TromboneChat

In most mouthpiece-to-leadpipe situations, if the end of the mouthpiece is too far away from the leadpipe's venturi, it feels stuffy and doesn't play well. If it's too close to the venturi it feels too open and is uncontrollable.
So it's a matter of finding the balance that works.

There are already a lot of good and valuable comments here. See you at MidWest. As Kris said in the previous comment, when your embouchure formation becomes independent of the rim, doubling is less of a problem and can be beneficial. If you're doing everything correctly for your particular face. Tha...

I think a lot of the military arrangers have their own agreements - their work is not publicly available and reverts to their own property after a period of time.

Here's some info about Art Sares
https://lasvegassun.com/news/2005/oct/2 ... ies-at-82/

Never heard of it, but Schilke's rim contours are all different. There's not a single #3 or #4 shape. At least from what I've seen.

I don't think I know anybody who regrets a screw-bell modification. I'm interested in having one too, and I've been trying to pay attention to that.

Any comments from people who had it done?
Maybe that should have its own topic.

I wrote this reply earlier and forgot to send it... A 7C to a 51C4 is not a radical size change. For your medium placement embouchure, both of them are within the range of sizes I would expect to work well. It's not unusual for players of all embouchure types to gradually prefer slightly bigger mout...

There would be a small edge showing where the ST cup is slightly smaller than the MT rim interface. It should play pretty normally and if it doesn't bother you, just use it.

Correct. Everybody seems to refer to it as B&S but it's not. If you want to match the taper find a real Remington mouthpiece and measure.

In case you're not familiar with what I make, you can totally customize a mouthpiece that way - any bass rim size, on several tenor cup depth choices, and small or large shank. And it works.

Make a switch only if it's a clear improvement in every way... and it's not.

Exactly. That's why I kept going to him for 10 years... I could see that there was a lot to it, and some evolution happening even during that time. And I also saw him make mistakes, and many people totally misunderstood what he was saying, partly due to their own preconceived idea of "pivot" and oth...

Assuming it's like Sibelius, you do Ctrl-3 on the first quarter and it becomes a triplet with 2 rests. Then add the other two notes.

I'm not talking about the amount of air, I'm talking about how the rim size (inside diameter) interacts with your face. Some people really need smaller or larger. The cup, throat, and backbore of the 6.5 size mouthpieces usually doesn't work very well on .547 horns. It's more suited to smaller bores.

I felt that way about Skype too, before I started doing it.

Reinhardt told me that the word pivot (that he chose) is used by others in many ways that are not at all what he intended. Plus, he changed his concept a lot from what he wrote in his first book in the early 1940's. The pivot done correct does not "transfer pressure" or anything like that. And "slid...

The mouthpiece is either too small or too big for you. Too small could be making the high range sharp and forcing to you collapse everything flat to play low. Too big could be making you pinch the high range sharp and becoming unfocused and flat in the low range. Depending on your chops and level of...

I became interested in the subject of embouchures when I was in high school and college, studying with John Marcellus. I was amazed at his fantastic playing, and Charlie Vernon who was also there at the time. I was studying mostly classical and did a masterclass with Jay Friedman. This was during th...

In order to keep the airstream one direction, which I do think is important, it may be necessary to change her placement one way or the other, and the mouthpiece size and rim contour can be very related to that if she has a small face. Lots of people get messed up by a suddenly switch to bass. Espec...

I don't have a good answer, except maybe this:

Since you're fresh off of it this time, spend a few weeks NOW working on trumpet AND trombone, until you feel like you have a better understanding of what it takes. That will serve you well next year.

Try anything but a 24AW. It's small inside but with a stupidly wide rim. I make narrow rims for tuba, for exactly the reason you need it. I think my Narrow rim shape is thinner than any others available, and I can make extra thin rims like a bass trombone rim, if necessary. In my mouthpieces there a...

Auto parts stores sell a plastic wrap for wiring harnesses that stretches some and sticks to itself. It seems like a good idea - I bought some but haven't tried it yet.

Tenor clef down an octave would be a good way to start

I have known players who habitually play that G in 4th.
I don't think I have ever actually used it in 4th outside of an exercise.... maybe.

