challenging trill

Discussion in 'Orchestra / Solo / Chamber Music' started by James Smock, Jan 24, 2005.

  1. James Smock

    James Smock New Friend

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    Sep 30, 2004
    Pacific Northwest
    Manny,

    In another thread, you've mentioned learning classical and baroque concertos on larger horns. I've made this a project several weeks ago, and am reaping the rewards.

    What, though, can I do to improve that NASTY trill in the exposition of the Haydn? On B flat trumpet: From G above the staff to F a whole step lower.

    I've spend plenty of time with Mr. Clarke, and I've tried practicing slowly. I've experimented with alternate fingerings, and lip trills. I consider myself a smart practicer, but I have yet to achieve an acceptable result with this trill.

    The G wants to go to A flat. The F wants to go to E. I'm at an impasse.

    Many thanks.

    James
     
  2. BigBadWolf

    BigBadWolf Piano User

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    Nov 30, 2004
    Los Angeles, CA
    Why not try playing it 1-3 as a lip trill?
     
  3. Manny Laureano

    Manny Laureano Utimate User

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    Sep 29, 2004
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    "What, though, can I do to improve that NASTY trill in the exposition of the Haydn? On B flat trumpet: From G above the staff to F a whole step lower. The G wants to go to A flat. The F wants to go to E. I'm at an impasse."

    dear JS,

    Those trills ceased being a problem for me when I learned to do these things:

    to play lower on the pitch rather than allowing my tongue to get in the way. Playing both notes with proper airflow and centered has eliminated the syndrome you describe. Everybody backs off volume and starts to go "EEEE" through the trill. That's why it usually sounds terrible. You have to play through it at a good dynamic and play lower on the pitch.

    It's also easier on the equipment I play, what can I say? It's not an automatic situation but when you do stuff right (playing lower on the pitch with a proper dynamic) it just pops out easier. I don't mean to sound like an ad but the truth is the truth.

    ML
     
  4. James Smock

    James Smock New Friend

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    Sep 30, 2004
    Pacific Northwest
    Manny,

    I have been making an effort to play in the meaty part of the pitch more consistantly. I have not, however, considered that I may be backing off through the trill. Thanks.

    I'm not sure what you mean about "allowing my tongue to get in the way", though. Generally, I'm not conscious of tongue placement. Are you?


    Thanks again.

    James
     
  5. James Smock

    James Smock New Friend

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    Sep 30, 2004
    Pacific Northwest
    Big Bad Wolf,

    I'm just not sure that's idiomatic for Haydn. I've done it elsewhere, though.


    J
     
  6. Manny Laureano

    Manny Laureano Utimate User

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    Sep 29, 2004
    USA
    "I'm not sure what you mean about "allowing my tongue to get in the way", though. Generally, I'm not conscious of tongue placement. Are you?"

    Dear JT,

    Let me clarify.

    Say EEEE and sustain it.

    Now say UUUUUUU and sustain it.

    Now OOOOOH.

    When people trill incorrectly in this passage, they lean towards the EEE approach which, if you examined the difference, places the tongue more in the way of the air stream. That's what I meant by "the tongue getting in the way". When you play lower on the pitch, you generally tend to do so with a lower vowel like Oh, or Uu, or Ah that clears a nice path for the wind.

    So, no, I don't think about it consciously anymore but when I was first working on this years ago, I did.

    ML
     

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