Quote:
Originally Posted by wbamb83392  How much of the old fashioned fat lead trumpet sound is due to the writing style and section players? Ive noticed that beginning in the 70's the trumpet section below the lead has become less and less audible. Now the lead player seems to be at least 3 times as loud as the rest of the section whereas around 1960 the lead was just as loud and brilliant yet just a little bit louder than the section. The sound from the section covered up the lower end of the lead trumpet sound, the missing part that makes for the thin lead trumpet sound.
I've never played trumpet in a big band, only bass trombone, so I dont know exactly what the writing conventions are, but has the writing for the section changed over the years so that the lead trumpet is more exposed? Normally I write parts in close harmony for the trumpet section, with the each part just a 2nd or 3rd apart in a rather old fashioned style. Thats the only way to keep the trumpets above the lead trombone, and the harmony sounds good in the trumpet range that way. When I listen to big bands I cant even hear the trumpet section, just the lead, so how are parts being written now? Is the difference in writing or in playing?
-Eric Bamberg |
This is an old post- I hope someone is still watching it!
I am a college jazz instructor and have played lead trumpet for 30+ years. The answer to this question is a little complicated- it depends on a number of factors.
First, style: The "old-school" four-way close writing of the swing-era bands and others like Sammy, Billy May, and Harry Connick, to name a few, demands tremendous sensitivity from the lead player. The guide for trumpet section dynamics is the 3rd part. The lead is the stylistic guide, and the 3rd is the balance guide. If a line is written f for example, the 3rd sets the f, with the 4th slightly louder, the second slightly softer, and the lead maybe at mf. This requires tremendous control and endurance from the lead, as he is almost perpetually playing a a full dynamic level lower than written. The "fat" sound you talk about is probably the result of octave writing, like you find in newer charts;
Second, personnel: no matter what, you will find yourself occasionally limited by those around you, especially in the educational setting. The strongest players play lead, the weakest play the lower section parts. It's just a fact of life. Would that we could play in a section with 4 players all capable of double-G plus, like in a pro band. Stan Kenton's scream specialist played 3rd part (Maynard), so did Maynard's(Lynn Nicholson). In the typical student band, the lower parts will frequently be overwhelmed. If they aren't, that's a good band!!
Third, writing: As I said before, contemporary writing is different from "dance book" writing. Today's charts feature 3-part writing in many sections, to spell the lead, whose parts have become more range-demanding. In the 70s, a double-G gave you virtually every note you needed for lead. With today's composers, like Gordon Goodwin, you need a reliable A. In "hot" sections of a chart, as well as end notes, you often find octaves, with the lead and sometimes 2nd on an E to G, with the others down 8va. Check out your recordings, you'll probably hear the lower octave. This writing tends to bmake the upper range sound really fat!!
These are also good notes for arrangers to take into account. Anyway, hope this helps!