I suppose I will start new format for the small events unrelated to hacking. I will accumulate them into once-per-week post with some descriptions.

First, sport. I climb two times per week and see that there is a fair progress in the power endurance. But since I still try to wear out my new shoes (well, not that new, I bought them about a month or even more ago, but they are still very tight), so results are biased, namely I can not control my left feet since it suffers quite a lot after some time in the shoe. But still I got a noticeble jump in the training level. For example yesterday I managed to climb three 6a+ traces on the negative slope without the rest in between. And while this is not some complex trace I could be proud of, it is complex enough for 3 times in a row.
I check power endurance level my measuring how tire I am after the training or exercise or trace. In the above case it was hard to breath, but not hard to secure the holds, so looks like I had some endurance left after this run, but muscle breathing was close to its limit.
If training course will continue to increase for another couple of weeks, I will reach a very good level, and my shape will allow to start working with the really complex traces. Namely I want to do 6c and higher on the negative slope, and local 6c is actually at least 7a in the common sence (yes, there is a special table printed to match local and usual trace grades :)
So, no matter what, I like how things go right now.

Second, music. I did not play with the teacher previous weekend, but wait for the sunday for one. It is rather hard to see any difference in playing in this small time interval, but I can confirm that my previously reachd level is still there.
Today I played in the office for some time, maybe an hour or so, when most of the people went home. And while there were no some incredible things played, I found that I can play and improvise some interesting things from the virtually nothing. It happens quite rarely, actually I could remember only couple of intersting and very small, maybe for 2-3 measures, things, but they were real. So, I slowly move forward. For example I can rather easily start playing from the sheet, although quite slowly, but there will be a clean attack and shap sound upto natural 2F or so. It requires some warming first though. Also learned fair number of various scales, and while they are mostly major ones, I know how to build one (tone, tone, half-tone and so on) from any note as well as magic shift to get minor scale (one tone lower from the major tonic becomes a tonic for the minor scale, while all notes are actually left the same). Also played some bits in pentatonics, it is easier to improvise, and some blues scales, although I do not actually remember it, I played from the sheet.
Sometimes I play some very simple bits on piano. Nothing really intersting, but I still have in plans to start doing it more seriously, namely find a teacher locally.

And while my musical earing as well as playing techique are quite far from what I want to have as the nearest goal, I see that there is a way to reach that level. Although not simple and quick one.

Third, car and appartments. Actually nothing major happened here. I do enjoy to drive my car, but there is a major lifestyle change, which does not allow me to drink when I want anymore. And that kind of dissapoints me, since I actually like this.

   
Bottles of Ballantine's and Jameson

I can not start this one, for example... But things are not that bad - I will leave my car on the office parking and enjoy the taste :)

There were some other good and not that good things happend, but it is unlikely to be anyhow interesting, so let's draw the line: I expect things to be just fucking cool, and that's what I like.

Stay tuned, there will be some interesting notes from the technical part of the brain: elliptics network pre-production testing, POHMELFS status and its details and maybe also something new.

No computers and filesystems, only so called lytdybr. I hide it under the cut since there are photos and a lot of text there.

Finished reading the book.

Sound the Trumpet: How to blow your own horn

Actually I expected a little bit more new information. So effectively this is a book for the very beginning, I regret I did not have it one year ago. Right now I could use it as a small reference to several exercises and notes, but most of its content is what I already 'learned' myself.

But it is so well written that can be read on the single breath - I did not get bored during reading and finished its almost 300 pages really quickly. Although my english was not always good enough to translate every word (and grep utility does not work well with the paper medium), I did understand all the content. I especially liked its public performance chapter - it is so optimistically written that kind of pushes you to the scene.
Also there is a fair number of further reading links and music titles.

In a meantime I got a lot of electronic books about trumpet mastering technique in particular and music theory (and especially about improvising) in general. They are mostly scanned pages transformed into PDF, so I'm not sure it will be possible to read with the modern eReaders like Sony PRS-505, which I heard has very good PDF support, but unlikely to work properly with the scanned books. Will try to check it when get handy.

There are several books (even in russian) about jazz improvisation, which is what I'm very interested in right now - I want to pull those sounds out of my head, and expect it to be extremely interesting process.
I would be glad to read most if not all of them from the well-printed sources, but it is unlikely a possible case though, since those books cover rather unusual topics for the common book shops.

