Other than braggin' rights, the only benefit I can see of diverting my fundamentals practice to screaming practice is to torment the squirrels in the attic. The most challenging (written, published) piece of music I have played so far tops out at a C above the staff. I respect and admire those who can scream a horn as usually it means they have achieved so much more on the instrument than just that one talent, but there is so much more for me to learn about this incredible instrument than trying to mimic a piccolo. If I feel the need to scream, I will lay my horn aside, open my mouth and let fly. My top is a D above the staff. Anything above that sounds like I'm slowly letting air out of a balloon. I'm still a neophyte and will keep pounding away on the fundamentals until I get it right. Then, if it happens...
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."
I just assume that register is for annoying the violas.
Getzen 850 Cornet
Yamaha Xeno C 8445
Bach Corp. 3C, Curry 3F, Curry 3DC. (cornet), Stork 5P
Bb: Courtois 305 "Elite", Holton Al Hirt Special (~1966), Benge 3x with Upturned bell (1973)
C: Bach C180-239 (Akwright conversion),
Cornet: Conn Wonder (1900)
Picc: Selmer Paris, ~1971
The ITG in Mass.....all the nut cases playing every high note they could hit.
One guy was trying mouthpieces near the Eclipse booth. He was just screaming double Cs. Really annoying.
He finally started playing the Haydn.
He MISSED the E flat EVERY TIME he played that section!!
But he could play the double C when he could huff and puff and just screech out a note.
The Willard of Oz
"Don't be afraid to see what you see."
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