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oldlou · 01-31-2008, 10:48 AM

It was never a goal in my life to be heard above 100 other trumpets. When I train the brass section of our local wind ensemble, we go after musical goals not noise propagation.[/quote]

I totally agree with Rowuk, but, I would use a different term than he has used in previous postings to define what our goal in an ensemble should be. The term "mask' is probably correct, but, I prefer the term 'blend' to define losing our own playing in that ensemble. I have been told by my friend and tutor,( principal trumpet in our local symphony orchestra ), that if you can hear yourself over the rest of your section, you are either out of tune, or not coordinated to the rest of the section.

On the subject of mouthpieces; For ensemble work I use a common Bach 7C, which lets me blend quite nicely and feel s good to me. For gospel hymns and other melodic solos I use an antique York #41, which gives me a wealth of overtones and just a hint of brilliance, not good in an ensemble where playing in unison is required.

OLDLOU>>

01-31-2008, 10:48 AM	#8 (permalink)
oldlou Mezzo Piano User Join Date: Aug 2005 Location: Grand Rapids, Mi. Posts: 679	Re: Question or 2. It was never a goal in my life to be heard above 100 other trumpets. When I train the brass section of our local wind ensemble, we go after musical goals not noise propagation.[/quote] I totally agree with Rowuk, but, I would use a different term than he has used in previous postings to define what our goal in an ensemble should be. The term "mask' is probably correct, but, I prefer the term 'blend' to define losing our own playing in that ensemble. I have been told by my friend and tutor,( principal trumpet in our local symphony orchestra ), that if you can hear yourself over the rest of your section, you are either out of tune, or not coordinated to the rest of the section. On the subject of mouthpieces; For ensemble work I use a common Bach 7C, which lets me blend quite nicely and feel s good to me. For gospel hymns and other melodic solos I use an antique York #41, which gives me a wealth of overtones and just a hint of brilliance, not good in an ensemble where playing in unison is required. OLDLOU>> __________________ Couturier trumpet York Master Model trumpet York Elite trumpet York Airflow cornet King super 20 Master Model cornet King Liberty trumpet Reynolds Professional cornet Bohm & Meinl professional trumpet Besson 10-10 trumpet with Holton M.F. bell Olds Special cornet Los Angeles B&H Sovereign cornet G.R.Band Instr. cornet Getzen Super Deluxe trumpet and cornet Getzen Deluxe trumpet and cornet Many others no room to list