In a meantime I started negotiations with the private teachers. To date I found only one trombone player, who finished Gnesins RAM several years ago, and I talk with him about the supposed process. Getting that he lives way far from my location, this may end up in a nowhere, so maybe I will continue to practice and learn myself as before.

Time will show. And I expect it to be very interesting.

It sounds similar to that 'word' actually. I used Yamaha silent brass system with its inner mic and preamp. Even when connected to headphones it sounded not how trumpet sounds in a real life, so recording would not make some magic here.

I played number of melodies and was not in the best shape this evening, but resulted sound is what I usually have with that mute in the headphones. I want to note that real trumpet even with my technical level (I admit I do not play very well) is far and far from what you will hear.

So, put away children, pets and pregnant women as well as people with neurological or psychological problems and the ones with the headache. Actually put away anyone who you care about.

Here is the link, you have been warned.

There will be no such records anymore, besides the fact that it is ugly, it is also worse than what I can really play without mute. So I will eventually buy a good mic and external audio card and will record some stuff with the sound I really have and like. In a meantime use the record to scare neighbours.

Btw, its about a year I learn music and practice trumpet.

My new trumpet mutes arrived past weekend and I did not miss the chance to try them all.
I have three mutes now: two silent and a harmon one for two trumpets.

There is an analog silent mute, so called cup mute from DenisWick.

Cup silent mute

It has a movable cup with rubber and 'hairy' rings for the maximum bell control. And it sits pretty thight in the bell to make sound very quiet, I suppose usual talk is louder than that, so I'm not afraid to practice late, although did not try yet, since I have a silent piano for that :)

Trumpet with the silent cup mute

Its weight is small enough for comfortable holding, but it has a quite big air flow resistance, so it changes sound noticebly, especially in the higher range. Still in the first and second octaves it is quite usable even being fully 'closed'. If there is at least a small open part, it becomes rather loud compared to closed state, but sound quality improves.

Another silent mute is electronic Yamaha Silent Brass SB7-9 system. It is also called a personal studio, since besides the mute itself it contains a small preamp, which allows to play in parallel trumpet and external music. Output can be sent to headphones or any other external device. That's how I will make my first records :)

Yamaha Silent Brass SB7-9 system

It is also quite lightweight, which does not impede playing. But, its sound is rather strange.
It is definitely not what you hear on the modern CDs, rather similar to old vinyl disks, i.e. not very good (at best) So sound quality is not what I exected, but then there is no difference on what trumpet to play :)

Trumpet with Yamaha silent brass system

It is not completely quiet, but similar to what I hear with the analog cup mute. Likely it is not only the open part of the horn rippling, but also a second class citizens from the middle part of the bell. So it can be used to play and not disturb others, but in the close range there will be some sounds.

The last mute is a harmon one from DenisWick. It is rather fun device which allows to produce sounds similar to guitar's wow device.

Harmon mute

But if one takes out a small inner 'bell' (the one it stays on), trumpet starts sounds the way you used to hear in jazz compositions - with high ringing bells. I very like that sound, but to be really interesting one has to blow rather hard, otherwise only low frequency bells will appear.

Although I experimented a little bit with the mutes, I also did not forget the everyday morning exercises. At the beginning I can play long scales upto 3C now, but would not say it is very stable especially when lips become tired. Still it is not very hard when I have them fresh.
Learned 8-9 natural major scales (iirc minor ones are the same with the tonic moved one third low) with increasing number of sharps and flats (4 of both I recall), but still do not remember very good the relation between tonic and number of alteration signs, need to memorize it better by playing more. Also I can produce scales by hands, since remember number of tones and half-tones in the scale, but again it is not very fast.
There are some scales like D-dur and Es-dur which can be played really fast, since they are very logical and simple in the trumpet fingering (I always play in concert pitch). Sometimes I transpose small melodies (upto a dozen or less notes) into different tonality, although most of the time I play either scales or known part in the original tune.

Getting to that level I do want to start improvise, but I just can't. I want to play the sounds in the head, but my intervals are always wrong, and while I 'select' the right one I already forget the melody. I expect there will be some interesting notes about this in the 'Sound the Trumpet'. In a meantime I learn and practice a very interesting vibrato technique, similar to ringing 'r-r-r-r' in the sound, from that book. Although its beginning part is already known.
I suppose understanding and ear development is a matter of long practice, but I would not resist against some magic there. There is an appropriate chapter in the book, who knows...

Well, I want to play my music, and I will. Eventually. And now back to the LISP hacking, I'm two steps before regexp implementation completion, which is the first major step in the very interesting journey.

