Tootsall

Naaa.... I'll let Noel have that pleasure! (Although he might object to your spelling of his name!)

Noel..... the story please!

trumpetmike

Not just Bb fingerings - avoid writing them in for any instrument (remember - not everyone will be using the same pitch trumpet as you are).
Myself and my trumpeting partner in crime of the day once spent a whole rehearsal trying to work out what instrument the previous played had been playing on. He had put fingerings everywhere, but none of them made much sense - we eventually worked out it was a trumpet in G and he had a liking for alternative fingering
It didn't help us at all, but it did provide some entertainment for the rehearsal

The problem with this (from experience) is that parts are not just hired to professional groups. Student players often think that writing in the fingering will help them.
When I was playing in the local youth orchestra (many years ago) we frequently used parts from the LSO library - the shock wasn't what markings we added, but what they had left in - some helpful, some not quite so helpful (other positively distracting ).

When I was depping for a show (wish I could remember which) a couple of years ago the regular trumpeter had left helpful notes through the music and rests, including a wonderful "look over right shoulder." I did and found that I had a perfect view of the ladies dressing room, just as the lead lady (who was very pleasing to the eye) was doing a quick change, revealing just about everything - some pencil markings can be very useful

trumpetera

EXACTLY the kind of helpful markings that makes you send a thankful thought to the previous player!

Also, funny stories and drawings in 3rd trumpet parts of Wagner and Puccini operas are allways welcome!

trombapaul

Personally, I have no problem with other peoples markings (EXCEPT
FINGERINGS!!! GOD, that pisses me off!! ). Where they become an issue
is when the previous marker pushed the pencil into the paper as hard as they
possibly could. As far as I'm concerned, mark what you need but do it lightly,
in #2 black only, so it can be COMPLETELY erased if need be.

Along the lines of erasing, erase your parts before you return them. Save
the next player alot of time and trouble. It's called consideration.

Paul

__________________
"Do, or do not....there is no try!" (Yoda)

"What the hell does sound have to do with music?" (Charles Ives)

Tootsall

Your band librarian will be your friend for life if you do!

MJ

I always like it when I get a part that has "BB" or "Big Breath" written in. That way I really know to tank up for that particular passage

poochie

I was once premiering a show ,The Music of Andrew Lloyd Webber, and the parts we're going out for final copying after the orchestrations were worked out. To our surprise all our joke cues,"bad English horn note" "shaky 2 nd horn entrance" were copied in ink into the new parts!

trumpetera

Hope I get to play that show one day!!!

connloyalist

I know just what you mean with the fingerings Fortunately, I don't see those very often. The only things I mark on my music is when the conductor wants something played differently than is notated (usually dynamics), or when the printed music is incorrect (and the conductor agrees that something should be X and not Y). Things like accidentals that weren't printed (and make you cringe first time around when you play it as written), or when the note is in the wrong place. But, always a good idea to check with the conductor first, because sometimes the composer intended something a certain way, or the player can't hear the whole picture.

Regards, Christine