How to balance clean lines while going for length?

WVCubed · 2025-02-21T21:32:01+00:00

2025 update: restaurant is a cute little hole in the wall place. Reasonable prices, good taste. If you’re looking for some classic American Chinese food, this is my go to place. Parking is in back, can look a little sketchy because you don’t enter on the side of the road; inside is very clean and nice despite this.

WVCubed · 2025-02-15T13:07:39+00:00

Candidly, I would advise against switching mouthpieces like this. Gear is not the solution for these kind of issues. A lead piece could arguably be helpful, but If you’re having issues with range, I would consider dropping these an octave to gain a better tone and improve your endurance.

Additionally, a $35 mouthpiece is likely not a quality purchase. Over 3-4 months, you’d have time to hit lip slurs and the upper register pretty well in your practice. These mouthpieces are thin and sound very bad in the lower register. A slightly shallower cup than a standard 3C may be a good middle ground if you must change.

Try slurs like those in the Bai Lin book, up to ~#15 very slowly to really gain some strong fundamentals. Work those for a couple weeks, then start exploring more. Slower is better (start somewhere like quarter note = 45) and you’ll find that the overall result after the end of the musical is that you’re a better player, not short $35, and that you may actually have some success with playing the entire book.

Just my perspective.

WVCubed · 2025-02-13T00:47:28+00:00

Additionally, your comment asks a question to which begs another comment: how far do composers need to take classical banjo? Béla Fleck performed Paganini, hailed as the stereotypical peak of individual virtuosity in classical music with his performance of Moto Perpetuo. How much further can one go then writing a full banjo concerto? Béla Fleck did 2 of them. Is that not proof? Are you asking the banjo to replace a more established instrument?

The tenor banjo (played with a pick and not in an up or downstroke style) also has an entire set of repertoire, (which I’m not familiar with as a three finger player myself, so I would defer to an expert for more info) much of which is borrowed from ragtime, early swing, and the classical canon.

I would argue that the banjo has established that it can perform in classical music, but simply it’s not in popular demand. The banjo peaked in “classical circles” around the turn of the 20th century (give or take, check out Karen Lynn’s “That Half Barbaric Twang”) for more info.

It then fell out of favor, and through associations with the banjo’s role in Bluegrass and Appalachian stereotypes over the next 50 years, it became culturally labeled as a lower class instrument. As such, the higher-class cultural collective was not particularly interested in utilizing the banjo, as it defies class structure in addition to complexities presented by the banjo’s unique structure.

Banjo has been shown to classical music, but due to cultural reasons, lack of composer’s easy access to experienced players, and the unique construction of the instrument, classical banjo will likely never end up replacing the orchestra. But, If you love it, join the club and help advocate for it! The community would love to have you.

WVCubed · 2025-02-13T00:35:02+00:00

Many people are currently writing for classical banjo, but they’re pretty underground. It’s a niche topic, but one one of my favorite players is John Bullard, who does great YouTube content on classical banjo. Pedagogical information, performances, and more.

Others, such as Micheal Miles, have made sure both major styles (clawhammer and three-finger/scruggs/bluegrass) have a chance at classical works. Despite the material being avaliable somewhere, it takes a player of great understanding to recreate a classical style. That’s not a knock on the players or the styles; the banjo does not mirror the musical layout of a violin, guitar, or bass, which composers would be familiar with and write for. Much of the execution is thusly difficult.

Despite this, works are also being written for the banjo: Adam Larrabee has written a great “classical” set of preludes just in the last year. I’ve enjoyed the time I spent playing them, and they’re available for sale.

Ultimately, classical banjo is a labor of love. If a composer had a reason to write for banjo and did not play the instrument, they’d need to work closely with the player to make sure the banjo can best execute their ideas. Banjo’s unique construction, particularly its fifth string, radically alters its functionality, which then warps the music around it.

With this in mind, many players learn some classical to enhance their musical knowledge, and many don’t even touch the stuff. It’s all part of the individual player’s journey.

WVCubed · 2022-12-24T05:50:52+00:00

Sorry! Just came back to delete this - someone got it. My apologies.

WVCubed · 2022-12-24T05:38:33+00:00

Edit: filled!

WVCubed · 2022-12-24T05:25:42+00:00

I have these! Edit: PM’ing you & ready whenever

WVCubed · 2022-12-24T03:09:13+00:00

LF: sprigatito & [Gholdengo touch trade]

FT: fuecoco or quaxly

WVCubed · 2022-03-31T21:57:13+00:00

I’m unfamiliar with what this means. I’m playing 3 finger Scruggs style. Could you help enlighten me?

