dizforprez

Manny,

I was batting this around in my head this morning and pretty much decided to try the same idea.

I have recordings of Herseth, Vosburgh, Andre, Marsalis, Schwartz, and maybe a few others playing the Haydn Concerto, I think I will take a movement and play it back to back when I get home tonight and try what you are suggesting.

For me the problem isn’t hearing the difference, or even playing with a bit of difference, it is trying to realize the potential for such a broad spectrum as Thompson or Tabuteau discuss.

rowuk

Tone color, from a technical standpoint can only be influenced behind the mouthpiece. The instrument is made out of brass and has clearly defined sonic characteristics. Every trumpet changes the overtone proportions based on loudness. Learning to use the instruments capabilities for maximum effect is also musically sensible. The size of the oral cavity (based on tongue position) can brighten or darken the sound. Body tension can thicken or thin the sound.
The mental image can influence more than the overtone proportions. That is where vibrato, dynamic expression, and all of the other stylistic finesses come in.

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Whenever I feel blue, I start breathing again.