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I know for a fact that many musicians do not
appreciate what us Trumpeters go through to give our best performances.
Just stick the guy in the back of the orchestra and block your ears when
he play's type of thing. Well here you can take a look at some of the stuff
we have to go through!
Whereas with most Instruments in the Orchestra, where the performer
gets to read the notes, and play what's written, that is a rare event for
orchestral trumpeters. We must transpose our parts all the time. In most
baroque, classical and romantic music for Trumpet in the Tutti sections
at least, you will not see a key signature. What you see instead is a direction
such as "In F". In this case, if one was playing a Bb Trumpet, every note
which was written on the page, one would play it up a 5th. I.E., if the
note "C" was written, I would play a "G" which subsequently sounds like
an "F" as far as relative and absolute pitch is concerned.
But that's not all! we then have the question of which instrument to
use. Use a Trumpet you say? well almost every Trumpeter I know have at
the very least 2 variations on a Trumpet. I myself have 4 Trumpets and
2 Cornets. And there have been times when I have had up to 3 on a stage
at once. (mainly during ghastly SYOA Phil concerts where we are doing music
from multiple eras, and which have nothing whatsoever in common.) We refer
to trumpets to the keys they are built in. I.e., with the afore mentioned
Bb trumpet, we can read music written in Bb and not transpose or in C and
transpose up one tone, or in F and transpose up a 5th. With A C trumpet,
one would have to transpose down one tone to play the music written in
Bb. No transposition to C, and up a 4th to play those pesky F parts. I
guess now you are saying something like "Why not use an F trumpet to play
F trumpet parts?" Well it's not that simple. Firstly F trumpets do not
technically exist. (except in very obscure parts of Germany perhaps...)
but also, sometimes the Modern version of say a D trumpet is very different
instrument that the one the composer was writing for in say 1680. And so
you must play the trumpet which sounds more like the sound which would
suit the orchestra's sound. (In this case, probably a Piccolo trumpet with
the A side... i.e., trumpet in A, unless you were a puritan and decided
to actually do it on an instrument built like the ones in use in 1680.
which is really a step back in time!) But even with more modern pieces,
even Mahler Symphonies of around 1880 to 1911, the choice of trumpet to
use is far from simple. It becomes somewhat of a balancing act, of what
is easiest (both Technically and Psychologically), what sounds best, and
of course what equipment is available. And the only way to find that balance
comes through either known tradition, conference with others who may know
the piece better than you, or simply through practice and experimentation
over time. It is usually the Principal player's choice though, as it is
best to use standard equipment across all the Trumpeters in a piece. (I.E.,
we will ALL use C trumpet for this part/movment/piece). There are however
accepted differences to the rule. In the Hallelujah chorus from Handel's
Messiah, unless the piece is on 'period' instruments, the first part will
almost always be played on the Piccolo Trumpet, but the Piccolo trumpet
can't actually play low enough for the Second part. And so I would usually
play that part on my D trumpet. (which is easiest because the parts are
written in D... no transposition, of course you would play it on C trumpet
{up 1 tone} if a D trumpet was not available) But to play the top part
on a D part would be bordering on suicidal because of the range required.
(you turn all sorts of colours as it is on the Piccolo!) Of course this
selection of Trumpets to use does require some communication between the
section leader and the Section members. And in a perfect situation, I guess
each guy gives his vote, and then the leader (usually the first trumpet
of the piece in question.... well It'd better be!) will decide what the
best choice would be based on musicality of the sound, and the technical
possibilities. (for your info, my personal 'Standard' instrument is the
"C" trumpet, and I will use anything else only if another instrument was
deemed to be used by the leader, or conductor if I am the leader, or if
the use of another instrument is the accepted "Tradition" for the piece,
or if it is deemed by me to be Technically overly difficult to continue
with the C.)
I trust I have confused you fully, but that is the way it is in the
world of Trumpeting. (And I haven't even mentioned mouthpiece rims, sizes,
bores materials and whatnot... This is only the basics!)
So next time you feel like turning around and telling your Trumpet
section to Shut up, please bear this story in mind, and know that they
are probably just trying to do their Job as best they can. |
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