Double high C in 37 weeks???
Stefano
works?
Brian D Moon
I started on this book. It assumes some previous physical development in
order to play Double C this quickly and one weird idea that someone can go
from 1 to 25 chinups in just one month. Some people disparage this book but
I think it teaches the fundamentals very well. A little stupid to write in
the fingerings when the book is written for someone who has already played
for several years.
My brother followed the book about 40 weeks when he was 15. I have a tape
of him playing Maynard's "Ole" at that point. The notes are there (plays
the triple C in the cadenza) but he needed to finish the 37 weeks. After
the Ole performance he concentrated on bass. Go figure.
--
Brian Moon
Moon...@juno.com
matsup
into a daily routine. Mostly long tones.
Rob D
David Walker
"Stefano" <eb...@tin.it> wrote in message
news:8lbrft$2tp$1...@serv1.albacom.net...
> Did anyone ever heard about this method by a Roger W. Spaulding? Does it
> works?
>
>
that it's being touted again after so long. Back then, there were numerous
pro and semi-pro players hoping to sound like Maynard, and many took a
chance, bought the book, and found that their approach needed to alter too
dramatically for it to be viable, and most of those that endured lived to
regret it. If you are an established player you should leave it alone or
risk ruining your embouchure for good. The concept is based on a pucker, or
whistle-type embouchure, and requires a strict regime of exercise and wierd,
low (several octaves below register) flexibilities that will take you out of
action for more than 37 weeks. I have seen & heard guys play well with this
peculiar embouchure, but I know that they began their careers that way. Any
time you make a dramatic change to your usual chops style, you're asking for
trouble.
bugleboy
However, if you are struggleing to get perfect low F# to high C.
It may not help you.
Chances are it will quckly sleep in your bookshelp.
-----------------------------------------------------------
Got questions? Get answers over the phone at Keen.com.
Up to 100 minutes free!
http://www.keen.com
Papa Books
there is only one way to play high. PRACTICE PLAYING HIGH!
That doesn't mean go buy a shallow mouthpiece, that means work
on Clarke studies from low F# to the top of your range and back
down. DON'T FORCE ANYTHING!!! Here's a quote Vincent Chicowicz
told me, "If it were easy, everybody could do it. If it were
impossible, no one could!!" Any of this sinking in?
Michael Bookman, Jr.
Lead Trumpet Bigband
VISIT MY WEBSITE
http://www.fortunecity.com/tinpan/reprazent/938/index.htm
Brian D Moon
Brian D Moon
The exercises in this book cover the complete range of the trumpet.
--
Brian Moon
Moon...@juno.com
bugleboy <bugleboy...@myremarq.com.invalid> wrote in message
news:03c885ea...@usw-ex0104-025.remarq.com...
> It has a nice-to-know knowledge value.
> However, if you are struggleing to get perfect low F# to high C.
> It may not help you.
>
> Chances are it will quckly sleep in your bookshelp.
>
>
bugleboy
other excerices such as written by Clarke and other.
With a bit of imagination and improvisation, we can change Arban
for high note excercise.
I have a difficult time to believe all those high note players
used the dubba C in 37wks book.
There must be other ways or other credible excercise to achieve
dubba c.
Brian D Moon
There are other ways, and you can sit and think up your own exercises.
These are all laid out systematically which gives you a good gauge of your
progress from day to day. Clarke doesn't use long tones, pedals or anything
like the arpeggios of Spauldings.
Brian Moon
Moon...@juno.com
bugleboy <bugleboy...@myremarq.com.invalid> wrote in message
news:06608c00...@usw-ex0104-087.remarq.com...
matsup
recommendation of any type of embrochure. Not a single word appears that
addresses the embrochure in any way. I have found it a useful book. The long
tones in the first section can be a good part of a routine. I don't think there
is any risk of "ruining an embrochure for good". There are a LOT of pedal tones
in it though.
Rob D
David Walker wrote:
> "Stefano" <eb...@tin.it> wrote in message
> news:8lbrft$2tp$1...@serv1.albacom.net...
> > Did anyone ever heard about this method by a Roger W. Spaulding? Does it
> > works?
> >
> >
> The book was quite a big seller back in the seventies, and it seems strange
> that it's being touted again after so long. Back then, there were numerous
> pro and semi-pro players hoping to sound like Maynard, and many took a
> chance, bought the book, and found that their approach needed to alter too
> dramatically for it to be viable, and most of those that endured lived to
> regret it.
Sounds anecdotal.
Trayne102
>> that it's being touted again after so long. Back then, there were numerous
>> pro and semi-pro players hoping to sound like Maynard,
REALLY!? You make it sound like Maynard was the only one playing the altissimo
range of the trumpet.
>and many took a
>> chance, bought the book, and found that their approach needed to alter too
>> dramatically for it to be viable, and most of those that endured lived to
>> regret it.
"MOST OF THOSE THAT ENDURED"
Can you offer some examples of whom "Most of Those that endured" - are?
> If you are an established player you should leave it alone or
>> risk ruining your embouchure for good.
nice scare tactic! Totally uncalled for!
>The concept is based on a pucker, or
>> whistle-type embouchure,
really!?
>and requires a strict regime of exercise and wierd,
>> low (several octaves below register) flexibilities that will take you out
>of
>> action for more than 37 weeks.
I think you're referring to pedal tones, and by the way if done correctly are
extremely beneficial. Infact, pedal tones have been used by many teachers (ie
Carmine Caruso), and performers (ie Herbert Clarke)!
> I have seen & heard guys play well with this
>> peculiar embouchure, but I know that they began their careers that way.
This is the most ludicrous statement that I have ever heard. Based on this
statement, Rodger Spaulding's ideas are viable. First, you bash the man's
book, and then you write that you've seen player's incorporating these ideas
that actually "play well", and how do YOU know "they began their careers that
way"?
>Any
>> time you make a dramatic change to your usual chops style, you're asking
>for
>> trouble.
Another ridiculous statement! I know of hundreds of players who have made
"dramatic changes" to their chops style including myself who have more than
benefitted from the change.
I personally don't know what your problem is in relationship to Rodger
Spaulding's book, but it sounds to me that alot of your argument against not
utilizing the ideas presented in his book are foolish.
Any book ever written on trumpet playing can be detrimental to anyone, if
the reader misinterprets or misconstrues the author's ideas. I've seen
students get screwed up reading Reinhardts Pivot System, Carmine Caruso's
musical calisthenics for brass, Roger Sherman's Book, Costello's articles,
Steven/Costello Embouchure Method, Claude Gordon's Systematic Approach, and
even Clarke Technical Exercises. The bottom line is: If you have questions
or concerns about your playing or your embouchure, and you don't understand
the ideas set forth in a particular book, ASK a Qualified teacher!
Trayne102
Jerry Freedman Jr
"Stefano" <eb...@tin.it> wrote:
> Did anyone ever heard about this method by a Roger W. Spaulding? Does
it
> works?
>
ads - Emil Cantees. He was a hell of a player.. I don't know what
happened to him but he was impressive.
J. Freedman,Jr
--
Creation took 6 days because God didn't
have an installed base
Sent via Deja.com http://www.deja.com/
Before you buy.
Pops
Does the book work?
No book of exercises work if there is an embouchure, pressure or air
problem.
The problem has to be fixed.
And ALL books work if are are not any problems. Given the use of
intelligent practice.
You can't buy your playing ability. You learn it then you earn it.
Information about my trumpet & embouchure books.
http://www.BbTrumpet.com
Best wishes
Clint 'Pops' McLaughlin
bugleboy
Thanks. You have updated your HP. I like it. It's been quite a
while when I visited your site last time. Youe explanation about
embouchure is easy to understand.
However, all embouchure types, in my opinion, are not for double
high C or at least limit the production of it.
In your opinion, which embouchure will help a player reach
double high C fast assuming a player has no emboucher, air
support and pressure problems to his or her umbouchure type?
Charles Reace
Bbtr...@webtv.net ('Pops') wrote:
> [SNIP]
> No book of exercises work if there is an embouchure, pressure or air
> problem.
>
> The problem has to be fixed.
>
> And ALL books work if are are not any problems. Given the use of
> intelligent practice.
Kind of like the fine print in a lot of diet supplement ads: "When used
in conjunction with a low-fat diet and regular exercise program." B^)
--
Charles Reace (creace AT net-gate.com)
"Lotteries are taxes on people with poor math skills."
Brian D Moon
Right on.
--
Brian Moon
> The question was
> Does the book work?
>
> No book of exercises work if there is an embouchure, pressure or air
> problem.
>
> The problem has to be fixed.
>
> And ALL books work if are are not any problems. Given the use of
> intelligent practice.
>
Pops
problems?"
I studied and played 4 embouchures. I've had students ask that question
during a lesson. I then play a double c on each embouchure.
They all have a different approach to get there. And there is some
specialization.
But if you are looking for an embouchure just to play a note then I'm
the wrong one to ask.
Carlton will say the Maggio, Jerry will say Superchops, .......
The truth is that no embouchure is right for everyone. There are
physical differences that help some embouchures and hurt others.
If I have a student looking for a new embouchure I make them work on
breathing, support, relaxing and buzzing first. This makes a HUGE
difference in their playing.
So far I've not had a student who couldn't improve in each of those
areas. (My students are ALL adults. And most have degrees in music.)
After those areas were straightened out it was easier to fit them to the
right embouchure for them.
If you try to find an embouchure first then when the breathing.... is
corrected the embouchure may not be the most natural for that player. We
tend to compensate for what ever problems we encounter. All of those
compensations add up to inefficient playing.
There is a best embouchure for each person but not a best embouchure per
say.
jhi...@icubed.com
> > The problem has to be fixed.
> >
> > And ALL books work if are are not any problems. Given the use of
> > intelligent practice.
>
> Kind of like the fine print in a lot of diet supplement ads: "When
used
> in conjunction with a low-fat diet and regular exercise program." B^)
>
And the TV ads where Stryofoam is "part of this balanced breakfast".
Michael E. Schmidt
What a bunch of B.S.
Folks, this is simply untrue.
I can blow my lips off and if I lay off the horn for 2 days I have fresh
chops.
Band directors, most of them who are not even trumpet players used to tell
horn players not to march drum corps or you will lose your chops.
This is ignorance , pure and simple.
Your lips will heal no matter how much you burn them within a day or so off
of the horn.
