1913 Conn Circus Bore Cornet
Early 1970s Getzen Eterna Flugelhorn
1972 Olds Pinto Bb Trumpet (Weird Horn!)
1969 Conn 38B Connstellation Bb Trumpet
I was playing once and afterwards, a little boy approached me and stated that he played the trumpet. I asked, "Do you play like I do?" and he replied, "I used to."
So a scat singer should not be singing 'doo-be doo-be do' but 'poopy poopy poo'?
Last edited by leftmid7; 12-13-2010 at 12:05 PM.
one that works with his hands - laborer
one that works with hands and head - craftsman
one that works with hands, head and heart - artist
Uh...to bring this thread back into focus (or, if you'll forgive me) to re-slot it:
If what is now called 'slotting' used to be known as 'centered'...
...and if well-slotted/centered notes have both the maximum number of overtones and the maximum impedance (resistance)...
...and because we all know from experience that playing 'in the slot/centered' takes less effort than playing a note bent up or down...
...then that suggests that a horn that slots/centers well provides for an optimal impedance match between the horn and the player...
...which really translates into maximum output for minimim input, resulting in (one of) the Holy Grails of trumpet playing: maximum efficiency.
So because efficiency is one of the keys to playing well and provides for better tone, greater projection, better use of air, less pressure, better endurance, etc., then a horn that slots/centers better will always be a superior and preferred instrument - right?
Last edited by Glennx; 12-13-2010 at 12:48 PM.
For the type of playing I do, I love horns that slot well. I can imagine a loose-slotting horn would be fine for jazz or certain solos, though, to "color" the notes.
It really depends on the intonation of the horn, and the setting. For example playing with a piano or other equal tempered instrument, a horn that is justly intonation and slots strongly will sound bad in some keys.
Brass bands, orchestras, jazz combos, all have just a little bit different style of tuning, so a horn that slots strongly in one context may not slot well in another, a loosely slotting horn maybe more versatile.
I also think it might depend on what you'd learned on. My horns are pretty bendy so a horn that won't let me play the note where I think it ought to be is not a horn I want to be playing.
Buescher Lightweight 400
Other Buescher horns 1939--1955
Al Cass 1-28 mouthpiece
Humes and Berg mutes
I've never had a horn I couldn't favor a note one way or the other to play it in tune with whatever was going on. I play mainly in the classical/concert band/brass band areas, and having horns that I don't have to think about centering on a note, especially on fast passages, is a plus. I generally know where any given note will be, and can intuitively compensate if a chord or key requires it. In my experience, most notes are spot-on with a good instrument that slots, which lets me concentrate more on musicality than intonation.
I think mouthpiece makes a huge difference. I have noticed that my jettone seems to have alot of bend to it. Last night I surprised my self and bent smoothly from a high G down to an E.
Likewise I seem to have problems distinguishing between a high G and high A and high B, they just slide around between the 7th 8th and 9th partials, not necessarily easier to play in tune IMHO.
With the Martin, there isn't any strong slotting that you have to fight, it's more adjustable, like singing. Maybe you need MORE FEEDBACK with a more open slotting trumpet.
Trumpets are for extroverts - Lee Morgan
Is the slotting different from horn to horn, person to person, mouthpiece to mouthpiece?
B&S Challenger II 3143/2 reversed lead-pipe
Yamaha Custom 16C4-GP
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