rowuk

I think there is a problem with generalities. Every single band is different. As a rule the studio productions are much different than what you get on stage.

As far as education goes, I think it is important to work with the section, achieving a balance and then telling the players what happened after they get there. Intellectualizing it before has never been a successful recipe for me. Get the students LISTENING first. get them used to hearing proper intonation and balance - give them theory later. Balance is not just achieved with absolute volume. If you have a classically trained 3rd trumpet, their sound may be too "thick" and not balance regardless of volume.

I was not aware that there was a lead requirement for double G (G above double C - octaves ALWAYS start with C) in the 70s. Considering the amount of monster players out there today, I think a double C is pretty common and would provide for a margin of security if you need high Gs all night!

A note to educators: if you have a real scream trumpet player fine, we do get posts here about over-ambitious directors basically requiring players to "force" their upper range. This really benefits no one. A jazz program should be based on form and groove, not testosterone!