BFlinch83

Hi Manny,

It's been a while since I posted last, so forgive me if I'm covering something you talked about recently...

I've been doing a lot of second trumpet playing lately, and am trying to figure out exactly what makes the best 2nd trumpet players. I know you have to play in tune and in the same style (articulation, note length, etc) as the principal, hopefully without having to talk about it. But what seperates the "good" trumpeters from the "great" ensemble, section players?

Also, what would you recommend as far as practicing the techniques to be a better section player? I think one of the big things I need to do is work on hitting notes with a solid articulation right in the middle every time without having to adjust the pitch.

Thanks a lot!

Manny Laureano

Dear Brent,

I will write extensively about this later when I have a little more time. It's an important subject. If anyone else would like a go at it please be my guest until then.

Thanks,

ML

Veldkamp

Keep your ears open and try to play like the 1st trumpetplayer without playing lead. So the same sound, phrasing, articulation, etc.

The exercise is listening a lot to good sections and play-along with the record. Try to emulate their sound and phrasing.

To practice my big band leadplaying I played along with a lot of Terry Gibbs records (Al Porcino) and other famous records with swinging lead players. I listened to his phrasing, timing, sound, etc. I think you can aply the same principle for 2nd trumpet playing in a classical setting. Next to that playing a lot as a 2nd trumpetplayer next to a very good 1st trumpetplayer helps of course.

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patdublc

Bob Early (Philly) gave a nice clinic on this subject at the 2006 ITG Conference at Rowan University. There is a brief review of it here - http://www.trumpetguild.org/2006conference/wed/214.html.

He gave some wonderful examples of the differences between playing second in the orchestra next to Frank Kadarabek, David Bilger, and Jeff Curnow. All great trumpet players. The same orchestra. But, oh so different. It was very enjoyable and educational.

Bob spoke mostly from the context of what it takes to play full time 2nd trumpet. Another very interesting area that I would like to hear some comments on is switching parts from gig to gig as many of us "part-timers" do.

For example, I have a gig on Sunday playing lead in a big band where we'll be doing a Maynard tribute. At the close of the gig, I've got a one hour drive to clear my mind to play second trumpet in a rehearsal with a local orchestra. That's a real head game for me and I'm glad that I don't have to do it every day.


pat

Dale Proctor

I'm 2nd trumpet (or cornet) in almost every gig I play. I think I've done it so long that I'm widely known as a 2nd - sort of typecast, I guess. This comes mainly from playing in better groups, ones that have a slightly better (or at least equal) player than me on 1st. Maybe I don't want to play with any group that would have me on 1st! Anyway, the two points mentioned in the original post (intonation and style) are probably the most basic and important. Here's what I can add: Do everything you would do as if you were playing 1st - count and come in the right places, watch the conductor, play dynamics, etc. Just because you're on 2nd doesn't mean you can slack off and just follow the 1st player(s). Great groups need great players on 2nd and 3rd parts too. Play with authority - bring your part out when appropriate. You naturally won't project as well on the lower parts, so don't be timid when increased volume levels are called for. Many times, the proper instrument and mouthpiece combo will help you match the trumpet section sound, but a lot of it is done in your head. Listen to the sound and style the 1st trumpets are producing (if it's fairly uniform and in compiance with the music markings and direction) and try to match it.

Have a good attitude. Many times I've felt fortunate just to have been asked to play in certain groups, no matter which part I'm asked to play. Appreciate that, and be happy and do your best with a harmony part. Be prepared and practice the music. It also helps if you can step in and play 1st in a pinch (and if the director knows it, too), so keep your 1st chops up, physically and mentally. It goes without saying that you need to be able to play well in many styles (classical, wind band, big band, etc.) and be able to handle the technical stuff well. It's hard to match the 1st when you can't double tongue!

Of course, all this matters more when playing in better groups, and especially when you're the only one on the part. If you're playing in a so-so community band with 4 other 2nds, some on cornet, some on trumpet, with varying skill and volume levels, it doesn't matter much. You can't blend when you can't even hear yourself! My 2 cents.

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gchun

Bflinch-

This is a GREAT topic. I'm glad you brought it up.

My comments are made in the context of a big band.

There are stretches when I do only lead playing, and I get out of practice on my 2nd playing. When I get to do more 2nd playing, I become a better player. I become a lot more intune with the lead player,I concentrate harder and I become a better follower. Playing good 2nd makes me a better lead player.

A good 2nd player will accurately predict the actions of the lead player. He will accurately match phrasing, pitch and time. A good 2nd player (or 3rd or 4th player) will not have his own sound when playing in the section. A good section player's sound will become part of the lead's sound. "Play within the lead's sound".

A good 2nd player will have chops that are almost as strong as the lead. Lead is occassionally written in the 2nd part, and sometimes the 2nd will provide relief for the lead. There is occassion where the 2nd player must "lay it down" while the lead player gets through difficult passages.

Garry

tpter1

I hope I can build a bit on the already outstanding advice given.

2nd is the blending chair. This is absolutely critical to remember for your success. You have to match not only intonation and dynamic, but articulation, style and phrasing as well. You have to count and know your entrance, but more importantly, you also have to count and know your principal's entrances AND releases. (Do they carry over to the rests? Clip short? Use the 2nd note of the tie as a release pint or an actual counted note? In what circumstance? Do they enter on the back, middle or front of the beat? )

It has also been said that the 2nd player needs to remind the 1st player when he comes in...

How does one practice and acquire this skill? Is it a personality trait? Well, in some instances, it might well be a personality trait. Practice playing along with recordings as someone mentioned already will certainly be helpful, especially if you use a couple different recordings of the same piece. I also used to sing along to my favorite recordings and try to emulate the sound with my voice. It helps internalize it more. It's really a manner of a thought skill...like being able to do funny voices or accents when you read to young kids.

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trumpetmike

Listen, blend, listen, compliment, listen.


One of the biggest problems I see in students from music colleges (and to a lesser extent the universities) is the attitude that students learn how to play first parts - their first jobs are almost certainly going to be further down the section, yet this is hardly touched upon - thanks for starting the thread.

My teacher tyaught me that your job, as a second, is to make the principal's job easier (by being reliable and consistent, whilst following whatever they do) and making them sound fantastic.
A great second player is hardly ever noticed, a terrible one is always heard.

Finding a good second player is quite difficult, there are many who are frustrated first players - these can usually be heard warming up with all the first licks from whatever the current programme is - these guys will never be the most popular players in any section.

Dale Proctor

GREAT quote and observation. I've played "behind" some 1st players that needed more experience playing 2nd and 3rd parts. Maybe they were the "best" all through school and always played 1st part, but they weren't very good when handed a 2nd part. Harmony parts and technique aren't as easy as some believe, and an understanding of these inner parts will make a better 1st player.

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www.brassbandofhuntsville.org

Vulgano Brother

I like Glenn's comments about blending, and would like to add that the bottom chair serves as a kind of "bridge" to the horns and/or trombones.

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