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There are Eb trumpets and there are Eb trumpets. Some are contra-altos, some are contraltos/altos. You can generally tell by the bore and the bell-size. A large-bore horn with a big bell will usually be a contralto, whereas a small-bore horn with a small bell will be a contra-alto. Yes, Robb has lots of good info on his site! Especially on the low F/Eb trumpet of the 19th century. The contra-alto is not an easy horn to play. They're a bit like playing a "French" horn in that their playing range is higher than written. The Horn is played an octave higher than written while the contra-alto is played roughly a fifth higher than written. This is because the Horn is a double-length instrument, whereas the contra-alto is a 1 1/2-length instrument.

No way of telling without trying it. I've taken chances on unfamiliar horns. Sometimes the chance was worth it, others not so much.

@@gregmonks thank you

French horn is played an octave higher than written, contra-alto trumpet in F shares the same playing-range as the C trumpet. French horn is a double-length brasswind, whereas F trumpet is a 1 1/2-length instrument. You can pull it off if you have iron chops.

M. Ligner, actually. Spellings could be pretty haphazard in those days.

Good eye. You are correct on a number of points. The inner slides are brass, not nickel, but we had the date wrong because there was more than one Paulus of Berlin. You are correct in that it is a late-19th instrument. The restoration was just completed and a number of details became apparent that weren't before. The maker was E. Paulus of Berlin. The writing on the garland was very hard to make out until it was cleaned and straightened. The handle on the slide also comes apart- something I didn't realise until we had the horn apart. When you separate the slides, the inner slide comes apart in two pieces. No idea what the purpose of that was. Information on Heckel and snakes is very scant here in N. America. If you have some good information on things Heckel and snakes, feel free to enlighten me.

The design adds to the cylindrical tubing while not having it stick out somewhere. It's amazingly responsive.

So do I. That's why I collect 'em.

@@gregmonks me too. Mellophones and gimicky conn cornets, mostly with odd tuning devices. I also have a few ww2 era horns made for military bands. Fun stuff!

@@lotsabirds You'll see lots of those on Kenton Scott's Horn-u-copia website.

@@gregmonks yep! Lots of interesting horns there! A very helpful site.

Dunno how "great" it is, but it sure was fun to get a dig in at modern television.

It's one of those tunes the old Arban's Method used to inflict on unsuspecting students 'way back when.

SCOTLAND FOREVEEEEERRRRR! 🏴󠁧󠁢󠁳󠁣󠁴󠁿

It's all about taking an idea and transforming it beyond expectations.

I use a very large mouthpiece (a Tilz) which gets a distinctive sound, I've guessing because of the overtones it favours. The "vibrato", such as it is, is supplied by old-man tremors. A young guy might have to drink 30-or-so cups of coffee to get the same effect.

I did the same thing, once at a plumbing job, once at a metal fabrication place. I played up to 20'-long sections of copper pipe. The awfulness was glorious!

@@gregmonks I loved it! I think we might call it the plumbpet!

The circular chart represents the cycle of 5ths. It is not called a "circle" of 5ths. The cycle can be arranged in a circle, but that doesn't change what it is.

@@gregmonks that's reasonable!

Not only have I heard of people's fillings picking up radio stations, but mine used to pick up CKNW when I lived in the Lower Mainland. A cot I had for a bed, as a kid, also picked up radio stations. I live 'way out in the country now, so I know what you're talking about in terms of radio interference coming at you from all directions. It takes a few days to adjust to the resounding silence when you leave populated areas. Your ears can actually hurt from trying to hear something that's no longer there. Deja vu- that's one that psychologists think they have nailed down. Cheerio!

Hi, Greg... I will look into the psychologist's findings, they should prove most interresting. About your bed picking up radio stations... Do you think your bed picking up radio station may have influenced your dreams through resonance?? What do you think about that?@@gregmonks

@@newinformation1942 Nah, not really. My dreams are usually pretty off the wall anyway, in that I'm rarely in them (a psychologist would probably have a field-day with that!). I'm almost never "me" in my dreams. Occasionallly I'll try to get a look at my face in my dreams, and the person staring back at me is never "me". I dream of the same places so often that I could draw a detailed map. They're not places I've lived, and don't exist in real life. I have friends who believe in that astral-projection stuff and are convinced I'm "astral-projecting", but I don't go in for such hocus-pocus. Same with auras. People really into that stuff are generally fakers, pretending they can see auras and their colours, for instance. I'm pretty sure "auras" are some kind of optical phenomenon.

