Bolero on 8 different Principal Trombonist Mouthpieces! 

thanks! i think i found a wonderful compromise with my LI Brass 550E mouthpiece - very very deep, but with more of a traditional rim size. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vTk4zTPvnlU.html - my Bolero on that piece is at 1:05 in that video

And a very pretty, well behaved cat.

Thanks Brian! Definitely the one I have the most experience on. Such a special piece, I'll have to reach out to GB and see if they have the dimensions on file.

I agree. It had good presence and clarity but not thin on the high range, full sound.@@WilliamLang

I’ll keep my eyes open for one!

thanks!

I'm a pretty big believer in the buzz controlling pitch more than the resonant chamber of the instrument/mouthpiece. The 1D has a lot of great characteristics, and it funny to see/hear how people like a lot of different mouthpieces the best. I think so far the Kitzman, Witser, Mazzio, Alessi 7F and 1D have all been the "best" to someone. which all goes to show the subjectivity of music!

thanks for listening! i'm probably going to use the same line up and do videos featuring Mozart's Requiem, Saint-Saens 3, and Ride of the Valkyries to get an overall impression in different registers and dynamics

@@WilliamLang great idea. I'm waiting for the video. I currently testing Laskey Alessi 60 Solo while at work I play Griego Oft. I recommend checking out very interesting orchestral mouthpiece

My main mouthpieces is an old Laskey 59D - I tried Alessia's 55 and 60 in both SYMPH and SOLO models. Gotta say, the SYMPH models did the orchestra thing really well, but the solo models weren't as good as the basic Laskey series at articulation and color, so I sent them back. Out of the remaining principal pieces I can think of off the top of my head, an Oft, Friedman, and Rejano model would be the ones I'd have left to acquire.

@@WilliamLang Thank You for sharing Your thoughts about Alessi Laskey! Firedman Bob Reeves moutpiece is deep, 3G sized, V shaped mouthpiece - sniper mouthpiece I would say. Rejano I don't even consider it because as far as I know it's a mouthpiece around the size 6 1/2 or 5G. Griego Oft It's very interesting because It's something in between Griego Alessi and Griego Bousfield (V shaped mtp).

Try a Long Island brass 550E - super deep Mouthpiece I really responded to.

@@WilliamLang will do. Really enjoy your videos. I am a band director and double on Tuba for the kids. When I go back my 5G size Stork was fuzzy fuzzy in the low range. The 3G helps a lot and my high range doesn’t suffer

the Great Black that I played on might be of interest to you - it was originally styled for Carl Mazzio, and has his name on it. The Greg Black people hopefully still have his specs on file. It might be a little wider than a 5G, but with the swallower cup, it provides a nice ballast.

​@@WilliamLanggracias por el dato

You're welcome! I have a part 2 coming in a few minutes, and as far as the endurance and such, work on arpeggios and scales into the high range step by step each day, focusing on coming back down with a good sound. Over time, your range will grow, and Bolero will get easier!

thanks for the thoughts and listening! the 2nd mouthpiece was by far the most different feeling - I actually went out to the company, LI Brass, and got another mouthpiece from them that works a ton better for me. if you're interested check it out: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-vTk4zTPvnlU.html Hammond 11 is a great choice - i like the Hammond that I'm playing in this video a lot, it gets a really classical trombone sound that reminds me of old LA and Chicago recordings from Ralph Sauer and Jay Friedman. hope your studies go well! there's a ton of great players and teachers in Sweden.

ok. real answer is since we're musicians we listen with our ears first. i wanted people to have a chance to draw their own conclusions before adding my comments - this isn't a video about proving what's best. if you want to go back the chapters are easy enough to use. thanks for listening!

Lol, get a grip you nonce.

I find myself disagreeing with several things here, and the combative stance that you take (calling it naval gazing is a little pejorative) made me think about just deleting this and moving on. But let's engage on good faith! The orchestral trombone job is one about fitting in, not standing out as a great soloist. The orchestra itself is a collective, which is why there can be great differences between Hilary Hahn, for example, and a top-5 concertmaster. So every orchestral trombonist does indeed sound like a trombonist, but they had to find the right training, instrument, and mouthpiece to achieve that sound for themselves, and for every orchestral trombonist with a full time job, there are 200 that didn't get there. As far as teachers and students go - when I was studying in NYC the term Joebots was tossed around a lot to describe the similarities of Alessi's students. While I thought this was a bit unfair and not really true, a lot of the industry saw a uniformity in his students sound the same way you are describing Remington students. I think it has to do with the dominant results over the course of a generation rather than any in depth study of sound, as both Emory and Joe were/are fantastic teachers who know the style of their time in and out. In the end, I am a big old trombone nerd! I love playing the instrument and looking at the nuances of detail and phrasing, I love seeing where I can push myself technically and range wise for my own sense of fun and play. I also like learning the differences in equipment and mouthpieces - helping people find "their" sound to go along with "their" phrasing is my job as a teacher, and I don't want to leave any stones unturned in my quest to help others.