Most so called embuchere problems are caused by either playing on the wrong
mouthpiece, playing musical mouthpieces or by incorrect playing.
While it is true that guys like me can not play a g above double super c all
day long, with the right horn and mouthpiece, if I warm up and play
correctly I can hit that note any day of the week.
Just because I blew my chops today , I will not be able to play well today,
for a few hrs at the most , it does not mean that my chops are ruined for
life.
Michael Schmidt
----------
In article <20000731112251...@ng-fq1.aol.com>, tray...@aol.com
Pops
I've had hundreds of people come to see me BECAUSE they tore a lip
muscle by playing incorrectly. These tears rarely heal.
I had one a few weeks ago that had a BM and MM in trumpet performance.
He blew his chops out during a gig a year ago. He played and sounded
like a beginner when he got here. His upper range had dropped from above
double c to 4th space e. His endurance was 10 minutes and after that all
buzzing stopped. His tone was extremely airy .
We spent a weekend looking for an embouchure / setting / mouthpiece that
might enable him to play. He was sounding like a so so high school
student when he left. Hopefully in a month or so his abilities will
flesh out.
I have helped players regain their chops FULLY after a trauma like that
and it is a LONG process.
I have also seen players who tore the muscle so badly that they NEVER
played again.
Even bruised lips start to lose power, endurance and flexibility if they
are not given enough time to heal fully before they are bruised again.
If you bruise your lips on a regular basis you ARE doing something
WRONG.
Greg Evans
> Saying that it is NOT possible to ruin your chops is NOT true.
>
> I've had hundreds of people come to see me BECAUSE they tore a lip
> muscle by playing incorrectly. These tears rarely heal.
Not to add fuel to the flames, but didn't something similar happen to
Freddie Hubbard, and he had to drop out for a few years?
Dr. Trumpet
<fluge...@mindspring.com> wrote:
> "Risk Ruining your embuchure for good"
> What a bunch of B.S.
What kind of language is this for a "Chaplain"?
> Folks, this is simply untrue.
Unless you were Louis Armstrong late in your life, and did it so many times you
ruptured the muscle of your lower lip, and could not play any more. Or Freddie
Hubbard, who still is suffering the after effects of embouchure problems from
this type of carefree activity.
> I can blow my lips off and if I lay off the horn for 2 days I have fresh
> chops.
> Band directors, most of them who are not even trumpet players used to tell
> horn players not to march drum corps or you will lose your chops.
A friend of mine who played a road show for two years was never the same after
it.........hard and fast rules do not apply in this instance.
> This is ignorance , pure and simple.
> Your lips will heal no matter how much you burn them within a day or so off
> of the horn.
No, not always. See above.
> Most so called embuchere problems are caused by either playing on the wrong
> mouthpiece, playing musical mouthpieces or by incorrect playing.
Which what is being described might be. Or, what playing 12 hours a day in a
corp could be, if done improperly. Hard and fast rules, again, do not apply.
> Just because I blew my chops today , I will not be able to play well today,
> for a few hrs at the most , it does not mean that my chops are ruined for
> life.
Talk to us in 20 years and tell us then.......of course, it will be too late for
you, and then someone just like your post above will write in to the NG and say
the same thing you're saying above, and you'll write to call them fools for
their reckless action. Maybe experience here is a better teacher than you allow.
Brian Moon
--
Brian Moon
Moon...@juno.com
> I started on this book. It assumes some previous physical development in
> order to play Double C this quickly and one weird idea that someone can
go
> from 1 to 25 chinups in just one month. Some people disparage this book
but
> I think it teaches the fundamentals very well. A little stupid to write
in
> the fingerings when the book is written for someone who has already played
> for several years.
>
> My brother followed the book about 40 weeks when he was 15. I have a tape
> of him playing Maynard's "Ole" at that point. The notes are there (plays
> the triple C in the cadenza) but he needed to finish the 37 weeks. After
> the Ole performance he concentrated on bass. Go figure.
>
> --
> Brian Moon
> Moon...@juno.com
>
Brian Moon
talks about a preference for a V cup mouthpiece.
--
Brian Moon
Moon...@juno.com
> I'm not touting this book as a be-all, but nowhere in it is there a
Brian Moon
Michael E. Schmidt
----------
In article <dr_trpt-spamfree-7D...@news.netdirect.net>, "Dr.
Trumpet" <dr_trpt-...@hotmail.com> wrote:
> In article <8mknri$bkm$1...@slb3.atl.mindspring.net>, "Michael E. Schmidt"
> <fluge...@mindspring.com> wrote:
>
>> "Risk Ruining your embuchure for good"
>> What a bunch of B.S.
*That statement offended you?
Truly you are joking right?
>
> What kind of language is this for a "Chaplain"?
> Well, if that offended you I am so , so sorry.
>> Folks, this is simply untrue.
>
> Unless you were Louis Armstrong late in your life, and did it so many times
you
> ruptured the muscle of your lower lip, and could not play any more. Or
Freddie
> Hubbard, who still is suffering the after effects of embouchure problems from
> this type of carefree activity.
>
>> I can blow my lips off and if I lay off the horn for 2 days I have fresh
>> chops.
>> Band directors, most of them who are not even trumpet players used to tell
>> horn players not to march drum corps or you will lose your chops.
>
> A friend of mine who played a road show for two years was never the same after
> it.........hard and fast rules do not apply in this instance.
well, playing a horn is a lot like weightlifting, that is who great
weightlifters like 9 time U.S. Powerlifting Champion George Herrin teach you
to rebuild torn muscles, not that they are blown out for life, I aint buying
into it.
It is true that you might have to lay off for a short time, and if you warn
up AND WARM down properly , that time will be very short.
>
>> This is ignorance , pure and simple.
>> Your lips will heal no matter how much you burn them within a day or so off
>> of the horn.
>
> No, not always. See above.
I Disagree, I play as high , hard and rough as you can play a trumpet, after
a day or two off of the horn, my chops are fresh, perhaps those guys were
not on the right mouthpiece, I never heard of someone playing on a Callet
whine about endurance.
>
>> Most so called embuchere problems are caused by either playing on the wrong
>> mouthpiece, playing musical mouthpieces or by incorrect playing.
>
> Which what is being described might be. Or, what playing 12 hours a day in a
> corp could be, if done improperly.
Bull Cowsywastie (Was that better)
Man, The old guys in corps blew their lips off and were right back doing it
day in and day out over and over again, mostso called embashure problems are
really AIRSTREAM problems, control the air and you control the range.
> Hard and fast rules, again, do not apply.
>
>> Just because I blew my chops today , I will not be able to play well today,
>> for a few hrs at the most , it does not mean that my chops are ruined for
>> life.
>
> Talk to us in 20 years and tell us then.......of course, it will be too late
for
> you, and then someone just like your post above will write in to the NG and
say
> the same thing you're saying above, and you'll write to call them fools for
> their reckless action.then for 23 years, I played lead at liberty and the Old
Time Gospel Hr and I blew my lips off so bad that at times I was knocked
right off unto the ground, this is a fact, not made up, it happened to me at
least 10 times where I played so high and so loud that I fell bight off unto
my (Beginns with a B but I better not say the word, dont want to offend you,
HA!!)
The next day my lips were freas, new, awesome.
I blew the walls back and never ever ever lost my chops.
I marched corps and had tone good enough to make first trumpet first chair
at Brookwood High School, one of the most respected bands in the state of
Georgia. Maybe experience here is a better teacher than you allow.
Brian Moon
weeks.
Brian Moon
Moon...@juno.com
"Brian Moon" <someo...@earthlink.net> wrote in message
news:TRFj5.26460$0W4.6...@newsread2.prod.itd.earthlink.net...
> Shoul d have said that my brother did the routine for 40 DAYS not Weeks.
>
> --
> Brian Moon
> Moon...@juno.com
>
Brian Moon
--
Brian Moon
Moon...@juno.com
> I marched corps and had tone good enough to make first trumpet first chair
Michael E. Schmidt
----------
In article <dr_trpt-spamfree-7D...@news.netdirect.net>, "Dr.
Trumpet" <dr_trpt-...@hotmail.com> wrote:
> In article <8mknri$bkm$1...@slb3.atl.mindspring.net>, "Michael E. Schmidt"
> <fluge...@mindspring.com> wrote:
>
>> "Risk Ruining your embuchure for good"
>> What a bunch of B.S.
>
> What kind of language is this for a "Chaplain"?
>
>> Folks, this is simply untrue.
>
> Unless you were Louis Armstrong late in your life, and did it so many times
you
> ruptured the muscle of your lower lip, and could not play any more. Or
Freddie
> Hubbard, who still is suffering the after effects of embouchure problems from
> this type of carefree activity.
>
>> I can blow my lips off and if I lay off the horn for 2 days I have fresh
>> chops.
>> Band directors, most of them who are not even trumpet players used to tell
>> horn players not to march drum corps or you will lose your chops.
>
> A friend of mine who played a road show for two years was never the same after
> it.........hard and fast rules do not apply in this instance.
>
>> This is ignorance , pure and simple.
>> Your lips will heal no matter how much you burn them within a day or so off
>> of the horn.
>
> No, not always. See above.
>
>> Most so called embuchere problems are caused by either playing on the wrong
>> mouthpiece, playing musical mouthpieces or by incorrect playing.
>
> Which what is being described might be. Or, what playing 12 hours a day in a
> corp could be
*It is Corps, and I do not know of any corps that has ever rehersed horns
that many hrs, that is impossible, besides, these corps warm up and warm
down, not to mention bop.
>, if done improperly. Hard and fast rules, again, do not apply.
>
>> Just because I blew my chops today , I will not be able to play well today,
>> for a few hrs at the most , it does not mean that my chops are ruined for
>> life.
>
> Talk to us in 20 years and tell us then.......of course, it will be too late
for
> you, and then someone just like your post above will write in to the NG and
say
> the same thing you're saying above, and you'll write to call them fools for
> their reckless action. Maybe experience here is a better teacher than you
BTW>
Who are you Dr Trumpet?
Do you have a name?
allow.
Scott Stephens
support, or pressure problems, then no embouchure is going to help as much
as fixing those. So what are some things you can do to identify air support
and pressure problems, and to help make them go away?
