Trumpet guy

Ok, so in about 2 months I'm going to college and they have a both a Wind Ensemble and an Orchestra (both of with I will audition for). Besides some predetermined excerpts and sight reading, the Orchestra requires "1. Solo: Standard repertoire concerto, sonata, or etude demonstrating technical and lyrical abilities, no more than 10 minutes in length, without accompaniment." (Wind Ensemble has the same requirement but not in so many words).

So I choose to prepare the Arutunian simply because of the fact that the high range requirement is the least of any concerto I know of and there is no triple tonguing. So my question is this. I see two versions of the Arutunian on Youtube a 16 minute one by Sergei Nakariakov that's the first hit on the search, and a shorter 8 minute one that skips the really slow muted section in the middle. I have music for the entire piece but would it be better to play the entire thing (skipping long rests if course) or the short version?

Thanks

__________________


Daniel Lan
"If you're not improving, you're falling behind." - My Trumpet Teacher, Steve
------------------------------------
Horns
Bach Strad 37 - Schilke 22, Wedge 3C
Bach TR300 (collecting dust)
Berkeley Cornet - Factory Moutphiece
Berkeley Picc. Trumpet - Factory Mouthpiece
Jupiter Soprano Trombone - Schilke 22
Olds Ambassador Fullerton Trombone - Olds 12C

Bear

I've had several auditions for groups in which this was a requirement. Usually they asked for the opening and then the first statement (bginning to measure...70?) Don't have the music in front of me, sry.

Hope that helps, take care.

__________________
The task of the modern educator is not to cut down jungles, but to irrigate deserts.
-C. S. Lewis

Life is about learning; when you stop learning, you die. -Tom Clancy

And the seven angels which had the seven trumpets prepared themselves to sound.
-Revelation 8:6

Trumpet guy

Well actually the arutunian is not a requirement for this one. The excerpts are the trumpet solo in Promanade, the picc trumpet solo in Goldenburg&Schymuyle(sp?), the trumpet solo in Stravinsky's Ballerina's Dance and Waltz and some horn calls/fanfares.

__________________


Daniel Lan
"If you're not improving, you're falling behind." - My Trumpet Teacher, Steve
------------------------------------
Horns
Bach Strad 37 - Schilke 22, Wedge 3C
Bach TR300 (collecting dust)
Berkeley Cornet - Factory Moutphiece
Berkeley Picc. Trumpet - Factory Mouthpiece
Jupiter Soprano Trombone - Schilke 22
Olds Ambassador Fullerton Trombone - Olds 12C

Bear

I understand that. What I'm saying is, the portion that I mentioned (beginning to mm. 70ish) is usually what is requested in secular auditions.

Prepare the whole thing. Be prepared to perform the whole thing. Don't be dissapointed if they stop you after the first page.

__________________
The task of the modern educator is not to cut down jungles, but to irrigate deserts.
-C. S. Lewis

Life is about learning; when you stop learning, you die. -Tom Clancy

And the seven angels which had the seven trumpets prepared themselves to sound.
-Revelation 8:6

rowuk

The first lesson that you need to learn is that you cannot be over prepared. To get a trumpet position in an orchestra the first requirement is 100% rhythm, the second is a sound that is brilliant, but not obnoxious to the strings.

The Arutjunian needs to be metronome perfect - all of it! Those Armenian scales have to be VERY cleanly double tongued!

Pictures Promenade #1: big sound, solid rhythm - especially the 8ths. Most players rush them. Do not hammer out the accents. Most conductors these days want it VERY legato (connected notes not soft attack)

trumpet solo in Goldenburg&Schymuyle: This is NOT a picc solo even although many trumpet players use the picc. I believe that is the wrong instrument. This section depicts a rich fat jew (Goldenberg) and a hungry, poor, very annoying one. The picc is too glass clear in sound for some starving guy. A D trumpet with a mute fits MUCH better in my opinion. Rhythm is critical. A realistic tempo would be Quarter=88-96
at about 6:18

Stravinsky's Ballerina's Dance and Waltz:
check this out - no comment required!

__________________
Whenever I feel blue, I start breathing again.

B15M

You have to learn the whole thing because you don't know what they will ask for. They won't let you play the whole piece. If you lucky 3 sections.

__________________
"Taking plain notes on the page and bringing them to life is an art" - Tony Kadleck


http://profile.myspace.com/index.cfm...ndid=238487314

http://webpages.charter.net/joespitzer/

http://www.trumpetwedding.com/

Trumpet guy

After looking at all of these I can't help but think how difficult the ballerina dance solo is, mostly because there's no place to breathe but also because of the arpeggio in the middle.

So how do I train to efficiently use a single breath to play this. I'm already taking as huge a breath as I can and still can't make it to the end.

__________________


Daniel Lan
"If you're not improving, you're falling behind." - My Trumpet Teacher, Steve
------------------------------------
Horns
Bach Strad 37 - Schilke 22, Wedge 3C
Bach TR300 (collecting dust)
Berkeley Cornet - Factory Moutphiece
Berkeley Picc. Trumpet - Factory Mouthpiece
Jupiter Soprano Trombone - Schilke 22
Olds Ambassador Fullerton Trombone - Olds 12C

trumpetnick

I believe that the key word is efficiency. You need to learn how to use your breathing capacity wisely. It takes time and practice to figure out. Every unnecessary tension in your body during playing will make your playing less efficient. What to do? Play long phrases. You can use for that songs you like. Than apply it to Petrushka or anything else.

__________________
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