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Classical targets



 
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JetJaguar
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PostPosted: Wed Jul 28, 2021 9:03 pm    Post subject: Classical targets Reply with quote

Do symphonic players usually prefer horns with big targets or small targets, above the staff?
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LittleRusty
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PostPosted: Wed Jul 28, 2021 10:27 pm    Post subject: Re: Classical targets Reply with quote

JetJaguar wrote:
Do symphonic players usually prefer horns with big targets or small targets, above the staff?

I am not sure what the term “target” means.

Is it something like slots, where tight slots lock you into a narrow range of pitches and wide slots allow a given note to be easily lipped up or down?
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Goby
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PostPosted: Wed Jul 28, 2021 10:32 pm    Post subject: Reply with quote

Doesn’t everyone want “big targets”?


I have a feeling most professional symphonic players pick their instruments based on sound rather than feel.
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RETrumpet
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PostPosted: Thu Jul 29, 2021 12:43 am    Post subject: Reply with quote

For me (and for my teachers, and many that I play with), I would agree that sound quality is the most important factor, along with intonation. A good sounding note doesn't mean anything if it doesn't work with the rest of the group (same for any music, really).

It sort of boils down to:
Can I play the note I need with the proper sound quality?
- If the slots are tight, are they in tune? (or tunable with slides or false fingerings)
- If the slots are loose, can I center the intonation without distorting the color and without too much fatigue?
- How often do I need any "bad" notes and what's the fix for those?

For me this translates to horns that are slightly tighter in the low register and a little looser above the staff. But that's just my personal approach.
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JayKosta
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PostPosted: Thu Jul 29, 2021 4:41 am    Post subject: Re: Classical targets Reply with quote

JetJaguar wrote:
Do symphonic players usually prefer horns with big targets or small targets, above the staff?

------------------------
A slightly different question is what type of 'slotting' is associated with the trumpets they USE - tight, regular, or loose.
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JetJaguar
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PostPosted: Thu Jul 29, 2021 7:04 am    Post subject: Reply with quote

Yes, slotting is a concept more often discussed than targets. By targets I mean, secure, helpful slotting for playing challenging fanfare type stuff. Rimsky-Korsakov, Korngold scores, etc.

My 1959 Studio gives me nice targets when I'm attempting that stuff. My Super Recording has a nicer sound, but the borders between the notes are less solid.

What makes a horn slot well? Bell material thickness? Or could it be the nickel flare on the Studio, which does what the nickel bell ring on the SR isn't able to? Inquiring minds want to know!

I'm playing on a small period 7C. Maybe I should try a 1 1/2 C, which is probably more often among players of such fare.
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1938 Martin Handcraft Imperial #2 bore, 38 bell
Connstellation 7B-N mouthpiece

I'm looking for a Connstellation 5C-N or 5B-N mouthpiece

www.jazzscales.org

The Coady Strengthening Exercises: http://coady.coolwarm.com
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cheiden
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PostPosted: Thu Jul 29, 2021 8:54 am    Post subject: Reply with quote

It's been my understanding that tighter slots are favored. My impression of the popular Bach 229 is that it has relatively tight slots.
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JetJaguar
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PostPosted: Thu Jul 29, 2021 11:58 am    Post subject: Reply with quote

Yeah I guess Bachs must slot well, since so many symphonic players use them.
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1938 Martin Handcraft Imperial #2 bore, 38 bell
Connstellation 7B-N mouthpiece

I'm looking for a Connstellation 5C-N or 5B-N mouthpiece

www.jazzscales.org

The Coady Strengthening Exercises: http://coady.coolwarm.com
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