Piccolo Sound - Page 2

DLoeffler · 08-07-2006, 05:21 PM

Love the humor everyone. I think I would go with the vibrato from the Stihl.

Edward, sorry for the vague question.

ROGERIO · 08-07-2006, 05:28 PM

Drew,

Aren't you glad we hijacked your topic...???

If and when they close our boarders, having a chainsaw may be a great thing to own as a out of work trumpet player... oh, oh... I think I just offended a lot of people... perdoname!

Clarino · 08-07-2006, 05:51 PM

Quote:

Originally Posted by trumpetmike

I wonder if this approach can be used elsewhere in trumpet life?

Does Crispian imagine the sound of an axe when playing nat?

I don't think they got that one Mike!

DLoeffler · 08-08-2006, 12:16 PM

Rogerio,

I think the high jack was rather humorous and I deserve it due to my vague question.

ecarroll · 08-08-2006, 03:13 PM

Drew,

No problems with vague questions here. . . I'm the King of vague answers (sometimes purposefully)

Shall we try again?

Best,
EC

trumpetmike · 08-08-2006, 03:50 PM

So, Ed - do you have any tonal concept in mind when you approach piccolo (or any other) trumpet, or is it a case of whatever comes out of the other end is fine and dandy?
The fact that it sounds as good as it does is a combination of your natural sound and a bit of luck?

Clarino - I think you might be right

rowuk · 08-08-2006, 04:16 PM

I really don't THINK about tone color much. If a piece calls for "brilliance", it just seems to happen. I often play duets with my daughter (a fine oboist). That helps me play the piccolo more fluidly and forces me to play with a "nicer" sound at a volume more suitable for ensemble work. Duets with trumpet players often get more "physical".

I think my basic "sound" in terms of overtone structure is 50% equipment and 50% me. If i need darker, it is easier to use a bigger mouthpiece, or a horn with a red brass bell. That being said, a Schilke P54 as bright as it is can still sound gorgeous. Bright is not necessarily bad. With a bright horn you just have to avoid blowing the
s%$§ out of it - it doesn't get prettier that way. A beautiful sound is based on beautiful playing not on absolute overtone proportions.

ecarroll · 08-08-2006, 06:05 PM

TptMike,

Sound colo(u)r is a product of imagination. A particular piece of equipment can influence the sound to a certain degree but, in the end, I sound the way I want to sound if I'm playing a Schilke piccolo, a Yamaha piccolo, a Scherzer piccolo, or a Thein piccolo (I've owned the first 3 and admire the last). The same applies to the big trumpets.

If I want more "thrill" in the sound, I listen to and go for higher overtones. Ditto low overtones when I want to blend. It's all about your ears and your imagination. Every piece that you play, coupled with acoustic and who you're playing with, demands subtle adjustments.

I have been very lucky to stand in front of microphones with some very dynamic trumpeters: Mark Gould, Lee Soper, Neil Balm, Dave Bilger, Scott Thornburg (all with the old NY Trumpet Ensemble), Steve Hendrickson, Steve Burns, Tim Morrison, Ray Mase, John Wallace, Ad van Zon, etc. Each had his own characteristic sound and yet each was very easy to play with. The common denominator for each is big ears.

Cheers,
EC (Dumbo)

kjt · 08-08-2006, 11:09 PM

Quote:

Originally Posted by ecarroll

(former G trumpet afficianado)

Hi Ed,

Could you expand on that "former" part? My Thein G piccolo sounds so darned nice that I find myself using it where I'd use a Bb/A piccolo (also Thein--same horn), or even often where I used to use an Eb/D.

Thanks -keith

ecarroll · 08-09-2006, 06:41 PM

Keith,

"Former" meaning that I simply have little use for it anymore. The oldtimers here might remember that I played the G trumpet on most of my recordings, Bach Cantatas, etc., long before they were popular. I much prefer the sound of the G (I still have a 4 valve Schilke, by the way) to the piccolo trumpet.

That said, I'm just not enjoying Baroque music played on modern instruments as much as I used to and, other than for a trio sonata written for violin, flute, or oboe, my high horns are collecting dust (the piccolo is still useful for modern music, naturally -- Markus Stockhausen's piccolo improvs are to die for and many new scores require it).

The Thein trumpets are fabulous, aren't they? I used to teach occasionally at the Bremen Trumpet Academy and bought one of Thein's corno di caccias (Mike Tunnell has it now).