Stay tuned!

I got the shape when I can play about 5-7 scales in different tonalities (I play major ones, since it happend that minor is the same but one third lower), know what are the stable sounds (not always though, since I forget tonality names and thus can not build major triad, but can quite easily do that if I know the tonic).

So I start improvising in selected tonality, and although sometimes I find out something quite interesting imho, most of the time it does not sound the way I want. Also I do not know about particular 'rules' of the music, for example like it should end on the stable sound in general and frequently in tonic in particular, i.e. do not know the harmony.

In particular I do not know the pentatonism rules. That's what I found somewhere in the jazz improvisation book (those days I did not understand half of the words, now I believe only a third or a quarter, so needs to find the book again):

Blues pentatonism

This particular image shows way too many notes in different tonalities for my small sound part of the brain to understand.

As of trumpet - with 14C mouthpiece I'm quite able to play different scales upto/downfrom trumpet 3C (aka high C) or 2Bb on piano. That mouthpiece is default with Yamaha Xeno which I play at home, while with 7C (default on Bach Strad 37 and 43 iirc) I likely will not play that high easily, so I do not count this as 100% my technique result. Playing higher than 2F is still not very stable, especially quickly and with tired lips, but I slowly move in the right direction: train the lips and breathing.
In particular I found that playing with the full breath when air comes unaltered by the throat, mouse and tongue, and only lips control it, results in much more interesting sound than when I push the air using throat. IIRC the right breathing is exactly when air is pushed by diaphragm and not throat.

Anyway, it goes pretty well from techical point of view, but creative part is somewhat miserable at this point. But its only beginning.

Yamaha 8335 (G?)S Xeno (click to enlarge)

I played this one, 8310ZS and Bach Stradivarius 180ML43S. 8335 Xeno has a magnificent sound even with my rather limited technique. I did not think about air, lips or fingers - it just played.

Bach sounded the worst among tested models, but that's maybe because I was not able to play it (I tried standard Bach 7C and Yamaha 14C mouthpieces, my student mouthpiece is 7C), or because it was defective, which I heared is a very common problem.

Highpower@ liked light 8310Z sound more than Xeno though, but I prefered my feeling despite his professional opinion. I just love the sound Xeno produces.

It's damn perfect!

Having such instrument I must learn to play better than good, and eventually I will. As highpower@ says - 'let's listen you in two-three years'... Let's.

No, it is not cellular network generation, it the highest sound I was able to play. Today.
And even couple of harminic scales from 2F up to 3C/2G. Still usually can not play higher than 2F in the melody, but can run an upstairs scale now.
3G and other highest tones were produces by rounding bottom lip in and covered by the upper one. IIRC it is part of the Maggio technique, although I'm not really sure what school I play. It was fun to make that high tones, but I do not like the sound - it is rather empty, without interesting overtones. Main purpose for my level in playing in the third octave is to be able to play in the second octave very stable, which is not yet the case.

Added another exercises into the small set of various melodies and hear developing interval playing - playing with metronome (thanks to highpower@). I set it to 92 and play harmonic upstairs/downstairs scale for each 4'th tick in the first octave. I play either 4 same sounds with clear attack per tick and switch the tone after 4'th tick, or make the same tone for 4 ticks without interrupt and then switch it. Found that I can not play whole octave on a single breath, but that's mostly my wrong breathing, since I sometimes feel when air goes through the mouthpiece without producing a sound. Apparently lips are not very strong yet, but eventually I will develop this.

What's next interesting thing this day is about to bring?

- How was that playing?
- Hmm, a... Kind of 16 bits

Nothing particulary cool, but I'm just warming :)
Will try again in a few moments, when people start going home.

EDITED TO ADD another couple citations:

- You do not have a sound

- If I would drink, I'd stop it

The latter was said when a passing pedestrian in the office heard how we played 'Hava Nagila' by trumpet and bass guitar. highpower@ and me were not in the best shape though...

Well, I kind of agree - when I'm drunk and there is an audience (even of one person) I can not play my best sounds, so, yes, it sucked. There were no attack and clear note's sound changes, lips did not always stay the right way and produced the sound I can play best, so instead it was most of the time some ugly crap.

But, but, but: I knew that myself (I always knew that I can not yet play when I'm drunk), so I suppose that my judgement about sound quality in the different condition is also correct and I do produce interesting sounds some other time.

