When I was about 4 years old, my folks got a piano for my sister to take lessons. She has perfect pitch and a natural aptitude. She'd play pieces back to the instructor without having practiced during the week. My parents finally decided that she really wasn't interested and got rid of the piano. I was mad at them for a couple of months.

I've never learned piano, but fwiw, I think the piano is just about the finest instrument ever created. Not only is it one to one, but if you're any good, everything sounds just exactly like it should. Sometimes on the horn, for example, it's hard to tell apart dixie and honkey tonk, but not on the piano. They sound like they're supposed to sound. I'm not explaining this very well, but hopefully you understand what I'm saying.

There is a Canadian pianist by the name of Michael Kaeshammer, pronounced case-hammer (the Kaeshammer part, not the Michael part). Young guy, but an astonishing player. He does mostly stride, boogie, honkey-tonk and it's amazing. Unfortunately, he's begun updating his repertoire and has started to sing. He's not terrible, but when he just plays without singing, it's breathtaking. I'd give both arms to be able to play like that. ;)

>We really were separated at birth a couple years apart <s>
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>After trumpet I took up guitar - even took lessons in classical at San Francisco Conservatory ( much to their chagrin ) and jazz at Blue Bear Waltzes ( one of the best things about San Francisco ) About that time I was also taking up skiing, thanks to my first wife who not only flew ( hang glider ) but skiing like she was born on them. Learned something very important that I think should be taught in school instead of about 90% of what is taught : people learn differently. Trumpet and guitar ( and most other musical instruments ) rely a great deal on muscle memory. The only really visual instrument is piano. My wife was 100% kinesthetic and taught skiing that way. She was amazed when she found that meant nothing to me and I needed to know what proper technique *looked* like. When we finally found out that was how it worked, as we rode the chair up she would point out good skiiers about my age and size and I could see what I was supposed to look like if I did it right and it
>improved my skiing about two years worth on one chair ride.
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>Switching from guitar to piano all theory and technique became apparent to me because I could *see* it on the keyboard.
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>I mention all this because I really do regard it at one of the great "aha" revelations of my life and it never seems to be talked about in the context of choosing musical instruments ( and is often overlooked in coaching sports )
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>>Ok, all you musicians out there. A mute should not change how the tone of a note sounds, just how loud. Right? We have a promising Alison Balsom here and when we put the mute in her trumpet, the notes tend to break and are not clean. I tried it as well with the same result. Take the mute out and they are good. It's a Humes & Berg student mute, if that matters. The corks are filed down much, but seems to be plenty of room for air to get through. I think the trumpet is a King (she's practicing now). Any ideas?
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>>>Brings back memories. Used to play a King and man I loved my mute. Do you mean the tone or the pitch? I think the tonal quality definitely changes - that's part of the idea of the mute - gives it kind of a funky, less brassy sound. Pitch shouldn't change at all. Listen to some old Harry James or Biederbecke when they use the mute.
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>>I didn't so much love my mute as found it essential. I was living in an apartment at the time, and I never thought I was good enough that I figured my neighbours would be happy for me to play unmuted. I'd like to drag the thing out again, but I'm afraid I'd do myself some serious damage.