Hey, I used to have one of those! Great guitar to write songs with. Most of the best musicians in all styles are self-taught. For example, Paverotti could barely read music, although the teaching of singing is done very differently in Italy. It's the reverse of N. America, which is mostly theory, harmony, counterpoint, history, with a single class in voice. In Italy it's almost all practical- sing, sing, sing, every chance you get. Some of the best chord- and tune-smiths I know are self-taught. Duke Ellington was self-taught, which they referred to as an "autodidact" in those days.

Teaching yourself by playing is certainly the way to go. It helps you learn to "live inside the music", as the saying goes. There are things you learn by going that route that you'll never learn in a classroom. Though I've taught rudiments, theory, harmony, counterpoint, for almost fifty years, I prefer to lay the technical stuff before the student and let them take what's useful to them from there. I mention a lot of stuff they'll probably never use, but little bits tend to be useful, such as the relationship between chords and melody, especially when it comes to reharmonisation, or taking the same old same old and throwing unusual chords at it until something sticks. Learning to experiment can be taught to some extent, but it's more useful to learn to build a career on it.

That's an excellent point.

Yes, so I've been told.

The word "trumpet" has several meanings, some of them nouns, some of them adjectives, some of them verbs. You'd have to ask an entymologist about the word's origins.

It lingered on until the 19th century, actually. Beethoven used it, Ferdinand Herold used it, and I recall playing an A natural trumpet in an early 20th century piece. I have 19th century band music that calls for both natural trumpets and cornets a pistons. That said, trumpets with holes (vents) and keys date back to the Renaissance.

@@gregmonks heck, Brahms used natural trumpet writing(or maybe stylistically even if the orchestras weren't using actual natural or vented valveless trumpets) in his Symphonies, Academic overture and so on - various crooks for different keys ... however occasionally doing non-harmonic tones (there's about 4 of these in Brahms 2 - all Eb's). Was seriously considering using my Johann Haas III replica (technically a "1 vent hole" trumpet but with 3 actual holes, for different crooks... using the A=415 hole on the 440 crook places the E down a semitone!) for Brahms 2 (and with vent holes, it could even work with the high Eb's) Gounod's Faust (1880!) has parts for 2x natural trumpets (E and C) and 2x cornets (A and Bb - I imagine in my head-canon Arban playing the Cornet part and Dauverne playing the Trumpet, thought the decade might not work for that). Of course up to WW1, trumpets are mostly the big low-long F trumpets with valves (and I've seen an example of a Bb trumpet with fake tubing to make it look like an F trumpet to make auditions or playing in Orchestras "easier" while appearing to be legit). Then a war happened and everyone started mass producing whatever trumpets they were making in the UK/France/USA during the war, and quite likely deliberately shunning anything German, including their trumpets. (Note Vaughan Williams writing for F valved trumpet and 2x Bb cornets in Symphony 2, then never using the F trumpet ever again after 1914).

Um Trumpets have been around since Biblical times and they were more than four times as long, Trumpet is the shape of the bell, valves are just are just a way to get the resonance of a long tube by wrapping it around and redirecting air flow.

The problem is that, while their numbers in each area are small, collectively their numbers are huge, as was shown when they came together in Germany, in Canada's "freedom" convoy, and Jan. 6 in the US. They're a well-organised mob spanning many countries.

I saw that! Mainslides like that have become rare. They used to be fairly common on old "French" horns. I have an old Fischer with a 3rd valve slide like that.

@@gregmonks my name here is lotsabirds...I have parrots and tons of semi trained birds outside my house. I'm also a coin guy. A 25 year columnist for a coin related publication. I was a lifetime pro tenor, music teacher and choir director. Now, retired, I'm into horns and other older instruments. Seeing you here and on the Mello group, u just wanted to make the connection by way of introducing myself a little more! I enjoy your videos.

@@lotsabirds I used to collect coins, raise and care for birds, teach music, had two recording studios over the years. I stopped counting the horns I'd collected at 87, a few years back. Right now I'm focussing on fixing this house up to I can sell it and move closer to the city. More stuff going on.

@@gregmonks that sounds like a plan. A lot in common! Eventually, I'll have to figure out what to do with all this stuff, but I enjoy having it around. I'll not likely be moving again, although I can't stand florida, but I paid for the house and I hate moving! Anyway, it's good to get to know you!

​@@lotsabirds Heh- I hate moving, I hate travelling, I bought this house for my cats, and rental places don't like you to have pets. And so I stay . . .

Heh- couldn't help m'self.

Yupper! The length of 1 octave.

Thank you! 😁 I did caution that it was a rant. That was Ginger, my 17-year-old buddy. He was getting ready to make a run for it, in case I started playing.

