franke

can someone explain in detail what this "mello solo" was? I'm trying to imagine what you guys are commenting on

hey, I just heard a story today about a Cadets member that had marched a show with a broken femur (to the amazment of all involved in the story). As it was told, a member had broken her leg at some point (before or during a show) and after playing a show, went to the hospital (apparently there was a bone sticking out according to the story). When Hopkins got to the hospital he informed the doctor(s) that she had marched a show on the injury to which the doctor(s) were incredulous becuase of the massive break in the leg. Anyone know the validity of the story? If true..................holy crap

I was a student of his while he taught at the University of Minnesota - Duluth and while he was with the Blue Stars. He's what many would call a ######## player, teacher, and person. Spirit is gonna do VERY well under him

thanks so much for that posting. does anyone else have any other "manuals:? i'm curious how different corps conceptualize their specific techniques.

does anyone here have access to one of the "manuals" that thier corps or a corps they know provides? i'm curious about how they present thier specific marching technique

that was put out by the international trumpet guild as performed by david baldwin. id say give them a ring and see what they can do for you here is thier page where you can buy it and other great recordings http://www.trumpetguild.org/products/recordings/index.htm

mystery science theatre 3000 - master ninja

all the mpc will do is make changes in the tone quality (generally speakin). i am wholly agianest the idea of changing a mpc just to have a unifrom mpc size. now if a player is unable to achieve a good sound for thier part/instrument then they should make a move. but thinking that gear (specifically mpc in this case) must be the same from person to person is quite untrue. go down the line in any pro horn section and youll find this to be the case. guys like manny laureano play on the biggest mpcs they can play on, whereas vizzuti advocates playing on the smallest piece you can while still maintaning a good sound. if you were to look at what they play side by side it would feel like a toilet bowl vs. a peashooter. far too often to educators and instructors think that there is an end all be all approach to mpc's and equipment. that being siad, i would be foolish to not acknowledge and agree that there is a majority of players who use a similiar size in mpc's for their work. the danger is when a change is made without regard to whats coming out the bell already. but if a kid is playing on something that is cuasing uncharecteristic sounds to come out of the bell, then by all means take them through a series of mpc's to find the right one FOR THEM, and not the "um yeah, 78x is the best piece around". now all this being siad, i just realized it may be read with a negative tone. not at all what i meant :) just my 2 cents

man, i was banking on a cher themed show....

so im watching crowns show and ive noticied that 444 is a theme in the show. just curious as to what it's signifigance is. thanks much

on the point of "Excellence through education. Helping you become a great teacher means providing the same positive environment you'll someday provide your students." its is not a pedegogical approach that is being taught by corps to the membership. there isnt a a time they ever say "ok, try to avoid having your future brass players cap thier breath by having them do yadda yadda yadda". i would presume there has been a miswriting/misreading the writing or reading of that statement. rather, the "teaching of pedagogy" is an indirect one. if youve ever taken an education course or have reviewed any teacher or attitudes that youve had concerning a subject; youll find that you tend to model, conciously or not, the instructors that you had. wether its a domineering social studies teacher(leading towards an authoritarian temperment) or a very loose and relaxed teacher(probably a more "democratic" temperment). in either case youll (if your honest with yourself) find that you have phrases and routines that youve picked up through those that instructed you or influenced you. i beleive it is that "indirect" pedagocial training that quote refers to. by having an enviroment that uses instruction techniques that has been found to have a more postive effective and affective set of results, it will create a set of instructors from it that continue that train of thought. its a very "monkey see, monkey do" situation, not at all uncommon, but rather THE norm for every culture in the world, people do things the way they were enculturated to do them. so if you were taught to do a handstand before every rep as though it were completly normal to do so, thats what you would teach. on the underlying subject of change: it is completly unreasonable to buy into the idea that things shouldnt change. had that been the case, if the US constitution never been amended our country would have fallen apart(for example). anything to be a viable entity(commercially, politically, socially, or physically) must account for change, doing otherwise would cause it to vanish. you show me ANYTHING that is unchanging and ill give you my life. but on a lighter note, i think we can all agree that the ghost marshmallow peeps are absolutly delicious.

im sure its the same with other music gigs. you get the job becuase of a referral and/or an application becuase of your creds but you keep the job by putting out a good product like your creds say you will put out. you never hear about the instructors/ or performewrs with a great resume and then poop out, cuz they get fired and stop getting jobs. the ones you keep seeing are the people with a good history and live up to that history. or so id presume

im a soprano player but the effects are similiar. going from a medium bore size on my trumpet to the relativly huge bore on marching instrumets has two transition periods. the first i feel is the hardest for myself and people ive spoken about it with. becuase of the larger bore you need more air through the horn. the second change is going back to the smaller bore. ive felt like a monster on the smaller bore becuase ive grown accustomed to using tons of air. that make me feel like i can rip the bell off my smaller bore becuase of all the air im using(proper amount of air actually). thats from a high brass, maybe its different for low brass, but it should be similar.