dramatic brass/trumpet sound?

trumpetnick · 10-25-2006, 04:57 AM

Folks,

How do you do a "dramatic" sound? Yesyerday I was rehearsing some Verdi Ouverture with the orchestra and the conductor was requiring all the time a more dramatic sound...the dynamic mark was only f so increasing the volume did not help much...Do you change your articulation or something else somehow in such cases....The usual comments from conductors are something like biger, or more centered, louder, sfter, darker, lighter etc. But this was the first time I got such a comment. So, what would you do?

dedalus78 · 10-25-2006, 08:53 AM

Which Verdi Overture? For something like the Force of Destiny overture, I would say you need to be firm and crisp with your articulation and extreme with your dynamics. More explosive note beginnings will help the drama. I would also advise an 'operatic' vibrato in the lyrical solo at the start of the piece.
Good luck.
TW

tpter1 · 10-25-2006, 12:29 PM

Ask yourself: what creates drama? Boldness? Excitement? How can you (stylistically) incorporate these ideas into your playing?

What, to you, is a drammatic piece of music? Why? How does that differ from one that is say, more humourous? How do the sounds of these pieces differ?

There is no one easy answer for this one, as far as I can see. It's imagining a concept; much like an actor putting him/herself into character.

Dale Proctor · 10-25-2006, 01:08 PM

I would think adding a little extra "punch" and clarity to the notes would get the effect the conductor desires.

Vulgano Brother · 10-25-2006, 01:51 PM

Sometimes the conductor is really wanting an "uglier" sound -- at any given moment in an overture you might be the villian, the hero or the girl.

jcstites · 10-25-2006, 01:57 PM

More front and more zing would do it.

dizforprez · 10-25-2006, 02:38 PM

Quote:

Originally Posted by trumpetnick

Folks,

How do you do a "dramatic" sound? Yesyerday I was rehearsing some Verdi Ouverture with the orchestra and the conductor was requiring all the time a more dramatic sound...the dynamic mark was only f so increasing the volume did not help much...Do you change your articulation or something else somehow in such cases....The usual comments from conductors are something like biger, or more centered, louder, sfter, darker, lighter etc. But this was the first time I got such a comment. So, what would you do?

In that context I would take drama as meaning contrast. That could mean more contrast( bordering on exaggeration) in terms of dynamics and articulations among other things as it relates to the musical character you are after.

rjzeller · 10-25-2006, 03:43 PM

Geeze is that ever an open-ended comment. Strictly speaking, when people ask for drama, they're usually after an exhaggeration of the highs and lows and in-betweens. More edge where it's called for, more body when it's called for, more...flair.

But what does that mean and is that what this guy wants? Who knows. I have a feeling if you knew exactly the sound you were after, you wouldn't need help describing it, because you'd automatically start playing it.

tpetplyr · 10-25-2006, 11:44 PM

The easiest way for a brass section to give a conductor more drama is to really play into the harmony. Identify the points of tension and lean into them, relaxing into the releases. If this is done cooperatively as a brass section, then the piece is dramatic. It's not teh easiest thing in the world, but it's much more effective than a subtle stylistic change, and it's something we should always try to do anyway.

Stuart

brian moon · 10-26-2006, 12:08 AM

Quote:

Originally Posted by trumpetnick

Folks,

How do you do a "dramatic" sound? Yesyerday I was rehearsing some Verdi Ouverture with the orchestra and the conductor was requiring all the time a more dramatic sound...the dynamic mark was only f so increasing the volume did not help much...Do you change your articulation or something else somehow in such cases....The usual comments from conductors are something like biger, or more centered, louder, sfter, darker, lighter etc. But this was the first time I got such a comment. So, what would you do?

Conductors are always saying junk like that when then can't describe what they want. The conductor is waiting for you to to figure it out and then claim credit by saying "That's what I was looking for."

