Discussion in 'Trumpet Discussion' started by dbacon, Dec 21, 2003.

  1. dbacon

    dbacon Mezzo Piano User

    Oct 24, 2003
    Scottsdale, AZ.
    > > These tongue-stop syllables should NEVER be used except in big band
    > > jazz, or the most violent, aggressive orchestral playing (such as some
    > > new stuff I had to play this afternoon).
    > > I recommend to my students that they not to do anything on the trumpet
    > > they wouldn't do in singing the same passage; this can eliminate all
    > > sorts technical problems by focusing on the musical idea. To play a
    > > short, note "sing" a short note, etc.
    > > But not Taht, for heaven's sake! In a Basie chart, different story;
    > > it's idiomatically correct.
    > >
    > > Peter Bond
    > I agree with Peter 100%. One should articulate the same way as they
    > speak, or better yet - sing. I'm not into over analyzing, but if you
    > think about how you articulate words that begin with a "T" - you'll
    > notice that :
    > 1- In most cases the tip of your tongue brushes your bottom teeth.

    Tell this one to your dentist!

    > 2- You're really pronounciating a "TS" rather than a "T" consonant.
    > Caruso used to advocate articulation with the consonant sound of TS TS
    > TS instead of T T T.

    No. Not for clear, clean "legit" articulation.
    I can see where you might use TS for "high-commpression" or "high
    velocity" commercial playing, though. This may be something that
    players should be aware of if they want to step back and forth between
    the two musical styles convincingly. For "legit" playing (and I began
    as a complete "meathead" lead trumpet player in HS and college), I
    literally "talk" the articulations, using NO MORE wind than I would to
    sing the same pitch except in the upper register, and even then, it's
    more like singing in falsetto that blowing or "hissing" like a
    commercial lead player might. This is one reason why nobody confuses
    the playing of guys such as, oh...say Maurice Andre and Maynard
    Ferguson; they're using a different approach to create those high
    frequencies, and that's why they sound so different.

    Peter Bond
  2. camelbrass

    camelbrass Mezzo Forte User

    Nov 5, 2003
    Dubai, UAE

    Where do you get this stuff from? It's great.

    I must admit this subject is a pet hate of mine! I play with one young guy in particular whose attack on a note is the same whether he's playing a Xmas carol or a big band chart..I'm not his teacher but I still feel like having a go, he's not a bad player but the musicality disappears.



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