The aperture ... is there a diff between a lead player and a classical player?

Discussion in 'Trumpet Discussion' started by coolerdave, Aug 24, 2012.

  1. coolerdave

    coolerdave Utimate User

    5,242
    1,791
    Nov 7, 2009
    San Pedro
    I have been trying to figure out how to put this without it being a dissertation so here's my best shot.
    Since playing warm-ups at ppppp... my aperture had to become more compact and it feels round..
    My results ... or impression was that the core sound increased and my playing became more efficient .. slurs and jumps have become easier.. so easy that the least little bit can be a missed note if I am not attentive.
    but
    I also noticed that my ability to strike a note as a lead player sffz would seems to take a different type of aperture .. sort of bigger and maybe a little spread.It really happens subconsciously by the way. I can still sound the trumpet but when you play lead there is sort of a commanding lyrical quality ( even though no self respecting lead player would put it that way)
    I think that is enough to give you the jist ..
     
  2. wiseone2

    wiseone2 Artitst in Residence Staff Member

    3,418
    373
    Nov 19, 2003
    Brooklyn,NY
    No.
     
    patkins likes this.
  3. tobylou8

    tobylou8 Utimate User

    16,397
    7,513
    Dec 22, 2008
    Virginia
    I've been doing a lot of the same type of pppp playing the last few months and I definitely see and feel a difference. Not sure about the size of my aperture, but I do have much more control all throughout my range and at pppp to ffff.
     
  4. coolerdave

    coolerdave Utimate User

    5,242
    1,791
    Nov 7, 2009
    San Pedro
    Thank you Wilmer ... I was hoping you would respond ... WWWD
     
  5. patkins

    patkins Forte User

    1,732
    660
    Nov 22, 2010
    Tuscaloosa, AL.
    That is succinct. Way to go WiseOne!
     
  6. gmonady

    gmonady Utimate User

    18,119
    9,278
    Jan 28, 2011
    Dayton, Ohio
    I also agree with Wilmer, as it is mearly the approach to the attack of hitting a note ppppp versus sffz. When you practice these attacks, it is more a function of controlling the airstream through breathing and tonguing techniquess.
     
  7. graysono

    graysono Mezzo Forte User

    715
    215
    Jan 22, 2007
    Hyde Park, Utah
    Robert Ingram reports (Clinical Notes on Trumpet Playing) that when he was on MF's band, he told the boss one night on the bus that he had sounded especially good. MF reportedly said that he felt that night as though he could drive drive an "ff'ing" truck through his aperture. I have since noted how much my perceived sound fattens when I try to open my aperture to the largest extent possible. I suspect it lessens the intrusion of my chops into the mpc. We'll see how it goes from here. In my heart, I think I have many emboucheres that show up for the particular occasion.
     
  8. EdMann

    EdMann Mezzo Forte User

    746
    148
    Sep 20, 2007
    Los Angeles
    It seems to me that keeping things the same from one genre to the next is a far better program than making changes, especially as you go from one mpc to another, or horn. MF played with a fat, loud sound, more than most mortals, and his "large" opening was something he could handle, where someone else may have found an aperture that wide/large uncontrollable. Frankly, I think even HE did in his later years. My experience of late tells me that I had been blowing it open too far in big band situations, particularly when passed a lead chart, and finding my evening over sooner than I'd like for the experience. Since, I've had more success.

    ed
     
  9. graysono

    graysono Mezzo Forte User

    715
    215
    Jan 22, 2007
    Hyde Park, Utah
    And I agree fully, Ed, that the less that changes the better. I sit 3rd or 4th in a big band, but at 73 yrs am very aware of short evenings without being passed the lead charts. However, I do get some solo work in that setting and I do open up when I stand and let it out a little. Just saying. I attended a workshop fronted by T Stafford one day (Moscow ID) and he stated that he had two distinct emboucheres that I believe clicked in dependent on where he was in his range. Appropos of another thread here, he said that he had also taught himself to play wet/dry and up/downstream.
     
  10. Jerry Freedman

    Jerry Freedman Piano User

    291
    41
    Mar 4, 2005
    Some days are really good. Everything works well, I sail through the registers, golden tone, tongue like a typewriter. Aha, I say, this time I have it. I'll remember this feeling and do it again tomorrow. Never works unless I forget yesterday's golden "feeling" and grind it out like I am supposed to
     

Share This Page