prtxsop

I love F Tuning. It's great. When I first heard the Cadets progressions, I loved the texture. I decided to transcribe it. I have a thing into using four voices (SATB) and came up with these chords and the inversions on some: (In Bb Major) I (1st inv.) ..................... D F Bb D ii7 (root) ....................... D F A C V7 / IV (1st inv.) ........... D F Ab Bb IV add 6 (root) .............. Eb G Bb C Ger+6 .......................... E Gb Bb Db V7 sus 4 (3rd inv.) .........Eb F Bb C V7 (3rd inv.) ................. Eb F A C I (1st inv.)...................... D F Bb D Those are the block chords. As you can see from basic theory and voice leading, I used moves of no larger than a Major 2nd. Add the chromatic bass line, that changes the inversions all together. Then add the sop voice climbing upwards into the unknown ranges (j/k). Or at least, turn that progression into a 5 or 6 octave wall of sound (depending on how high the sops can go and how low the contras can go).

Here's my hornline / finals prediction 1 - Phantom = bold and darklow brass sound, tremendous hornline sound in G or B-flat; JD Shaw knows his stuff 2 - Cadets = killer mellos, great corps sound; they've made the best transition from G to B-flat. But wait for the Regiment hornline. 3 - BD = 18 High Brass trophies has to mean something; Wayne Downey's been doing something right 4 - Cavies = beautiful balance and blend, Saucedo can write great sounding chords

I've had my experieces with "cheaters" and the biggest of mouthpieces. I was introduced to a Marcinkewitz mouthpiece (Bobby Shew Model) about five years ago. At first, I thought it was a gift from beyond. I couldn't get enough of it. I was scolded by my peers for using a "cheater." I was lead in the jazz ensemble and screaming every time I had the chance. My range went higher, my tone stayed the same. Then I got into college, and had no use for it. So I stuck to my Bach 1 and a Bach 3C. Then I spent a summer with Phantom Regiment for the summer of 2002. Pete Bond, our caption head, wanted to open up the bores and the throats to our m'pce. So I gave him my 3C. WOW!!! My tone was as open as the sky. I retained the range I had, or I never tried to increase or test to see if it went beyond what I could play. When I was back at home on my B-flat, I did my normal work-out. Then at marching band practice, while working on "Big Noise from Winnetka," I tried out the range. I went from a Double A to the Double C# on my open 3C. A Major 3rd higher. No "cheater." Just long tones, lip slurs, etc. And I'm still working on going higher. So, I would have to say that using a "cheater" mouthpiece is all up to the player. But to quote previous posts, it's a matter of personal preference. AND, long tones and lip slurs are the best thing to play into the stratosphere. My personal preference is my 3C. Your preference may be a Schilke 6A4a, Bach 1, Wick 2W, etc. It's all up to you. Besides, I hate the name "cheater mouthpiece," I perfer "lead mouthpiece."