Scott Stephens
'Pops' <Bbtr...@webtv.net> wrote in message
news:13690-39...@storefull-115.iap.bryant.webtv.net...
gpmw99
the following, except in my case the range was G above high C,
and I managed to get myself into a state where the highest note I
could play was tuning C. It took twenty years to get the courage
to pick the horn back up. For the record, that is a long time
that could have been better spent learning to be a better trumpet
player.
George
Bbtr...@webtv.net ('Pops') wrote:
..
>
>I had one a few weeks ago that had a BM and MM in trumpet
performance.
>He blew his chops out during a gig a year ago. He played and
sounded
>like a beginner when he got here. His upper range had dropped
from above
>double c to 4th space e. His endurance was 10 minutes and after
that all
>buzzing stopped. His tone was extremely airy .
>
>
..
>Best wishes
>Clint 'Pops' McLaughlin
>
>
>
-----------------------------------------------------------
Pops
days I have fresh chops.">>
That's nice Michael. The problem is that pros NEED to be able to play
every day NOT every third day.
<<Michael also wrote "Time Gospel Hr and I blew my lips off so bad that
at times I was knocked right off unto the ground, this is a fact, not
made up, it happened to me at least 10 times where I played so high and
so loud that I fell right off unto my (Begins with a B but I better not
say the word, don't want to offend you, HA!!)
The next day my lips were fresh, new, awesome. ">>
That is the first time I ever heard of anyone bragging about using too
much internal pressure and falling.
It sounds like you need to learn about a forward tongue arch instead of
arching all up. Learning the right way to release the pressure would
help you too. As would learning about timed breathing so that you were
not in trouble and about to pass out.
Maynard blows his butt off EVERY night. He does NOT have to rest 2 days
to recover.
You are using WAY TOO MUCH pressure. Learn to use a closed aperture and
a lip set point. Then you won't need to damage your lips.
Michael from your own descriptions I would say that you are doing at
least a half dozen important things wrong. You've been lucky so far. But
even worse than torn lips is the possibility of a stroke. Playing until
you fell 10 times is headed in that direction.
WoW you have a LOT to learn !!!
Information about my trumpet & embouchure books.
http://www.BbTrumpet.com
Pops
90% of the people who come to see me need help with breathing... But 75%
have spread chops and use too much pressure. Some have both problems and
a few only the spread chops. But they are different issues.
I always work the breathing first. It is the easiest to learn and start
using. And it always makes a big improvement. But even when the
breathing is fixed the embouchure problems can remain. So they should be
addressed also.
How can you tell if you have a problem?
Well there are several different types of breathing problems. Too tense
makes the low notes sound poor. They should RING.
However some start off too tense and do not add enough to aid the upper
notes.
Every note in every register should have a clear full tone. Very easy to
see and hear the problem.
When I first went to 'Jake' I was 'playing' in symphony and lead in jazz
band. I had already long since switched embouchures from Farkas, to
Maggio to Stevens. With the Stevens I could 'play' super g at will.
My first lesson was a complete let down. I was only allowed to play
a simple lip slur from second line g to middle c. I was told that I
would need to learn how to breathe and when to use support.
He had me place my hand on my stomach and play the lip slur. I took a
breath turned the air around and played a supported g-c lip slur.
I was told not to use my abdominals on notes that low . He played a lip
slur with my hand on his stomach low c-g-c-g- high c. I felt no tension
at all until he went to high c.
What I learned was that there is enough pressure being applied already
to your ribcage in all directions from the air to properly support
low notes. If we think of letting a low g roll out of the bell of the
horn rather than blowing it out the sound is very free. Likewise a low c
might travel a few feet in front of us. A middle c would travel still
farther....
'Jake' advocated no abdominal pressure at all under middle c. This can
not happen as our muscle system is always under some tension but he
meant no extra intentional pressure.
This left more strength in reserve for the upper register. The higher
notes are to shoot out of the bell and drill a hole in the back wall of
the concert hall.
Was this simple lesson learned in an hour or a day? No it took a while
to stop kicking in my abdominals until I got over middle c. Even then to
learn the difference between some pressure and a lot of pressure took
more time. After all fourth space e does not need the kick high c does.
Pressure is easier to describe.
There are several senarios that can be seen here.
1 For some they remember the need to take a breath to accomplish a
register change. It is a chance to complete the embouchure shift.
Thousands of people do this without knowing that it is a shift. This
limits your overall playing. Why can they play some lead charts well and
others don't come out right? Some songs don't have breaks in the places
needed for the embouchure shift to take place. They change registers too
often or too fast. This works both ways a low setting not hitting the
top notes and a high setting not allowing the lower notes to sound.
2 For some there is a consistent but limited range. They play great from
low g to around high c ( I've seen some stall out at g on top of the
staff). For some reason no matter who they take lessons from or how much
they practice the range never really changes. This is really the same as
player 1 only he has not picked up the squeel setting yet.
3 This player is fine except the playing time is always limited. However
if high playing is involved then the time is shorter.
4 This player has a real problem with endurance. Some days with the
right warm up he can play fine. But other days if the warm up was wrong
the time limit is 20 - 30 minutes. If he pushes for it the next day is
bad. If he misses a couple of days he is lost.
Players 3 & 4 will sometimes talk about pumping up the
chops. And if they are pumped they play differently than normal. They
can feel yesterdays playing still affecting the lips 12, 24, sometimes
48 hours later. This is not pumping up it is swelling caused by bruising
the lips.
Player 4 is different in that he has to keep a certain amount of
swelling in the top lip to play at all. That's why a weekend off leads
to a bad day or two. They sometimes make a lump, knot, or flap swell up
to get the lips to buzz.
These are alike in that they are all using an open
aperture embouchure setting. They are not making the lips touch always.
Some like player 1 cheat by means of an embouchure shift. Player 2
accepts it and lives with it. Both 3 & 4 use mouthpiece pressure to
control the lip aperture.
The lip aperture is a result of the air. You start off with the lips
close and touching a rush of air forces them apart and forms an
aperture. The muscle tension tries to restore the normal touching and a
vibration is set up. If the lips are apart before the air is delivered
then pressure is used to make the lips close. The rim of the mouthpiece
presses the soft lip muscles into the teeth and continues to press until
they are flattened out and finally touch. This can be checked by using a
mouthpiece visualizer. If it is really used like you are playing.
However the above 4 playing types all describe the problem already.
How did this start?
Well some players part the lips when they take a breath. Others part
them as they place the mouthpiece. They stick the tongue through the
lips to moisten the lips and mouthpiece rim. The problem is they don't
make a mental effort to close the lips before the mouthpiece pins them
in place.
What is the cure for all of these problems?
Buzzing
Not with the mouthpiece but just the lips. It is 4 times harder. The
mouthpiece is a crutch it cuts the vibrating surface of the lip in half
and adds feedback. The portion under the rim and outside of the
mouthpiece can't buzz. Think about a guitar string when only half can
vibrate the sound is an octave higher. Also the mouthpiece adds some
back pressure from the backbore and throat bore. This helps to increase
resistance so you can play higher. When you buzz your lips the entire
surface gets a workout. That is why it strengthens your chops faster
than playing. ( This is an exercise to use for about 4 weeks to learn a
closed lip setting. This is NOT a life long practice.) Also no
mouthpiece means no mouthpiece preasure. That means no swelling, pain,
damage...
Lastly some players can not buzz their lips because they use too open an
embouchure. They depend on mouthpiece pressure to flatten out the lips
and push them together in order to play. These players need to make the
lips touch.
T
pressure playing style.. You have to use a correct embouchure.. If you
don't over time (IMHO 1 to 3 years) you will be going in
reverse, not forward.. & most will blame the "Gig".. Not True..
It's how you play the horn when you practice..
Our biggest enemy is our hands.. If you feel any muscles tighten from
your finger tips up.. Most likely your playing with some sort of
pressure.. I always try to not put the horn to my lips.. but the lips to
the horn.. Then_ Just_ Relax.. Let the horn play.. I also can feel the
sweet spot & stay with it .. Again IMHO, all of this is to be learned at
your practice session.. If your on the gig, it's tooooo late.. 1 of the
musicians in the audience will have your gig in a matter of months.. If
not sooner..
http://www.the-refrigerators.com/audio
T.
****
One little thing here that seems to keep returning is that if you have
air support, or pressure problems, then no embouchure is going to help
as much as fixing those. So what are some things you can do to identify
air support and pressure problems, and to help make them go away?
Scott Stephens
T.
Michael E. Schmidt
too big, or putting too much pressure against your lips from the mouthpiece.
Why?
I can pop a g above double super c with almost no pressure on the lips from
the mouthpiece, the pressure needs to be in the airstream behind your
teeth,jet the air, pressure the air, not your lips, don't push hard on the
lips against the mouthpiece, any horn player who pushes the mouthpiece into
his or her lips as hard as they can is NOT playing properly.
Michael Schmidt
----------
In article <tTFj5.26463$0W4.6...@newsread2.prod.itd.earthlink.net>, "Brian
Moon" <someo...@earthlink.net> wrote:
> It does address embouchure in the beginning (before the exercises) it also
> talks about a preference for a V cup mouthpiece.
>
> --
> Brian Moon
> Moon...@juno.com
>
Trayne102
at Brookwood High School, one of the most respected bands in the state of
Georgia"
BIG WHOOP!
Dr. Trumpet
> well, playing a horn is a lot like weightlifting, that is who great
> weightlifters like 9 time U.S. Powerlifting Champion George Herrin teach
> you
> to rebuild torn muscles, not that they are blown out for life, I aint
> buying
> into it.
It is all in an ITG Journal in the December,1982 and May, 1992 issues. The
muscles of the face are different. They do not rebuild as quickly as others.
There are other muscles that do not rebuild as well. Do the research before you
doubt the facts.
> It is true that you might have to lay off for a short time, and if you warn
> up AND WARM down properly , that time will be very short.
No, no, no. The musculature does not rebuild because of the playing process.
It continues to deteriorate. Read the articles, written by a doctor, and
including photos. Surgury is required in order to put the music back together.
The articles are by Dr. Jaime Planas in the December 1982 and May 1992 ITG
Journal, and detail this remarkably.
> Bull Cowsywastie (Was that better)
> Man, The old guys in corps blew their lips off and were right back doing it
> day in and day out over and over again, mostso called embashure problems
> are
> really AIRSTREAM problems, control the air and you control the range.
And, how many of those guys play now?