But what I definitely have problems with is the sound duration and clear sound attack - I'm just bloody miserable at it, so even do not use it on the sheets and instead hear a melody played by the author to understand what and how it should be done. So I will buy a metronome tomorrow and will start playing and memorizing sounds with clear durations. And maybe will by a trumpet. Just to get myself a toy present: 6335(S), 8310(S)Z or even 8335 Xeno, although I incline to the light and sharp lead sound, so likely Z-series, but I will try to play it and hear how does it sound. Or maybe not, we'll see.

I'm not a good musician, but I like how things go, and I will improve.

Today I managed to play (piano tune) small C and 3C, the latter in a downstairs scale to 2F or so. I was able to play it multiple times although never in upstairs scale, and frankly I do not like the sound very much.

In the middle register sound is frequently (frequently now, but not always, and it was 'rarely' couple of months ago) interesting (imho of course), full of overtones and kind of ringing, while higher register sounds just like a plain tune. But I will extend it further.

Listened quite a few melodies played by professional trumpeters and found that most of them (besides loving the highest register) frequently play staccato (did I get it right that it is a set of short sounds very quickly following one after another). I can not do it that way, only sometimes my attepmts sound good, but usually it is a bit slower than needed. I still do not know how to use tune durations written on the sheet, so I play like I would like it to sound, which may be not right though.
Found that professional records are very rich even on the highest registers, which is definitely not the case for my playing (besides the fact that I rarely able to play there at all).

Another issue I discovered is small octave sound. Sometimes it just bloody good IMO, but again it happens rarely, most of the time it is kind of damped, there are no fresh, ringing overtones.

Decided to force myself to do the regular trumpet, piano, painting and reading 'trainings', the former several times a week at the morning, all the latters at the late evening when I return from the office (usually an hour or so for one of the tasks after 12).
If stars will draw up into the straight line I will play with a trumpet teacher, but I'm not 100% sure it will happen though.

Sometimes I think about getting a new trumpet, a bit more serious lead instrument (like Yamaha 4xxx or even Bach 37 or 43, I think I can afford another toy for myself :), although I like my $150 J. Michael 300S one.
I do want to hear how others sound in a real life and not in edited records though.

But no matter what, I see the progress and result, even on my own, which is a great pushing force to continue the process. Stay tuned, maybe eventually you will hear something interesting!

Today I believe I played my best sound - it was just what I always wanted to hear.
Trumpet sounds were so voiced, clear and had sharp attack, that I even thought I reached the edge I set for myself. As reached so pushed it further - it is quite stable, but not always and not always easy at small octave and higher than piano 2F. But that's what I know how to improve - practice. And I see some progress there.

But my hearing - I believe I do not really have it good. This weekend I spent with friends where among others tried to play both acoustic and electric guitar. I can not play guitar anymore (well, even 8 years ago it was something really miserable), so I just tried to pick out by ears some melodies I heared. It was noticebly different than that on trumpet or piano, but still it was very hard. I believe I succeeded on the part of the melody I tried, but it took maybe 10 or so minutes to pick out about 20 notes (I 'played' just on two strings).

Looks like my trumpet playing technique moves way too faster than hearing development, and practice I have does not help to develop a hearing. Need to do something with it.

Collegues in the neighbour office formed (and play right now :) a small band consisting of piano, bass and drums. All electronics. Sometimes they play really interesting compositions formed out of nothing just after several jamming minutes. Even current melody sounds good although it contains just about 10 notes played by bass - it is what is the loudests, so likely composition is more complex (for example piano plays by accords, which sometimes show up too).

Couple of times I though to get my trumpet and start raping the melody play in tune from my office :) At least those sounds what I hear could be excellently mixed with the brass timbre.

But I believe its too early though, so a question - drop me a melody name (with a sheet link if possible) which sounds great played by trumpet. I listened quite a lot of old-school brass jazz and actually was not very impressed, but maybe I missed some brilliant.

Please share your favourite music, which sounds great by brass instrument, which one can play alone!

If I will succeed playing it, I promise to share the record :)

Today I managed to play a harmonic scale from trumpet's 3C down to small F or so (at least down to 1C for sure, small octave does not sound good all the time, I rarely can quickly 'change' the lips from higher range). Sometimes I could even play piano 3C, but very rarely. Ascending scale only finishes at trumpet's 2G/2Bb (piano 2F/2Ab). Actually I played the whole non-transposed measure of 'He's a pirate', which ends up at trumpet's Bb (piano Ab).
Playing in that range was not that complex, although lips tired quickly playing very close to the third octave, so effectively I like the range I can play (when practiced to stable 3C) now. I do not say, that it sounds great, but I play for myself and I like the direction it goes.

