Using C trumpet in wind ensembles?

Discussion in 'Trumpet Discussion' started by Haste2, May 3, 2012.

  1. Haste2

    Haste2 Piano User

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    My B-flat trumpet is brighter than most everyone else in my section, so I use my C. I use it with a brass quintet, as well (and, of course, any time I'm with an orchestra). The bad thing is that intonation doesn't always match as well, but hey, I know my tendencies relative to theirs, and I use my ears.... overall, it's a good trade-off.

    Anyone else do the same thing? Thoughts on the matter? I know people typically think of C trumpets as orchestral horns only, but.....
     
  2. acarcido

    acarcido Forte User

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    What make and model is your Bb trumpet and what mouthpiece do you normally play with?

    Personally, I can play my Bb in any mix required.
     
  3. Haste2

    Haste2 Piano User

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    The better the player, the more they can adapt the trumpet to different styles, that's for sure.... but the fact remains that when I play on others' B-flat trumpets in the wind ensemble, I get a darker sound.

    I'll tell you the model once I get access to that trumpet again, though. It's supposed to be "versatile" for both classical and jazz.
     
  4. acarcido

    acarcido Forte User

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    So the Bb trumpet you use is not yours? I assume this being that you don't know the make and model. I can tell you the make model and year of ever Bb trumpet I play. Not to mention the one's I have sold over the years. As a trumpet afficionado, I tend to have this close personal attachment to my instruments. That is how I found out one of my kids put a dent on a mint original condition 1956 Conn 6B Victor I have while playing it outside under the moonlight. Grrrr, but still love my kids.
     
  5. rowuk

    rowuk Moderator Staff Member

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    Their is nothing wrong with a c, when you are playing first. If the first is playing Bb, you are only making life difficult. It isn't only intonation, the way the sound develops when playing a crescendo, how much brilliance is in your tone, general ability to support are all very significant.
     
  6. Haste2

    Haste2 Piano User

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    No, I just tend to never remember model numbers.... =P

    YTR 6335HS is my B-flat model of Yamaha, bought new in the year 2000. My C Yamaha is YTR 6445HS with a soldered on MC1 leadpipe...can't say the year here, except that I got it used in 2004.

    EDIT: I almost forgot to say that there are those heavy valve caps at the bottom of my C Yamaha.

    Hm..... and what do you guys think about using C trumpet in solo repertoire? (Of course, I don't think I'd ever play the Haydn or the Hummel on a C....)

    Uh oh, rowuk responded! >_> In my last two months of playing with my college wind ensemble, I was playing second, and the two first trumpets were playing on B-flat trumpets.... they never complained, though, and I never noticed anything wrong.....
     
    Last edited: May 6, 2012
  7. rowuk

    rowuk Moderator Staff Member

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    Did you ever notice that no one says anything to the guy with bad breath either..........

    I assume that you post to get honest answers! >_> I don't think that a C is "cooler" than a Bb. It can be a very useful tool in the right setting. It can be mediocre in others.

    It takes a certain type of person to "earn" a first trumpet position. Just being the best player is not enough. You also need people/section management skills. Like I said, the sound development is different with a C. That is why when the first trumpet is playing Bb, you should too. If the first players didn't notice, something is missing in their skill set, the same applies if they noticed but didn't say anything.......... When a first and second get their playing synchronized, warm fuzzies appear. Resultant tones bounce all over the room. That is VERY tough with the C on the bottom.


    The C trumpet is very good for many solos - especially the french ones like most of these:

    Alary, Giulio I Morceau de Concours
    Balay, Guillaume I Petite Piece Concertante
    Balay, Guillaume I Prelude et Ballade
    Barat, J.E. I Andante et Scherzo
    Barat, J.E. I Fantasie
    Barat, J.E. I Lento et Scherzo
    Bozza, Eugene I Bandinage
    *Bozza, Eugene II Caprice
    Bozza, Eugene I- Lied
    *Bozza, Eugene II Rustiques
    Busser, Henri I Variations
    *Castéreède, Jacques III Breves Rencontres
    Castéreède, Jacques III Sonatine
    Charlier, Théo II Solo de Concours
    *Chaynes, Charles III Concerto
    Damase, Jean-Michel I Hymne
    *Damase, Jean-Michel I Trois prières sans paroles
    Defaye, Jean-Michel II+ Huit Préludes (with organ)
    *Delmas, Marc I Chorale and Variations
    *Descenclos, Alfred III+ Incantation, Threne, et Danse
    *Enesco, Georges II+ Legend
    Erlanger, Camille I Solo de Concert
    *Francaix, Jean III Sonatine
    *Gabaye, Pierre I Boutade
    Gabaye, Peirre II Feu d’ Artifice
    Gaubert, Philippe I Cantabile et Scherzetto
    Ghidoni, Armando I- Bleu Nocturne
    *Goeyens, Alphonse I All ‘Antica (neo-Baroque)
    Goeyens, Alphonse I Introduction and Scherzo
    *Honegger, Arthur III Intrada
    *Hubeau, Jean II Sonata
    Hue, Georges I Solo de Concert
    Ibert, Jacques II Impromptu
    Jolivet, André II Air de Bravaure
    Jolivet, André II Arioso Barocco
    Jolivet, André III Concertino
    *Jolivet, André III+ Concerto No. 2
    Mousquet, Jules I Legende Heroïque
    Ropartz, Guy I Andante et Allegro
    Rivier, Jean III Concerto
    Schmitt, Florent II Suite, Op. 133
    Seneé, Henri I Concertino
    Thome, Francis I Fantasie
    *Tomasi, Henri III+ Concerto
    *Tomasi, Henri III+ Semaine Sainte a Cuzco (with organ)
    *Tomasi, Henri III+ Triptyque
     
  8. vern

    vern Piano User

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    I never understood C trumpet in brass quintet or concert band as, for my uneducated mind, it is best suited for orchestra and certain solo works (thanks rowuk). Maybe I need to be "re-educated".
     
  9. rowuk

    rowuk Moderator Staff Member

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    I take my C to wind band every once in a while to work out Bb transposition.

    I like the C trumpets "creamy" sound. I just don't like it when the second players aren't thinking about the section. It is just a matter of education. A couple of three part trumpet chords and everyone knows why the balance is delicate. Their future playing is then based on knowledge instead of "feeling".
     

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