1. Tell us how you would improve a trumpet with a new feature or design.
To me, two characteristics play a major role in a trumpet helping a player maximize his or her abilities. Strangely, these are less dependent on the craftsmanship involved in putting the horn together as on the dimensions of the individual sections, the gauge of the metal in these various areas, and the position of the bracing.
The first factor is the players ability to hear the horn while he is playing it in various contexts -- solo, within a section, and when surrounded by amplified electronic instruments. The second factor is the ability of the other players, standing or sitting next to the trumpet player, to hear the horn being played.
Old Besson trumpets were superior in both of these areas, although they were fragile and poorly constructed. Many companies have tried to capture these playing characteristics, but most have failed. Best efforts involved copying the physical look of the Besson, while tightening tolerances, increasing the gauge of the metals, and paying little attention to the rate of taper from the venturi to the end of the bell.
A new design, ensuring these characteristics would involve a lighter gauge metal than that commonly used in lightweight horns today. Such would make the horn "come alive" in the hands, radiating vibrations from the horn directly to the face and ears. A smaller bead and/or a larger diameter bell may make the horn easier for both the player and the section mates to hear, ensuring better intonation from the player and his section mates. Braces are usually positioned too far toward the bell end of the horn. If you look at older horns like the Besson and the Conn 22B of the 1920's (a Besson copy), you will see that the leadpipe/bell braces are positioned further back, toward the mouthpiece than modern horns. This allows for more vibration of the bell, increasing the volume of the sound radiating from the horn. In short, the bells are held too tightly by the bracing.
2. Give us a theme for a trumpet!
With respect to my response to question #1, above, I think you need a really outstanding lead/solo horn that fiery British soloist/lead trumpet players, like Kenny Baker or Bobby Pratt, would have preferred to play. Sound carry -- in all directions, not just forward -- is the key, just as you can see fire and feel heat in all directions.
The identity may be one of a flame in the stratosphere -- reminiscent of the Greek god Prometheus, who stole the fire from the god Zeus and gave it to man. Here is more about him:
http://www.messagenet.com/myths/bios/promethe.html
As far as color is concerned, fiery red and yellow are good, but you may not want to use lacquer on the horn, as that would dampen the vibrations. You may want to use another form of decoration, through braces and/or the use of a gold or non-tarnishing copper accents.
3. Write a short story using each of the following at least once.
A. A TYPE OF MUSICAL INSTRUMENT
B. A COUNTRY OR CITY
C. A FORM OF TRANSPORT
D. AN ITEM OF CLOTHING
E. A FOOD
Herschel was a taxicab driver in Bayonne, New Jersey in the good old United States of America, but his first love was music. He had played several instruments well in high school, but his favorite was always the trombone. To make extra money, he would pick up a gig on the weekend, but practice time was always a problem, because he often worked a long daytime shift and lived in a tiny, thin-walled apartment above Tony Albertini's butcher shop. Mr. Albertini, a notoriously light sleeper, lived in the other apartment above the shop.
Whenever Herschel had a day off, he would try to blow his horn in his apartment. But, as soon has he made one sound, Mr. Albertini would hit the ceiling of the shop with a leg of lamb and shout, "Hey, quitt-a blow-a dat horn; you scare-a da customer!" Dejected, Herschel would put his horn in its case, sit down, and read a book.
Likewise, whenever Herschel tried to practice in the evening, Mr. Albertini would bang on the wall with a hard salami and shout, "Hey, quitt-a blow-a dat horn; you keep-a me awake!" So, Herschel, with a tear in his eye, would put his horn in its case, lie down, and cry himself to sleep watching the 10:00 o'clock news. It seemed that Mr. Albertini never went anywhere; he was either working in the butcher shop, or he was at home in his own apartment.
This unworkable situation dragged on for about three years; Herschel limping through his gigs sounding OK, but not top-notch. He yearned for the perfection he knew he was capable of. One day, as he was putting on his shirt and pants in front of the mirror, he looked himself straight in the eyes and said, "This is stupid. I've got to practice or just quit playing!" He knew that he could not afford to buy a house, and moving to another apartment would not solve his problem.
He approached Mr. Albertini with his frustrations, asking him to be more tolerant. All Mr. Albertini said was, "My wife-a, she run-a away with trombone-a player. Every time-a I hear-a you trombone-a; it remind-a me of her; so you-sa lucky to be here at all-a! I need-a my beauty sleepa-a! Here, you have-a couple-a slices Prosciutto and a glass of Chianti; you-sa feel-a better tomorrow."
