We all know that the extreme registers, both low and high on the trumpet can be challenging. Everyone’s idea of low and high is different based on experience, number of years playing and the type of music and part you play most. If you are a Flash Gordon tv series in the 1960s fan, watch many cartoons or are a regular concert goer, this should be a familiar melody. If you can play a “C” major scale you can work to make this part of your great sound repertoire.
Les Preludes – trumpet melody ( Trumpet in C)
Franz Liszt Les Preludes
Solti/ Chicago Symphony; Live Recording,Salzburg,1992
Daniel Barenboim mit Berlin Philharmoniker – Staatsoper Berlin (1998)
If the challenge is to play slightly lower into the leger line area with a melody, you will want to have a beautiful sound. This example is from the Gliere Horn Concerto. The third movement trumpet melody needs to have pitch, sound, and be played with style. Do not forget to practice in this important area, there are many solos as well as ensemble sections that will feature your well-practiced sound. Start with whole notes and a tuner.
Here are two different sounds and styles of playing this exposed solo.
Reinhold Moritzevich Glière – Horn Concerto in B flat major, III. Moderato – Allegro vivace. Radek Baborák, horn. Prague Philharmonia (Pražská komorní filharmonie – PKF) conducted by Jakub Hrůša.
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Hermann Baumann, horn. Leipzig Gewandhaus Orchestra. Kurt Masur, conductor.
Gliere Horn Concerto, 3rd movement, trumpet fragment ( Trumpets in Bb)
The American Brass Quintet is a great chamber ensemble. The trumpet players are always outstanding. This is a favorite CD of the past from their huge library of recorded works. The lightness and varying of tone colors in their playing is so impressive. Then add the well thought out and executed ornamentation. Spend some time listening to this. It should give you many ideas for your practice time; can you really do all these things too? Get the whole CD for your library and listen to it regularly!!
American Brass Quintet
Fyre & Lightning ℗ 2005 Summit Records
‘Vidda’ – Ole Edvard Antonsen – Prinsens Musikkorps
Bernstein: Mambo / Metzmacher · Berliner Philharmoniker
Fanfare for the Uncommon Woman No.3 Joan Tower
Choir 1 – Members of New York Philharmonic (aka Principal Brass) Philip Smith, trumpet George Coble, trumpet Philip Myers, horn Joseph Alessi, trombone Warren Deck, tuba Choir 2 – Empire Brass Rolf Smedvig, trumpet Jeffrey Curnow, trumpet Eric Ruske, horn Scott Hartman, trombone Samuel Pilafian, tuba Zubin Mehta, conductor
Scott Laskey Brass Chats | Season 2, Episode 8
Hindemith: Concert Music for Brass and Strings, Chicago Symphony
Although I have been treating July and August very much as a vacation; I am also preparing for what I know exists in the coming season as I return to my life in the United States. A Bach b minor Mass will be in October and with the new year Neruda Concerto in Eb; Offenbach “The American Eagle and Arron Copland’s Quiet City. My routine is adjusted to play Eb trumpet, cornet and piccolo trumpet each day in addition to my other favorite trumpets. I hope to spend time playing my 4 valve Schilke “G” trumpet too; I feel I have neglected using it more. The “G” has a beautiful sound but my intonation needs additional work to be at a high level. More pieces will of course be happening soon; but these are enough to think of in the time of warm summer days and tasty barbeque.
I do my short intervals practice using the concept of Sing, Buzz, Play. As I begin to do scales or lip flexibilities, I take my Eb trumpet and play what normally would be done on the Bb or C trumpet. This could be James Stamp, Earl Irons or Charles Colin. I DO use a tuner and a metronome. After 15 – 20 minutes, I switch to piccolo trumpet and continue with similar materials. Yes, I focus on my basics with these instruments to make sure they sound correct and so I can feel confident when I play the in public. Later in the day, after a rest period, I will do the repertoire pieces that I will perform publicly. Having many different trumpets is only helpful if they can be played at a high standard. This means, for me, practice and thoughtful preparation. I love the different voices or timbres of colors that are available from my selection of trumpets as I play in an orchestra or as a soloist.