The Lost Art Of Trumpet Design
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 | |  | Published by el*Loco on 30.10.2006 at 18:17. |
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This begs the question; Is it worth all the added physical difficulty and mental anguish to play a big, broad horn, simply because Fritz Reiner liked his Mahler symphonies tubby? Lately, I've been practicing with the Arban book on my 1939 Keefer.
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Trumpets, Cornets And Flugelhorns
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| | | Published by Tim on 30.10.2006 at 19:33. |
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Here at Oberloh Woodwind and Brass Works we take great pride in our work. All of us can honestly say we believe NO ONE ELSE in the Pacific Northwest does better trumpet restorations than we do! The Bach Stradivarius trumpets we restore will play, in most cases, better than brand new trumpets! We install brand new mouthpipes, and cut them to the exact Bach Stradivarius standards. We make completely new slide tubes if the originals are sub-par. We also make new valve caps, stems, buttons, and finger hooks, again to exacting standards. All of this work is done by hand at our facilities. These instruments will not only look excellent, but will play wonderfully for years to come!
Serial No.301XXX. If your gonna play in a college orchestra, you are going to need a decent C trumpet. Heavy wall, gold brass with real nice silver plate 100%. Original condition. Very minor dings. If you are serious about your playing, this is a excellent trumpet you should seriously considder. Fully serviced at time of sale . Comes with nice burgandy King zipper case (also in decent condition).
Serial No. 40XXX. Built in 1966. Original condition with great lacquer. Original numbered and dated factory registration card included. Spring loaded, first slide trigger If you are serious about your playing, this is a trumpet you should seriously considder. This is a very fine playing horn! . Comes with its original Bach case (also in fantastic condition).
Serial No. 235XXX. Built in the mid 1980s. Original condition with real nice silver plate 100%. Minor scratches and dings. Will be fully serviced prior to sale. First and third slides come with the hard to get, old style spring loaded triggers. A great trumpet for the serious player. Comes with its original Bach case (also in very good condition).
Serial No. 759507. Silver plated, very good condition. This is probably the biggest "sleeper" model out there. We were truly stunned by its quality of sound in addition to its comfortable playability.. A uncommon, late model but still a real classic, manufactured by F.E. Olds and Sons, Fullerton Calf. mid 70s, features a third valve adjustable slide, comes with a nice but lightly worn original hard shell case.
Serial No. 434XXX. Built in 1968. Don't confuse this trumpet with the modern lesser horn. It is in excelent original condition with nice bright silver plate 100%. Some minor dings and scratches. Original spring loaded, first slide trigger. A very high quality instrument from a great maker. Comes with its original hard shell case (good condition). Fully serviced prior to sale.
Serial No. 20XXX. Built in the 30s/40s. Original lacquer 75% . A very popular instrument in the early Bib Band days. This is a very difficult model to find. The valves have seen better days and are currently going through the rebuild process. A true classic. . Comes with its original Bach case (though a little worn, still in fine shape for its age).
Serial No. 184XX. Another well known and popular classic, manufactured by F.E. Olds and Sons, Los Angeles between 1939 and 1941, features first and third valve slide adjustable saddles, distinctive nickel silver accents, stylish side reaching water keys, and the attractive brass bell garland, comes with worn but servicable original hard shell case. Fully restored.
Serial No.102XX, Not a copy but a true late model French Besson trumpet. Gold lacquer has been refinished but not over polished, shows pitting around the valve block. The pistons show some ware but are still in good operational order. A solid playering instrument that could be made purfect with a little time and expense. These are getting more difficult to come by, so if you are looking for one, here is your chance. We will try to get images posted soon.
Serial No.49XXX, Built in 1891/92, Bright silver plated though a little worn, has not been refinished. We have made the needed repairs and rebuilt its valves. These are difficult to come by, so if you are looking for an affordable classic, here is your chance. Case not included.
Serial No.139634, Built around 1932, Solid sterling silver bell, Bright silver plated overall with gold plated engraving and bell interior. Has been cleaned but not refinished. An affordable American classic. Original brown alligator case and twm mpcs. and accessories included.
