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Discussion in 'Trumpet Discussion' started by BPhelmet, Nov 23, 2004.
how do you put vibrato into your playing??(trumpet)
There are a few ways to do it. I generally find a slight movement of the jaw up and down works well and is easy to control. You can also do it with your air, your hand, and your lips. Experiment and see what works.
you live in toronto? i live in toronto, too!
i live in don mills and steels, where do you live?
A little more downtown, Avenue and Eglinton.
Here's how to learn to vibrate on the trumpet:
Whistle a straight note. Do that a few times and have the note last three or four seconds...just a straight tone.
Whistle and alternate, as a slur, up and down no wider than a major second, a minor second is better. Do that four several seconds.
Now, oscillate faster between the tones until it you are doing as fast as you can. It should sound like a bird call of sorts.
Take your favorite tune that you like to play on the trumpet and whistle it with this technique once you've got it up to a considerable speed. In essence, you're whistling with a nice, bird call vibrato if you're doing it right.
There's your vibrato as applied to the trumpet. Now, go find as many recordings of Rafael Mendez as you can and also Timofei Dokshitzer and strive to imitate them without thinking about facial body parts. Do it by imitation of sound.
Why not go listen to some Roger Voisin as well. If you want to hear a lot of vibraato get the Leinsdorf Mahler 5. While the vib may be excessive, the playing is excellent.
Those Voisin recordings are just amazing! He gets the entire orchestra excited, and it shows on the recording. I'm not sure you can get away with that today, most conductors keep you on a pretty tight hook.
Well, you see now what I've referred to a few times in the past. The days of orchestras having a discernible "personality' are surely becoming a thing of the past. I wonder, though, if a committee today would be able to allow someone of Voisin's talent to win an audition. Who knows? Maybe it still could happen. The decision ultimately rests with the MD, anyway.
It's one of the things that I love about the Minn Orch... it's a very unique sound by today's standards. The string sound is very voluptous one moment and then sparkling the next in a technical passage. Our concertmaster has a very "high-calorie" approach to playing and our bass sound is amazing, it's so rich. I can't think of another string section whose sound I like so well except for Cleveland, maybe. It's best compared to the old Philadelphia sound with Ormandy.
That sort of full-blooded string sound is very contagious and affects the rest of the sections. It's fun to play a passage along with them and them emerge from their texture to our own brass sound as you would in a Bruckner symphony.
Okay...from Voisin to string/brass sound in Bruckner symphonies... way to stay on subject, Manny. Sheesh...
There is a way where you move your right hand back and forth rapidly ever so slightly. A kid that sat next to me in summer orchestra did that, I didn't really notice anything though. I prefer using the lips for vibrato.
Also, a question for mr. leaureano.
is there a concerto for trumpet by haydn? maybe vivaldi?
my teacher last year played it for us, and i really liked it. I was thinking honors orchestra could do a trumpet feature for it.