> then for 23 years, I played lead at liberty and
> > the Old
> Time Gospel Hr and I blew my lips off so bad that at times I was knocked
> right off unto the ground, this is a fact, not made up, it happened to me
> at
> least 10 times where I played so high and so loud that I fell bight off
> unto
> my (Beginns with a B but I better not say the word, dont want to offend
> you,
> HA!!)
And, you claim you don't have a problem? Come on, man. Wake up and smellt he
coffee.
> The next day my lips were freas, new, awesome.
Um, ok.......
> I blew the walls back and never ever ever lost my chops.
> I marched corps and had tone good enough to make first trumpet first chair
> at Brookwood High School, one of the most respected bands in the state of
> Georgia. Maybe experience here is a better teacher than you allow.
Experience is a fine teacher, but you know, the experiences you cite here to me
say nothing about a lot that I would ask. I ain't buying it Mike, and probably
won't ever, as you experience to me is contrary to the experience of nearly
every player I've ever know. Sure, air flow and focus make a huge difference,
but the bottom line is that regardless of the muscle condition, even pro
atheletes have aches and pains on a daily basis. Even pro athletes have
reoccuring injuries that never heal correctly without corrective surgury. And,
every pro athlete knows the value of cross-training, of time off the court or
the field, our of the weight room, and away from physical involvement in the
sport.
Trumpeters who work for a living can't afford two or three days off to recover
from the folly of "blowiong themselves out", and were you that experienced a
pro, you would know that.
AL
bugleboy
saying.
One: Get your own experience. Continually blow your trumpet
until you damage your muscles.
Two: Get testimonial from those who damaged their muscles.
It is important to know when to stop. It is like when to stop
drinking at bar. There are many every year who damage their
livers by too much drinking. Once your liver is damanged, it
would take a long time heel. It may never heel. So do the facial
mustles.
Woody Shaw
> at Brookwood High School, one of the most respected bands in the state of
> Georgia.
And we thought it was only old football players who talked about high-school
glory days.
jhi...@icubed.com
>
> And we thought it was only old football players who talked about
high-school
> glory days.
We went to an open house at our oldest kid's Vocational school before he
got kicked out. We couldn't get near the teacher all night because of
the fathers who had such wonderous tales of "back when I was in
Vo-Tech". Some people only get fatter and balder after high school.
-jim hickle
jhi...@icubed.com
Michael E. Schmidt
of the best and largest high school bands in Georgis, which has some of the
best high school bands in the country, as a matter of fact, Lassiter is even
better than corps like the Cotls.
BTW
This year Brookwood is installing large screen T.V.'s on its football field.
Is it any wonder the other high schools call Brookwood "Brookwood
University"
Michael S
----------
In article <8mpip7$f87$1...@ins22.netins.net>, "Woody Shaw" <kle...@fmctc.com>
wrote:
>> I marched corps and had tone good enough to make first trumpet first chair
>> at Brookwood High School, one of the most respected bands in the state of
>> Georgia.
>
Michael E. Schmidt
----------
In article <soug88...@corp.supernews.com>, "Scott Stephens"
<sco...@fuse.net> wrote:
> One little thing here that seems to keep returning is that if you have air
> support, or pressure problems, then no embouchure is going to help as much
> as fixing those. So what are some things you can do to identify air support
> and pressure problems, and to help make them go away?
>
> Scott Stephens
>
>
Michael E. Schmidt
----------
In article <1006e16e...@usw-ex0104-028.remarq.com>, Papa Books
<mwb1jrN...@aol.com.invalid> wrote:
> Does the book work? I can, depending on the player. I believe
> there is only one way to play high. PRACTICE PLAYING HIGH!
Wrong.
Learn to practice playing correctly, practicing the wrong techniques will
never help you play high, learn the right techniques and you can then
practice them and then you can play high.
> That doesn't mean go buy a shallow mouthpiece,
Wrong.
Playing a shallow mouthpiece wont guarantee that you can play high, but
playing to big of a mouthpiece will guarantee that you wont.
When I was at Liberty a very good trumpet player playing on a 1 1'2 c bach
thought hew was awesome when he couls play the g above high c on that thing,
he stopped thinking he was so awesome when I popped 2 octives above his
highest note on my Callet X5. that means work
> on Clarke studies from low F# to the top of your range and back
> down. DON'T FORCE ANYTHING!!!
Wrong, force the airstream in your mouth like a valve before that air comes
to the back of your teeth, but dont force your lips hard into your
mouthpiece.
> Here's a quote Vincent Chicowicz
> told me, "If it were easy, everybody could do it. If it were
> impossible, no one could!!" Any of this sinking in?
No, with the right mouthpiece, horn , and playing techniques playing high
notes is easy.
Go buy a Callet 468 horn and a X5 mouthpiece, read and learn super chops,
after a few months you will be poppin super c's.
Michael S
>
> Michael Bookman, Jr.
> Lead Trumpet Bigband
> VISIT MY WEBSITE
> http://www.fortunecity.com/tinpan/reprazent/938/index.htm
Michael E. Schmidt
----------
In article <dr_trpt-spamfree-C9...@news.netdirect.net>, "Dr.
Trumpet" <dr_trpt-...@hotmail.com> wrote:
> In article <8mn9vj$oeo$1...@slb0.atl.mindspring.net>, "Michael E. Schmidt"
> <fluge...@mindspring.com> wrote:
>> well, playing a horn is a lot like weightlifting, that is who great
>> weightlifters like 9 time U.S. Powerlifting Champion George Herrin teach
>> you
>> to rebuild torn muscles, not that they are blown out for life, I aint
>> buying
>> into it.
Well, we disagree, if it were not for working out an injury(After giving it
time to rest), I would not even be able to walk at all, my physical
theropist has me working out the torn up- messed up muscles in my feet -
ankles.
>
> It is all in an ITG Journal in the December,1982 and May, 1992 issues. The
> muscles of the face are different. They do not rebuild as quickly as others.
Well, I can blow my lip off and in 2 days my chops are 10-4, but I speak for
myself, I have not researched this, what and who holds opposing views?
If you do solid research then you should be able to present all of the views
on this subject, not just one or two sources, one or 2 sources will get you
an f in grad school.
>
> There are other muscles that do not rebuild as well. Do the research before
you
> doubt the facts.
How many sources have you researched?
Not that I have, but have you?
>
>> It is true that you might have to lay off for a short time, and if you warn
>> up AND WARM down properly , that time will be very short.
>
> No, no, no. The musculature does not rebuild because of the playing process.
Well, I disagree, and so does George, and also my physical theropist.
> It continues to deteriorate.
If it is abused, and not given time to recover, in bodybuilding , that time
isa 1-3 days max. Read the articles, written by a doctor, and
> including photos. Surgury is required in order to put the music back
together. This might be in a few rare extreme cases, where major abuse took
place, do to bad playing.
> The articles are by Dr. Jaime Planas in the December 1982 and May 1992 ITG
> Journal, and detail this remarkably.
>
>
>> Bull Cowsywastie (Was that better)
>> Man, The old guys in corps blew their lips off and were right back doing it
>> day in and day out over and over again, mostso called embashure problems
>> are
>> really AIRSTREAM problems, control the air and you control the range.
>
> And, how many of those guys play now?
Well., look and listen to these guys, look for them in the new your
skyliners, CorpsVets, and old pros like little doc and phil driscoll.
>
>> then for 23 years, I played lead at liberty and
>> > the Old
>> Time Gospel Hr and I blew my lips off so bad that at times I was knocked
>> right off unto the ground, this is a fact, not made up, it happened to me
>> at
>> least 10 times where I played so high and so loud that I fell bight off
>> unto
>> my (Beginns with a B but I better not say the word, dont want to offend
>> you,
>> HA!!)
>
> And, you claim you don't have a problem? Come on, man. Wake up and smellt he
> coffee.
>
>> The next day my lips were freas, new, awesome.
I am me, I do not try to be anyone else, I am a real person and a real
minister, I do not put on some kind of fake image,I am not perfect, Jesus is
perfect, I will go to heaven because of what Jesus did for me, not what I do
for Jesus.
>
> Um, ok.......
>
>> I blew the walls back and never ever ever lost my chops.
>> I marched corps and had tone good enough to make first trumpet first chair
>> at Brookwood High School, one of the most respected bands in the state of
>> Georgia. Maybe experience here is a better teacher than you allow.
>
> Experience is a fine teacher, but you know, the experiences you cite here to
me
> say nothing about a lot that I would ask. I ain't buying it Mike, and
probably
> won't ever, as you experience to me is contrary to the experience of nearly
> every player I've ever know. Sure, air flow and focus make a huge difference,
> but the bottom line is that regardless of the muscle condition, even pro
> atheletes have aches and pains on a daily basis. Even pro athletes have
> reoccuring injuries that never heal correctly without corrective surgury.
And,
> every pro athlete knows the value of cross-training, of time off the court or
> the field, our of the weight room, and away from physical involvement in the
> sport.
Well, how many days do pro body builders take to lay off a muscle, I know,
1-3, that is it, unless thay have a serious injury.
>
> Trumpeters who work for a living can't afford two or three days off to recover
> from the folly of "blowiong themselves out", and were you that experienced a
> pro, you would know that.
Well, I rarely take more than 2 days off in a row, you are right about that,
if I fail to practice I slide down hill on my playing ability.
I am an experienced pro with 15 years experience performing solo concerts.
Do you live near Georgia, why not come to one of my concerts or mini
concerts?
If not next year we plan to play outside of Ga some, mostly in the south
east.U.S.A.
I like these chats, we seem to learn a lot.
God bless you.
Michael Schmidt
Trumpet of the Lord Ministries, Dacula Ga
>
> AL
Jeff Wildman
"Michael E. Schmidt" wrote:
> I can pop a g above double super c with almost no pressure on the lips from
> the mouthpiece.
G above a DOUBLE SUPER C...is that an octave above double C?..and with almost
no pressure?...and then another pig flew by.
> .....[snipped] any horn player who pushes the mouthpiece into
> his or her lips as hard as they can is NOT playing properly.
This advice is coming from someone who recently bragged about closing his gigs
by fainting? LOL..does your mommy know that you are using her computer?
