a different sound profile, or just simply for when I need a more flugel-like tone and articulation. It's an RMC 7 from the 60's, fairly deep V-cup and largish throat with a rim that I can only describe as that it just feels right. It seems to have a slightly larger ID than the Schilke, and I can tell, but it's hard to describe. It feels like the perfect fit for my chops, but so does the Schilke. It's like a perfect fit for a different part of my chops, almost like how one may have a fitting trumpet mouthpeice and a fitting trombone mouthpeice, where both feel great, but in entirely different ways. The only issue with this mouthpeice is that it blends TOO much; enough so that I can't hear myself when playing in a section without playing louder than everyone else. Sometimes I use this to my advantage though if I am playing second or third, depending on the music, to give a darker, more full tone to the section. I have even found use for this aspect for high first parts to soften the tone of the upper register, giving an interesting contrast to what is normally expected, almost like an Eb Soprano Cornet. One other issue with this mouthpeice as one might expect though is that the upper reaches of range are limited and more difficult. I mean, I can blow a loud double G and A on it, but why would I? It is completely the wrong sound and it makes it so difficult that my only usable range is around a D or E.
Anyways, I have been working on using the same pressure as I ascend as I do when I play in normal situations for a few months now. I seem to be doing fairly well at this, though I still can't blow a no-pressure double C. My limit there is at an iffy G. As for fullness of tone, I have begun to record myself and I seem to have no real issues in that department. I definitely don't sound like Phil Smith or Maurice Andre, but I do have something resembling that type of sound for that type of playing. For more Jazz type music I strive to sound like the great Harry James or the ever entrancing Bobby Hackett. What is good is that from the recordings I have taken, I sound exactly like how I think I sound, which is good.
I think I've rambled for long enough though... What say you amazing and valuable members of the trumpet community? _________________ 1880's Thompson & Odell Boston
1880's L&H "Henry Gunckel" Sole Agent Cornet
1903 L&H "Improved Own Make"
Early 1900's Marceau Cornet *B&F Stencil
1922 Holton-Clarke Cornet
1954 Elkhart built by Buescher 37b
...And many more
Your post shows that you are a real musician. That and you've got a strong connection between your air, embouchure and musicianship. I too like to use deeper and larger cups for classical music.
The more I think about it the more I like to divide the trumpet into two different instruments in one.
A. The instrument I play with medium to very deep/large mouthpieces. With the standard classical register of Arbans ie Low F# to D barely above high C.
B. A very shallow but free blowing screamer piece. Range low F# to whatever Ive got under the hood on a given day. Usually around B flat below double C on the bandstand. Higher in practice.
Basically the difference in cup volume between my classical mouthpiece and my scream piece is a similar ratio as between a medium trombone mouthpiece and a large trumpet piece. In each case the ratio is about 3:1.
I get occassional crossover between small and large pieces. Once in a while I'll blow a high E to F on a medium sized piece. Then every so often will play a lower register ballad on my screamer. This shallow piece has such an open back bore that I can get away with it in the lower register most the time. The only thing missing usually is the flexibility.
Much of my ability to get rid of cut-off points was related to learning to take advantage of the very shallow pieces. To those who think shallow mouthpieces are "easy" or "cheating"?
I would challenge them to blow a fourth trumpet part at loud volume all rehearsal long. And yet still be able to blow some high notes here and there. Kinda like Maynard did with Kenton except he played 3rd trumpet.
Hey it takes some really educated and experienced chops to blow a scream piece effectively. Especially to get a good forte on a low C. _________________ "Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!
Peanuts56
Honestly the shirt, I have no memory of where I got it. Probably a Goodwill store. That is my typical MO when looking for such items. It is a Stitch Hawaiian brand made in the Dominican Republic. Having spent a couple years on Oahu I have a deep appreciation for the sophisticated functionality of a good Aloha shirt.
I live just north of what is commonly referred to as the north bay. I am on the edge of the central valley between Sacramento and SF. We get plenty of sun… not a coastal environment. Best, Jon _________________ http://www.youtube.com/user/Rufftips
Joined: 22 May 2007 Posts: 2655 Location: Anacortes, WA
Posted: Tue Nov 14, 2017 5:36 pm Post subject:
Quote:
I play a 70's Schilke 13a4a for everything. I blend with Bachs, Jupiter Xo's, and Zeno's with relatively little issue and it just feels and sounds good with spot-on intonation, for me at least, for every type of playing I do.
Holy crap. And that's the second time I've said that in two minutes. I could have quoted your whole comment above, but I didn't want to overdo. I am having serious doubts about your playing level. Since you are the boastful type, I still think you might want to post some recording of your playing. How about stepping up and letting us hear it? _________________ Richard
Peanuts56
Honestly the shirt, I have no memory of where I got it. Probably a Goodwill store. That is my typical MO when looking for such items. It is a Stitch Hawaiian brand made in the Dominican Republic. Having spent a couple years on Oahu I have a deep appreciation for the sophisticated functionality of a good Aloha shirt.
I live just north of what is commonly referred to as the north bay. I am on the edge of the central valley between Sacramento and SF. We get plenty of sun… not a coastal environment. Best, Jon
Did you go to UH? My wife is from Honolulu. I've spent quite a bit of time in the islands over the last 30 years. We usually get over there for 5-6 weeks in the summer to visit family.
You familiar with DeShannon Higa? Very fine jazz trumpeter. I've heard him at the summer concerts at the zoo.
I have a few nice aloha shirts. I do have an extremely nice one made by the husband of one of my wife's cousins. He had a shop in Haleiwa. Unfortunately it doesn't fit any more.
I play a 70's Schilke 13a4a for everything. I blend with Bachs, Jupiter Xo's, and Zeno's with relatively little issue and it just feels and sounds good with spot-on intonation, for me at least, for every type of playing I do.
Holy crap. And that's the second time I've said that in two minutes. I could have quoted your whole comment above, but I didn't want to overdo. I am having serious doubts about your playing level. Since you are the boastful type, I still think you might want to post some recording of your playing. How about stepping up and letting us hear it?
Sorry but I'm just not buying this "kids" internet persona.
Hi school undergrad
Wants to teach his less gifted section players
Has a collection of horns of little use to a hi school player
Has doubles with control and intonation (xcept ing that pesky break at hi a)
Yet does not know enough to practice thru it?
I know that all these things could line up in our universe - but
Does this make sense to you guys?? Is it just me?
Sounds like an artificial ego pump to me!
rod
Joined: 05 Jun 2004 Posts: 10609 Location: The land of GR and Getzen
Posted: Thu Dec 07, 2017 7:08 pm Post subject:
Rod, I was playing A above high C in 7th grade, just starting my third year playing. I did help weaker section players, and learned a good bit about leading a section in the process.
If someone just makes stuff up online, they only hurt themselves.
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