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Discussion in 'Trumpet Discussion' started by gzent, Jan 7, 2014.
Too bad it's not a 365 HP Taurus SHO.................
So, at the end of the day, who is less fortunate?
I would say those not making music.
"Relaxing" into a Monette is for sure not for everyone, just like physically man handling a slightly out of tune Bach C is not for everyone (I have and use both - I lose more weight with the Bach when playing a heavy gig). The magic for those that accomplish it makes the hardware transparent to the audience. Only trumpet players come up after a gig and ask what horn I was using. Mostly because they SAW my heavy mouthpiece - not because of what they heard.
So, not finding the magic in your relationship to music through horn makes you unfortunate, whoever you may be, whatever you may play.
Excellent point, couldn't have said it any better.
I'm curious, when/why do you still use a Bach C?
There is something to be said for proper body mechanics improving one's performance.
I won't credit Monette with that. Manny Laureano was the one that preached and I listened.
I use the Bach C when I play in a section with similar horns. I also use it for modern french music (Bozza Sonatine) as well as anything that requires my sound to mesh with the orchestral fabric (Dvorak, Stravinsky). I do not use it when I play Bruckner, Mahler, Strauss, Wagner (Rotary Bb) or anything early classical (Natural and Baroque trumpets). I use the Monette when I want to have a thicker sound and primarily stay above the orchestra (Show tunes, Prokofiev, Tchaikowsky, Gershwin, Holst Planets).
That being said, most of the people that book me have expectations developed over many years of working with me. Gabrieli, Praetorius gets the Zink these days and my Picc is retired for most of the baroque stuff.
I really like my Bach C. It has a creamy sound and really liquid transitions between notes. I really like my Monette - a thick but brilliant sound with flexibility and security regardless of register, Articulation pops out like no other horn that I have ever owned. I really like my 1938 Heckel rotary Bb trumpet - fat low register, clear midrange, brilliant upper register with the proper shift of timbre during crescendos and it NEVER breaks up regardless how loudly that I play.
All of my horns have something really unique about them. I cannot envision that it is technically possible for ANY single horn to cover the palette of options that I have available. I consider myself "Most Fortunate"! My students get to use some of my horns when it is advantageous. The first Mozart Requiem with the nat teaches them about heaven and hell, the first Messiah on baroque trumpets teaches them respect. The first Wagner Meistersinger Overture with the rotary trumpet teaches them a special balance for the brass section. Keeping up with my Monette in the Planets - especially Saturn teaches them to BLOW!
Yup, I wouldn't trade them for anything. I need them all.
Any chance of getting a listen to bit of the Gabrieli?
I second this suggestion. Any chance we can find a recording of you playing Gabrieli?
This is not me but my teacher and will give you an idea. I'll try and put some more stuff on line soon.:
Thank you rowuk,
Where I live it has been raining for a month, I played your post and the sun came out and bathed and refreshed me.
Some music can caress the soul.