4th Line "D"

[jvf1095]

Man, that's a lot of horns!!!

[kehaulani]

I could have missed it but have both tried your mouthpieces with other people's horns and tried your horn with other people's mouthpieces?

Had other players played your horn with their mouthpieces and did they try your mouthpiece with their horns?

First things first. Let's not just armchair this.
_________________
"If you don't live it, it won't come out of your horn." Bird

Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet
Adams F-1 Flghn

[shofarguy]

[Tivolian]

[Craig Swartz]

Lots of things that can add to an already confused state...

How about just singing the note first? Out loud, in the proper register, no wavering, solid, confident voice. Not an octave lower, you'll likely need to use falsetto voice. Then play what you sang, as you sang it. Perhaps some back and forth between voice and horn.

I'd also check to make certain your wind is starting at the same time you are envisioning your tone beginning. Perhaps begin without the tongue, but be certain you sing the tone first and have the pitch in your mind before you do.

It sounds more like an analysis paralysis issue to me, but I'm here, not where you are. If it is an acquired issue, you need to replace it with a new habit, and building on success through doing the correct thing over and over until it is second nature is about the only way to accomplish this. Unless there is actually an equipment problem, that's it, there will be no switch to flip. Good luck.

[kehaulani]

Poor OP. Unnecessary information overload? Did you do the obvious first?
_________________
"If you don't live it, it won't come out of your horn." Bird

Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet
Adams F-1 Flghn

[jvf1095]

[jvf1095]

Brian...I've started some lets say "sparked discussions" myself on your approach as described in your first 4 or 5 paragraphs. But your approach over all makes sense.

[jvf1095]

And to Craig's point, it is sort of a paralysis. Again, aside from perhaps anembouchure issue (although not with other notes), could be a now head case issue with this note; just like getting to a hole in golf where there is water, & putting it in your head that the ball is going swimming.

[Vin DiBona]

If you can't truly hear the note, it is not going to come out.
And yes, some do "clock" their mouthpiece. It can seat better in the receiver.
Wayne Tanabe told me of this years ago when he owned the Brass Bow.
R. Tomasek

[jvf1095]

Working on hearing the notes in my head. Thanks

[JayKosta]

Yep, hearing / imagining the pitch of the note is critical. In addition to the pitch, you also develop the 'reflex' of fingering, embouchure, air, etc.

My guess (lack of the ability) is that good improvisors of lyrical tunes (more than licks that fit the chord structure) can do it on the fly - construct a moving tune and 'just play the notes'.
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.

[jvf1095]

To your point Jay, I can tell you one thing I'm getting a very good feel for, & that's re-writing a song in the proper key the artist sang it. For example, I always liked a song by Petula Clark entitled "This is My Song" Bought the music on line, down loaded it. Looking at it, I discovered it wasn't in her key or range; & it not the way she sang it (wasn't her version of the song), even the instrumental intro, & the instrumental break in the middle. Was nothing like she did it. I listened to her version of the song on you-tube, maybe 50 times, a small segment at a time. I was able very quickly to "hear" the notes, & transpose them in my head, & was never more than two notes off on the horn till I got each one right, & began re-writing it the way she sang it on a blank page of sheet music. Once I got going, I sailed through it. Took me about two hours, re-wrote the whole thing exactly like she sang it (her exact version of the song) beginning to end. So I'm starting to hear the notes in my head without playing them. The thing is, I can sing too. & I will say well so I'm told. (Bobby Darin type style, & throw Frankie Valli in there). So yeah, have to imagine it more, but that is developing.

[shofarguy]

[jvf1095]

Very interesting science behind that. I'm going to try it. Thanks

[Tivolian]

Fair enough. I get that the symmetry isn't perfect and that small flaws or variations can occur in the manufacturing process. I wonder, though, whether any effects are detectable in any consistent way. For instance, it seems unlikely that the OP's issue with missing the 4th line D would be affecting by such tiny shifts in the balance of the mouthpiece. That seems more like an ear-chops coordination issue. I also wonder if someone would come up with the same "optimal" position for the mpc twice.

But then, this is somewhat off the original topic, for which the OP has gotten some good suggestions.
_________________
Tivolian

[jvf1095]

I'm thinking that there is something to that method, but I'm thinking one would have to be exactly consistent with their set up, embouchure, air control, etc, etc. If one is not, the results might not repeat. It's like golf conceptually. There is a machine called an Iron Byron. They attach a golf club to it, & it swings & hits the ball. With that, they test clubs & balls. This machine repeatedly swings EXACTLY the same EVERYTIME! With that, you get accurate results on ball flight golf balls or with clubs. If an amature like me did that with different clubs & balls, no way I'd be consistent every time. Even pro golfers, who's "tolerance" is waaaaaay more consistent, can't get the exact same results. But yes, the suggestions are good.