Nice to meet you here,
EC

08-07-2006, 05:21 PM	#11 (permalink)
DLoeffler Pianissimo User Join Date: Jul 2005 Location: Columbia, South Carolina Posts: 93	Love the humor everyone. I think I would go with the vibrato from the Stihl. Edward, sorry for the vague question. __________________ Drew Loeffler http://www.eastshoremusic.com

08-08-2006, 12:16 PM	#14 (permalink)
DLoeffler Pianissimo User Join Date: Jul 2005 Location: Columbia, South Carolina Posts: 93	Rogerio, I think the high jack was rather humorous and I deserve it due to my vague question. __________________ Drew Loeffler http://www.eastshoremusic.com

08-08-2006, 04:16 PM	#17 (permalink)
rowuk Moderator Fortissimo User Join Date: Jun 2006 Location: Germany Posts: 4,387	I really don't THINK about tone color much. If a piece calls for "brilliance", it just seems to happen. I often play duets with my daughter (a fine oboist). That helps me play the piccolo more fluidly and forces me to play with a "nicer" sound at a volume more suitable for ensemble work. Duets with trumpet players often get more "physical". I think my basic "sound" in terms of overtone structure is 50% equipment and 50% me. If i need darker, it is easier to use a bigger mouthpiece, or a horn with a red brass bell. That being said, a Schilke P54 as bright as it is can still sound gorgeous. Bright is not necessarily bad. With a bright horn you just have to avoid blowing the s%$§ out of it - it doesn't get prettier that way. A beautiful sound is based on beautiful playing not on absolute overtone proportions. __________________ Whenever I feel blue, I start breathing again.

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08-07-2006, 05:28 PM	#12 (permalink)
ROGERIO Mezzo Forte User Join Date: Sep 2004 Location: PHOENIX, AZ Posts: 926	Drew, Aren't you glad we hijacked your topic...??? If and when they close our boarders, having a chainsaw may be a great thing to own as a out of work trumpet player... oh, oh... I think I just offended a lot of people... perdoname!

08-08-2006, 03:13 PM	#15 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,578	Drew, No problems with vague questions here. . . I'm the King of vague answers (sometimes purposefully) Shall we try again? Best, EC

08-08-2006, 03:50 PM	#16 (permalink)
trumpetmike Forte User Join Date: Oct 2004 Location: Farnham (a place too smal Posts: 1,202	So, Ed - do you have any tonal concept in mind when you approach piccolo (or any other) trumpet, or is it a case of whatever comes out of the other end is fine and dandy? The fact that it sounds as good as it does is a combination of your natural sound and a bit of luck? Clarino - I think you might be right

08-08-2006, 06:05 PM	#18 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,578	TptMike, Sound colo(u)r is a product of imagination. A particular piece of equipment can influence the sound to a certain degree but, in the end, I sound the way I want to sound if I'm playing a Schilke piccolo, a Yamaha piccolo, a Scherzer piccolo, or a Thein piccolo (I've owned the first 3 and admire the last). The same applies to the big trumpets. If I want more "thrill" in the sound, I listen to and go for higher overtones. Ditto low overtones when I want to blend. It's all about your ears and your imagination. Every piece that you play, coupled with acoustic and who you're playing with, demands subtle adjustments. I have been very lucky to stand in front of microphones with some very dynamic trumpeters: Mark Gould, Lee Soper, Neil Balm, Dave Bilger, Scott Thornburg (all with the old NY Trumpet Ensemble), Steve Hendrickson, Steve Burns, Tim Morrison, Ray Mase, John Wallace, Ad van Zon, etc. Each had his own characteristic sound and yet each was very easy to play with. The common denominator for each is big ears. Cheers, EC (Dumbo)

08-09-2006, 06:41 PM	#20 (permalink)
ecarroll Artist in Residence Forte User Join Date: Jul 2005 Location: NH/CA/PQ Posts: 1,578	Keith, "Former" meaning that I simply have little use for it anymore. The oldtimers here might remember that I played the G trumpet on most of my recordings, Bach Cantatas, etc., long before they were popular. I much prefer the sound of the G (I still have a 4 valve Schilke, by the way) to the piccolo trumpet. That said, I'm just not enjoying Baroque music played on modern instruments as much as I used to and, other than for a trio sonata written for violin, flute, or oboe, my high horns are collecting dust (the piccolo is still useful for modern music, naturally -- Markus Stockhausen's piccolo improvs are to die for and many new scores require it). The Thein trumpets are fabulous, aren't they? I used to teach occasionally at the Bremen Trumpet Academy and bought one of Thein's corno di caccias (Mike Tunnell has it now). Nice to meet you here, EC

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