There is justice in the world after all.
There is no accounting for bad taste….
and just how young can we continue to exploit…
and then there is hope for those who have better taste….
The Youth Trumpet & Taps Corps is a service organization for high school and college trumpet players to use their musical gifts to serve others.
Their main project is volunteering to play Taps at veterans’ funerals to help with the shortage of military buglers. Due to this shortage, most veterans are laid to rest with a tape recording of Taps instead of a live performance. They believe that those who serve our country and fight for our freedom deserve more than just a recording.
The Youth Trumpet & Taps Corps was founded by Katie Prior as her Girl Scout Gold Award project.
They strive to use their musical gifts to serve and honor those who have served our country.
Sounding Taps at veterans’ funerals
Performing Branch of Service Songs at veterans’ funerals
Performing patriotic music at Veterans’ Day and Memorial Day ceremonies
Greeting arriving and departing soldiers at the airport
Assisting with veteran organization fundraisers
Jefferson Awards Foundation
Girl Scouts Western Oklahoma
Oklahoma Funeral Directors Association
Bruce Chidester of the Branson Trumpet Ensemble
Bob & Betty Chatham
Dave & Karen Prior
Hawthorn Suites – Midwest City, Oklahoma
Sunnylane Funeral Home – Del City, Oklahoma
The Horn Trader
Larsen Music Company / Edmond Music
Memorial Day Ceremony | Sunnylane Cemetery – May 2014
22 Crosses Awareness | State Capitol Lawn – September 2014
OHB God & Country Concert | Midwest City – October 2014
Veteran’s Day Ceremony | VA Medical Center – November 2014
Women’s Veterans Monument Dedication | Del City – November 2014
Wreaths Across America | Sunnylane Cemetery – December 2014
Be sure to visit their web site at …..
and their Facebook page at…….
AGENT: a character who resents performers getting 90% of his salary.
ARRANGER: a guy who writes to support a drinking habit.
BALLET: an art form for people with eating disorders.
BANDSTAND: the area furthest away from an electrical outlet.
BIG BAND: nowadays, an aggregation consisting of two musicians.
BROADWAY PIT JOB: a prison sentence disguised as a gig.
CABARET: a venue where singers do songs from shows that closed out of town.
CATERER: a man whose hatred for musicians is unrivaled.
CHANTEUSE: a singer with an accent and no time.
CLASSICAL COMPOSER: a man ahead of his time and behind on his rent.
CLUB DATE LEADER: someone who changes his name from Kaminsky to Kaye.
CONTINENTAL VIOLINIST: a guy who rushes like he’s trying to catch the last train to Budapest.
CONTRACTOR: a man whose funeral nobody goes to.
CRUISE SHIP WORK: a gig that gives a musician two reasons to throw up.
DJ: the guy your son would rather have play his Bar Mitzvah.
DOUBLEBASS: the instrument the folks footing the bill feel is unnecessary.
DOWNBEAT: the magazine that would have you believe that all jazz musicians are working.
ELECTRIC PIANO: the instrument that enables its player to pay for the hernia he sustained lifting it.
HOTEL PIANIST: a guy who looks good in a tux.
JAZZ: the only true American art form beloved by Europeans.
JAZZ FESTIVAL: an event attended by folks who think Coltrane is a car on the B&O railroad.
LYRIC: that part of a tune known only by singers.
MELLOPHONE: an instrument best put to use when converted into a lamp.
METRONOME: the archenemy of chanteuses and cantors.
MOVIE COMPOSER: someone who can write like anyone except himself.
NEW AGE : a musical substitute for Valium.
NEW YEARS EVE: the night of the year when contractors are forced to hire musicians they despise.
ORCHESTRATOR: the musician who enhances a composer’s music, only to be chastised for it.
PERCUSSIONIST: a drummer who can’t swing.
PERFECT PITCH: the ability to pinpoint any note and still play or sing out of tune.
PIANIST: an archaic term for a keyboard player.
PRODIGY: a kid who has as much chance at a normal childhood as the Chicago Cubs winning the World Series.
RAGA: the official music of New York’s Taxi and Limousine Commission.
RARE VIOLIN: a Stradivarius, not to be confused with a rare violinist, which is someone over four foot eleven.
SIDEMAN: the appellation that guarantees a musician will never be rich.
STAFF MUSICIAN : harder to locate than a cavity in the Osmond family.
STEADY ENGAGEMENT: look up in Webster’s Dictionary under the word ”obsolete.”
24\7: the time signature of the national anthem of India. Also, a Don Ellis chart.
UNION REP: a guy who thinks big bands are coming back.
VERSE: the part of a tune that’s disposable, except to its composer.
VIOLA D’AMORE: a baroque string instrument and coincidentally the hooker Bach lost his virginity to.
WURLITZER : the Ford Pinto of pianos.
YANNI: a man blessed with great hair for music.
We have had a few questions about an easier way to transcribe solos and copy arrangements off recordings and I will share a few tips which will make this laborious and time consuming process a little easier.
Start with our old friend Audacity or any other recording program which is able to reduce digitally the tempo of your recording without changing the pitch.
Record the solo or arrangement and save.
