Ok, so the title for this post is pretty melodramatic, but there is more than a little about it that is fitting. Two days ago my long-forgotten favorite trumpet came back into my hands after an overhaul by Charlie Melk. To say I was excited to see her again is an understatement. I unwrapped her with some serious nervousness. And then, there she was...
After marveling at how amazing she looked from various angles for a few minutes, I went about my routine of checking all valves and slides in preparation for a test playing. Man, the slides were immaculate and slid so smoothly! I noted that the 1st valve slide was no longer out of round and the 3rd slide had been appropriately tightened a bit as I'd requested. I think the valves looked better than when I'd first bought the trumpet from the original owner back in 1983. Charlie had mentioned that he'd replaced the springs with a stronger batch, and indeed the valves felt quick and sure. If you've never played a set of Getzen valves, you surely have no idea of how phenomenal they can be. These clearly outclass my ability to manipulate them at this point, and I surely do not have to worry about my hopeful improvement being held back by them.
The old leadpipe was shipped back with the trumpet. The signs of red rot were extremely obvious: a small crack on the receiver end and several pin-prick spots of pitting along the length. These would eventually become true holes. Honestly, I felt a bit guilty while looking at it. Had I been a bit more diligent with drying the leadpipe more frequently or perhaps neutralizing the acids in my mouth (after having a soft drink or something) before playing, I suspect it would not have come to a replacement. Then again, I have noticed that many of the instruments for sale of this vintage have this issue. I am not going to beat myself up about it, but I will definitely do a better job with all of my horns having learned this lesson the hard way. The new pipe, however, looked perfectly suited to taking the place of my neglected one. And with that, it was time to give it a play test.
Way back in 1978, my school's band director at the time, Mr. Hood, came to our class with a variety of instruments to see if any of the kids wanted to get involved with music. He walked around with each one, letting each student give whatever it was a quick try to see if he or she could produce any sort of a note. Mr. Hood was a trumpet player, so naturally, that was one of the first instruments to tour around from little mouth to little mouth (yes, with wipes in between). At the time, I am not really sure I had an inclination toward any particular instrument, although I was probably partial to brass. I do not remember my experience with any of the instruments. That is, with the exception of the trumpet. A 2nd line G popped out, clear as a bell; I was instantly and forever hooked. I tried the rest, I swear, but for the life of me I cannot remember anything else. And that is how I became a trumpeter.
Playing the first note on a new trumpet always inspires similar feelings in me. It is like a first kiss, in a way. It's either awesome, or it's horrible, or you fumble about and then it's decent -- you really never know until it happens. And regardless of what happens in that moment, it says nothing about the subsequent relationship. We have all been there, haven't we? It so happens that the first note on my Severinsen back in 1983 was... well... magical. I'm not sure what I expected out of her after twenty or more years.
Working against me was the fact that I've been playing on a Yamaha Xeno II 8345GS since I restarted. Also working against me is the fact that I have transitioned (for now at least) to V-cup mouthpieces primarily. I expected my attack to be horrible, being totally unfamiliar with the amount of resistance on offer. I wouldn't say the actual thing was truly horrible, and it took another second or so for things to "lock in". A few more chromatic tones and arpeggios and then...
Boom. Some sort of physiological memory came back and the distance between notes palpably shrank. Any tension I had melted, and I ran chromatically from F# below the staff to C above with more ease than I ever remember. I held the C for a bit and felt that natural vibrato that is a weird combination of my own subtle intent and what feels like the horn taking the subliminal suggestion and doing it by itself. I took a bit of a rest for a few seconds with the intent of playing high C again. However, this time the E above C came out. Hmm, that was oddly easy. Then came F. G? Really?!
I could never play G consistently above the C above the staff even when I was at my peak. Now it felt so close to that C it hardly requires any significant effort, and it absolutely floored me. I didn't push beyond that because I don't ever recall needing to play above there, but at some point I will have to explore. Now clearly, this isn't all because of a horn overhaul as I have been diligently working on playing more efficiently, more relaxed, and with increased range. However, this trumpet, even when I was most in love with it, never had so little "fussiness" to the upper register. I went back to my Xeno II for proof, and I definitely got it. This Getzen Eterna Severinsen Large Bore Model plays significantly more easily in the upper register than the Xeno II. In the words that were rattling around in my skull at that moment, "Good Lord."
I am utterly elated to have my Sev back. I will not be neglecting it again -- it is just too good of an instrument to not be played and enjoyed.
One last thing: I have to tip my hat to Mr. Melk. He is a master brass craftsman and I think he did a miraculous job with bringing my Sev back to life. Beyond that, he seems like a decent fellow and, while our interactions were brief, no time/effort was wasted. I highly recommend Charlie and his shop, Charlie's Brass Works in Griffin, Georgia, if you are uncomfortable with a local tech working on your horns. He's certainly earned my trust and confidence in his ability and desire to make a horn the best it can be regardless of the situation.
