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Discussion in 'Trumpet Discussion' started by Sethoflagos, Dec 16, 2015.
I guess 'Like' sometimes means 'That particular item of information made me happy'
But it can also just mean 'Thank-you'
....or 'I can't think of a reply just now. Please accept this token in lieu of one'
....or 'I haven't a clue what you're on about, but it sounded clever'
....or even 'I wonder what this button does?'
Maybe some others too.
To go along with Rowuk's statement about Zarathustra, the old true "legend" about Fritz Reiner and Herseth's "time in the barrel" as the CSO members put it.
In the middle of the rehearsal, Bud nailed the octave jump. Reiner gave him a look and Herseth knew what was coming. Reiner said something on the order of he must check something in the woodwinds and would Herseth mind doing it again.
This checking went on 4 or 5 times in succession with Herseth never missing. Reiner then said may we do this just once more? Herseth replieds "I'm here till 12:30".
Reiner was just testing him to see if Bud ever missed. A Herseth miss in rehearsal or performance was as rare as hen's teeth.
Here is the famous leap.
https://www.youtube.com/watch?v=rtGWv2kZT4Q in at 6:47
That's a fun one!!
I used to get terribly nervous before I played anything. I think teaching has helped me to get over it. I get nervous, but not to the degree I once did. The one thing that still frightens me is playing taps. Its not difficult, but one cracked note and you feel like a goat. Many outside performances in cold weather don't help the nerves either.
I remember playing that in high school. On a standard Bb, no less... Simply enthralling when 1/3 of the student body is on stage either as a chorister or instrumentalist.
Pretty much any solo ever gives me the willies A few years back I had to play the solo in the piece "Cartoon". It is around the 5:50 mark in the video (not me playing). I was like third or fourth chair, but ended up with the first cornet part somehow with the part distribution. I was nervous enough just playing it in rehearsal every week. It's so tough because it's the middle of the piece and everyone is getting quiet and all nuancy leading up to your arrival. At one point you have to come in on a Bb below High C after a rest. My nerves were so rattled leading up to the concert I considered handing off the solo to someone else, but my trumpet teacher thought I should still play it. I cracked the first entrance, but was surprisingly steady and accurate the rest of the way.
Oh, and a quick story about an epic fail too. The long solo in "Where Never Lark or Eagle Flew" was to be played by me at Concert Festival. I told the 2nd chair guy "to be ready" just in case anything bad happened. Sure enough, I lost responsiveness on the notes two notes into the solo, and he took over for the rest of it haha.
In a Vienna-based big band, we had to do a gig at a birthday. Did not know whose birthday. Two hours playing time, only a fest of six or seven pieces as "must". Required: In the mood, "with the famous solo - you know which one." I was scheduled to do that solo, but had had to see the dentist two hours before the gig. So they hired a pro as additional 2nd trumpet. Very conceited guy, complete with autographed Ganschhorn.
We arrived at the venue. Big signs all over, "Happy Birthday, Thomas". We had been asked to play at Thomas Gansch's birthday party! (yes, the Mnozil guy!!)
Our additional 2nd went white, then red, then green. Somehow, he managed to play. Then came "In the mood". And in his nervousness, he started the solo one beat late and did not realize it... Mayhem for five seconds, then I chipped in, toothache and all, and gave him a nudge that dislodged his embouchure... Solo went on more or less ok, and the band finished together.
We found out later that the guy was a former student of Thomas Gansch, had been rejected due to lack of dedication...
While a considerably less embarrassing story, I've been nervous about that solo, too.
I was the second chair stand-in that night. Regular long-ish dance gig, no particular crowd, but still a bit nerve-wracking to know that it's more or less the ONLY trumpet solo in the genre that a normal person might notice if I get wrong. With minimal time to prepare, I still think I did a decent job of it - better than their regular second chair at the time, at least.
As Peter McNeil now knows, I played Handel's Hallelujah Chorus twice on the The Christmas Collection of carols CD I sent him, once was in the concert key of D Major and once was in E Major. This CD was produced in 2006 over 5 months while I sat in a wheelchair the first year of my comeback and just days after I bought a pre-owned CC tuba (now sold) and before I acquired all my Mother's and Grandmother's music or added so much of my own. In 2013 I produced another Christmas CD titled Christmas Brass that includes some of the foregoing but also includes my rendition of many of the popular Christmas Songs for which I obtained mechanical copyright license to produce the minimum 50 CDs which I've exhausted in gifts to others.
Yes, I take umbrage when the sounding of Taps is not done correctly, but also when National Anthems (of all nations) or the US National March is not played as Sousa wrote it. Yes, I realize that most US Citizens don't know who wrote the music of the Star Spangled Banner or what the US National March is. Still, what raises my ire is that Irving Berlin's God Bless America is now prohibited from being played or sung in US Public Schools.