Blog Comments

  1. darylynn621's Avatar
    I would like to know about re-+plating and polishing worn valves.
  2. enhite's Avatar
    Who knew? Thanks Dave. Makes me wonder how plastic valves (Ptrumpet for example) are made.
    Updated 10-16-2015 at 01:52 PM by enhite
  3. davewerden's Avatar
    Rick wins the prize. Oh, wait... there isn't really a prize... just the honor!

    Here is the excerpt in question. The 3 notes with fingerings over them were tricky. There is a jump of a 5th up to a high note, which is easy to miss. Then I had to throw in an articulation for the dotted quarter, which is one more thing that could mess me up, mostly in the event the slur does not execute exactly when I expect it to.

    I would of course use 23 for the dotted eighth, which is the natural fingering. And I like to use 23 for the high note. That makes the slur a little trickier to time perfectly. So my practice was with all 3 notes using 23 until a week before we recorded.

    Then I discovered the magic solution, which uses the fingerings shown above! I use the natural 2nd valve fingering for the 16th, which makes the slur more dependable. The I switch to 23 for the longer note. While doing that I did NOT tongue (where the little purple line is). The change in fingering was sufficient for clarity and eliminated another risk factor!

    If I were at the top of my game I might have done this differently. But with about 3-4 hours of practice available during a good week, I need to rely on my head as much as my chops! This is a brand-new use of alternate fingerings for me.
  4. RickF's Avatar
    I watched and listened again. I see around 1:33 that you first use 2-3 then 2 then quickly 2-3 fingering again for the high C# concert. You do it again at 1:50. Like a quick trill or mordant - but on the same pitch. Could that be it?
    Updated 10-01-2015 at 12:08 PM by RickF
  5. davewerden's Avatar
    Jake and Rick noticed some alternate fingerings I am using here, but that is not the Easter Egg I was teasing about! I'll give folks another day to find that one. However, you two are on the fringes of getting it.

    I have often used 23 for high C# concert and 13 for C. Those seemed to be good options on my Bessons, Sterlings, and Adams because the standard fingerings are on the low side and require more work (and care!) to lip them up, especially when you are a bit taxed.

    In my 1979 recording with the USCG Band of Morceau Symphonique I used 23 for the high C# for example. Inherently you get less stability with more valves in that register, but you also get a lot of risk when you have to lip a note up where there is such a narrow partial to play in.

    In the case of this video, especially at the end, I wanted to have a strong vibrato on the low side of the note (vs. one that goes above and below), so using 23-13 for C#-C gave me the room I needed to do that. It's a different sound that I like sometimes. And of course this song requires a lot a chop work and I tend to be less fresh by the end.

    Many years ago I heard a trombone clinic given by Lloyd Elliott and he demonstrated the difference between a bi-directional slide vibrato or a downward slide vibrato. It was very interesting and the thought stuck with me. In this piece, I wanted a different-sounding vibrato (from my norm, at least) for those long high notes. Seemed like a good time to try it. I think I got at least some of the effect I wanted.
  6. RickF's Avatar
    I'm thinking Jake found it. I'm so used to seeing open, 1st or 2nd fingering for notes above high Bb. Maybe 1-3 and 2-3 fingering speaks better for you or - is better in tune?
  7. JakeGuilbo's Avatar
    2 + 3 for C#, 1 and 3 for C, 2 for B Nat. Seems like a stable choice of fingerings!
  8. davewerden's Avatar
    Thanks for the comments! I'll reveal the secret of the egg in a few days. I want to give others a chance to guess first!
  9. SteveP's Avatar
    Thanks Dave. Beautiful. Couldn't find the egg though.
  10. Pat's Avatar
    We clearly have different definitions of "pretty easy", but you make it look easy.
  11. RickF's Avatar
    Great video and good description of the Adams Custom euphonium! Thanks for taking the time to do this.
  12. davewerden's Avatar
    I suggest posting that very question on the forum! Might be an interesting conversation. You could open it to include Amado and Saturn as well.
  13. dsurkin's Avatar
    Thank you, Dave. Has anyone here used the Pollard key?
  14. davewerden's Avatar

    I have tested a Saturn on my 2nd valve. See this blog post:

    The Saturn key can be activated from any direction, so it would certainly not be good for my main tuning slide.

    Also, part of the reason I chose Amado was appearance. With 4 keys on the front of the horn, it would look a little cobbled, I think. However, for just the 2nd slide it would be more subtle.

    You could also consider the Pollard key:
  15. dsurkin's Avatar
    Dave: I'm curious about Saturn water keys - did you consider them? Do you find the Amado more to your liking? I'm thinking of adding a Saturn water key to the second valve tubing of my Mack Brass horn (I agree with you about having to empty that one a lot, and it being a little unsightly for the audience).
  16. Pat's Avatar
    What you describe as a "stretch" for you would be a 2X4 to the forehead for me. WOW... well played!
  17. enhite's Avatar
    Very nice. I am familiar with the Paganini violin original on which the Capriccio is based, as it's one of the compulsory pieces played in the International Violin Competition of Indianapolis. I was unfamiliar with this version, but you make it sound like it was original for euphonium. Thanks.
  18. euphdude's Avatar
  19. davewerden's Avatar
    You can see the horn in action here:

  20. Pat's Avatar
    Great looking horn. I look forward to your upcoming video, putting it through its paces.
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