Serial no.36XXX, Brushed lacquer finish on a rather substantial five and and one half inch gold-brass bel. Brightly polished with clear lacquer valve and tuning slide assembly. Lite model This is a fine playing, hand made instrument and is a great choice for the soloist musician. Case not included
Serial no.35XXX, Brightly polished lacquer finish, two piece gold-brass bell with nickel-silver garland. Nickel-silver mouthpipe. Beautifully engraved bell and mouthpipe. Spring loaded trigger mechanisms on first and third slides. Beautiful dark sound, very responsive. Taylor's web site A fine, hand made instrument that can typically only be acquired by special order from the manufacturer. Case not included
Serial no.792XX, For the serious collector or someone looking for a true novalty of the past. Beautiful antique,silver plate with gold washed engraving and bell interior. Real nice condition for its age. 21.5 inches long with a 4.5 inch bell. Includes original case and mouthpiece.
Serial No. 1408. A very unique looking instrument based on the Benge, Claud Gordon model but put in a more compact configuration that possesses the tone and playability found only in the best of hand made brass winds. This instrument was made specially for its previous owner by Zig Kanstule and is a one off model with a .470" bore. Lacquered brass finish that has a few minor dents and scratches but for the most part is in nice condition. Case not included.
Having been a demo instrument, this fine (new) Czech made, rotary valve trumpet has very minor blemishes but is a bargain for the player looking for a decent, affordable horn of this configuration. Formed, plastic hard shell case and 7C mouthpiece included. we have two available.
This is the second of two (new) demo instruments, Czech made, rotary valve trumpet with very minor blemishes. It is a bargain for the player looking for a decent, affordable horn of this configuration. Formed, plastic hard shell case and 7C mouthpiece included. we have two available.
Wow! Even the case is cool with this horn! Click on the above picture for a shot of the case... George McFadden was a brass instrument maker in Syracuse NY. According the information on the bell, we figure this cornet was made between 1884 and 1889. Nickel plated, with wear on the valve casings and obviously the third slide crook has been replaced, but a overall a nice specimen!
Serial No. 11XXX. Model 24A (ML bore) This is a beauty! Notice in the picture that the valve section is moved closer to the bell, this was to make the trumpet more balanced, hence the name, when the mouthpiece was inserted. The balanceed model was most notably played by Harry James. This particular trumpet is in immaculate condition! The original lacquer is 90% intact and this horn plays great! Also comes with the original zippered case.
Serial No.704XXX. Beautiful original condition.Gold brass bell flair with nickel-silver stem and crook. Lots of nickel-silver on this trumpet! The lacquer is clear and completely intact, very nice late model instrument. Comes with original case also in great shape.
Serial No. 39XXX. Late 60's model in raw brass, the valves have been rebuilt. It's was missing the finger hook but we have installed a new one. Minor wear, a great classic trumpet from the early Elkhart era. Comes with a used but serviceable case.
Silver plated with a gold brass mouthpipe. It has a one piece hand hammered bell with a larg five inch flair. The large bore tuning slide and medium bore allows the instrument to produce a larger sound with less effort.. This is an excellent professional level horn. Great condition. Real nice Yamaha double case included
Serial no.752XXX, Large bore (.466''). Beautiful gold lacquer finish, LIKE NEW condition, no dents or cratches. Reverse mouthpipe tuning slide. Not completely sure, but this model was not available in North America or Europe and seems to only be sold in Japan. Real nice instrument though. Retails there for $2600. Case not included
Serial No. 259XXX. (1957) Lacquered finish with a beautifully engraved gold brass. The valves have been rebuilt and the instrument is in gorgeous condition. Lacquer 100% Spring loaded thrid slide trigger ring. New ProTec case included.
Serial No. 92XXX (1940's). Wow! This original lacquer trumpet is a real find! The lacquer is 95% intact! No dents, normal minor wear on the valve casing exterior, this horn has just had the valves rebuilt and is very responsive! Comes with the original hard case with the super cool alligator style leather exterior.
