cheezedogg 23

I use Wrights. I've been using it on my silver trumpet at home for years. I've had for like.. 1..2 .. .. 9 years and the silver is as shiney as ever on it. When i clean it at least. But The those polishing cloths are bad. I know lots of people that have swirl scratched from constant uses of those "lazy" man cloths. I've used them as a touch up a couple times before a show. But I regret even doing it the couple of times.

WHo did I like the most. Phantom and BD were top of my list. But in both I could hear the occasion phat note or dirty segment. Was also on top of my list, and I heard the occasional blurb. But with Cadets I couldn't hear one thing wrong. And from what my ears could remember It was a diffferent book for once. It wasn't the same book as the last few years. Bravo to Cadets this year. I was amazed. I had seen BD before them, and I thought BD had it in the bag, then I saw Cadets. And I was just blow away. IMO Cadets well deserved the title. But I wouldn't have been agast at BD winning it.

I personally Don't like the Berps, and such. Its just me. I go with play and sing method for my ear, rather than buss and finger. I sing and finger and then play it. Its my personal treatment of it. And my experience with a band i taught at, when you require it, and you have lots of students that aren't very good and don't practice, it defeats the purpose for the group. But its less likely to embarrass somebody that can't sing like me, but i'll sing anyways even though I can sing well at all.

In my experience and in my learnings through multiple instructor. There isn't 1, or or even 3 ways that will get you the range. In the last year i've brought myself up to GG, and I rarely do lip slurs like so many say is neccisary. I do live by long tones startin around G on the staff and going in half steps up and down, all away from the center G. to when i'm playing as high as I can well into the pedal ranges. And lots and lots of Air. From what i've learned. Its not really completly the method(s) you use. But that you find a good one, and stick to it. Yes I may have been able to find a faster method with different books and such, but I just stuck with what I had and I got what I wanted. My goal was to have a nice GG by the end of this year, well i got a whole other semester here to get it even better and louder and sweeter. I'd give everything you've heard here a chance and see what you like and what seems to be working, and then just stick to it and live by it and practice alot.

i'm not a percussionist and I love listening to that guy while watchin the DVDs. It was also cool that since i'm not a percusionist, when you turn it on and he's in the drumline that soudns stands out more and I can really hear whats going on. I love it.

Personally I would have never gone back, or whatnot, to the Bach 3c. The Shilke is a better mouthpiece IMO. I use Warburton moutpieces for concert, marching, and orchestral playing, and a Bob Reeves for jazz band. But every brand is alittle different because the manufacturer takes differen't aspects to be thier more important feature. In my exprience Bach just tends to make thiers more mello and "average" (for lack of a better word) to suit most people. I use a Warburton with a wide open (straight) back bore and a deep cup and its open as anything can be. But the Bob reeves offers more support by having alittle more pressure allowed to build up for ease of playing higher, but the lower register is not lost to me either. Shilke from the little I experimented with them seem to be kind of a re modeled Bach. I like them better than Bach MPCs. If they fit your embrochure well, then they seem to give more support than Bach and keeping it as wide open as a medium cup will allow. Umm, i wish i had more experince with other mouthpieces. But i'm happy with the Warbutron and Bob Reeves i use now. And they both seem to maximize my capabilities for me. So I see no reason at this point to continue to experiment. But if your unhappy with your current types, then experiment. You need a good week or 2 for each mouthpiece to feel how it'll work for you, thats with several horus of playing everyday for a week or 2. For more time-restricted players (aka non-music majors.. haha) it make take more than a week or 2 truely feel out the MPC. Woodwind and Brasswind dot com offers a 40 return policy for most mouthpieces still I believe, thats where I tried out the Warburton Brand. Hope this is useful...

i think it sounded better on thier Contras in 86.... :-P... i'm just giving crap.. i hate calling them tubas and trumpets.. i always refered to it was soprano/alto/tenor/bass/contras... as in 4 part harmony .. but whatever.. i still liked 86 better, .. probably, i agree, due to the shortness of 02.. :-P hehe

Well if she approached you to learn some brass for corps. Then she is willing. The best way i've found when i'm teaching any age person to play a new instrument to them. If they at least understand the basics of music. Not be good at it. But if she can read music. Then just give her a horn for a while with a fingering chart and some scales. And after a couple of days ask if she would like to have a real private lesson type thing. Then go trough and teach the scales that are easiest. But with someone that is negative like her you don't want to ever say she is wrong about anything. Just say be simple and ask her to double check herself, or have her write all the fingerings in before she even starts to play. This way she can correct herself more. If she is having severe problems with something and you can't seem to get around saying she was doing something wrong, i'd go onto a different subject. I've done this many times in my own lessons that i give for all brass players, and even begining percussionists. Sometimes just talking about brass playing is good, rather than just playing. You can play with her, just 1 note at a time to get a good sound and such. I hope this was some begining help for you... good luck.. :)

So wedding gigs.. I've done a couple weddings and sat in for a wedding reception dance once. But the wedding gig i was just on my 3C, it was before I bought my Warburton Set.. The dance part I borrowed a 1.5D, or was it a C. i forget.. I don't like Bach anymore now that i use Warburton and Bob Reeves. But to each his own, thats why there are so many types, not everyone can use the same brand or size/type..

whats the gig? Thats really what matters. If its a jazz gig, and your playing a higher part then i'd go with a Bob Reeves, or just a Bach like 1.5 C or smaller cup. If its just band or orchestra, then 3c or deeper and bigger. Its all relative though.

