josephus07

Hi Ed, I'm trying to do a study of orchestral trumpet style as it relates to specific time periods, composers, and pieces.

I'm starting with Bach and I was wondering if you or anyone wanted to chime in with their thoughts. I was just listening to your recording "The Trumpet Resounding" (which is great) and I wonder if solo Baroque playing differs significantly from orchestral Baroque playing...also, I'm wondering if Baroque trumpet playing differed significantly based on country/region.

For my study of Bach, I'm looking at the Orchestral Suite No. 3. I have 1964 Breitkopf and Hartel parts.

I've already come up with some of my own answers to the following questions but I wanted to hear the input of others.

1. My part has no dynamics indicated. Who would you personally balance to or how would you decide if your part should be prominent or not? Obviously, some of this can be deciphered from the texture of the whole orchestral score at any point, but composers certainly can make unexpected requests. Are there any general "rules" you follow pertaining to Bach's writing?

2. In general, when there is no indication, do you play notes very full/long or separated/short (duration) and how much decay/sustain do you prefer (or how do you prefer the notes to be shaped)? Any thoughts on bounce, lift, etc?

3. How much front would you place on notes / what articulation syllable do you generally prefer for Bach?

4. Are there any special considerations to take into account in regards to direction of line and phrasing?

5. When performing Bach on a modern piccolo trumpet, do you try to emulate any natural trumpet qualities?

6. We always talk about playing needing to have a vocal quality. Are there any significant stylistic differences between Baroque singing style and that of other eras?

Thanks in advance for your thoughts.