Eb/D Trumpet

Discussion in 'Trumpet Discussion' started by music matters, Jan 23, 2006.

  1. trumpetmike

    trumpetmike Forte User

    Oct 11, 2004
    Farnham (a place too smal
    Hi Graham
    As one of the only people here who might understand what you are talking about with "UK ABRSM exams," do you mind some further advice from somebody who isn't Manny?

    The difficulties I find that are associated with Eb/D playing depend laregly upon the instrument. Some respond in a very similar manner to a Bb instrument (the 4 valve B&S plays and sounds very much like a Bb), whilst others are very "piccolo" in nature (the old Besson or Selmer instruments are a prime example of this).
    The Eb/D will not (usually) add any notes to your range, but may make some of the upper register more secure.
    The instruments themselves tend (generalisation coming up) to be less secure, intonation wise, than most Bb instruments. If you listen well, it is just a case of learning which notes need to be adjusted, same as on a Bb.

    Whatever works.
    I use the same for C as Eb/D, slightly shallower than on my Bb.

    Playing instruments other than the Bb certainly expands your options for programming recitals. I find that I don't use my Eb/D very much in recitals, but there are certain pieces that I much prefer on it (Let the Bright Seraphim is a prime example).
    The only time I use it regularly is in ensemble playing.

    How easy is it for you to get to try instruments out in Dubai?
    As with all instrument purchases, the only real way you can choose which is right for you is to try them yourself.
    I use a Yamaha 6610 and it is a lovely little instrument. I find it much closer in feel to piccolo playing than I do to Bb. If I was aiming to play something BIG on it, I would see if I could obtain a larger instrument (such as the 4 valve B&S mentioned earlier - Will Spencer has one of these and it is a beast).
    I have played Yamaha (most models), Schilke (3 & 4 valve models), Kanstul, F Besson, Stomvi, B&S (3 & 4 valve), Selmer, Getzen (and probably more that I have forgotten). So far, the finest have been the B&S, Stomvi, Yamaha and Kanstul. The Schilke was one of the most disaapointing (for me - personal opinion) - it looks great, it has rave reviews, but I didn't mix with it very well - I found I couldn't get the sound I was after on it.
    For what I want from an Eb/D, my Yamaha does me fine (and I agree with Brian - I much prefer it on the D side to the Eb - I can cope with the intonation on the Eb side, but it is better in D).
    If a student of mine was after an Eb/D (which will be happening this Summer, I expect), I would recommend a trip up to Phil Parkers and try out the brands I have mentioned (and would strongly expect them to come back with either a B&S or a Stomvi - excellent value for money and superb instruments).

    Of the syllabus repertoire you mentioned

    I would suggest that the Handel Suite and the Clarke Suite work very well on the D (and are two pieces I work my students through when they first get an Eb/D). Both are playable on a piccolo, but are also lovely to play on a D.
    I would also recommend getting to know the concertos (Haydn, Hummel & Neruda) on an Eb. Which you choose to perform the works on will be a matter for your personal choice.
    I prefer my Haydn on a Bb, but I know I am in the minority.

    Part of the diploma (and above) exam is the ability to present a balanced programme from the repertoire. If you are able to present baroque works, in the original key, you stand a better chance of fulfilling this part of the exam than if you present a recital completely on the Bb. I am currently helping a student prepare for his diploma exam and this has been a discussion we have been having - he can play much of the repertoire on his Bb, but with a D he is able to play the majority of what is listed - therefore the chance of a more varied programme is increased.
  2. slixk

    slixk New Friend

    Jan 13, 2006
    Me too!
  3. bj

    bj New Friend

    Oct 31, 2003
  4. Alex Yates

    Alex Yates Forte User

    Aug 11, 2005
    Atlanta, GA
    Hey Brian, it is no big deal. I was a bit cranky yesterday and that can impair how I read sometimes. I understand you were being respectful of Manny with the intent of your words. There are some of us here who really thought we could help Graham since trumpet is his hobby and didn't think the subject was so deep that he needed to wait until Manny returned to get some feedback. When Manny does return, I am sure he will help Graham out as well.

    We are cool....no problems. Sorry I got my feathers ruffled. :-)
  5. Mikey

    Mikey Forte User

    Oct 24, 2003
    I'm staying out of it too. I thought about offering my professional opinion, but he wanted to hear from Manny. I don't if Manny has a laptop with him and will be able to check in.......I have a feeling I know his response, but if you can wait a week, he will be back.
  6. bj

    bj New Friend

    Oct 31, 2003
    Hi Alex

    No worries. I really will check and re check things for how they read before ever posting. It is so easy for misinterpretation I sometimes forget that you need to be more careful with a written post than the spoken word. You don't have a tone of voice to convey your meaning.

    all the best

    Brian Jones
  7. music matters

    music matters Pianissimo User

    Apr 26, 2004
    ON Canada
    I am really grateful for all of your responses, and I am sure that Manny will be very happy to see that good discussion and advice is been given on his page in his absence!

    Thank you all again very much,

  8. Manny Laureano

    Manny Laureano Utimate User

    Sep 29, 2004
    1) If you have a good ear, that is if you have a good sense of relative pitch the instrument will only be as hard to get used to as the quality of the horn will let you. If the horn and mouthpiece combo are a good match you'll do fine if you have a good ear.
    2)No, I have a shorter mouthpiece that fits the balance of my particular horn. There are, therefore, few of the traditional problems that I used to have with intonation (the very sharp G, the flat E, Eb, D and G in the staff for instance)
    3)There's no reason for you not to do both horns. I recommend to play your regular studies that you play in the Bb on the Eb (without transposing them) as well to get a sense of what the problems are so you can address them. You'll also build a fine endurance if you're clever about it all and don't strain yourself.
    3) Frankly, I don't have any playing experience with any of the above models you've mentioned. I have heard all but the B&S models and those I've heard have had a sound that's too light for my taste, even from very fine players. As I say, it's subjective.

  9. music matters

    music matters Pianissimo User

    Apr 26, 2004
    ON Canada
    Thank you very much for your advice Manny. I have ordered a trumpet and am looking forward to trying it out! Hope that you had a good trip,

    Best wishes,

  10. B15M

    B15M Forte User

    Dec 30, 2003
    Monroe Ct.
    Now I'll give my opinions:

    I have a Yamaha E flat D That I think is the model you are talking about. I stopped playing on it because of tuning issues but I did like the sound.

    I found that playing on an E flat trumpet helped my playing a lot. I got some concertos that I knew already from B flat and I did as Manny suggested and played B flat stuff on the E flat.

    I now have a separate E flat and D trumpet which fixed the tuning problem. I don't play the D trumpet much. Most of the D trumpet stuff that I got that trumpet for works better on Picc.

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