I agree and i'm not a kanstul sales manager... ^OO^

tromboniums = flugalbones I think... at least they give me the impression as probably being the same thing. Flugal bones look like over sized mellophones. Or more like oversized flugal horns. Which is the impression i get from the tromboniums. Same thing, different name perhaps..

Thats German 6th chords.. as French 6th and Italian 6th.. But i know what he means... he just means how to write a spanish flavor chord.. Its not that chord, its the sequence and progression in which it is laid in.. A simple major chord can have a spanish sound if laid in the right sequence of notes and progressoion. As bbsop said, just float around with chord with roots following the phrygian scale and and you can use major or minor triads. Just experiment, spanish music is more modal than anything. Just have fun with Phrygian and some locrian aand some lydian modes to get the modal ideas going..

Why do you say a sousphone isn't bell-front? I'd think it is. Curious why do you say it isn't?

Eclipse at thier first couple of shows had Sousas this year, they got penaltied for it, they're shipment of contras hadn't come in yet so they borrowed them from the same place they got most of thier equip and uniforms i believe. But the penalty didn't seem to hold them back much at all. They still had a great sound and great corps, too bad they couldn't make a finals trip thier first year out.

Well unless you have some desperate need to be a lead player, range isn't a the biggest factor. Work on pedal tones to gain control to play higher sure, but if your quality of tone and technique in your comfortable register is better than everyone else, then you'll be sure to make the line.

This has been covered, and I dont' care for Dynasties at all. I'm a Kanstul guy, and i'm looking into gettin a Kanstul Signature professional trumpet to replace my Bach semi-pro. But I don't think i can ever afford the horn I want from them.

... sweetness... hahaha

sweetness...

Phantom... definatly

how much time do you have? If you have enough time, it would be better to learn a horn piece. But if not enough time, then i think it would be fine to do a trumpet solo peice on Horn. I've heard the many a horn solos at I&E be trumpet solos. And i've heard horn abd even once a trombone player use a trumpet solo for audition for college. Just makes sure its a challenging piece, and that you play it well, don't go for really hard and not be able to play it, i've learned one thing so far about auditions, its better to have alittle bit easier solo and play it really well than a harder one and not sound as good.

I agree with everything but the Dynasty making good sopranos. We had a few DieNasties of every section.. didn't use any of them this year.. opps year we did, we used a Euph that was Dyn, because he broke his Kanstul one, so as punishment he had to march the Dyn. But i played on one of our Dyn Sops, i didn't like it at all, felt so tight and very bright soounding, not to mention how much harder it was to play high on. I prefer Kanstul all the way, actually i'm thinking of getting a Kanstul trumpet for my concert playing and such, but my proff thinks i should just get a Bach Strad. I don't know yet..

IO've just learned a warmup routine to do everyday thats qutie easy to learn, and opens open the tone and such, and its nice a full. And its so easy but as you get better you can make the routine harder and faster to make yourself better and you can spend the whole hour of the routine doing nothing but concentrating on your sound, thus when you go to music that sound is stuck in your head and your subconscience will do the work on making that sound while you focus on the music. therefore you don't have to think about the wind-flow or sound, it'll be there already. A book for every brass player to read is called "The inner-game of tennis".. but replace the "ball" with "sound". I forget who wrote it, i'll have to ask my proff again. But its all about putting as much into the subconscience and just living in the now, and not worryin abuot the sound (ball), but instead worrying about the intended result and believing that just by the focus it'll be there when you want it to be. Its a really neat book.

i can find like the last 4-5 years easy. But the "from the pressbox" is perfect. It actually lists the 2/3 campions reguardless if they went on to D1 quarterfinals. All the other sites don't list who was the div 2 champion if they had gone to D1 quarters, it sometimes just started with like 3rd place, meaning 2nd and 1st went to quarter and i didn't know who it was that went on. But from the pressbox is perfect, thanks.

the problem with corps reps is that is doesn't list who the winner of Division 2 and 3 in all years, because some of the corps went on to compete in D1 prelims/quarters so thier placement is not listed in the 2/3 ranks on corpsreps. Is there another online datebase of champions?