TromboneChat

Yeah, that Wessex is probably a very decent horn, good price, and it won't need any work. Anything else you find will probably need something.

Still on TubeNet? Me too. I hate the ads but have to give Sean credit for keeping it going all these years. Either a 3B or 48H would be pretty much ideal for what you want, and cost less than your budget. Well a silversonic might be that much, but I'd go for a brass one. Until you get started actual...

I actually never saw it but I heard it was a nightmare

"Those of us who started as readers may have some extra hurdles to overcome when learning to improvise." That is pretty good justification for starting beginners BOTH reading and with some emphasis on playing by ear, or at least ear training to some degree. Think of the beginners who write positions...

If I had one that was a workable solution, I would use it.

To me, the issue isn't so much the potential for aerosols going through the horn, it's what I have to inhale when I breathe.

I'll give you a little free time... Contact me

I have played lots of non-recorded gigs with a click track. It really helps keep things together when the singer is not very near the band, the band is spread out, cold weather, potential for wind, etc. Plus, the countoff is usually recorded into it, and meter changes and slight rubato are often sub...

It's in 5th on my alto.

I know you think I don't get it, but I really do. I have some great simple ways to get started, if you're interested.

Definitely, swapping parts with another 3B is the best way to isolate the problem.

EXACTLY. Thanks Andy.

OK, I just talked to a friend in the band who was playing the Inaugural.

The arrangement was by Gaga's own arranger Michael Bearden.
https://twitter.com/MichaelBearden?ref_ ... r%5Eauthor

They were playing to a click track, it was not a recording.

What I'm saying is, don't make everybody else listen to you practice.

A performance, even just with friends, is not the place to LEARN how to play. It's where you try out what you've worked out and practiced and learned on your own time, in a practice room, with or without current technology.

Do you really think your situation is that much different from the people with chop problems that I help? The ones with actual orchestra gigs who are afraid to pick up their horn because they don't know what will come out? If you actually want to get better you need to face it. I'm not hiring you fo...

Easy? Fill it with water.

People on one end of the spectrum don't necessarily get what it means to be on the other end of the spectrum. That's why I mentioned earlier that I totally get it, because I started as a classical player and very much remember having no idea what to play. Like I said, I'm not set up for teaching ja...

Don't regret starting it - we absolutely need this kind of thread. As with advice on chops, I will say I'd need to see what you are doing now to give valid advice on where to go from here. I'm not set up to do jazz lessons but I can probably give you some advice over Skype if you want. Lots of peopl...

LOTS of great information here.

Speaking of Frank Sinatra... LISTEN to what he does with melodies ... especially rhythmically. Listen, don't just hear.

When you're learning improvising, don't try to be Watrous or Fontana, try to be Sinatra. Make melodies that fit, the simpler the better.

Of course you don't need to "know it all" to get started... But it's a big part of getting started. You DO need to be able to play by ear - that's what improvising is all about. It almost doesn't matter how good or bad you are at it, doing it more makes you better and more comfortable at it. I would...

I totally remember the time (in high school) when I had no idea how to start, or what to play, and whenever I tried, all of my technique went out the window. I got started by doing a lot of transcribing and copying. At the time that was mostly Urbie Green and Bob Brookmeyer. At this point I suggest ...

I have always tuned B exactly above the open A. That makes C in a little from Bb, but it gives you a little more of the slide for low C.

Definitely written through all of it. All of the DC bands have their own arrangers, who are fantastic at what they do, and there's no doubt in my mind that it was the band's own arrangement of how she wanted to do it.

Yes. Refer to my previous post.

The intent of TromboneChat has always been to NOT have political discussions like this. So this is not intended to "shut it down" or "censor free speech" or anything like that, except to say that the TOU that you all agreed to when you signed up here says "we are limiting the subject material strict...

Bach5G wrote: ↑
Wed Jan 20, 2021 10:01 pm
As long as it doesn’t sound like a cat being swung by the tail, my expectations have been exceeded.

Unless, of course, that's the effect you're after.

Going from silver to gold usually works to keep the same size, but I always caution people not to move larger and try gold at the same time. Some of my earlier Lexan rims felt smaller because they actually were a tiny bit smaller, maybe .001 or .002". Lexan doesn't cut quite like brass. But for curr...