As others have suggested, and more: solo literature, excerpts, horn band charts, jazz tunes, and transcribe. There's so much that a working trombone player needs to know. How about some Tommy Dorsey, Jack Jenny, Buddy Morrow, etc? And clefs... Should be fluent in at least 4 clefs if not 5. It shocks...

I think it's a really heavy cufflink.

My cups are more V than most. If you really want a truly V cup I can do it as a custom, I've done it before. But I'll tell you now it sounds like a French horn.

I would be happy to pay for shipping. Sending you a PM.

Without seeing you play or knowing your playing there are entirely too many variables to provide a valid answer. Sound can be adjusted brighter by a variety of things but changing it depends on what you're doing now and the reasons you have a dark sound. Are there any videos or recordings of you onl...

Lots of people "were taught" things that are wrong or less than ideal but worked at the time, and continue doing them right through the collapse of it.

It really depends on lots of things.... How long you've been playing, how advanced you are, what other kinds of playing you do or don't do. For a total beginner, 2 practice periods of 15 minutes each would be a good way to start. If you keep limiting it to 15 or 20 minutes you will probably remain a...

Are you recommending a schedule which alternates days of multiple, short practices with days of single long practices? No, I'm recommending you make all of your practice periods longer. Alternating days is a good practice technique but it needs to be done in a different way than that. Of course I d...

I would come to exhibit mouthpieces. I already had it on my calendar.

It would be a good idea to start doing fewer but longer sessions. At least on some days.
Play 30-40 minutes before you rest,

Strength and endurance are two different things. Right now you're building strength but not endurance. You need both.

Matt! I didn't even know you were pregnant!

I don't know the right amount to charge, but nobody goes to free events, or even ticketed concerts if you give them a free ticket. Sell tickets in advance so they have a reason to not miss it.

As far as I know the Y designation is specifically a small shank and I always thought it was for Yamaha small shank baritones or euphoniums but I could be wrong. The 6AL seems like a deep design similar to a Schilje 51D, which would make it better for euphonium than trombone... And possibly very tir...

I have played lead in big band gigs on alto. I enjoy playing alto, and others seem to like the novelty, but I'm really not totally sure how well it works in the section - I've never recorded it.

If Mike Lake plays anywhere it's on alto.

gh1958 wrote: ↑
Wed Sep 11, 2019 12:37 pm
Conn 3 , nice v cup, dark sound but good hi range, jj used one with his 6h

No he didn't, at least he didn't record with it.
J.J. told me himself that he used his M21 on every one of his recordings.

I'm pretty sure the nickel outer slide is the one they sell in the rest of the world, not sold in the US.. I think it's still designated as the same number YSL-354. Congratulations!

If you do Skype I would be happy to take a quick look at your playing and recommend something that will work for you. I understand that things may not be working now, but I can still see what I need. And it might actually help to see you on trumpet too, whatever you can do.

6-1/2AL is a good place to start... for the majority of people.

Many people will suggest 12C or 7C. I disagree, especially for an adult.

What horn do you have?

Do you mean the snake on the tuning slide? That's a traditional thing on German trombones.

That's reassuring, is there anything that you have doubts about? Yes. My ability to play it convincingly with no practice. But I get away with it. To me it's perfect. I spend 99% of my playing time on a .500 bore but I can pick that horn up and feel comfortable... which I couldn't do on my old 42B....

Yes I have one, actually two complete horns with the extra parts. Love it but you don't see very many around.

I could give you valid advice if I could see you play. But regarding your list: "Plenty of air" will not help high range "Long tones" will not help high range "Pivoting" the wrong way will not help high range "A smaller mouthpiece" will not help high range. and more practice time will not generally ...

Moving back to what Chris said, PLAY SOFTER!

Brightness comes with volume. If you want to take some of the edge off, the easiest way is to back off.

Many (if not most) bass trombonists play TOO LOUD all the time. Support, don't dominate.

Chris wins.
It's how you're playing, not what you're playing.

Good workable mouthpieces can be shorter or longer. Consider how they play, not what length they are. And the length doesn't always correlate to pitch the way you think it would.

Try a larger mouthpiece. Chronic overshooting may very well be caused by a mouthpiece that's too small.

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