Should we always take the easy option?

Discussion in 'Trumpet Discussion' started by Sethoflagos, Jan 15, 2014.

  1. Vulgano Brother

    Vulgano Brother Moderator Staff Member

    Mar 23, 2006
    Parts Unknown
    I dunno. I have a history of light and bright Bb trumpets and darker and heavier C trumpets and they have worked in both dead and live halls, and listening to recordings, the sound I heard at my end of the horn made it on to the tape. Just lucky, I guess.
  2. kingtrumpet

    kingtrumpet Utimate User

    Sep 20, 2009
    New York State USA
    The "Lucky Dog" -gets a free pass and his (her) lap back in NASCAR - it's not always bad to be a dog if your name is LUCKY -- ROFL ROFL ROFL
  3. Richard Oliver

    Richard Oliver Forte User

    Jul 18, 2006
    Casper, WY
    Seth, I use the mouthpiece that produces the best sound, and hang the rest. Period. I figure "the rest" is a great reason to practice. (To the scrupulous: yeah, I know I "produce" the sound).

    As to your 2nd bit about a bigger mouthpiece, I've done it also. Now, my take is, I stick with the one that has the best timbre. I tend to chip notes otherwise.
  4. Sethoflagos

    Sethoflagos Utimate User

    Aug 7, 2013
    Lagos, Nigeria
    Just to update, or maybe round off this thread.

    There is such a thing as a step too far. I gave the 2W 4 months and despite some apparent early progress I started going backwards with it. Although it's smaller than the DW 1W I used to play, I just haven't been able to get sufficient note control to make any headway this time around. The tone starts okay but rapidly drifts to dull and muddy, initiating a note is hit and miss, any slightest disturbance (such as tonguing) just cracks the note, and my attempts at control tend to spiral down into a choked in aperture. Not a good place to be.

    So for the past week I've stepped back to the medium depth DW 1CW, and it's like seeing months of progress appear overnight. Long, long way to go yet of course. But tone and control are much improved, I can lift the colour to brazen and back without blasting, and providing I keep it gentle, the attack on a tongued note is as clean as I've ever been able to manage (thanks mainly to Rowuk's 'Circle of Breath' I guess).

    I'm still convinced that the initial premise is good and you don't get far unless you push yourself. But for me at least, I need to get my chops in much better shape before I try venturing into the deeper pieces again.

Share This Page