In the Edit draw down, select the “all” feature.
From the Effects button, click on “Change Tempo”
In the Change Tempo window, move the slider to the left until you reach 50%.
Click on OK and wait.
Now that you have your solo or arrangement slowed down to half the original tempo, highlight the first four measures of the material.
Work on this section by repeatedly clicking on the “play” button.
Continue by four or eight measure segments until you have completed your copy.
By slowing the original material down to half speed, you should be able to figure out the notes more easily. On more complicated and more rapid material, slow the tempo down even more.
Additional cornet enthusiasts have drug their feet in supporting the modern trumpet as stated by cornet enthusiast professor A.O. Peterson who is quoted in this booklet the Cornet, “The trumpet will never become more popular than the cornet because of its strident tone and piercing characteristics”.
Download- 60 Minute Practice Routine
Your warm-up will begin your lip development and I strongly recommend that the first portion should be done on the mouthpiece alone. I have included a short warm-up which includes buzzing on only your mouthpiece (5 minutes). Be sure to produce a full, rich sound on every note. Fill your lungs completely and begin each note with just the air. Do not tongue any of these notes.
Begin these exercises slowly and as you become more comfortable with the keys, increase the tempo. Keep your dynamic level at a P level and be sure to fill your lungs before every line. All notes are to be slurred (5 minutes).
Lip Flexibility Exercises
Dynamics should follow the line so that the highest note is the loudest. Take full breaths for each exercise and hold the last note out (10 minutes).
TAKE A BREAK
Make sure that you are in control at all times. Do not rush. Push each valve down soundly and continue at a controlled rate. On exercises you feel uncomfortable with, repeat it four times before moving on (15 minutes).
Advanced arpeggio studies
As in the first arpeggio studies, begin exercises slowly and as you become more comfortable with the keys, increase the tempo. Keep your dynamic level at a P level and be sure to fill your lungs before every line. All notes are to be slurred (10 minutes).
TAKE A BREAK
You can down load these exercises from my site at the following….
Melodic Exercises (20 minutes).
The above schedule will require approximately 60 minutes to complete in actual playing time.
What difference does it make when you practice? That is a very good question for little has been written on this subject. I will share some of my feelings on this in hopes that you can gain some insight into the affects of practicing at various times throughout the day.
What is the best time of the day to start practicing?
The best time of the day to start practicing is early in the morning. Your schedule will dictate if this is possible but if scheduling is not an issue and you could plan out your whole day around practicing, I would suggest that after your shower and breakfast, you should start your practice for the day.
Why is it better to start practicing early in the morning?
Repetitious actions such as warming up are much easier when you’re half asleep in the same way brushing your teeth in the morning is something we do but really never think about. I’m not saying that your warm up is not important but that chore does not require any more concentration than the every day act of brushing your teeth.
Is one practice session better than multiple sessions?
If you have only one period in the day to practice, that would be the best for you. If you are able to break up your practice into several periods, that would be better. It has been proven that most people can only fully concentrate for twenty minutes at a time. Because this is true, it would be more effective to break your practice sessions into twenty to thirty minute segments. You will be able to accomplish much more in this manner than you would if you practiced for a longer period.
What disadvantage is there to breaking the practice sessions into several twenty to thirty minute segments?
One big problem with multiple practice periods is the fact that many times we start the day with good intentions but because of conflicts and unseen distractions, we many times do not get back to practice the additional material. And for most players, after working all day at their jobs, be it school or work, they are more tired at the end of the day and our productivity and energy is at a lower level.
Can I practice at night?
Of course you can. If this is the only time in your daily schedule that you can devote to your instrument, that is what you should do. Practicing in the evening can be very relaxing after a busy day and I encourage you to do so. There are some issues which you should consider when practicing in the evening.
• Melodic playing is more pleasant to perform when you’re tired.
• Technical passages are more demanding and require more concentration.
• When the body is tired, your endurance will drain faster.
• High range playing can many times require more effort when you’re tired.
• Concentrating on finger exercises can be helpful.
• Before beginning your practice, do some deep breathing exercises to help you wake up.
When I’m away from my horn, is there anything I can do during the day to practice?
There are several things you can do during the day which will benefit your playing.
• Keep an extra mouthpiece in your car so when you drive down the road, you can practice buzzing.
• In addition to the practice on your mouthpiece you can also practice buzzing without the mouthpiece.
• Buzzing with and without the mouthpiece is also great practice for developing better intonation for if you are able to buzz a recognizable melody, you will be improving your intonation ability.
• Buzzing lip flexibility exercises work the embouchure in the same way that playing on the instrument does.
What would be an ideal schedule for each day of practicing?
That would totally depend on the individual. I have found for me that this works best-
• Mouthpiece warm-up after breakfast (twenty- thirty minutes)
• Arpeggio Studies (twenty- thirty minutes)
• Lip flexibility exercises (twenty- thirty minutes)
• Valve work (twenty- thirty minutes)
• Range and interval studies (twenty- thirty minutes)
• Melodic studies (twenty- thirty minutes)
Our next post will get down to the final issue of what material needs to be practiced on a daily basis.