Michael E. Schmidt
----------
In article <20000731112251...@ng-fq1.aol.com>, tray...@aol.com
(Trayne102) wrote:
>> The book was quite a big seller back in the seventies, and it seems strange
>>> that it's being touted again after so long. Back then, there were numerous
>>> pro and semi-pro players hoping to sound like Maynard,
>
> REALLY!? You make it sound like Maynard was the only one playing the
altissimo
> range of the trumpet.
Well, Maynard is # 1 at that, Maynard id the standard.
>
>>and many took a
>>> chance, bought the book, and found that their approach needed to alter too
>>> dramatically for it to be viable, and most of those that endured lived to
>>> regret it.
>
> "MOST OF THOSE THAT ENDURED"
>
> Can you offer some examples of whom "Most of Those that endured" - are?
(Not my comment)
>
> > If you are an established player you should leave it alone or
>>> risk ruining your embouchure for good.
>
> nice scare tactic! Totally uncalled for!
>
>>The concept is based on a pucker,
Pucker, now that is a good way of putting it, put the pressure on the end or
outside of the lips, not the middle, I like that word, pucker.
> or
>>> whistle-type embouchure,
>
> really!?
>
>>and requires a strict regime of exercise and wierd,
>>> low (several octaves below register) flexibilities that will take you out
>>of
>>> action for more than 37 weeks.
>
> I think you're referring to pedal tones, and by the way if done correctly are
> extremely beneficial. Infact, pedal tones have been used by many teachers
(ie
> Carmine Caruso), and performers (ie Herbert Clarke)!
>
> > I have seen & heard guys play well with this
>>> peculiar embouchure, but I know that they began their careers that way.
>
> This is the most ludicrous statement that I have ever heard. Based on this
> statement, Rodger Spaulding's ideas are viable. First, you bash the man's
> book, and then you write that you've seen player's incorporating these ideas
> that actually "play well", and how do YOU know "they began their careers that
> way"?
>
>>Any
>>> time you make a dramatic change to your usual chops style, you're asking
>>for
>>> trouble.
>
> Another ridiculous statement! I know of hundreds of players who have made
> "dramatic changes" to their chops style including myself who have more than
> benefitted from the change.
> I personally don't know what your problem is in relationship to Rodger
> Spaulding's book, but it sounds to me that alot of your argument against not
> utilizing the ideas presented in his book are foolish.
> Any book ever written on trumpet playing can be detrimental to anyone, if
> the reader misinterprets or misconstrues the author's ideas. I've seen
> students get screwed up reading Reinhardts Pivot System, Carmine Caruso's
> musical calisthenics for brass, Roger Sherman's Book, Costello's articles,
> Steven/Costello Embouchure Method, Claude Gordon's Systematic Approach, and
> even Clarke Technical Exercises. The bottom line is: If you have questions
> or concerns about your playing or your embouchure, and you don't understand
> the ideas set forth in a particular book, ASK a Qualified teacher!
> Trayne102
Michael E. Schmidt
----------
In article <3990CC77...@hotmail.com>, Jeff Wildman
<Jef...@hotmail.com> wrote:
>
>
> "Michael E. Schmidt" wrote:
>
>> I can pop a g above double super c with almost no pressure on the lips from
>> the mouthpiece.
>
> G above a DOUBLE SUPER C...is that an octave above double C?..and with almost
> no pressure?...and then another pig flew by.JUST BEFORE the airstream comes
to the mouthpiece, use pressure in the airstream, not on the mouthpiece, you
really do not need excessive mouthpiece pressure to play above a super c
>
>> .....[snipped] any horn player who pushes the mouthpiece into
>> his or her lips as hard as they can is NOT playing properly.
>
> This advice is coming from someone who recently bragged about closing his gigs
> by fainting
No, I never fainted in a gig,except for one time in the antiphional brass
when I almostat a parents day .
> fell over the balcony after fainting, and I fell to the ground once this was
in rehersal when I was really pushing the envelope, not just for me a as
horn player, but as a horn player period.
I was 31 then, I am 37 now, I am not even in good enough shape to play like
that again.? LOL..does your mommy know that you are using her computer?
I am 37, my mommy says that she can not believe that I play as well as I
can, she heard me before I was as good as I am now, for many years.
Michael E. Schmidt
----------
In article <527-398...@storefull-117.iap.bryant.webtv.net>,
Bbtr...@webtv.net ('Pops') wrote:
> <<Michael wrote "I can blow my lips off and if I lay off the horn for 2
> days I have fresh chops.">>
>
> That's nice Michael. The problem is that pros NEED to be able to play
> every day NOT every third day.
>
I play 6 days a week, but most of my gigs are on Sunday, that is true, I do
not perform as many days in the week as these guys do, but I dod whaen I was
in corps.
>
> <<Michael also wrote "Time Gospel Hr and I blew my lips off so bad that
> at times I was knocked right off unto the ground, this is a fact, not
> made up, it happened to me at least 10 times where I played so high and
> so loud that I fell right off unto my (Begins with a B but I better not
> say the word, don't want to offend you, HA!!)
> The next day my lips were fresh, new, awesome. ">>
>
> That is the first time I ever heard of anyone bragging about using too
> much internal pressure and falling.
I was not bragging, but for about a week of so period when I was really
cranking it, I mean way loud, way way way loud, id did happen, I wonder
why, it was not fainting, it was gatting knocked off my can like a boxer hit
me.
>
> It sounds like you need to learn about a forward tongue arch instead of
> arching all up.
I dont use a arch up, I quit doing that in 1991.
My tongue is very low, flat these days. Learning the right way to release
the pressure would
> help you too.
I have always released pressure bell tone or corps style, by stopping the
airstream, not with the tongue.
> As would learning about timed breathing so that you were
> not in trouble and about to pass out.
Well, I was the only lead, noone could have shared these parts, high , loud,
powerful, outdoors.
>
>
> Maynard blows his butt off EVERY night. He does NOT have to rest 2 days
> to recover.
This proves my point.
I only said to lay off the horn if you had to, if you hurt your lips, etc,
besides , their are times when even great players like maynard cant play,
even though they try, zip, nothing, at laest for a short period.
>
>
> You are using WAY TOO MUCH pressure.
Well, how else can you get that type of range and volume.
I was poppin c's the octive above super c left and right, the air pressure
is where that range came from.
> Learn to use a closed aperture and
> a lip set point. Then you won't need to damage your lips.
>
> Michael from your own descriptions I would say that you are doing at
> least a half dozen important things wrong. You've been lucky so far. But
> even worse than torn lips (I dont see how, this has never been a problem, I am
not using a lot of pressuer on my lips, almost none)is the possibility of a
stroke. Playing until
> you fell 10 times is headed in that direction
Well, that was 6 years ago, I do not have to play like that anymore, I use a
board to comtrol my volume..
You are right about that, playing like that might cause a stroke, esp for a
guy like me who is a little overweight.
It is scarry, I wonder if any studies have ever been done to corelate range
playing to strokes, frightning.
>
>
> WoW you have a LOT to learn !!!
I learn every day, that is why my range is awesome, most of these things
that I do are not original.
Michael E. Schmidt
----------
In article <12494-39...@storefull-115.iap.bryant.webtv.net>,
Bbtr...@webtv.net ('Pops') wrote:
> Saying that it is NOT possible to ruin your chops is NOT true.
Perhaps I went too far, but if you use the right warm up, warm down and
mouthpiece it will be slim to none, if ever, and at best very rare, I wonder
how many of these guys warn down, you MUST warm DOWN .
>
>
> I've had hundreds of people come to see me BECAUSE they tore a lip
> muscle by playing incorrectly. These tears rarely heal.
>
> I had one a few weeks ago that had a BM and MM in trumpet performance.
> He blew his chops out during a gig a year ago. He played and sounded
> like a beginner when he got here. His upper range had dropped from above
> double c to 4th space e. His endurance was 10 minutes and after that all
> buzzing stopped. His tone was extremely airy .
What mouthpiece was he on?
If you know how to hit those notes, how could you not repeat the process,
unless like you said, he was doing somthing that totally messed uo his lips,
but still, he should have rwcovered.
>
> We spent a weekend looking for an embouchure / setting / mouthpiece that
> might enable him to play. He was sounding like a so so high school
> student when he left. Hopefully in a month or so his abilities will
> flesh out.
>
> I have helped players regain their chops FULLY after a trauma like that
> and it is a LONG process.
>
> I have also seen players who tore the muscle so badly that they NEVER
> played again.
>
> Even bruised lips start to lose power, endurance and flexibility if they
> are not given enough time to heal fully before they are bruised again.
> If you bruise your lips on a regular basis you ARE doing something
> WRONG.On that we agree.
On that we agree
Michael E. Schmidt
----------
In article <13690-39...@storefull-115.iap.bryant.webtv.net>,
Bbtr...@webtv.net ('Pops') wrote:
Eirik Solheim
meldingsnyheter:12494-39...@storefull-115.iap.bryant.webtv.net...
> Saying that it is NOT possible to ruin your chops is NOT true.
>
> muscle by playing incorrectly. These tears rarely heal.
This is correct. In fact they never heal completely.
Repair consists of the replacement of dead cells by viable cells. The
problem is that muscle cells have a very poor capacity to regenerate. Thus,
loss of muscle is replaced by scar tissue, lacking the elasticity and
contractility of normal muscle. This leads to reduced function of the
muscle, e.g., heart failure after myocardial infarction.
The muscles of the face are small and delicate. Even if you with diligent
practice can increase the strength of the remaining muscle tissue (of a torn
lip), the scar tissue will forever change the mechanical properties of the
tissue (make it less flexible).
Eirik Solheim, MD
OldTimer
says...
> Well, I am proud of being an alumni of Brookwood Highschool, which has one
> of the best and largest high school bands in Georgis, which has some of the
> best high school bands in the country, as a matter of fact, Lassiter is even
> better than corps like the Cotls.
> BTW
> This year Brookwood is installing large screen T.V.'s on its football field.
> Is it any wonder the other high schools call Brookwood "Brookwood
> University"
> Michael S
I think we just found some competition for Bookman.
kirk reeves
I fine big mouthpieces improve both my tone and range. If I could I would play
with a tuba or trombone mouthpiece. I tried them and those mouthpieces I can
buzz. I can't buss a trumpet mouthpiece. I used the biggest thing I could find
a Schilke 24 and a Monette BLXWD and think they are still too small for me.
As for pressure, yes pressure can hurt. Here is a simple test
Take a mouthpiece and play. If you feel any sort of discomfort
stop. Change the pressure then change the mouthpiece if necessary. Chance are
you are hurting yourself.
