Gene

I have a recently accquired well known reputable made Bb horn but would prefer not to mention the make as I need some pure advice and do not want to get into brand issues.

This horn has a great sound for me and plays very free and open from the mid staff down to F# below the staff. However, from the upper staff say E to C above the staff (my playable limit to date) the air seems to back up on me and the notes seem somewhat pinched. The horn is gold plated, .460 bore, and has a rose or red brass bell as opposed to yellow brass. My mouth piece is a Curry 5C. I really love this horn. Could it be that I need to get used to the 'blow' of this horn? Have had it for about a week.

Any thoughts or sugestions as to remedies for the upper end are most appreciated.

Thanks,

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Gene

TrentAustin

It could be an issue with your gap and mouthpiece matchup. I know when I have switched horns in the past a subtle mouthpiece "tweaking" has been needed to maximize the efficiency of the instrument.

Sometimes it also takes time to get into the slot of each instrument. I remember it taking some time for me to get used to my old Monettes when I played them. Once I adjusted to the blow I noticed a HUGE difference in terms of efficiency and resonance.

PM me if you'd like to discuss more offline. I've owned pretty much everything out there and could help you further.

-T

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Trent Austin
lurking around. If you want to chat PM me.
http://www.trentaustin.com
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rowuk

Gene,
you describe the "resistance" of the new horn above E, but not on your old horn. If your range stops dead at high C, you may have some breathing issues completely hardware unrelated. A good (or better) horn could amplify the "problem".
On the other hand, if you have just switched to a gold plated red/rose brass bell, the darker sound could be throwing your ears off. The subconcious attempt to "brighten up" the sound to match your old horn can also cause exactly what you describe.
I would give the horn another 4 weeks to a month of dedicated practice and then come back to us. Once your brain/ears are reprogrammed, everything could be perfect!
Let's not create a problem if there isn't one!

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Whenever I feel blue, I start breathing again.

Gene

Many thanks to you both.

My other Bb is a Getzen Custom 3051 silver plated with their heavy rose brass bell, a Ken Larson leadpipe, and valve job by Bob Reeves. The C above the staff is the highest note I can confidently play well at will. E and F above that get funky.... My goal for the highest note is G.... higher would be good but the G would be nice.

Believe you are correct and let's give it a few more weeks.

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Gene

Richard Oliver

Gene, I'm assuming Gene you're developing as a player or coming back to trumpet playing and have a good practice routine that address all the fundamentals on a daily basis, and you're circumspect about your practice.

Give it 18 months. Same horn. Same mouthpiece. The 18 months suggestion is arbitrary on part. I was aiming for a period of time that would give things time to "gel." Keep doing what you're doing. Keep developing those fundamentals out of Arban's or whatever method you prefer.

When we're new at it, EVERYTHING is developing (that is "changing). And apologies if I've assumed incorrectly.

Range has come as a result of the way I practice and what I practice I guess. I use Eric Bolvin's "The Arban's Method" and I toss in Clarke's "Technical Studies" too.

Keep Us Posted,

Richard

Gene

Thanks Richard. Your are correct re my status as a player. And I agree as to giving it more time. However my teacher for over two years independently confirmed my thoughts. She is a very accomplished pro and albiet Bach biased i.e. she plays a gold plated Bob Maloneized Strad. An awesome horn!!!

But too this was a new one to her as she is used to her Strad.

Thanks and here is hoping it all will come together. I really like everything else about this horn.

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Gene

Richard Oliver

I'm with you Gene!

Ya know, here's the dirty truth: I ignore range.

There's bigger fish for this guy to fry like using what ever mental and physical engergies and focus I have to see, "well some 16th note scales like in Arban's can begin to get muddy at about 88 on the metronome." At least, they did 4 mins ago, scale in D, staccato and sluring the first 2 sixteenth notes of the next figure. By the end of the week, if the last 4 months is an indicator, I'll have 'em around 92 to 100. At about 100, 104, 108, the non-tied figures can start fuzzying up.

With consistent application, maybe in 2 years, I'll be single tonguing at 120 with a nice, even, centered, gorgeous gold resonant sound with no fuzz or fur on the notes. I don't know. I won't know until 2 years rolls around.

Then there's the 2nd, 3rd, or 4th partials, I forget which at this second, on #25 p 45 that want to stop up a tad compared to the G to B 16th note slurs.

Then there's the chromatic triplets . . . "how can I have notes left over!!!" JB is done, but I've still got notes!!!!.

Yeah, the major scales, which I mentioned.

Then there's there's the Intervals on p. 125 that I touched on . . . who's the guy who keeps putting those little awkward peek-a-boo notes in there on some of the larger intervals??

Then there's p. 32 #28 - 29 more single tonguing staccato with Mr. Metronome. I think i'm going to change my name to Andante Al or Moderato Mo.

Lastly, there's the songs from The Art of Phrasing and the duets. The songs come as a joy and somewhat a relief to me. I don't know that I play them better than the foregoing, but I can hear them in my head . . . how pretty some of them are. This also happens in some of the etudes that modulate such as #28 and 29 above. And I get to work on endurance, phrasing a melodic line, attacks, articulation, resonance, the whole she bang. Of course, all of those are present in each exercise as well if I'll have the "eyes" and "ears" to see and hear them.

Ya know, this stuff does take quite a while.

Patient in Casper,

Richard Oliver

Gene

Yes Sir! Our choosen passion is far more than bent tubing, air in, three little buttons to play with, and air out....


Very well put Richard as well as "...then there is................................................ ............................... "

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Gene