Sectional Playing

Discussion in 'Trumpet Discussion' started by jmberinger, Oct 20, 2010.

  1. jmberinger

    jmberinger Pianissimo User

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    Rowuk: Thanks, and that is the issue that I was trying to address. Who are the second players that you respect the most and why? In you opinon, what orchestra has the best supported trumpet section currently?
     
  2. rowuk

    rowuk Moderator Staff Member

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    JM,
    I had 2 favorites. Vince Chicowitz - Bud Herseths guardian angel at Chicago and Seymour Rosenfeld who backed up Gil Johnson at Philadelphia. I thought that they both had that synergy with their respective "partners".

    I will probably take some heat for this, but I don't think that any brass section has a considerable edge anymore. I also think that most top players are much more "interchangeable" than ever before - at the cost of their uniqueness.

    For those of you with the Gabrieli recording by Philadelphia, Cleveland and Chicago, listen closely. Each brass choir had "their" sound which was very easily identifiable.

    If I want that 150% synergy, I listen to this:
    YouTube - Urban and Joakim Agnas with PRANA C Trumpets

    YouTube - Urban and Joakim Agnas with PRANA C Trumpets

    These guys have it down regardless of who is taking turns with the second trumpet! They are definitely not interchangeable!
     
  3. jmberinger

    jmberinger Pianissimo User

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    Interesting, last week I performed the Italian Symphony playing second. The parts are for "D" trumpet, and I played it on mine. The first trumpet is mostly stationary on the tonic, with some resolution from the dominant, but mine included low "G" to mid staff "G" intervals with another fifth to a third line "D" in the bargain within two bars.

    Then unison with the first, and then back to octaves again.

    Generally, the second parts are more technical and less intuitively phrased then first parts. I played first for quite a while when younger, I really like playing second often now.

    Different chops, and different mental framework.
     
  4. trickg

    trickg Utimate User

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    Well isn't that just a nice little bit of warm-fuzzy for a Thursday afternoon.

    For clarification, no real musician truly plays the ink. That would be sterile and boring, even if it was technically correct. The ink isn't where the music is made - that comes from the musicians who interpret it.
     
  5. jmberinger

    jmberinger Pianissimo User

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    I just listened to the two pieces linked from you-tube. I am absolutely awed by the performances. Centered, focused, even - musical and not just with technical refinment.

    Thanks for the post. Any more?
     
  6. jim trpt1

    jim trpt1 Pianissimo User

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    I have played principal and second trumpet in orchestra. As principal, I rode the wave of the player behind me in the section. i am sure if you were pover playing you would get the "hairy eyeball"
    from either the principal player or the conductor. I always preferred playing second, a good lead player will feed off what you are doing as a supporting player.
     
  7. Ed Lee

    Ed Lee Utimate User

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    I'm going to pop in on this. First, way back in high school band/orchestra, our Director laid it on me to play different parts (often even on different horns). His comment then was that many could play lead / first part but could not play the support music when needed.

    My once placement in a commercial orchestra wasn't exactly a 2nd or 3rd chair, but neither was it a first chair. It was a section that worked extremely well with each of us from time to time playing the other parts. My thinking is that such was a grand experience and more or less equalized the relationships with each other.

    Now put the two comments together and consider them so.
     
  8. fels

    fels Piano User

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    My experience is only with larger sections in a community band. The conductor's goal is for strong 2 and 3 sections. He encourages the pyramid model with 3rds and 2nd forming the base. Most of the trumpets want to play first at some point during the season, so we used to mix up parts and move around. This season we have fixed sections. I was involved in the player assignments and tried to place first equivalent players as the lead in each section ( 1, 2 and 3). I then delegated the balance and style leadership to each section lead. Different issues and personel dynamics than for the 1 and 2 players in a symphony or a duet.
     

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