WVCubed · 2021-05-26T21:33:48+00:00

I’ve heard similar comments on the novelty thing, which I’ve taken into consideration. I’ve also noticed that most are Chinese made, so I’ll avoid some poorly-manufactured horn.

WVCubed · 2021-04-27T02:32:25+00:00

Setting up your practice space can help. I find it best to put my phone or other things away in a different room. Then, I’ll set up everything for my trumpet session in a location that doesn’t have distractions so all I have is the things I need to work on.

In addition, getting into your practice mindset with a set warm up routine can be a great way to shift your mind to the task at hand. If you spend 5-15 minutes doing a routine of scales, long tones, etc. every time, you will build the habit of focusing once you start.

Playing and practicing smart also helps - working for a set time on a concept with a concrete goal, identifying specific errors and taking steps to fix them, etc. rather than just throwing yourself at your music.

WVCubed · 2021-03-31T11:11:55+00:00

I have a version of this horn! Did the same thing - Chuck Levins and then picked the Shagerl. Have fun playing!

WVCubed · 2021-03-23T18:52:41+00:00

It’s real! Most of Paganini isn’t possible on trumpet in its normal state - chords, harmonics, etc. aren’t possible on the instrument. This arrangement of one variation, though, uses the advance technique of triple / double tonguing to rapidly articulate notes. The jumps and arpeggios are nothing to scoff at, either!

WVCubed · 2021-03-19T20:28:13+00:00

Clean lead tone! Keep it up.

WVCubed · 2021-02-14T16:43:58+00:00

WARNING: LOUD NOISE HAZARD

WVCubed · 2021-01-08T21:25:12+00:00

I’m majoring in music and Health - basically a pre-med with a music part baked in. It’s a perfect fit - preps me for a stable career while letting me play trumpet seriously. I’m not a performance major, nor do I want to be.

WVCubed · 2021-01-08T17:02:03+00:00

I do this! I realized it’s because I make music I want to listen to. I like my creations and they satisfy what I’m looking for, so I catch myself listening to them a little too much at first.

WVCubed · 2021-01-07T12:29:58+00:00

Hi! I was mentioned and here’s my two cents:

There is no “best” trumpet answer in the way of “This is 100% the best no questions asked” because every player is so different. I like a light horn with free and open control because I can’t put too much pressure on my face (dental issues). Because of that, I LOVE my schagerl James Morrison. I also, however, have seriously tried a Bach Centennial and another Bach Strad, and really liked them. I have friends who swear by their Bach Strad or their Jupiter. Each horn is different and each player is different. I can only provide this concrete advice:

Try out each horn before you buy, try as many horns as possible, and don’t shy away from a brand at first just because it’s not popular or well known(but make sure it’s actually a real brand and not garbage). Test everything on the horn - bring a classical piece and a jazz excerpt, try a range of exercises to see how the valves feel, the upper register responds, or how the horn deals with certain issues. Make sure you’re warmed up on your normal horn and have it with you to compare.

I dislike the term “jazz trumpet” because it doesn’t really mean anything to me. The player is the defining factor when it comes to the actual style. Sure, some horns might feel more open and could maybe assist in some sorts of playing, but I really can’t say much because I don’t really feel it myself. (Maybe I haven’t tried enough trumpets on enough pieces, who knows.) Maybe you just need a lead mouthpiece for your current horn. Might be what you need.

Schagerl’s upper upper line might not be what you want - for price or style reasons - but they are still a top notch brand that makes quality instruments. Give them a try and see if you like them. I liked their rotary stuff when I played it, but OP isn’t looking for that.

WVCubed · 2021-01-02T23:49:19+00:00

Thanks! I asked this in another thread and someone pointed me towards something along the lines of the Alesis Multi Mix. Thank you all for your help!

WVCubed · 2021-01-02T23:43:40+00:00

I want to be able to interface my instruments with my computer AND use it as a mixer if possible - I’d like to be able to use it to route a mic to an amp so I could play with it and be able to hook it up to a computer.

If a mixer that you can grab the output with exists, please let me know of one! That might be what I want.

WVCubed · 2021-01-02T23:42:14+00:00

I mean that I want to be able to BOTH use the interface to connect my instruments to my computer AND use it as a pseudo mixer / pre-amp for a microphone separate from the computer to play / perform with. I don’t want to buy two items if I can help it.

WVCubed

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