As for playing high I can't play above high c and I don't want to. (Actually, I
probably can play above high c I think I can do a high f but I still don't want
to. Why? Because it won't be necessary for the type of playing I have in
mind. I want to play funny. High notes while impressive to some simple aren't
funny
Petal Tones -- NOW THAT'S FUNNY! Play something screeching high and then play
it in the petal tone range guess which will get the laughs.
"Michael E. Schmidt" wrote:
> You will bruise your embouchere if you are playing on a mouthpiece that is
> too big, or putting too much pressure against your lips from the mouthpiece.
> Why?
> I can pop a g above double super c with almost no pressure on the lips from
> the mouthpiece, the pressure needs to be in the airstream behind your
> teeth,jet the air, pressure the air, not your lips, don't push hard on the
> lips against the mouthpiece, any horn player who pushes the mouthpiece into
> his or her lips as hard as they can is NOT playing properly.
Michael E. Schmidt
----------
In article <MPG.13fb925a9...@news.us.dell.com>, OldTimer
<plan...@upstream.net> wrote:
> In article <8mqi66$p6m$1...@slb6.atl.mindspring.net>, fluge...@mindspring.com
> says...
>> Well, I am proud of being an alumni of Brookwood Highschool, which has one
>> of the best and largest high school bands in Georgia, which has some of the
>> best high school bands in the country, as a matter of fact, Lassiter is even
>> better than corps like the Colts.
>> BTW
>> This year Brookwood is installing large screen T.V.'s on its football field.
>> Is it any wonder the other high schools call Brookwood "Brookwood
>> University"
>> Michael S
>
> I think we just found some competition for Bookman.
> Who is Bookman?
Michael E. Schmidt
----------
In article <3991D822...@uswest.net>, kirk reeves
<workin...@uswest.net> wrote:
> Actually, If the mouthpiece is right for you, there is no size "too big"
\The why not insert a tuba mouthpice, custon fit for your horn?
It wont work.
>
> I fine big mouthpieces improve both my tone and range.
Untrue, they might improve your tone if you are wanting a "traditional "
tone or sound , but seldom if ever your range.
What is your range? If I could I would play
> with a tuba or trombone mouthpiece. I tried them and those mouthpieces I can
> buzz. I can't buss a trumpet mouthpiece. I used the biggest thing I could
find
> a Schilke 24 and a Monette BLXWD and think they are still too small for me.
Well, if you are not a trumpet player, and are say, a trombone player, any
trumpet mouthpiece will seem small , and will take time to get used to, it
takes time and practice to make a trumpet sound good.
>
> As for pressure, yes pressure can hurt. Here is a simple test
> Take a mouthpiece and play. If you feel any sort of discomfort
> stop. Change the pressure then change the mouthpiece if necessary. Chance
are
> you are hurting yourself.
>
> As for playing high I can't play above high c and I don't want to.
MOST KIDS DO NOT NEED TO play above the high c, why? (Actually, I
> probably can play above high c I think I can do a high f but I still don't
want
> to. Why? Because it won't be necessary for the type of playing I have in
> mind.
I agree
I want to play funny. High notes while impressive to some simple aren't
> funny
and usually arent needed, and can annoy people if not played well...
kirk reeves
"Michael E. Schmidt" wrote:
> ----------
> In article <3991D822...@uswest.net>, kirk reeves
> <workin...@uswest.net> wrote:
>
> > Actually, If the mouthpiece is right for you, there is no size "too big"
> > The why not insert a tuba mouthpice, custon fit for your horn?
> >> It wont work.
I know. But I can dream.
> >
> > I find big mouthpieces improve both my tone and range.
> > Untrue, they might improve your tone if you are wanting a "traditional "
> > tone or sound , but seldom if ever your range.
> > What is your range?
My range is from Petal "C+" to High "F" if I force myself (and I don't even like
going above high 'C")
As for the Dubba C, I can't go that high and I don't want to. Let Maynard impress
you.
Me, I came late to this game so I know I won't be able to compete with the people
who been playing forever. My aim is different. I want to play cartoon music.
There means I have to be able to read perfectly and fly through anything they give
me and make sound funny.
My teachers (who are world class players) when I tell them I want to play cartoon
music just shake their heads and say That music is HARD!!! You think screaming out
high notes is hard
> If I could I would play with a tuba or trombone mouthpiece. I tried them and
> those mouthpieces I can buzz. I can't buss a trumpet mouthpiece. (at least not
> comfortablely) I used the biggest thing I could find a Schilke 24 and a Monette
> BLXWD and think they are still too small for me.
> >Well, if you are not a trumpet player, and are say, a trombone player, any
> >trumpet mouthpiece will seem small , and will take time to get used to, it
> >takes time and practice to make a trumpet sound good.
Actually I didn't start out playing any instrument. Three years ago I never touch
any musical
instrument. But as I grew and progress, I came to learn what is right for me. When
I started
I used on a Bach 1x (And that is considered fairly big) But until I switched to
bigger, I didn't have much range maybe from low c to middle c. But as I went from
bigger to bigger I found I could open up more and sound better and perform longer
and my range increase.
What is right for me would probably be wrong for others. I find a big mouthpiece
works for me because I play far differently than 99.9% of you. Instead of buzzing,
I whistle through my horn. The horn amplify the note of the whistle and what comes
out is really really nice! Yes, I used to buzz, I did it for just under two years.
My teacher noticed I was having trouble with range and told me to play "G" on the
staff 10,000 times. Around number 3,000
I decided I decided there must be an easier way than buzzing and so experimented and
found it by whistling. Whistling is more natural to the mouth then buzzing.
Instead of being any to
play only an hour, I could play six hours (and I do) and not feel tired at the end.
This required a complete embouchure change. Instead of playing with my lips closed
for buzzing
My lips are open in a circle for whistling
> >> You will bruise your embouchere if you are playing on a mouthpiece that is
> >> too big, or putting too much pressure against your lips from the mouthpiece.
Well to whistle through the horn, you CAN'T use pressure . You just need to make
sure the horn is pressed just enough to your lips so there are no leaks and all your
breath stream goes into the horn. Because I was using a buzzing technique in the
beginning, this is the hardest for me to remember. I have to constantly say to
myself: Kirk -remember to just whistle. Don't
go back to buzzing. It is time to break that habit.
If I whistle there's is no pressure and there is no way I am going to hurt myself
Ed Grant
"kirk reeves" <workin...@uswest.net> wrote in message
news:399341ED...@uswest.net...
Michael E. Schmidt
mouthpiece cup"
-Jerome Callet
----------
>From: kirk reeves <workin...@uswest.net>
In article <399341ED...@uswest.net>, kirk reeves
<workin...@uswest.net> wrote:
>
>
> "Michael E. Schmidt" wrote:
>
>> ----------
>> In article <3991D822...@uswest.net>, kirk reeves
>> <workin...@uswest.net> wrote:
>>
>> > Actually, If the mouthpiece is right for you, there is no size "too big"
>> > The why not insert a tuba mouthpice, custon fit for your horn?
>
>> >> It wont work.
>
> I know. But I can dream.
>
>> >
>> > I find big mouthpieces improve both my tone and range.
>
>> > Untrue, they might improve your tone if you are wanting a "traditional "
>> > tone or sound , but seldom if ever your range.
>> > What is your range?
>
> My range is from Petal "C+" to High "F" if I force myself (and I don't even
like
> going above high 'C")
No a good day I can play 3 octives higher thatn that, on a bad day I can
tell you about my good ole days, HA!!!!
>
> As for the Dubba C, I can't go that high and I don't want to.
Cant blame you, why strain your chopps for no reason, the whole time I have
ever played the trumpet, I bet I have only seen written music above super c
a few times, it is very rare.
> Let Maynard impress
> you.He does, he playes great , always has.
>
> Me, I came late to this game so I know I won't be able to compete with the
people
> who been playing forever. My aim is different. I want to play cartoon music.
> There means I have to be able to read perfectly and fly through anything they
give
> me and make sound funny.
>
> My teachers (who are world class players) when I tell them I want to play
cartoon
> music just shake their heads and say That music is HARD!!! You think screaming
out
> high notes is hard
Play what God tells you with his small still voice in your heart to play,
why play or do or be like everyone else, I am not doing that.
kirk reeves
I figure this is the time to ask for help in sorting out the many experiences I had
playing the
trumpet this year. So I will just relate what happen and you can give me your take.
First I am not religious. Religion and/or a belief in God gotten beaten out of me
in my teen years in the environment I grew up with. Not being religious you can
imagine my confusion
when I wake up one day and everybody is shouting "IT'S A MIRACLE!"
About a year ago, I go to bed. Before I go to bed I write since I am working on a
book about physics and magic. The physic question I ask myself how can I use
energy like light and sound and convert it to energy I can use as a human being. So
I take out my horn and
start playing the scales. While physically my range was very limited, I know about
the
law of the octave and to play higher you have to use more energy. So for the higher
scales beyond my physical ability I use my imagination to go far higher. Pretty
soon the sound energy changes into light energy. (As as aside do you realize a
rainbow is nothing more than a musical scale. Only instead of the frequency level
being in the low wave sound level it is at the faster light wave speed.) All this
energy I trying to generate into higher and higher scales
I am trying to channel back into myself. (Read Tesla work on resonance if you can
get past the math for more info)
The last thing I remember it a was playing a rainbow and I black out.
The next thing I know I wake up in the hospital. And I am cursing myself out good
because I thought I knew physics and just working on a physic equation shouldn't put
you in the hospital
Anyway a Doctor comes along and sees I am awake and the first thing out of his mouth
is
YOU'RE AWAKE! IT A MIRACLE!
I take one look at the do. And because of the lighting and the fact I am not
wearing my glasses his beard look purple. Thinking he as free-thinking as some of
the musicians. I've been hanging out with I say: "Cool! A purple beard"
The doctor then starts looking at me worried. "You think my beard is purple?
I said "Wait, let me turn on the light and get my glasses. Then I see his beard
instead of being purple is reddish brown. It was just a trick of the light
But the doctor is worried and start asking me dome diagnosis questions
Do you know where you are? He asks
I'm in the hospital. I think it is the hospital at 21st and Lovejoy.