Serial No. 94XXX (1940's). This is NOT the Meha that you see so commonly today! This is an excellent trumpet of the vintage that so many players desire, the REAL DEAL!. The horn is just back from the plate shop where we had the valves rebuilt. This Meha has a nice open upper register, is flexible with presence, has no dents, the silver plating is 100%, no red rot and was restored here a couple of years back with loving attention paid to the details and extra care taken during the polishing process, must be played to be believed! Comes with hard case.
Serial No. 38XXX. A great playing horn in excellent condition! There is a little waear in the silver plating on the valve caps and also where the player's thumb rested against the first valve casing. Also a little repair scar where the pipe goes into the third valve casing, other wise there is no other damage. The S32 model has a ML bore and a ML bell.
Serial No. 87XXX. Practically new!! In GREAT condition! Very nice satin silver finish, with lacquered satin brass highlights. Features a first slide saddle and a third slide ring. Designed with the "jazz and light music" player in mind. Case not included
Serial No. 88XXX. Featuring the "Twin Tube" a double tube mouthpipe with reversed tuning slide, this horn has a nice direct focused sound. In new condition, scratches or dents, barely played! This horn also has heavy bottom valve caps. Case included.
Serial No. 21XXX (c. 1977). This silver plated honey is in good condition, there is a little wear in the silver plating near the mouthpiece receiver and on the first valve casing but nothing major at all. Has a third slide kicker with dump AND water key. The valves seal well and this horn plays great.
Serial No. 530XXX. This trumpet is relatively new and for the most part is in excellent condition. However, the first slide crook was replaced and is currently raw brass. We will be putting silver on that crook soon. This is priced to move! Comes with original case in very good condition.
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Wednesday, September 27, 2006
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| | | Published by Zero666 on 30.10.2006 at 10:52. |
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An extremely comprehensive volume for the serious musician moving easily from basics to advanced techniques. The text is based on over 40 years of professional experience writing for radio orchestras, theatre productions, jazz orchestras, brass bands and smaller instrumental groups.
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The Lost Art Of Trumpet Design
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| | | Published by Voidberg on 30.10.2006 at 14:47. |
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This begs the question; Is it worth all the added physical difficulty and mental anguish to play a big, broad horn, simply because Fritz Reiner liked his Mahler symphonies tubby? Lately, I've been practicing with the Arban book on my 1939 Keefer.
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Have We Seen The End Of Regional Styles?
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| | | Published by mobiusproject on 30.10.2006 at 15:31. |
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To the great players of that region. During the late 1970's and early 1980's, regional differences still seemed very pronounced in my mind. Each city had a different characteristic rhythm section style and feeling, and groups of horn players seemed to also share truly distinctive qualities. As I studied the great recordings, I could make the connections to what I was hearing in my travels: A Detroit trumpet sound,as heard in the styles of Marcus Belgrave, Thad Jones, Jimmy Cook, and today in Dwight Adams: A Chicago tenor style, exemplified by Von Freeman, Johnny Griffin, Clifford Jordan, John Gilmore and others: An Indianapolis hard-grooving swing,featured by the Montgomery Brothers, Slide Hampton, Freddie Hubbard, and now by Pharez Whitted: A laid back, almost countrified jazz style heard in Louisville
As jazz educators, we must be careful not to kill the very thing we love. The standardization of jazz teaching methods is,itself,very unjazzlike. We must also beware of reductionism in the teaching of jazz history. We, by consensus, have limited the players we ask our students to study and emulate to the few we have deemed to be the most important. It has become increasingly difficult to find distinguishable stylistic characteristics separating young, talented players.
Today's model most often has the venue managed by someone who has no knowledge of the music, whatsoever. His main concern is the bottom line. He accepts tapes and solicitation from all comers, and hires accordingly. Thus,a band of young players may find themselves working without having to meet anyone's expectations. They are left alone to learn the business and the music by themselves. This has resulted in an epidemic of musical relativism.
It's become increasingly difficult to pass the torch, as nobody seems to know which torch to pass. Politics and philosophy seem to be more and more at play. A young player no longer learns by observing the people in his community and attempting
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Improvising Melody
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| | | Published by Ruper! on 30.10.2006 at 23:39. |
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When jazz players play an improvised solo, they may use a variety of techniques. Sometimes players think of a scale that matches a particular chord sound and play notes of that scale. Other times, soloists may repeat phrases and licks that they have heard others use, and fit these licks to the chord changes. A player may also invent and memorize his own original melodic material and then insert it at the appropriate time.