I made this comment so early into the video!! Jerry used to say that Harry James was the best player in the world.

Very true. Lots of today's top teachers are forced to confront old methods because there's so mucn junk information out there.

Very good and accurate point!

That's exactly what it is.

@@gregmonks Amazing!

Bach 9AT.

@@gregmonks Thank You!

Are you talking about slurring or tonguing? In both cases star small, low, and easy, and gradually build your range and distance. Having difficulty jumping from one note to another generally stems from the very basics- tone production. If you're playing high on the note, which is usually the case, you'll crack the note you're jumping to because you're aiming high to begin with. When you land in the higher harmonics, the horn automatically wants to jump to the next highest one, causing the note to crack. Practice with the biggest, warmest sound you can get, start from low C, and either slur or tongue to low G, back to C, up to 2nd line G, and back again, over and over, until you're hitting the notes bang-on. Get yourself the biggest, fattest low G you can get, and the easiest, most centred 2nd line G you can get, start very slow, and very gradually speed up until you're going as fast as you can go, maintaining your best control all the way. That's a good place to start.

@@gregmonks thanks greg thats helpfull. I love youre videos.

@@rodneytrotter8436 You should find yourself a free PDF of the Clarke Studies and Max Sclossburg studies. They're a grind but guaranteed to provide improvement. You can find videos on RUclips of guys showing how they're done. I highly recommend Chase Sanborne's video tutorials on trumpet technique.

Thanks so much! I'm new to the horn, so it's a learning process. It's one of my retirement projects.

@@gregmonks yea i am no expert cuz i am obv a low brass player cuz of my channel picture and my main instrument is sax but it sounds great dude i mean it. i used to play horn but stopped cuz i wanted to learn other intruments.

@@40wolfmarim95 You're right about that- the horn is kind of a greedy instrument, doesn't like you enjoying other brass. It's funny, but I know more and more guys who play sax plus brass instruments! In one of our local brass bands, the 1st chair girl on alto horn is also a killer alto sax player.

A la Cheech 'n' Chong 😁

Heh- I have cats with brains the size of a walnut, and they're always outsmarting homo saps. People doing the SETI thing are blissfully unaware of the anthropomorphic irony of what they're doing. The search itself is junk science because its premise is false. There first has to be evidence that there's something "out there" to be sought. "Extratesticular Life" is the act of starting from a conclusion and setting out to prove it. That's not how Logic and Science are done. It's as scientific as the search for Big Foot or Ancient Aliens, with confirmation bias acting as their sole guide. However, they provide us sceptics with endless hours of entertainment. 😁

@@gregmonks Absolutely! The danger is that the ET theorist types have primed the homo dopians and homo saps to believe any stupid conspiracy theory that comes along! Let us keep in mind the homo eartherians that can't tell you why the oceans don't drain out into space at the edges, who are convinced the earth is flat! How dumb can people get!?

@@lotsabirds The problem originates with theoretical physicists who make money by giving "talks" rather than producing anything of substance. It all went off the rails around about the 1930's and hasn't been the same since. As a musician, if I could make money giving talks instead of playing . . . how much do talks pay again? Welp, better chump change than nothing. 😁

Yes, even during the height of racism and segregation in the US, Jack Teagarden, Bix Beiderbeck, and Louis Armstrong, could play together without a problem. Mostly behind closed doors, and it depended where. The poisonous cycle of alt-right extremism in the US began after the Civil War, and raised its ugly head every so many years. This is a much-written-about subject, with many thoughts and opinions on the subject, but the North didn't properly deal with the South, in a nutshell. Could've, should've, but didn't. That is the thing that lies at the heart of right-wing extremism in the US.

@@gregmonks what is difficult for me is the fact that any progress seemingly made, and I think there was, is obscured by the loudest people with the lowest IQs. I'm weird. I grew up under circumstances that placed me in the middle of the most diverse group of people i can imagine and we all were treated the same way. That treatment taught us to care for one another regardless of race, religion, background, sex, etc. For example, I grew up Catholic, became Protestant and became the only trained cantor at several synagogues on Long Island! Sometime, I'll bore you with a story about Robert Merrill that caused us to become friends before he passed away. It's a synagogue story. Anyway, Diversity was normal for me. It literally pains and disgusts me to see what's going on today

The guy with the best advice on learning to play the trumpet on RUclips (in my humble opinion) is this guy. He really knows his stuff and will provide you with a good grounding and the best information: ruclips.net/video/3kvr0YqqmrA/видео.html

@@gregmonks thanks greg you are a good person