You are in the Intensive Care Unit at Good Samaritan Hospital. You were in a
Diabetic Coma. Your blood sugar when you were admitted was at 1783 and it climbed
to over
3000. You were in the coma for ten days. Now to me, those numbers were meaningless
because I didn't know I was a diabetic. I decided to ask about the coma.
So I was in a coma, did I do anything special like talk?
Oh you did more than talk. You were playing the trumpet and trying to pick the
nurses.
Oh really! I didn't know you could play the trumpet in a coma.
Neither did we. (Later I was told at least three papers were written up by various
doctors
because I broke all sorts of rules)
Anyway other came by shouting "It a miracle!" I didn't shouting was about about but
if they said I was sick I figured I should try to heal myself. The best way to heal
yourself is by laughter. So I started watching the cartoon network and taking out
my trumpet and playing about to Warner Brother cartoons and Acme Hour, and Little
Toot, and Dexter's Laboratory
and the dixieland swing to Hanna Barbara cartoon, and early Betty Boop cornet music
That music is HARD. Especially if you've a novice and trying to keep up. But even
through
it is hard it happy music. And it was helping to heal me. And others. While in
the hospital
I had a dream. My room was full of people. They told me to keep up my playing.
I ask you were they? They said they were the guardian angels for various people in
the
hospital and my playing was helping to heal their companions. Now I am not
religious
but I hang out with with musician and so I should be open minded. So if somebody
tells me they are a guardian angel, I'll believe you. As just as you don't try to
shove any sort of religion on me, we'll get along fine.
They told me: There is a tremendous amount of misery and pain and someone who can
make other laugh and heal them either by writing or music has a tremendous gift.
And that is why you are still here. This world needs as many people who can make
other happy as it can.
I said: But I am not very good. If you seen how many times I've bombed on stage or
my unpublished books or heard me play when I was playing bad and proud of it, you
know I'm
I'm not making many people happy.
But you'll get there. In fact you already are there. You have been playing
extremely well while you are here in the hospital.
And I admitted I had been playing the best I had up to that time. (I've gotten
better)
Still it wasn't until my trumpet teacher visited me until I realize just how lucky
was. He is a diabetic too. I opened up the conversion with
I guess I am a trumpet player since I was in a coma and trying to play the trumpet
and pick up the nurse. But I really don't understand why I am in the hospital.
"You were in a coma" he said "That reason enough. What was your blood sugar?"
They said it was just over 3,000. Is that good or bad?'
"GOOD LORD! You had a miracle! You should dead! Then he explained about diabetes
and my seeing guardian angels and we talked about God. After getting the facts, I
had to agree it was a miracle. Which left me to wonder why. I still am not
religious. I look back on this and have a sense of wonder and puzzlement.
What started a little over a year ago, still goes on.
Just tonight, I had a dream involving trumpets and spirituality. If you look at
religious artwork, you see an awful lot of angels blowing trumpet. In the dream I
was watching people have their souls destroyed and then taken. Anyway I watched
people sign over their souls for the smallest piece of change because life had
beaten them down. I was to get them out of the contract because they signed it
under fraud. And a contract signed under void is
void.
The fraud part of the contract was if you believed in damnation or hell or worse,
your soul was no longer your own. But even in the worse hell, you own your soul
and no one else does. That is what is meant by free-will. And having exclusive
rights to your soul means if you find yourself in hell you can escape and find your
own heaven. All it will take is courage
Then I would offer them a difference contract. One where their souls were their and
instead of getting small change they got get whatever they wanted riches, fame, true
love - the big dreams. The contract I offered all that but there were several
causes. First you could have what you wanted but instead of it being given to you,
you would have to work at it and work at it for years. Then I would show them how I
was learning to play the horn, and I used my horn to heal their souls like I did
while I was in the hospital
The other part of the contact was if their dreams came true they would have to take
the time
to find at least one other and help them like I was trying to help and heal them.
In other word to be an angel that grant wishes. I was helping them because I have
to forfill the second part of a similar contract I signed
What did I get? I got good karma and the knowledge of how to be a hero in hell.
But I am no angel. I don't have thing different from any other human being. Notice
I did not say I was not magical. My magic lies in how fast I am learning the trumpet
and my writing and my ability to make people laugh and think
So I went through all this and feel no more religious then before it happen. What I
am trying to do it sort it out. I have said I am not religious, it got beaten out
of me by a street gang.
I think I should be religious but don't know how. Part if the reason is I don't
know if can put my trust enough in it to trust my life. You might say: But you
already had your life saved by prayer. That may be true but I have to ask myself
then: Why are so many people killed in the most brutal way and they are praying to
live. Me, I wasn't praying. I don't know how anymore. But other do, and if they
pray for me that's ok. I am open minded. I may not know how to pray but I know the
power of belief and if someone express it through prayer, I respect that.
Anyway, I am not asking for prayer but I am asking for understanding. So any
comments, feelings whatever will be welcomed.
Dave Lee
Names?? People have names??
Dave Lee, J.D.
Sebastian Diel
> [whistling]
I would love to hear a sound sample of your playing!
I am interested in instrument acoustics. You mean the 'normal' high whisteling or is
that just your concept of a sound?
SeDi
kirk reeves
child. You hold your lips open in a sort of pucker and then adjust your breath until
you hear a whistling sound. It not the level of whistle as someone who makes their
living whistling for advertisement like Wal-Mart happy days are here again -or
occasionally you hear in a recorded song. It just a sweet musical note. I then take my
horn and press it as lightly as possible. Just enough to prevent any air leaks between
the mouthpiece and my lips.
It like you start buzzing your lips and then press the horn against your lips until your
natural note comes out. Only instead of starting by buzzing I whistle. My natural note
on the trumpet when I do buzz is "G" on the staff. When I whistle is middle "C" on the
staff
There are a couple of other things I do after I start whistling that improves the tone
even more. I don't think of my horn as a trumpet anymore. I think of it as a bell. A
bell is also a
metal musical but one that produces music by ringing. I try to get my trumpet bell to
ring like a bell. Now I know if this is a good idea or not. I have read articles about
trying to cut down on vibrations while you are playing, but I really like the effect if
I can get the metal
of my trumpet to ring like a bell. You may say playing that way can cause a loss of
projection but I found out if I really wanted to I can be hear two miles away so I'm not
worried about loss of projection
All I can say Is I whistle and if I concentrate I can get my horn to ring like a bell in
time to the music I am playing and I really really like the effect.
Michael E. Schmidt
Religion 'e etymology is latin, it means to bind back, it comes from the
same word as the fish hook that is bent with multiple hook that looks like
an anchor.
The thought with the word religion is that you are pulled or realed back
into God, faith, Church, etc.
Christianity is different than religion.
Christianity is about a person, Christ, and a personal relationship with
Christ which you can receive if you put your faith and trust in Jesus.
Michael Schmidt
----------
>From: kirk reeves <workin...@uswest.net>
In article <3994AE46...@uswest.net>, kirk reeves
Pops
You are a medium sized fish in a tiny bowl. If you would go to a bigger
tank you would see that there are Thousands of people that can play over
super c.
You NEVER had a complaint in church.
I don't doubt that.
My wife and I heard the most unmusical music ever performed in a church.
Guess what Michael. After the service we all LIED and said it was good.
And this unmusical mess was INVITED to come perform at a church of 3500.
AS for your statement about a Bach 1 1/4 being too big to play high on.
I've played 2 octaves over high c on BIGGER mouthpieces and squealed 1
1/2 octaves higher. So if squeals count then 3 1/2 octaves higher than
high c on a Schilke 19 can be done. (For hours on end.)
As for your college experience. Well no offense but the lead player in
the 9th jazz band at UNT can play as high as you claim you can.
And you admit that you can't type or write well enough to state your
case.
Yet some college gave you a MERCY doctorate.
Did it cost extra?
Are you Scott Englebright playing a joke or did you obtain an early
release from an asylum?
richiebee
Rich
richiebee
kirk reeves
richiebee wrote:
> T F C !
Dave Lee
>
>Did it cost extra
>Are you Scott Englebright playing a joke or did you obtain an early
>release from an asylum?
Whoa, easy. Mr. McLaughlin, I've never read a post like this from you. ( it
feels good though doesn't it.)
Dave Lee, J.D.
Pops
First this guy is a Pro player with 23 years experience.
Several days later he plays mini concerts (2-3 songs) 55 times a year.
And he needs to rest 2 days after each concert.
The next day he is a minister and tries to defend his use of BS in a
post.
2 days later he is a Dr.
And now he is a trumpet ministry. Declaring that he always plays for an
audience of one. (I guess that he forgot about the Trinity.)
Next week he will be Billy Graham (unless he switches and goes for
Pope).
I hope it is Scott playing a joke. I hate to think of the other option.
Michael E. Schmidt
----------
>From: Bbtr...@webtv.net ('Pops')
In article <19695-399...@storefull-111.iap.bryant.webtv.net>,
Bbtr...@webtv.net ('Pops') wrote:
> Dave this is the kind of twisted BS that Scott would do.
>
> First this guy is a Pro player with 23 years experience.
That is true.
>
> Several days later he plays mini concerts (2-3 songs) 55 times a year.
That is also true, as I have said, our ministry is to the local church,
Yesturday I played to ( counting both services) well over a thousand
people, no little gig.
>
> And he needs to rest 2 days after each concert.
I never said that, that is not true, you mis quoted what I said and took it
out of context.
I said that from time to time I might lay off for two days, thats it, days
like today when I have been busy since 5 a.m.
It takes a lot of work to plan, get invited to and to minister to that many
churches a year, it is not easy.
I stay busy.
>
>
>
> The next day he is a minister
That is true, I am an ordained Southern Baptist Minister, and Graduate of
Liberty Baptist Theological Seminary, I hold several degrees from Liberty
including the M. Div.
> and tries to defend his use of BS in a
> post.
> In what way, be specific, give examples please.
>
> 2 days later he is a Dr.
I am, I hold an EARNED Doctors degree in Theology.
>?
>
> And now he is a trumpet ministry.
I am not a trumpet ministry, I am one member , one of 15 people who are
involved in this trumpet playing ministry, and all 15 including myself
volunteer .
> Declaring that he always plays for an
> audience of one. (I guess that he forgot about the Trinity.)
Well the TRINITY IS THREE IN ONE, HELLO!!!!!!!!!!!!!