As the student advances and gets further into the music,he or she will certainly do more and more listening to recordings of the greatjazz soloists. As awareness of the art of improvising grows, the student will become aware of the musical depth from which these jazz greats are working. The great improvisers operate on numerous levels at once, and they do much more than simply run scales or patterns, or play their favorite licks.
After listening to a great musician play a solo, I feel that something very special has been communicated to me. Each solo is unique, and it tells its own type of story. Beyond the personal feeling that each player may express,these solos are special because they have made meaningful musical statements.
Certainly, these players have all mastered their chords and scales, they all have great technique on their instruments,and they are polished performers. What makes their playing interesting is that it is always somehow different or new. In other words, they truly are IMPROVISING: making something up right at that moment to fit that situation.
It is not hard to make something up, or do something thathas never been done before. All it takes is a sense of adventure. It is, however, VERY HARD to make up something new that sounds really good, fits the changes and makes a lot of sense to the listener.
In many ways, great jazz soloists think like composers. After all, our typical process is to remove the composed melody from a tune, and improvise new melodies in its place. The beauty, shape, length,direction, harmonic accuracy and inventiveness of these improvised melody lines are some of the components that hold the listener’s attention, and that comunicate in a non verbal language.
When professional players get together and discuss soloists that interest them, they don’t say things like: "Wow, that guy really knows his scales!" or "Gee, she can really play fast!" What they say is more like: " He plays beautiful lines!" or "She can really tell a story!"
There are definite techniques used in improvising lines.These compositional techniques are very similar to those used by great composers in the classical world. There is a very distinct similarity between the melodic writing of J.S. Bach and the melodic improvising of Charlie Parker. The same principles of melody apply to each genre.
What does this mean? It means that we expect some sort of regularity in the sound of our music. When we hear that regularity, the effect is very pleasing and settling. When we do not hear it, it can create tension. Although we often use this tension on purpose, it is in the resolution of the tension that we enjoy its effect most.
1. Practice writing solos out. You can compose entire choruses on the tunes you are learning. Then you can play these solos. See if you can hear the chord changes going by as you play them unaccompanied. Try playing them in tempo with a rhythm section, or a play-along CD.
2. Practice improvising lines in this way, but do it at SUPER SLOW MOTION tempo. I mean REALLY, REALLY SLOW. See your pathway from one chord tone to the next, and choose a passing tone to fit between the strong beats. At first, strive for long,flowing lines. Continuity is important. Later you can work on doing it with good phrasing.
Once you learn to play lines, you can think about MOTIVIC DEVELOPMENT. A motive is a musical thought, complete within itself. This thought has a very definite beginning, middle and ending. The motive is defined by its shape, direction, duration and rhythm. People compare a motive to a sentence.
Strengthened. If you play a nice idea once, it sounds good. If you come back to it, it sounds great! It lets the audience hear a train of thought, and your solo will sound like iis coherently tied together – like you are telling a story. Believe me, people will hear and respond to this AND it will feel more meaningful to you. You will literally be making musical sense.
There are many compositional tools to help you develop your ideas. If you just keep repeating the same phrase, the same way, you will sound silly and quite possibly boring. That is why we strive for REPETITION WITH VARIATION. Any good compositional book or course can help you with these techniques. The big ones are:
Observe how the great melodic improvisers use rest as a part of their solos. They allow enough time to elapse, after they have played a phrase, for the listener to accept, hear,and digest that phrase. Sometimes, the space left for rest is equal to the space used in playing. It really adds clarity. Check out these recordings:
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Help Me To Find Buescher True Tone Trumpet Info Please
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| | | Published by haader on 30.10.2006 at 17:46. |
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Great Site!
Hi to all! I need to find any information about buescher true tone trumpet. Someone posted here about buescher true tone trumpet. It's all about buescher true tone trumpet. I'm very interested in buescher true tone trumpet. Please PM me the buescher true tone trumpet if you have some info. Thank You.
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