trumpetnick

I do have the Maurice Andre's recordings and even some Voisins (Voisin leaded the first trumpet masterclass that I have attended), and exactly for that reason Marsalis' sound seemed to me a bit dark (I have no idea what eqiupment Maurice was using on the 60s, but I assume that it was Selmer). I am sure that there is a lot to be done as vibrato, articulation etc. but still think that some pieces are not appropriate to play on a heavy wight trumpet...You see, I like hearing heavy trumpets with a dark sound on Wagner, Mahler etc, but when you play Poulenc's Eiffel tower polka or Gay Paris my conception of the sound itself is that it should be lighter and brighter which goes all together with the articulation, vibrato etc. Obviously you can change the colour of the sound just be playing it differently, but certainly chancing the equipment helps...or at least that is my perception. Tell me if I am wrong....you won't get a rotary trumpet to play Poulenc or Francaix, right?
I still remember my first lesson with Rod Franks...He made 2 points and it is very close to what you said...
1. He said that I had not too many different articulations

2. He wanted me to control better my vibrato...He drew schemes of the most popular styles of vibrato....american, british, french, russian, soloistic...I may have forgotten 1 or 2, but I am sure that you are getting the point. Why do we change horns? Cause we want different sound. I don't know what equipment exactly do you use, but I am curious to find out...My background as far as my education is concerned is very mixed: I started in bulgaria where there is now a particular style of teaching but many trumpeters are influenced by Dokschitzer. Then I went to Switzerland where my teacher was somewhere in between german and french school: In switzerland is rather french, but he has played for ten years with Celibidache in Munich...Then I spent one year in England where Rod and other people (mainly Murray Greig) ahs thought me for few lessons or more their way...I have not had any US teachers, but I have all these recordings...mainly Marsalis and Phil Smith...My personal preference goes to Phil.
To resume you can change style by changing technical stuff, like articulations and vibrato, but the other way is to change to equipment, right?

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Spada Bach B flat 72, leadpipe 2L/DWMM1.5C
Spada Bach C 256, leadpipe 2LQ/DWMM1.5C
1956 Olds Ambassador Cornet
Spada Custom Piccolo

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