But it does not help in any way with improvising. Sometimes I play short interesting sketches (especially if lurked/listened several good notes before), but it is rather exception than a rule. Also there are troubles playing the melody picked out by ears - after several attempts I may succeed (or likely will not), but again it is far from the level I would like.

Thus I'm stumbled upon the problem of music creation - I can 'play', but can not create. I thought this is a matter of practicing, when I will memorize more and more different intervals which could be connected to each other, but looks like it is not enough.
For example today I played this simple set (piano notes in the first octave): D-G-A-Bb-A-G-D-C (optionally) F-Eb/D (do not remember, recalling looking at trumpet finger sheet :) (based on Beethoven's 'Fur Elize' I suppose).
I like how it sounds played by my trumpet, but I did not create it myself, although play ascending and descending intervals within the first octave quite for a while already.

Believe everything has an explaination, but the way music is created is still hidden from me.

That was a very different playing today, something changed, but can not say if it will least for a long time.

I managed to play some tunes in the third octave, easily flew between all notes inside the first two, got to quite quickly play the 24'th Paganini's caprice, although only the fist two lines, the third octave is rather complex to play in the melody, but I'm pretty sure I will make it sooner than later. Started to play 'Hava-Nagila' tunes, and the part which is repeated at the beginning (8 measures, although the first three are repeated), and it was really not that hard either, although I already played it on piano. Also managed to play a part of the 'Pirates of the Caribbean' (He's a pirate) in the second octave, and although non-transposed, but its highest tune is about 2Bb (trumpet), which is rather close to my current limit of trumpet 3C.

And the overall quality of the sound was exactly what I wanted to play. Previously I only managed to produce it only for some tunes and now the whole two octaves sounded just bloody cool imho. Timbre got some additional (probably high) tunes and overall sound was kind of fresh, clear and resonant. Very like it.

I also started to play printed notes (most of the time for the piano) transposed and since I really do not remember fingering chart for the most of the tunes, playing from the sheet takes some time to settle, but overall it slowly goes in the right direction. Eventually I will buy a good microphone and make some records to scare you.

Stay tuned!

Not mine, but Paganini's one. Number 24. That's what I learn now on piano and trumpet.
Memorizing the first 8 measures (about 48 notes) took me about half to hour on piano for the right hand, and I do like how it sounds. Unfortunately even small addition of the left hand (and it is rather simple) slows things down noticebly, since I can not look simultaneously to the different parts of the keyboard and frequently miss the needed keys when trying to play one hand 'automatically', i.e. without looking at it. That was rather complex, but doable, and I expect that practice will heal this.

But trumpet. Trumpet is great by itself, but when I started to play the same caprise #24, after about half of an hour I found that produced 'music' sounded like a crap. Even when I play music too slow (and I can not play it very fast anyway) it did not sound good. Problem happend to be in the interval I introduced between the times. I somehow decided that after playing the first measure (6 notes for example) according to the note timings, I have to have some delay before going to the second one. Apparently that was very wrong. The first tune in the next measure should be played immediately after the last one in the previous measure (the last one should be played long enough according to the melody of course).

And after I opened for myself this simple rule, things changed dramatically. Even my rather slow trumpet playing of the caprise produced very interesting sounds. I did enjoy how the sounds flew. And even started to accelerate it a bit, which was noticebly less complex compared to the case, when I did not really hear the right music because of the delays between the measures.

So, the music week started exceptionally interesting, let's see what else I will find out.

Today I started to play rather simple transposed Beethoven's 'Fur Elize' and found that it sounds noticebly more interesting when played in a real tone and not the trumpet one. This required to play two half-tones higher and with a completely different fingering.
After I studied (read: checked every note in the trumpet fingering sheets) the notes I managed to quite easily play the first part (i.e. the most known first 9 notes) and expect to learn first times rather quickly.

This required to warm up the lips and the trumpet by about 20 minutes playing various ugly sounds. After this exercises things went quite smooth. I believe sometimes I imagine how air flows between the lips and feel the resulted tunes. Those sounds are the most interesting and the whole control of the even simple melody is very smooth and simple.

I wish that feeling to be always with me when I play trumpet.

