Albert Castillo

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Albert A. Castillo

Khora

Are you preparing it for a performance or for an audition? In performance, there can be a lot of variation, depending on the hall, the conductor, the section, etc. I've done it with a Bach plastic (put a rubber band over the seam to eliminate some of the buzz), a Trumcor Lyric into the stand, and with an old Shastock whisper mute with the cardboard core removed.

For an audition, keep in mind that they might ask you to play without a mute! I think this levels the playing field to a certain degree - they want to hear if you can play soft, not how many mutes you have at your disposal.

I could be wrong, but I think most committees assume you will get whatever mute is asked for, if you get the job. They aren't as likely to eliminate someone over a mute choice, unless it is absolutely ridiculous - they are listening for rhythm, intonation, clarity and style more than mute color. At least I hope that is how they are approaching it! One can never be completely sure, of course......

aneel

Fetes is a real test, I suppose it depends on how quietly you can actually play it! I heard the CSO play it years ago with shastock whispa mutes even seated in a choir seat behind the the tuba player (Gene Pokorny I think)
the trumpets sounded as if they were off-stage! A really magical effect. Another consideration is ofcourse the acoustic you are working in. A bach black plastic mute
or the Marcus Bonna quiet straight mute would do OK
if you are playing in a large not all too boomy hall
provided you don`t feel you`re playing at your
limit of PP otherwise try some of the practice mutes
already mentioned. It would be a good idea if all 3 of you played the same mutes whatever you decide.
Have fun!

Hags888

Thanks for all the replies here. I'm working on it for an audition actually. It appears that the "Bach Plastic Straight Mute stuffed w/cotton" has an overwhelmingly postive response. I saw the Hickman Sotto Voce mute at ITG this past summer and almost bought one. A friend of mine has one, so I might try that out too. I'm still going to pursue the Spivak route, but until someone actually has one to sell, I've got plenty of options.

Scott

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wiseone2

Fetes brings up an interesting question,"Are the parts supposed to be so quiet that only the person in front of the Trumpet section knows for sure what's happening, or should it be eerily audible? Stokie liked Solo-Tone mutes for that passage. I vote for eerily audible
Wilmer

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S.Suark 1951

Vulgano Brother

Oh WiseOne: "eerily audible" that's perfect! I still vote for Bach, though. Lots of audible, plenty of eerie.

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Schwab

Shastock practice mute

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Dylan Schwab
Stage 1 New York