Chuck’s Brass Instruments

DyannBakes asked:

Parchment paper cones, also known as cornets, are an extremely helpful pastry kitchen “tool” that are wonderfully easy to make! Filled with melted chocolate to adorn candies or royal icing to embellish cookies—your decorating possibilities are endless!

THE BIG BUDDY asked:


I really need some help. I notice that everytime I play it, I always stop on a melodic note. Is there a proper way of approaching this variation?

sergio d asked:


i just want to know because they look the same

MemphoTenn asked:

Louis Armstrong
Moon River
What A Wonderful World
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www.satchmo.net

http://blueopossum.homestead.com/Armstrong.html

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Louis Daniel Armstrong
August 4, 1901 - July 6, 1971
Born in New Orleans, Louisiana

“All music is folk music. I ain’t never heard a horse sing a song.” - Louis Armstrong

Louis Armstrong, born in New Orleans on August 4, 1901, grew up poor, often singing on the street for change. In 1912, he was arrested for firing a pistol on New Year’s Eve and was remanded to a youth home. It was there Armstrong first learned to play the coronet - a trumpet-like brass instrument. When he was released in 1914, he began playing in local Jazz bands. He soon caught the attention of Jazz godfather King Oliver, who found Armstrong jobs in more prominent groups.

In the early ’20s, Armstrong joined Oliver’s group, with whom he made his earliest recordings, then moved to New York to work with Fletcher Henderson’s Jazz orchestra. Throughout the 1920s, Amstrong recorded a series of classic singles, both with Henderson’s group and with noted Blues and Jazz singers. He later formed his own bands, the Hot Five and the Hot Seven, and earned the nickname “Satchmo” - short for “Satchel Mouth” - thanks to his huge, trumpet-inflated cheeks.

In 1927, Armstrong switched from coronet to trumpet. That same year, he popularized nonsense-syllable “scat” with the single “Heebies Jeebies.” As the years wore on, Armstrong’s popularity only grew, as his swinging style and unique, gravelly voice dominated the radio airwaves, making him the most famous Jazz musician.

In the mid-’30s he toured Europe, the first of many foreign tours that introduced the entire world to America’s most vital new musical style. Armstrong’s trumpet style and vocal phrasing became enormously influential for both Jazz musicians and Pop singers. Additionally, his prominent solos transformed Jazz from an ensemble form of music to one based heavily on solos and the interplay of individual musicians.

Unfortunately, by the mid-1940s, Jazz had begun to shift towards “Bop,” and Armstrong’s style was no longer considered current. Breaking up his big band, Armstrong founded a sextet called the “All-Stars,” a Dixieland/swing group with a humorous stage-presence. He continued touring until his death in New York on July 6, 1971.

As popular as ever, Satchmo has been honored on a U.S. postage stamp, and his music remains widely available with nearly every cut he ever recorded available on countless reissues.

PianoWallaby asked:

In this video, Brett Youens describes the logic behind the system of valves on brass instruments, with the tuba used as an example.

http://www.geocities.com/freewillyb/

(Transcript)
Hi. Let’s look a little more at brass instruments with valves and how they work. This is a tuba, but as we know, it could just as well be a trumpet, or a euphonium, or a French horn, or a flugelhorn; they all work on the same principles.

Let’s look today at the logic behind the system of fingerings.

If you think about it, there are only two possible states for a valve: either depressed or not. A lot like a human, I guess. So if each of the three valves has two different possibilities - and we have two times two times two - which gives us eight possibilities.

The highest note we could play is by not depressing any valve. And a little lower is pressing the baby; a little lower is pressing the daddy, and a little lower is pressing the granddaddy.

Now, let’s think about this from the bottom up: If we press everything, then we get the lowest note we could. And a little higher, subtracting the baby, subtracting the daddy, subtracting the granddaddy. So this is just a mirror image of itself. And these two notes, of course, produce - again, aside from tuning issues that don’t concern us here - the same note.

Now, think about the following: Every single note that a tuba or a trumpet or a flugelhorn or a French horn or a euphonium ever plays, they play it with one of these eight possibilities. So there’s not much in the way of memorization that’s necessary. And, if you think about it, there is actually nothing in the way of memorization to understand this system. You don’t have to memorize that the one in the middle is by pressing the granddaddy, you don’t have to memorize that the one before the end is by is everything except for the baby. If you just think about the logic behind the system, then it’s very simple.

Nothing, add the baby, add the daddy, add the granddaddy.

Everything, subtract the baby, subtract the daddy, subtract the granddaddy.

So that’s the logic behind the system.

Jimmy. asked:


I’m not an acoustic engineer (though this makes me wish I was. . .)
To my knowledge, the mouthpiece is the real instrument. Then, the length of the tubing and its diamete determines the range, and the flare and bell increase volume.

I intend to build a cheap, prototypical, low pitched, LOUD brass thing to make some noise at some football games. So I plan on getting brass tubing, some sort of funnel, etc. to make this goofy looking contraption. However, I was wondering something.

If you were to put an adapter on the end of the tubing that would allow you to hook up another bell, would this make it louder? Is it similar to hooking up another speaker to an amplifier? Or am I just completely daft?
I presume it’s the latter.

Thanks for any and all help guys!

Uchihaitachi345 asked:


Ours is with the majoretts. But I am right in front of the majoretts in the stands when we are not marching. But they pratice with us and some time throw us off. I play mellophone in marching band but French horn in the concert band. But also, is it normal for me to sit with trobones and baritone sax in the back row?? Also the baritone horn as well. The trumpets are right in front of me.But I sound so much like an alto sax but also my instrument has a few tenor sax parts because my band director lost the B flat horn peices. But is that normal for a B flat horn to read tenor sax parts but you know an octave lower or so. Just wanted an opion… READ ALL PLEASE And give me an answer though thank you for answering

The Tramp™ asked:


Why is music for brass instruments and woodwinds usually written in flat keys such as B-flat major and E-flat major and sometime F-major? Does it have something to do with the instrument itself?

expertvillage asked:

Learn how to oil valves for brass instruments such a trumpet, French horn, trombone and tuba in this free instrument care video from our professional musician and experienced music instructor.

Boo Cubs asked:


I just received a really, really old and beaten up Holton Collegiate trombone, but think I want to learn to play it. Any advice on how to hold it?