Thanks, Charlie -- I'm sure you'll be hearing from me again down the road!
Unfortunately, I had part of a molar shear off today, so I'm not sure how much playing I will do this weekend. If I can play, you know which instrument I'll have in my hands.
Cheers, all.
P.S. Here's one last photo of the horn in her prior neglected form for comparison. I will get better pictures posted down the road when I have time.
After marveling at how amazing she looked from various angles for a few minutes, I went about my routine of checking all valves and slides in preparation for a test playing. Man, the slides were immaculate and slid so smoothly! I noted that the 1st valve slide was no longer out of round and the 3rd slide had been appropriately tightened a bit as I'd requested. I think the valves looked better than when I'd first bought the trumpet from the original owner back in 1983. Charlie had mentioned that he'd replaced the springs with a stronger batch, and indeed the valves felt quick and sure. If you've never played a set of Getzen valves, you surely have no idea of how phenomenal they can be. These clearly outclass my ability to manipulate them at this point, and I surely do not have to worry about my hopeful improvement being held back by them.
Way back in 1978, my school's band director at the time, Mr. Hood, came to our class with a variety of instruments to see if any of the kids wanted to get involved with music. He walked around with each one, letting each student give whatever it was a quick try to see if he or she could produce any sort of a note. Mr. Hood was a trumpet player, so naturally, that was one of the first instruments to tour around from little mouth to little mouth (yes, with wipes in between). At the time, I am not really sure I had an inclination toward any particular instrument, although I was probably partial to brass. I do not remember my experience with any of the instruments. That is, with the exception of the trumpet. A 2nd line G popped out, clear as a bell; I was instantly and forever hooked. I tried the rest, I swear, but for the life of me I cannot remember anything else. And that is how I became a trumpeter.
Playing the first note on a new trumpet always inspires similar feelings in me. It is like a first kiss, in a way. It's either awesome, or it's horrible, or you fumble about and then it's decent -- you really never know until it happens. And regardless of what happens in that moment, it says nothing about the subsequent relationship. We have all been there, haven't we? It so happens that the first note on my Severinsen back in 1983 was... well... magical. I'm not sure what I expected out of her after twenty or more years.
Working against me was the fact that I've been playing on a Yamaha Xeno II 8345GS since I restarted. Also working against me is the fact that I have transitioned (for now at least) to V-cup mouthpieces primarily. I expected my attack to be horrible, being totally unfamiliar with the amount of resistance on offer. I wouldn't say the actual thing was truly horrible, and it took another second or so for things to "lock in". A few more chromatic tones and arpeggios and then...Boom. Some sort of physiological memory came back and the distance between notes palpably shrank. Any tension I had melted, and I ran chromatically from F# below the staff to C above with more ease than I ever remember. I held the C for a bit and felt that natural vibrato that is a weird combination of my own subtle intent and what feels like the horn taking the subliminal suggestion and doing it by itself. I took a bit of a rest for a few seconds with the intent of playing high C again. However, this time the E above C came out. Hmm, that was oddly easy. Then came F. G? Really?!
I could never play G consistently above the C above the staff even when I was at my peak. Now it felt so close to that C it hardly requires any significant effort, and it absolutely floored me. I didn't push beyond that because I don't ever recall needing to play above there, but at some point I will have to explore. Now clearly, this isn't all because of a horn overhaul as I have been diligently working on playing more efficiently, more relaxed, and with increased range. However, this trumpet, even when I was most in love with it, never had so little "fussiness" to the upper register. I went back to my Xeno II for proof, and I definitely got it. This Getzen Eterna Severinsen Large Bore Model plays significantly more easily in the upper register than the Xeno II. In the words that were rattling around in my skull at that moment, "Good Lord."
I am utterly elated to have my Sev back. I will not be neglecting it again -- it is just too good of an instrument to not be played and enjoyed.
One last thing: I have to tip my hat to Mr. Melk. He is a master brass craftsman and I think he did a miraculous job with bringing my Sev back to life. Beyond that, he seems like a decent fellow and, while our interactions were brief, no time/effort was wasted. I highly recommend Charlie and his shop, Charlie's Brass Works in Griffin, Georgia, if you are uncomfortable with a local tech working on your horns. He's certainly earned my trust and confidence in his ability and desire to make a horn the best it can be regardless of the situation.
Thanks, Charlie -- I'm sure you'll be hearing from me again down the road!
Unfortunately, I had part of a molar shear off today, so I'm not sure how much playing I will do this weekend. If I can play, you know which instrument I'll have in my hands.
Cheers, all.
P.S. Here's one last photo of the horn in her prior neglected form for comparison. I will get better pictures posted down the road when I have time.
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| Previous neglected but all-original condition |
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