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Trumpet Discussion Discuss Help~~~~~ in the General forums; Originally Posted by Lazorphaze is there a concerto for trumpet by haydn? maybe vivaldi? my teacher last year played it ...
  1. #11
    Piano User
    Join Date
    Nov 2004
    Los Angeles, CA
    Quote Originally Posted by Lazorphaze
    is there a concerto for trumpet by haydn? maybe vivaldi?
    my teacher last year played it for us, and i really liked it. I was thinking honors orchestra could do a trumpet feature for it.

    Yes, there is the Haydn concerto in Eb. It is probably the most popular classical piece for trumpet. Vivaldi wrote several concerti for the trumpet(s).

    But as far as hand vibrato, I wouldn't recommend it. You can potentially screw up your mouth if you move too much. Some guys (lead players) sometimes use this method for shakes, but really it is a shortcut that is unnecessary if you use your air properly.


  2. #12
    Mezzo Piano User
    Join Date
    Oct 2003
    Scottsdale, AZ.
    Quote Originally Posted by Manny Laureano

    Well, you see now what I've referred to a few times in the past. The days of orchestras having a discernible "personality' are surely becoming a thing of the past. I wonder, though, if a committee today would be able to allow someone of Voisin's talent to win an audition. Who knows? Maybe it still could happen. The decision ultimately rests with the MD, anyway.

    It's one of the things that I love about the Minn Orch... it's a very unique sound by today's standards. The string sound is very voluptous one moment and then sparkling the next in a technical passage. Our concertmaster has a very "high-calorie" approach to playing and our bass sound is amazing, it's so rich. I can't think of another string section whose sound I like so well except for Cleveland, maybe. It's best compared to the old Philadelphia sound with Ormandy.

    That sort of full-blooded string sound is very contagious and affects the rest of the sections. It's fun to play a passage along with them and them emerge from their texture to our own brass sound as you would in a Bruckner symphony.

    Okay...from Voisin to string/brass sound in Bruckner symphonies... way to stay on subject, Manny. Sheesh...


    I totally agree with you about the personality of a particular ensemble/orchestra. I think I still hear Berlin Phil, Vienna, S.Fran, certainly Minn Orch etc. as having particular sounds and characteristics that make you go, "did'nt expect that from Bruckner!" In a previous era, I took a few lessons from a Principle Trumpet in Minnesota that pre-dates you just a bit. I'd be sure to hear the Orchestra as often as possible, and at one performance of "Miraculous Mandarin" this very fine but distinctive principle player really let it all out.....I mean that was almost all you could hear, "Charlie and the Minnesota Orchestra" instead of just "The Minnesota Orchestra." I thought the ensemble almost got very excited....I really liked it, but watching the strings I'm not sure they did. It was not your typical performance, it seemed like he was trying to take it to another level but not everyone else shared his vision. Now I don't know what the Musical Director may have said at rehearsal, like go for it guys! But I really liked it. When I got back to my college orchestra I went after it on something.....and got the hand and the big look!!!!!

    Your right, it did not sound like Charlie!

    I still like it when someone goes for it, takes a chance.

    It might not always work, but when it does........

  3. #13
    Pianissimo User pops's Avatar
    Join Date
    Mar 2004
    I think it depends on who you ask, where they were trained and how old they are. (I'm being serious here.)

    In the 40's, 50's and 60's Hand/wrist vibrato was KING.

    It has been going out of favor. But I still think it is used a lot.

    Being a teacher I always save posts that I find interesting.

    Here are quotes from 2 posts.

    Peter Bond (of the Metropolitan Opera Orchestra) wrote a nice post 2 years ago on
    He said:
    "I use a jaw vibrato (as do most players I know), but with the same
    amount of practice, a hand vibrato can be just as subtle (or nauseating) as the music calls for. In my experience, the hand vibrato seems more common among older players (Mel Broiles, for example, used it as principal trpt for 40+ yrs here at the Met), but that is just my experience."

    Wilmer Wise (of the Lincoln Center) on the same group wrote:
    "My teachers were major symphony players, they used a hand vibrato. The hand vibrato of a trumpet player is no more distracting than watching a string section doing the same thing."
    "I have used the hand vibrato all my life. Form the hand sign OK, you know, the one that looks like a zero, then think of waving good-bye.
    There should be NO pressure used. It can be easily turned on or off."

    I just gave a lesson to a grad of the New England Conservatory in Boston. His teachers were Vincent Penzarella, Charles Schlueter and Roger Voisin and he was taught hand/wrist vibrato. (I didn't ask which of them taught him his vibrato but I will the next time I see him.)

    So it clearly isn't dead.
    But no I don't use it myself.

    Mr. Laureano
    I like your description. I may steal it.
    Chris Still says Hi.

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