10-25-2006, 04:57 AM	#1
trumpetnick Forte User Join Date: Nov 2005 Location: Vidin, Bulgaria Posts: 1,851	dramatic brass/trumpet sound? Folks, How do you do a "dramatic" sound? Yesyerday I was rehearsing some Verdi Ouverture with the orchestra and the conductor was requiring all the time a more dramatic sound...the dynamic mark was only f so increasing the volume did not help much...Do you change your articulation or something else somehow in such cases....The usual comments from conductors are something like biger, or more centered, louder, sfter, darker, lighter etc. But this was the first time I got such a comment. So, what would you do? __________________ Spada Bach B flat 72, leadpipe 2L/DWMM1.5C Spada Bach C 256, leadpipe 2LQ/DWMM1.5C 1956 Olds Ambassador Cornet Spada Custom Piccolo If you don't know where you are going, you 'll end up someplace else

10-25-2006, 12:29 PM	#3
tpter1 Forte User Join Date: Jan 2005 Location: Northern New York Posts: 2,310	Ask yourself: what creates drama? Boldness? Excitement? How can you (stylistically) incorporate these ideas into your playing? What, to you, is a drammatic piece of music? Why? How does that differ from one that is say, more humourous? How do the sounds of these pieces differ? There is no one easy answer for this one, as far as I can see. It's imagining a concept; much like an actor putting him/herself into character. __________________ -Glenn "Roses have thorns; shining waters mud. Clouds and eclipses stain the moon and the sun; and history reeks of the wrongs we have done. After today, after today, consider me gone."- Sting

10-25-2006, 01:08 PM	#4
Dale Proctor Forte User Join Date: Jul 2006 Location: Heart of Dixie Posts: 1,105	I would think adding a little extra "punch" and clarity to the notes would get the effect the conductor desires. __________________ Olde Towne Brass www.otbrass.com Brass Band of Huntsville www.brassbandofhuntsville.org "Hit it hard and wish it well." - Claude Gordon

10-25-2006, 01:51 PM	#5
Vulgano Brother Moderator Fortissimo User Join Date: Mar 2006 Location: Parts Unknown Posts: 4,223	Sometimes the conductor is really wanting an "uglier" sound -- at any given moment in an overture you might be the villian, the hero or the girl. __________________ "A tool good enough to be so used and not too good" C.S. Lewis That Hideous Strength www.letsbuildhope.org

10-25-2006, 01:57 PM	#6
jcstites Mezzo Forte User Join Date: Jun 2005 Location: Tallahassee, FL Posts: 803	More front and more zing would do it. __________________ www.jonathanstites.com

10-25-2006, 08:53 AM	#2
dedalus78 New Friend Join Date: Apr 2006 Posts: 31	Which Verdi Overture? For something like the Force of Destiny overture, I would say you need to be firm and crisp with your articulation and extreme with your dynamics. More explosive note beginnings will help the drama. I would also advise an 'operatic' vibrato in the lyrical solo at the start of the piece. Good luck. TW

10-25-2006, 03:43 PM	#8
rjzeller Forte User Join Date: Mar 2005 Location: Rochester, MN Posts: 1,212	Geeze is that ever an open-ended comment. Strictly speaking, when people ask for drama, they're usually after an exhaggeration of the highs and lows and in-betweens. More edge where it's called for, more body when it's called for, more...flair. But what does that mean and is that what this guy wants? Who knows. I have a feeling if you knew exactly the sound you were after, you wouldn't need help describing it, because you'd automatically start playing it. __________________ There are 10 kinds of people in the world: Those who understand binary and those who do not.

10-25-2006, 11:44 PM	#9
tpetplyr Pianissimo User Join Date: Dec 2003 Location: Boston Posts: 146	The easiest way for a brass section to give a conductor more drama is to really play into the harmony. Identify the points of tension and lean into them, relaxing into the releases. If this is done cooperatively as a brass section, then the piece is dramatic. It's not teh easiest thing in the world, but it's much more effective than a subtle stylistic change, and it's something we should always try to do anyway. Stuart

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