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Discussion in 'Trumpet Discussion' started by Franklin D, Jun 11, 2015.
I'm glad you posted this clip as I've come across it a couple of times and it raises a question that's not been addressed in the plethora of rotary threads we've had recently.
How useful are the klappen keys on the various pitched instruments, and how do you go about choosing which ones to have installed?
PS When I was younger, I think I would have enjoyed the Hörsdorf Heavy
The most common is the Überblasklappe for high C - it's the one that's easiest to mount, easiest to use and most useful in general. All the other ones tend to be extremely specialist thingies. Hermann Ganter once told me "If you need anything beyond the high C klappe, you've got a bad trumpet..." And it usually turns out that instruments that get fitted out with two or more of these extras have some kind of intonation issues. You can only partly believe what Dr. Burt or Professor Gansch say about these things - they are "Schagerl artists" and get well paid for doing so.
I once had a chance of talking to Thomas Gansch privately, after a Mnozil concert, when he was already well lit up; we came to talk about his instruments, and Schagerl in general, and between his fourth or fifth pint he conceded that the only similarity between his personal Ganschhorn and the hooters marketed as such is the optics...
You bring up a good point about the extra keys / klappen.
At what point does it stop being a trumpet and start becoming a lip-reed soprano sax? I've seen some with three or four.
Some trumpet players - especially in Austria and Germany - tend to see the number of Klappen on their hooters as status symbols. If you then look at these players, you will usually find people who did study trumpet at a conservatory or university and yet were lacking that little bit extra to really make it in the trumpet world. Most of those players end up as trumpet teachers in local music schools, doing basic tuition for 8-to-10-year-old beginners, and soloists for local oompah bands...
Here's one example, and you can actually see the guy using them:
Actually the function of the Überblasklappen is much different than the holes on reed instruments. It is only used to increase the resonance on notes easily "missed". Let's not forget the short leadpipe on a rotary trumpet that does change the response evenness compared to a piston trumpet.
The Heckel spit key is in the right place for high C. No extra complexity required.
Same on my cheapo B&S, but the key itself was too short to open it with the left ring finger while playing. I took to it with hammer and anvil, and stretched it. Pretty ugly though, compared with what a Blechblasinstrumentenmachermeister can do with nickel stock.
This is a fabulous thread...
The most interesting part of the clip is for me where mr. Burt explains how to play in the low register, with hot air, not too much air, and the possibilities of easy overblowing the horn.
For the record, I am very interested in rotaries but I tend to be quite careful after stories like them from Dotzauer that people, not accustomed to rotaries could be very disappointed even with horns of big names like Monke and Lechner, that they can be difficult to play with a mediocre intonation compared with for example the big American piston names. Of course I can try any rotary horn but my lack of experience with them will make my judgement less valuable and more difficult to interpret.
And I am very careful with horns that I can overblow easily, I had bad experiences with flugels that are not my cup of tea (at least at this stage of my development as a player).
So the rorary is for me an adventure but I want to go in it prepared.