>
> Next week he will be Billy Graham
I was once a messenger on the platform in Orlando, I think in 1984, they
made me wear a tie before they would even let me on the platform, and by the
way, I did study under Billy Graham's revival soloist Stret Shufelt, at
Florida Bible College in 1984.
> (unless he switches and goes for
> Pope).
>
> I hope it is Scott playing a joke.
This is not a joke, everything that I said is true.
Call my manager,Dr. Dan Payne, this is not a joke buddy
Michael E. Schmidt
----------
>From: Bbtr...@webtv.net ('Pops')
In article <5955-399...@storefull-116.iap.bryant.webtv.net>,
Bbtr...@webtv.net ('Pops') wrote:
> Michael;
>
> You are a medium sized fish in a tiny bowl. If you would go to a bigger
> tank you would see that there are Thousands of people that can play over
> super c.
Not over the c above super c
>
> You NEVER had a complaint in church.
That is not what I said, I never had a church complain that we have been to,
and we have always been invited back, and we have been back to many of those
churches to prove this.
>
>
> I don't doubt that.
>
> My wife and I heard the most unmusical music ever performed in a church.
Well, it was NOT from ME, so don't compare me to that, people like those are
the ones that makes it hard to get into new churches, the music minister,
who has never heard us, does not invite us because he is afraid that we are
the next terrible sounding guest.
>
> Guess what Michael. After the service we all LIED and said it was good.
I would not have.I guess that is why I hardly ever get asked to judge, I
tell it like it is, I was raised on the tick system, dont forget that, it is
how I think.
>
>
> And this unmusical mess was INVITED to come perform at a church of 3500.
Where?
That would be very unusual, most churches that size are very very very very
very very very picky who they invite.
>
>
> AS for your statement about a Bach 1 1/4 being too big to play high on.
> I've played 2 octaves over high c on BIGGER mouthpieces and squealed 1
> 1/2 octaves higher. So if squeals count then 3 1/2 octaves higher than
> high c on a Schilke 19 can be done. (For hours on end.)
A squeal and a quality sounding note are not the same.
>
> As for your college experience. Well no offense but the lead player in
> the 9th jazz band at UNT can play as high as you claim you can.
Well, that would be very rare, I have heard very few sops or Bb trumpets
played that high .
>
>
> And you admit that you can't type or write well enough to state your
> case.
>
> Yet some college gave you a MERCY doctorate.
No, my exspertise is ni theology, would you like to discuss Tillich's notion
of epistimology?
>
> Did it cost extra?
Enough, you are being very rude .
>
> Are you Scott Englebright playing a joke
No, but I know who he is. or did you obtain an early
> release from an asylum?
No, I am who I claim to be, so , contact my manager for yourself , and he
can let you know that yes, Michael can play a horn, and no, Michael can not
do anything well on the computer.
richiebee
>> My range is from Petal "C+" to High "F" if I force myself
(and I don't even
>like
>> going above high 'C")
>No a good day I can play 3 octives higher thatn that, on a bad
day I can
>tell you about my good ole days, HA!!!!
I'm really dying to hear this... do you have any CDs out? You
admit to being a recording artist. I really want to hear how
high you can go. Can you play something into your computer mic?
Real Audio, MP3, wav... I don't care, I just wanna hear you play
3 octaves above high C. Come to think of it, I'd like to hear
anything you do... its obviously so brilliant... I just can't
understand why you're not famous with your amazing ability.
Michael E. Schmidt
----------
>From: richiebee <richiebe...@roadrunner.nf.net.invalid>
In article <1ecf74a2...@usw-ex0104-026.remarq.com>, richiebee
<richiebe...@roadrunner.nf.net.invalid> wrote:
> "Michael E. Schmidt" <fluge...@mindspring.com> wrote:
>
>>> My range is from Petal "C+" to High "F" if I force myself
> (and I don't even
>>like
>>> going above high 'C")
>>No a good day I can play 3 octives higher thatn that, on a bad
> day I can
>>tell you about my good ole days, HA!!!!
>
>
> I'm really dying to hear this...
Super!!!Great!!!!!!! do you have any CDs out?
Our c.d is being finished this week, this is so exciting!!!!!!! You
> admit to being a recording artist. I really want to hear how
> high you can go.
I am afraid that you will not be hearing that on my c.d.
That is not what my producers want,and I work for them, they are the boss,
the producer has the final say as to what goes on that c.d., not the artist,
and both my producers rejected my high note stuff, they do not think that it
will get radio airplay.
> Can you play something into your computer mic?
> Real Audio, MP3, wav... I don't care, I just wanna hear you play
> 3 octaves above high C. Come to think of it, I'd like to hear
> anything you do...
Well great, we will be on a compilation disc this October, look for our
flugelhorn version of "Butterfly Kisses".
It will be released to 1,000 radio stations in the U.S.A., and another 250
throughout the rest of the world, this song is exspected to do well, we have
received several calls about it and it is not even released yet.
This Christmas we are releasing a flugelhon version of Mark Lowery's "Mary
Did You Know", and Michael Card's "Joseph's Song"
My guess is that "Mary did you know " will also get a good amount of radio
time.
> its obviously so brilliant... I just can't
> understand why you're not famous with your amazing ability.
Rich, being famous takes skill, time and a good manager, we currently have
the sonic end and a good manager, all we need now is time.
Woody Shaw
> That is not what my producers want,and I work for them, they are the boss,
So much for playing only for Jesus, maybe your right though, perhaps
producers can get your black soul into heaven............... errr, wait a
minute...
Rich, being famous takes skill, time and a good manager, we currently have
(no skill, and a decent manager)
> the sonic end and a good manager, all we need now is time (until hell
freezes over).
Michael E. Schmidt
----------
>From: "Woody Shaw" <kle...@fmctc.com>
In article <8ncnrb$fho$1...@ins21.netins.net>, "Woody Shaw" <kle...@fmctc.com>
wrote:
>> I am afraid that you will not be hearing that on my c.d.
>> That is not what my producers want,and I work for them, they are the boss,
>
> So much for playing only for Jesus, maybe your right though, perhaps
> producers can get your black soul into heaven............... errr, wait a
> minute...
Why are you trying to make someone's soul being "black"
somthing bad ?
I take offense to your racist anti black statement, as if having a black any
part of your body was somthing bad .
" to be black is to identify with the opressed" - James Cone
> I am a sinner saved by grace, I will get into heaven based on what Jesus did
for me, not what I did or did not do.
Michael
>
>
>
> Rich, being famous takes skill, time and a good manager, we currently have
> (no skill, and a decent manager)
That is what you said not me, I have a lot of skill, but being as you have
never actually HEARD ME PLAY the trumpet you would not have a CLUE now would
you.
Hmm...
>> the sonic end and a good manager, all we need now is time (until hell
> freezes over).
Or until this October when the compilation disc is released.
Michael
>
>
>
>
>
Woody Shaw
especially since I am black...
In fact I don't really care for it when an ignorant fellow like yourself,
calls me a racist against my own race... Perhaps you think since I speak
with grammar skills, I must be white... What made you assume I was white??
Sounds to me like I'm not the one that has the racial problems... Anyways,
I still stand by the claim that you have (new and improved), a black,
twisted, diseased, and and corrupted soul... either that or you are about
as smart as the hair on my ass...
Michael E. Schmidt
----------
In article <8nf2lg$fpp$1...@ins21.netins.net>, "Woody Shaw" <kle...@fmctc.com>
wrote:
> Hey, Michael.... I'm sorry, I see nothing wrong with being black...
> especially since I am black...
Well, I did not like your neg. comment.
>
> In fact I don't really care for it when an ignorant fellow like yourself,
> calls me a racist against my own race...
Well, I di not like what you said, regardless of your color.
Many black people are racist against their own race, that is verry common,
it is not unusual to hear a black person refer to a member of his own race
by the "N" word, that is verry common.
> Perhaps you think since I speak
> with grammar skills, I must be white... What made you assume I was white??
I did not say you were white.
>
> Sounds to me like I'm not the one that has the racial problems...
Well, I did my Masters thesis on the soteriology of James Cone,
I am a white person who plays black gospel in all black churches.
> I'll let you decide if I am a racist, Anyways,
> I still stand by the claim that you have (new and improved), a black,
> twisted, diseased, and and corrupted soul... either that or you are about
> as smart as the hair on my ass...
Well, I am not here to inpress you or anyone, I am God's humble servant,
what I do is for the Lord, I give HIM all of the praise and the glory, read
James Chapter one, it is God who gifts us for his glory, and God gifted me
as a trumpet player, not a typist, computer expert or gramatical
specialist.
Michael
>
>
jhi...@icubed.com
nor reflect light, and would not be of any color.
"Political correctness" is trying not to offend anybody because one is
afraid of everybody.
> Why are you trying to make someone's soul being "black"
> somthing bad ?
> I take offense to your racist anti black statement, as if having a
black any
> part of your body was somthing bad .
> " to be black is to identify with the opressed" - James Cone
> > I am a sinner saved by grace, I will get into heaven based on what
Jesus did
> for me, not what I did or did not do.
> Michael
> >
> >
> >
> > Rich, being famous takes skill, time and a good manager, we
currently have
> > (no skill, and a decent manager)
> That is what you said not me, I have a lot of skill, but being as you
have
> never actually HEARD ME PLAY the trumpet you would not have a CLUE now
would
> you.
> Hmm...
> >> the sonic end and a good manager, all we need now is time (until
hell
> > freezes over).
> Or until this October when the compilation disc is released.
> Michael
> >
> >
> >
> >
> >
>
Sent via Deja.com http://www.deja.com/
Before you buy.
Scott Humphries
"bugleboy" <bugleboy...@myremarq.com.invalid> wrote in message
news:005f6b3c...@usw-ex0104-032.remarq.com...
> There are two ways to verify what Dr. Trumpet and Pops are
> saying.
>
> One: Get your own experience. Continually blow your trumpet
> until you damage your muscles.
> Two: Get testimonial from those who damaged their muscles.
>
> It is important to know when to stop. It is like when to stop
> drinking at bar. There are many every year who damage their
> livers by too much drinking. Once your liver is damanged, it
> would take a long time heel. It may never heel. So do the facial
> mustles.
Dunk
I'm tired of seeing this thread, but had to finally open one up... My 2 cents:
I think anybody who practices dilligently for 37 weeks would be able to hit a
double C-- but who cares?
"Dunk"
Go make some music...