Meanwhile I also started to play different sounds almost every evening. To get them I sold the kidney spent all my money and pledged a soul borrowed some more, so even will miss couple of climbing training, since my subscription is over and I can not get the new one :)

But now I can play both morning and evening, whle doing software or hardware hacking during the day and read in the transport and before the sleep.

Maybe some far-far-far-away day I will become a good musician :) So far I like how things are doing.

Why, why in the hell it is so much more comlex to play the same tunes on trumpet compared to piano?
I spent almost an hour (including warm-up though, which took probably 20-30 minutes) today to acceptibly play first part of the "For Elise", which is played in the beginning by the right hand on the piano? One hour for 9 notes on the trumpet, while maybe several minutes to do the same on the piano?

I even played that non-transposed and only tried next part (for the right hand on the piano only), which starts from the C1, for me it is rather hard to jump about the whole octave in the same music: lips do not respond that quickly.

Also tried to play it transposed, but I do not know fingering for those high notes and thus can not quickly transpose there, but I think I could do it more easily below trumpet's 2F.

Trying to continue morning exercises playing my C trumpet. I think progress somewhat stalled, at least I do not observe some huge leaps like what I have with climbing. But overall it is quite stable at playing technique, but this level requires quite a bit of warming. So I think further progress in this area will be related to how easily I can start playing and how high or low I can get into. So far playing at least some tones higher than 2F or lower 1C requires a warmup.

Another direction is to improve ear for music. I play intervals from 2C down to 1C and vice versa trying to memorize the sounds, also recently started to play in parallel with some other music. Sometimes my playing fits several tones, which I consider a small win. The goal here is to easily play 'in parallel' just by listening music couple of times or even once. Quite far goal I think, but who knows.

Some time ago one of the main anchor hooks for my hamock was removed, and now I decided to return it back. Apparently applied force was too strong...

Anchor hook, 8 mm diameter

So I got another one and screwed it in with less efforts, now things are just excellent (one can check how it was long ago). If I could play my trumpet like I want, I would definitely spent lots of spare time hunging in the hamock, drining rum and playing...

But so far I only practice several mornings a week and frankly do not have major progress. For example tried to pick out a tune by ears, but succeeded with simple 'Happy birthday', and actually failed to find proper notes after octave jump, since do not remember the melody. Something more complex is likely out of my abilities right now, mostly because lips tire quickly.
But I work (and work, and work, and work...) on this.

I actually do not know how to write that accord name in english, but know how to create it based on major/minor triad based on tonic, dominant or subdominant (iirc it is main accord, dominant and subdominant septaccords, and 'kvart' (or 'quart'?) is additional note.

Also know how to create any tonality and what fifth-ring is, but it does not help to translate sounds in my head into real sounds. Not those which end up in programming, but others, which sound like a music (I want to believe that). So, I'm close to finish reading musical schools learning book about musical theory, and this is not what I wanted. I think I need a book about musical harmony.

Although the more I play the more I believe that even that is not needed, but practice and memorizing sounds and 'sound sets' make the melody to sound.
Well, at least I know what does it mean 'playing in F#-minor tonality' - so play sounds from the appropriate major or minor scale started from given note.

It was supposed to be a day of the boss' mockery. I decided to move to the smoking room and play my trumpet each time Oleg (my boss) goes there, but he dissapeared just after I said it to him. I even got a bottle of 12-years "the famous grouse" whiskey for this, but...
Sad story. Will go playing a bit.

With time its getting better and better. If previously I succeeded once per 4-5 attepmts to play simple melody (like "Yesterday"), now I'm able to play correctly half of the time if not more. It also becomes easier to move to the higher register and play at the end of the second octave, although the latter can not be called 'playing' more likely sound producing. First octave is played without problems at all. Although I still do not transpose notes (actually even do not try to :).

So, I decided to start playing not only rhythm-less improvisations, but something more interesting.
So, "The bumblebee flight" by Rimsky-Korsakov. It is very fast, but so far I do not see notes I can not play, so this will be a good exercise to be able to play it vivace :)
Eventually of course, not immediately, today I only learned couple of the first times. And although I have trumpet sheet, it may be not transposed, since in one place I found two notes, which are actually the same, but written differently one after another (first F and E# or concert Eb and D#) , if it is not trasposed, my playing will suck. We will see, or I would say hear.

Tried to make couple of records, but with laptop microphone results is way too awful. Well, it may be my sounds are that uncool, but I prefer to think it is a mic, since I hear it not that bad actually :)