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1076088 Posts in 71337 Topics- by 18937 Members - Latest Member: Ethan Limes
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1  Teaching & Learning / Practice Room / Re: Resting the horn on your shoulder. on: Aug 11, 2017, 09:37AM
That sounds almost exactly like an ErgoBone.
2  Teaching & Learning / Practice Room / Re: 12 major scales in 2 octaves in 2 minutes? on: Aug 11, 2017, 08:39AM
Learn to play the instrument and stop complaining.  Do you really want trombone players to be held to a lower standard than others? 

BTW, did you see that video of a young kid band in Africa playing the hell out of a march in Db?
3  Teaching & Learning / Practice Room / Re: Resting the horn on your shoulder. on: Aug 10, 2017, 09:19AM
Anchoring against your shoulder or neck may work for some people, but you should hold and manipulate primarily with the left hand with just a little support from the right.

The embouchure is kind of a separate issue.  The way you hold the horn needs to support what your face needs.
4  Horns, Gear, and Equipment / Mouthpieces / Re: 2G or not 2G ? That is the question. on: Aug 09, 2017, 03:28PM
Most players with an underbite would be low placement upstream embouchure.  I have also seen a very high placement work with a small underbite.

Low placement can work well with either small or large mouthpieces.
5  Teaching & Learning / Practice Room / Re: Embouchure movements/types and mouthpiece sizes on: Aug 09, 2017, 12:37PM
I certainly know some small bore jazz players of that embouchure type who are very successful on small mouthpieces on their small bore horns.

The usual problem for that most common embouchure is that in order to play low range with a good sound and volume, a small mouthpieces requires a shift to a placement closer to 50/50, and then shifting to a higher placement to play in the high range.  A larger mouthpieces help to incorporate the whole range in one placement which makes both top and bottom easier, more consistent, and with consistent sound quality.
6  Town Hall / Notices from TTF Members / Re: Buyer beware...slidebone.com on: Aug 08, 2017, 10:55AM
I will try to find out about that Basili case for you.  I know some Basili cases were coming from Brazil while we were on the road, and then were stuck in Customs.
7  Horns, Gear, and Equipment / Mouthpieces / Re: 2G or not 2G ? That is the question. on: Aug 07, 2017, 01:55PM
We'll I'd say it IS about range and what you can do in the low range.  There's no point in having a perfect sound if it doesn't allow you to use it in the range you need, with facility.
8  Horns, Gear, and Equipment / Mouthpieces / Re: 2G or not 2G ? That is the question. on: Aug 07, 2017, 01:36PM
Yes, I have too, but my question was more about facility in the low range.

I have surely never had a great low range on mouthpieces in that size range, but  I've also never focused on that end of the spectrum.
9  Horns, Gear, and Equipment / Mouthpieces / Re: 2G or not 2G ? That is the question. on: Aug 07, 2017, 08:59AM
I do have a MV 2G in my collection, I'll have more of a look at it.
The question I have: Is it POSSIBLE on that size to have the same easy access to the bottom of the horn as it is on a large mouthpiece?  And volume?  Somehow I doubt it, but I'd like to hear from the guys who use it.
I certainly recognize the sound advantage, but doesn't it limit what you can do, somewhat?
10  Creation and Performance / Performance / Re: Performance Anxiety only for specific ensembles on: Aug 06, 2017, 07:56PM
I used to get a bit of that playing with certain people who I thought would be likely to hear my weaknesses - you're so exposed in chamber music.

Then I figured out that everybody has weaknesses, even the best players, so I stopped worrying about it.
11  Teaching & Learning / Practice Room / Re: Idea: How to practice to reduce embouchure movements. on: Aug 06, 2017, 11:18AM
No.
12  Teaching & Learning / Practice Room / Re: Idea: How to practice to reduce embouchure movements. on: Aug 06, 2017, 04:53AM
There is nothing about concentrating on sound that is against the Reinhardt approach.  That's a common misconception.  It's all about the sound - the only difference is being more aware of the things that affect it, so you're not randomly hoping that something will improve just because you're thinking about sound.  Awareness gives  you something real to practice and get better, so then you can forget about and just play.
13  Horns, Gear, and Equipment / Mouthpieces / Re: Vintage Conn 88H mouthpiece fit question on: Aug 05, 2017, 12:34AM
A 12 year old doesn't need an 88H either, but apparently he has one.
14  Horns, Gear, and Equipment / Mouthpieces / Re: Any way to get out scratches in Lexan rim? on: Aug 05, 2017, 12:20AM
Lexan is kind of hard to polish because it's... kind of soft...  not hard.  Toothpaste won't do anything.  Best thing would be to send it to me and I'll do it.
15  Horns, Gear, and Equipment / Mouthpieces / Re: Vintage Conn 88H mouthpiece fit question on: Aug 04, 2017, 03:02PM
Remember it's only very old Conn 88H's that have that receiver.
16  Classified Advertisements / Classified Advertisements / Re: WTB: Sousaphone Case on: Aug 04, 2017, 09:52AM
I dumped the case I had because it took up too much room.  The sousa doesn't take up much space hanging on the wall.
17  Horns, Gear, and Equipment / Instruments / Re: Want to buy new jazz horn but want to demo horns for a time, I need help! on: Aug 04, 2017, 09:45AM
Hello, so I am going to be a sophomore in college and I am looking to move from my vintage 2b to a new jazz horn. I got a decent deal on a Michael Davis horn. But right now I dont really know whats out there for me that would be the best fit for a professional jazz horn for a long time. I do lots of big band gigs and pit orchestra gigs. Im located in new york. My issue is that I dont want to go out and buy a horn without trying all the top line jazz horns. I am wondering if there is a way that I could get some horns and demo them for like a month so I have some time to live with them and see what I would like best. I feel like going to Dillons and trying out a horn for a few hours isnt the best way to do it and I also was not too impressed with their selection of trombones. I would like to try some Shires, Rath, Yamaha, Bach, and try to figure out what the best fit is. But I dont know where and how I can do this with being able to have time to play the horn as well as get a good deal.
Pick a horn and play it.  Either the 2B or the Michael Davis will get you through any of those gigs just fine.

I'll bet you spend at least as much time on a computer as you do on your horn.  And I'll bet you own at least one computer, and I'll bet you didn't demo several of them for a time before you settled on the best one.  There are things I like and hate about every computer and every horn I've ever had.

18  Teaching & Learning / Practice Room / Re: How does one go from a thin sounding high range to a full sounding one? on: Aug 02, 2017, 05:12PM
What's going on is you're fine tuning the control it takes to play and hold those notes before you destroy it trying to do too much.
19  Teaching & Learning / Practice Room / Re: High range switching between instruments on: Aug 02, 2017, 01:43PM
Or just learn to not let things collapse and open too much.

20  Teaching & Learning / Practice Room / Re: Embouchure motion with articulations on: Aug 02, 2017, 12:09PM
3. The first couple hours, I believe I was engaging the wrong muscles in my face and was feeling quite fatigued around my jaw's joints.. I then focused more on just keeping the lower jaw dropped and it got rid of the fatigue. However, my tone is now wobbly.. perhaps I am not supporting my air? I guess my question for this bullet point is this: Which muscles do you feel engaged, if any, when you are focusing on keeping the jaw dropped?
The reason you felt fatigued around you jaw joints was because you were starting to use those muscles for the first time, and that's what you need to develop.
Keeping your jaw dropped is a REALLY bad idea.
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