classic example...

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Doug Elliott
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Re: classic example...

Post by Doug Elliott »

I guess you think Al didn't spend enough time learning how to play trumpet?
That was obviously on a Bb trumpet, not exactly an unfamiliar horn to him.
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Re: classic example...

Post by Steve Marcus »

The story that I heard is that Hirt didn't want to record the Haydn, but was more than coerced by Fiedler and/or the producer(s) of the Boston Pops RCA album on which this recording appears.
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Doug Elliott
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Re: classic example...

Post by Doug Elliott »

Listening to it, imagining both Bb and Eb fingerings, in some ways it feels lke it could be either one. But check out 3:30 to 3:34 - low C, C#, C (Bb pitches).
The C# sounds distinctly (to me, anyway) like 1-2-3 on a Bb that he's trying to get down to pitch. It doesn't sound like 2-3 that wouldn't have so much of an issue.

I think his unfamiliarity with the whole situation of recording a classical piece with an orchestra explains his performance. Of course he's more comfortable doing what he did every day.
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Re: classic example...

Post by Doug Elliott »

Your point is well taken. I just think the example was not.
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Re: classic example...

Post by hup_d_dup »

Al Hirt playing the Haydn is an example of a great player performing a piece not written to his strong points. Wouldn't matter what horn he is playing.

The photo says it all ... this is not a man whose genius is suited to the Haydn:
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Bill Troiano
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Re: classic example...

Post by Bill Troiano »

Back in the early 70's, I was looking through an Instrumentalist magazine when I came across a full page ad of Al Hirt holding a Getzen trumpet and looking down at it. The caption read, "boy, this horn really blows!" I never saw that ad again in later issues.
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Re: classic example...

Post by eupher61 »

This doesn't sound like an Eb trumpet to me...I think Hirt playing one would sound thinner and not nearly as resonant as this does at times. but...yeeeeeech
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Re: classic example...

Post by hbcrandy »

Curmudgeon wrote:bloke wrote:Eb trumpets, F tubas, alto trombones, descant horns, etc. are "cute", alluring, and "easy" to play......and amplify flaws in fundamentals. The "easy" on the player's side is deceiving. This often more apparent to those on the receiving end of the music.
Truer words have never been spoken. When I got my first bass tuba, I was told by my teacher when I was ready to go to a smaller instrument. The shorter tube length will amplify any fundamental problems you are current having with your contra-bass tuba.
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Re: classic example...

Post by Doug Elliott »

I had been working on alto trombone for 14 years before it actually felt comfortable and the tenor trombone positions stopped appearing randomly. Well, I guess they still do show up occasionally but it's not much of a problem now.

http://www.youtube.com/watch?v=3M2cw36qEd4" target="_blank
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Re: classic example...

Post by Bob Kolada »

I think these KIDS think you mean to say "newly learned instrument" rather than OMG F TUBA. :mrgreen:
http://m.youtube.com/index?&desktop_uri=%2F

When I get home from work I can try to find that (probably not unique) YouTube video of that junior English orchestra playing that Prokofiev R&J thing; massive!! low E's on a comp Eb. From a 15 year old. If I still need to. :P
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