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Bbwhat?

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  1. The bore size can be a tricky way to compare horns.

    A lot depends on how an individual plays. If a player depends on a horn's resistance to support the tone, then a large bore horn can actually feel stuffy and hard to blow because the player is attempting to support their tone in the absence of the resistance they are used to.

    A horn's construction makes a big difference too. Whether the crooks are an even radius or squared, how soon the bell flare opens up - slow as opposed to fast, etc.

    Some of the best flugelhorns have a relatively small bore, compared to a trumpet.

  2. If the valves are monel, (it has a dull gray look to it), then polishing the valves with brass polish can remove some deposits that may be causing the valves to be sluggish. Nickel plated valves are less prone to this problem, but in anycase, cleaning tarnish and other residue that builds up on the valves will definitely help.

  3. This whole discussion started with the physical problems experienced by pit players, using them as justification for amplification.

    Let's look at some of the other issues. For example, carrying a drum around for any lengthy period of time will lead to back problems - degenerative disc disease, cracked vertebrae, etc. - in later years. Obviously, carpal tunnel is an issue for drummers as well - although not for bass drumers (they're way too tough).

    A lengthy period of playing a horn can lead to all kinds of ear problems in later years, not to mention dental and orthodontic issues.

    In both of the above situations, participation in drum corps can lead to early hearing loss.

    As for drill, let's look at hip and knee issues - often resulting in joint replacement in later years.

    And last - at least for purposes of this comment, let's look at marching. Long hours on a practice field in the sun will most certainly lead to melanoma, and if those long hours are spent without appropriate sunglasses, UV rays will lead to deteriorating vision. More immediate concerns are heat stroke and its attendant problems.

    My God!!! We should ban drum corps!!

    NAH, just the pit.

    • Like 1
  4. I've been marching and playing for 45+ years. I play lead trumpet, but also first soprano with a small drum corps. Sometimes, I'm the only lead that shows up and I have no problems.

    Many times people will swear that you need lots of air and the truth is; you don't. It is more important how you use your air. Playing in the upper register is unique and someone that cannot play for hours in that manner truly has no idea what it takes.

    You are playing lead now, so obviously, you have some talent in this area already, but maybe need some ideas for improvement in how you do it. Maybe some of my ideas will help.

    You need to experiment to see what works for you. There are many methods to try and some personal variation will work for you, but it is not instantaneous or easy. There is no magic bullet; "do this, and you'll be hitting double C's all night."

    Lastly, but just as important is equipment. It must be a good fit to how you play to get the best results. Many people assume that the horn/mouthpiece plays only a small part in the ability to play lead. In my opinion, they are dead wrong.

    You need to find the SMALLEST mouthpiece you can comfortably play on. Notice I did NOT say the shallowest. Many people work too hard trying to use a mouthpiece that is just too large for them. A shallow mouthpiece might help your range and endurance, but usually makes everything else harder, so it is not a "cheater" solution. One way or another the hard work is always there...no free ride.

    The fact that you end up using a lot of pressure indicates that you need to strengthen your chops and find appropriate equipment. There are all sorts of methods to strengthen the muscles of the mouth. Try that right away and do it a lot.

    Next experiment with tongue arching, and with minor changes to your embouchure to see if one of the methods you see on the internet may work for you. Speeding up the air stream with a tongue arch does work, but there is so much more you can do with a little research on your part to see what has worked for others and just try it. Most lead players are only too happy to help.

    There's another method which seems to work miracles for some, but it escapes me, and it's called Tongue Controlled Embouchure or TCE.

    Many people that use a lot of pressure when they play are working against forces that keep their lips buzzing. You may be someone that needs a certain amount of resistance, more than some, to keep your lips buzzing. I don't recommend a small bore horn, but I do recommend a medium to large bore horn with a tight backbore on your mouthpiece, along with the smaller rim diameter and a comfortable depth cup. (I like the Curry 600 series for lead work).

    I would also avoid mouthpiece rims that have a sharp bite or high crown such as a Bach. Marching and playing lead on a Bach, even with a wide rim, is almost like playing a meat slicer. Although for classical playing in a concert setting Bach mouthpieces are fine and produce a wonderful tone and easy articulation.

    These are just some of my ideas to give you a direction. For you, and maybe some others, you may find just what you need in what I've said. For some, that agree with none of it, it will be total bs and I'm sure they'll say so. But listen to all ideas, that seem reasonable and improvement may not be immediate, but if something works for you, you almost certainly will sense it right away and that's the way you want to go.

    The longer you play at a time, you will inevitably end up using pressure to compensate for tired chops. Even after you have success learning how to play lead without much pressure. If it's a paying gig, you may have no choice, but if it's not, then stop before you hurt yourself. Take a break and use some ice, if it's available, to reduce swelling - for just a little while, though.

    Hope this helps and good luck to you.

    • Like 1
  5. In defense of the lead sops of the 90s, 80s, and the like, ehhhh, NO. The current ensembles are overall, subjectively better due to changing standards, but the individual is roughly the same. Take a lead from the 90s, drop him in 2011, and they will quickly adapt the equipment and approach of the current standard. Good is good. The DCI demographic has not changed that much since the 90s, lots of music majors ect. My current group is made up primarily of folks who cut there teeth on two valve G bugles, but now are on concert pitch marching brass and sound as modern as just about anyone out there.

    Sadly the main difference from then to today is the kid's tour fees are much higher and the crowds they perform to are smaller. Makes me sad. Oh, and the cell phones on tour.

    Pay me $1200 a week and I'm there!

    Nuts, I'm overage.

  6. No offense to any corps of recent vintage... believe me, the quality level of the DCA finalists has grown quite a bit over the years and there have been any number of tremendous performances..... but as far as sheer "bringing it" energy goes, I think the Top Five from the 1972 DCA Finals was/is the best top five in the history of DCA. (I know I'm showing my age here a bit....LOL.)

    The atmosphere at Roosevelt Stadium that night was electric, and that's putting it mildly. The entire Finals show was great that year; but that top five... holy mackerel.

    Fran, the electric in the air was a short in the stadium lighting system...it's why they condemned the place!

  7. I agree with all. I don't think you'd have a problem getting in at any age as long as you're capable.

    You just have to ask yourself one important question; in the middle of the season do you think you'll be asking yourself, "What the HECK was I thinking!!!!"

    Go for it and enjoy...life is too short.

  8. Who cares what DCI adds or allows anymore.

    I don't think they should add woodwinds, but they will. If a show was around and the bands reasonably good, I'd watch.

    What we need is an organization that allows, requires brass (I don't care how many valves or what key), and drums (on the field), maybe allow big heavy drums in a pit setting, but nothing else! (Nothing that tinkles, pings, plunks or makes any of the annoying noise that detracts from the music on the field now).

    What the heck, there should be a rule that they have to march, too. No running.

    ...and the guard? Ummm, I don't care...don't watch them anyway.

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