It was in 4, with one 3/4 bar in the middle, and I stopped noticing toward the end so I'm not sure. But it was very respectful while being different. I liked it. Although there are regulations about not deviating too much, even some of the military bands have done a little reharmonizing and mostly, ...

Lady Gaga did a great job on the SSB

Agree, acoustically a larger throat will make the high range sharper.. The players who have the high range pitch go flat are just not able to control it and are probably using a mouthpiece size they shouldn't be on in the first place.

Relevant post I saw on Facebook today: "My theory: whereas making jazz music is about endless improvement, it is not about PLAYING more than you did yesterday. It's more about HEARING more than you did yesterday. Once you hear everything, you know what to do. Improvising is the business of respondin...

Wow, very sorry to hear that. I'm glad got to meet him a couple of years ago.

I have thought about this subject a lot over the years. I think basically it comes down to the fact that the time and effort required to achieve a very high level of facility is much greater on trombone than other instruments. I consider trombone to be a very easy instrument to get "pretty good" at,...

Barkeeper's Friend (liquid) does a good job of removing coffee stains without being too abrasive. I'm not really sure how abrasive it is, so I'd rinse and re-wash thoroughly after it.

Sammy was drafted into the Army in WWII. I have never seen any details of that time, but heard him say it. Then he joined the Airmen of Note in the early 50's as an arranger, then the Marine Band in the late 60's.

True but you don't have to play it that way.. without using the little curved mouthpiece bit, the slide is completely normal. The gooseneck has a weird kink in it. I'll have to get it out and try it again.

Looks like he plays on the left, as I do. I saw Roswell play live at least twice and I don't remember him having a horn like that, but I don't think I even noticed what horn he was playing. I have a Davis Shuman small bore with the extremely bent neckpipe, that I intended to check out at one time, b...

An alto will never sound like a tenor, even with a deep cup. The harmonic structure of an alto's sound is different because the notes are on different partials than they are on tenor. In my mouthpieces, the popular combinations have been B+ or C cup with C alto shank; and C+ cup with D alto shank. I...

Some Operas had a standard large shank receiver but a lot of them have a slightly smaller receiver. I think Olds mouthpieces mostly have the slightly smaller shank size but I'm not sure. You need to check how a standard large shank fits so you're aware of what you have. Obviously an Opera can work w...

ITF was in Utrecht, not Maastricht. I was playing an Atlantic crossing big band cruise on the Norway, just before it, and stayed over for the ITF before flying home.

The 36 slide width is nice and comfortable, I agree.

"as a borderline bi-polar, I embrace my moods."

I can relate to that!

What are these trumpet mouthpieces you refer to? The throat is usually in the shank, or crosses the interface between cup and shank, I think Warburtons are like that. At that point there's considerable thickness so elasticity of material is less of an issue. I would not think the material coupling o...

The way I look at it, a good change will be obvious pretty much immediately and there will not be any "honeymoon" end. A lateral change, from something that's not right to something else that's not right, will sometimes work well for a period of time and then the honeymoon ends. A move to something ...

The throat of the mouthpiece is the smallest bore and the point of maximum compression of the air and sound wave. An elastic material at that point would dampen the vibrations and therefore reduce amplitude. Only anecdotal evidence, but it totally makes sense. Even the .015 thick tubing of the outer...

This is no definitive answer. People respond differently to all of the different materials - and their relative friction, which I think is the main difference.

Delrin and gold are both very slippery, and I think the reason for darker sound is that the slip causes a less definite stopping point for lip vibration. Lexan, being sticky, sometimes sounds brighter. With a sound analysis app I can actually see the difference in higher harmonics in the sound, betw...

That's the idea, but I'd like to spend a little more time on it myself - still experimenting.

Correct: Shanks are letter specific, not series. The excepts are most of the "plus" cups work best with the next letter shank - B+ takes a C shank, C+ takes a D shank, D+ takes an E shank. G+ has its own G+ shanks. As to the 8 vs 9 backbore: 8's are supposed t be best on "most" horns, and 9's are a ...

That's .257 which is virtually the same as my standard tenor rims, .260.

Search found 1333 matches