Mr. Albertini was not a bad landlord, as he had let Herschel slide and double up on his rent payment during the slow period following 9-11. He liked Mr. Albertini and really did not want to move, so he figured his only alternative would be to practice at work -- in the taxicab. He had tried to play in his taxicab a couple of times in the past --once while driving to pick up a fare. All he discovered was that a trombone is, at best, an awkward instrument to play in a taxicab. Herschel knew that he would have to re-engineer the instrument, if he were to practice at work.
Herschel borrowed from the library a book on antique brass instruments. While flipping through the pages, he noticed that civil war marching band trombones had their bells directed backwards -- a wise innovation, as the bands usually marched in front of the infantrymen following them in information. Such a modification would allow Herschel to play without the sound reflecting back from the front window glass, thus relieving his ears -- a super idea! He immediately set about bending the tubing of his trombone so that the bell pointed backward. He envisioned positioning the bell between the two headrests of the front seats of the taxicab, so he went down to try out his modification.
No sooner had he screwed his trombone together and sat behind the wheel, than he noticed that the slide would probably have to be pointed out of the driver's side window for him to be able to play. He knew right away that this would be unsatisfactory, especially in inclement weather and heavy traffic. Unscrewing his trombone, he slammed the door to the taxicab and carried his instrument back up to the apartment. He sat motionless, staring at his modern-era sackbutt and wishing some idea would present itself.
He dozed off for an indeterminate amount of time, only to be awakened by a fall off of his chair. As he lay on the floor, face down, arms sticking out; he had an inspiration, "Why not point the slide toward the front passenger side?" Jumping up, he quickly approached his trombone and bent the tubing so that the slide pointed directly from his face, 90 degrees to the right; the bell still pointed backward. "This way, all of the horn is inside the taxicab, safe from the elements. I can even play it while driving! I may even be able to get an extra tip or two from entertaining the passengers."
Herschel's prediction came true. He did earn extra tips, because his passengers enjoyed his music; they particularly liked his "Salute to Tommy Dorsey", his "Miff Mole Retrospective", and his medley of Billy Joel hits at 80 miles an hour. Besides, the music kept them from being terrified by his driving. And, because he could practice at work, he played much better on his gigs. More and more gigs came his way. He saved his money and was able to buy a home in the country, where he could practice as much and as loudly as he wanted. He did go back and visit Mr. Albertini whenever he had a fare in the neighborhood. In fact, one day, Herschel walked into the butcher shop, only to see Mr. Albertini sitting with a lady. When Mr. Albertini spotted him, he said, "Herschel, I want-a you meet-a my wife-a; she come-a back-a to me! Have a glass-a Chianti with-a us!"
Soon, Herschel was able to quit his job as a taxicab driver and open up a brass repair business, where he specializes in custom bending. His work includes all types of brass instruments, and his modifications allow them to be played in many different environmental situations, such as the shower, phone booths, and elevators. He is in heavy demand and commands a high fee.
As we move into 2004, all is good for Herschel. He is dating a contortionist that he met at a carnival. He is teaching her the business, and if everything goes as planned, she should be bending three days a week in the shop. They are a happy couple; drop in and see them sometime.
4. And last but not least! Apart from your brilliant answers to the above, please tell us just why you feel that you should win this contest.
I love the trumpet and all that one can do with it. I live for bebop, swing, and Dixieland music, more or less in that order, and I play in several different groups and improvisational situations. I maintain contact with my fellow trumpeters and enthusiastically talk about trumpet as much and as often as I can.
Trumpet has been a part of my life since, at four years old, I heard Ziggy Elman soloing on Tommy Dorsey records; I was hooked. I still listen to him when I need to have a swing fix. I have been playing continuously since 1966 and have owned almost every major brand of trumpet at one time or another.
Always in search of the trumpet that lets me best express myself musically, I have played medium, medium-large, and large bore horns. The closest that I have found to what I need is the Calicchio 1S2, but I have learned through the years that there can always be a better horn. I play mostly jazz and big band music, so I use a wide range of dynamics. I need a horn that allows me this option, while staying in tune, maintaining flexibility, and having good slotting. If an Eclipse Bb trumpet is such a horn, I would enjoy playing it and would not be shy about sharing my good fortune with others.
Thanks for letting me enter this contest.
Bob Strickland
strickla@airmail.net