Manny Laureano

It surprises me that you ask only because i think that we here in America have always looked to players from Eastern Europe for dramatic playing!

It's not just one thing to add to the playing. You must think about a line from a play, any good play. How would you make that line sound important and dramatic? Certain words are given a greater focus, a bit more punch or clarity. You might raise your voice a bit or you might suddenly play very quietly in an unexpected way. These are dramatic acting techniques.

How might you use your knowledge of the music to give some impact... power... in other words drama... to make the music more compelling?

ML

W Scott

Words can carry things just so far. This link is to a portion of a master class put on by Phil Smith. He's playing a portion of 'pictures'. Listen as to the various ways he colors the sound and hopefully this will give you some ideas:

http://www.youtube.com/watch?v=d1zisPbFy44

Bill

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trumpetnick

Guys,

Thanks for all your comments they are really useful to me. Probably I should ha precised more. It is easy to get dramatic when you can play with the harmony, melodic lines etc. The piece was La forza del destino by Verdi. The excerpt that I was intially talking about was first three notes (high f# for the 1st trumpet, all the the brass/no horns/ is playing that same note in their respective range). After 1bar GP the brass is playing these same notes again. This is played again in the middle of the ouverture again. I think taht all comments saying something about punch and crisp attack were what I needed...The problem was also that the second trumpet and probably the second trombon were sharp and when trying to get myself in tine in them I was attacking the note to high and on rehearsal instead of f# shrap sometimes I was getting something like high A...which made the surprise effect a bit...ugly. Or may be too much. Probably the conductor had not really known what exactly he knew...nevemind.

Manny,
As far as my experience allow me to give an opinion, I always thought that the most dramatic orchestral playing that you can hear is in Germany or Italy...Russians can do some really good things but I never liked the russian (or if you like Dokschitzer: I always liked everything in Dokschitzer playing except his vibrato) vibrato. It is too much for my taste.

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wiseone2

I'd ask for more information from the guy on the podium. Verdi wrote in the drama. Those first brass chords in La Forza del Destino are about as dramatic as it gets. Toscanini with a gesture could convey just what he wanted. Beware the conductor who talks too much, and says nothing.
Wilmer

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