You All Have Had This Happen To You

Discussion in 'Trumpet Discussion' started by IronClaymor3, Apr 20, 2009.

  1. Solar Bell

    Solar Bell Moderator Staff Member

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    Ask ANY professional player (like Schwab) .

    Why do you think there are so many recordings of the Master's works?

    Every conductor is having his orchestra play it to HIS interpretation. How can YOU possibly know what the composer wanted?

    You do what the conductor says....or find somewhere else to play.
     
    Schwab likes this.
  2. hubnub

    hubnub Piano User

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    I hate you for that too.....:lol:ROFL

    There are two sides to a trumpeter's personality: There is the one side that lives only to lay waste to the woodwinds and strings, leaving them lying blue & lifeless along the swath of destruction; then there is the dark side....ROFL:thumbsup:ROFL
     
  3. Graham

    Graham Pianissimo User

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    Jun 8, 2008
    Melbourne, Australia

    ^ lol in reference to our original posts, I really don't think you need to argue with me agreeing with your point, so "It" really don't need to be "Brought".

    That being said, however, I will not agree with "Dynamics are not always to be played in the context of the whole group!", because that's generally considered poor musicianship. A trumpet's mp still HAS to be the same as that of the other instruments in an entire group all playing mp. A trumpet's fff still HAS to be louder than a flute's pp. If we decontextualised the dynamics, they would cease to exist, because they act as a RELATIVE function within the music.

    If "Dynamics are not always to be played in the context of the whole group!", then that would mean the tuba's pp can be louder than a trumpet's fff, and 2 plus 2 would then equal "duck", as far as the music was concerned. I understand that dynamics differ, but we all need to have the same point of reference if working as a group.
     
    Last edited: Apr 21, 2009
  4. rowuk

    rowuk Moderator Staff Member

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    This thread started out pubescent, and except for a few lucid moments hasn't improved.

    My opinion is that anyone that has to TALK about hitting high notes, really has NOTHING to say about the stratosphere (if we even make the effort to believe it). I can't think of one single post here at TM where hitting and musicality were present in a reasonable relation.

    That being said, the problem for the juvenile at heart is not the playing power that they think that they have. Most reasonable triangle players can get over that noise with much less effort, also not to mention the pretty flute player that subs on the piccolo.

    What the children confuse is "loud" with "annoying". The first is cool if not accompanied by the second! There is nothing wrong with a passage at the written dynamics - IF the player has half a brain and makes music out of it. The problem is that even a mf in the hands of players still in musical diapers stinks, not to mention the quiet passages that are played with miserable intonation, tone and timing - because the lips and brain do not respond due to the uncontrolled beating that they just took. YES, ALL YOU BLASTERS, YOU PUNISH YOURSELVES MORE THAN THOSE AROUND YOU BECAUSE AT LEAST THEY LEARN TO IGNORE THE SOURCE. Infants generally believe that anybody that smiles likes them.

    I sit behind the violists in the orchestra and the saxophones in the wind band. The only thing that I try to "hit" is the hearts of everybody listening (including them). In the jazz band, my job is to give the trombone players a new hair-do - and that without destroying their ears (they need their ears to figure out where the slide belongs). That is why I use a very shallow mouthpiece, it keeps the sound very directional - Lobotomy without tinitus!
     
  5. Bachstul

    Bachstul Mezzo Forte User

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    Jan 25, 2009
    Oh.

    Well then, have a nice day! (interpretation: darn I was so in the mood to flare up!)

    "Bring It On" was directed to everybody, any how.
     
  6. Markie

    Markie Forte User

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    You're young, you'll grow out of it.
     
  7. Bachstul

    Bachstul Mezzo Forte User

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    Jan 25, 2009
    The conductor handed me the chart. It is a binding agreement that I play as written. Surly I'm to understand the conductor already marked his (changes) preferable indications of dynamics on the chart with ink, and canceled out a couple "ff"s with white out. Which, yes, overrules the arranger's wishes, because the conductor has to determine the venue, Outdoor/Indoor, size of audience, or, is it played in a hotel lobby?......Or, are the elms and the dogwoods going to swallow the sound?

    But, mostly,..... Is the arranger present to witness the rehearsal? If so, his name may be Clint Eastwood, and the conductor will have to answer to him for his alterations.
     
  8. Markie

    Markie Forte User

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    Hi Bachstul,
    While its true I want to interpret the piece the way I think the composer wanted it, I've always taken the stance that the conductor has the final say in how the piece is interpreted. A good example is when Valery Gergiev conducts The Rite Of Spring. He will tell the orchestra how he wants it intrepreted and sometimes will even say "I don't like the staccato notes during this passage eventhough its written that way, play it more this way" I can't imagine anyone arguing or not doing as he says and maintaining employment.
     
  9. Bachstul

    Bachstul Mezzo Forte User

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    Jan 25, 2009
    Actually, this must be my second childhood!!!:evil:
     
  10. veery715

    veery715 Utimate User

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    Ithaca NY
    I don't undersatand where anyone "here" gets the idea that woodwind and string players are your adversaries. Music, with the exception of unnacompanied solo context, is a cooperative art form. The most sublime experience to be found in listening to an ensemble performance occurs when each musician is fully involved in listening to the playing of his colleagues while simultaneously integrating his own performance with theirs, WHILE understanding and accepting the interpretive instructions of the conductor, if there is one.

    Somehow a myth which arises in adolescence is cultivated by a persisting attitude that seems, to me, prevalent amongst trumpet players in particular. The in-your-face instrument of our choosing is not a dueling pistol, a fencing foil, or a weapon of any kind. It is not appropriate to think of it as a hammer to wield against other players or their instruments, simply because they aren't trumpets. Competition, if any, is between us and those others who choose the same horn. We vie with them for seats, parts, recognition, adoration, and the size of our egos. But then we have to sit down next to them and work WITH them to create our art, and the contest is over.

    If you want flowers, you don't plant weeds. The prize is music in all its glory, and resplendent beauty. Keep your ears on the prize, and forget that other juvenile nonsense.

    St. Paul, in one of his most secular quotes, wrote:

    "When I was a child, I spoke like a child, thought like a child, and reasoned like a child. When I became a man, I gave up my childish ways."

    What a terrific idea!

    veery
     

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