trumpet520

Manny and others,
Ive been playing with the orchestra at school on first part. We are playing a peace called FESTIQUE. There are a few parts that are above the staff in the high A region and there are giving me some trouble. When ever i play them the director tells me to play with a "rounder" sound and i dont know what he means or how to acheive it. its hard on one of the runs because i have to go up to the A playing at mp. What can i do to get a round sound above the staff . Are there things i should conciousley be thinking about or is it just PRACTICE. and if so what should i practice.

-Thanks in advance

Manny Laureano

Your teacher is speaking, appropriately, in descriptive terms. I speak that way to my youth orchestra students because it's the way professionals speak to each other.

You are just learning and have not heard enough great music to start to put sounds into descriptive terms.

Willie Nelson has a nasal sound, Placido Domingo has a round, warm sound.

An electric guitar has a metallic, nasal sound compared to an acoustic guitar's warm, rounder sound.

A marching band playing the lastest heavy metal favorite has a hard sound compared to a great string section playing Samuel Barber's Adagio for Strings.

Get the picture? If not and if the artists I've mentioned are foreign to you, my point is made; you have to experience greater varieties of music and then your conductor's requests will make more sense. You'll approach playing with an idea that makes sense to you.

ML

tpter1

520-
There's a thread in Ed's forum about tone color called "developing a color palette" about manipulating tone color. It might be helpful for you to read it.

rowuk

A key concept to playing "round" is to be able to play a third or fourth higher than you actually need. If your A should sound good, range to a high C or D helps a lot. The A was a tough note for me for a long time. My band teacher had me finger it with just the third valve instead of 1+2. I don't know why (and don't want to know), it just worked better that way. Maybe for you too? As I got better high chops it came much easier. I then started to play big band and the problem started an octave higher. I think Bb trumpets just don't like the "A".
Practice diligently, don't beat up your face squeezing notes out and you'll get there!

cornetguy

On my horns Bb and C and I finger the high A 3rd valve to bring the pitch down. On the Bb it does seem to speak better.

Vulgano Brother

Ever notice that the winning runner will run through the tape at the finish line? Sometimes, when we have a run gpong up to a high note we'll sort of stop at the high note, and it will sound anything but round and effortless. As you practice the run, imagine continuing the run past the high a, and remember the sound and feel of the high a when it is one of these middle tones, rather than the top one. This should help. Yet another alternate fingering for high a is 2nd valve, if you find 3 too low and 12 too high.

Have fun!

trumpetmike

I find that this is especially useful on piccolo (Brandenburg A) - the tendency is to push that A sharp (because most people tend to start to squeeze up there) so the flatness of the harmonic is not so noticeable.
More of a problem when you start playing pieces that require tuneful playing at that pitch (Michael Haydn, certain brass ensemble pieces).

trumpet520

Oh my goodness!!! Second valve did the trick!!! All of you gave great advice and this new fingering keeps my pitch really centered and my tearcher really liked the metaphor about running through the tape vulgano brother. I love this site! I will also keep trying to less to the whole spectrum of trumpet performace from Barouque to Big band stuff. Thanks to all!

trumpetnick

Though I still have a lot to learn, I think that round sound has to do with the breathing: warm air (deep breathing)= warm sound; centered pitch : if you play sharp your sound is going edgy, if you play flat the sound quality will go down as well. How about these Jim Thompson's buzzing book exercices? They seem to me like a good starting point. Equipment has also to do with it, but it is rather complimentary. I met recently the principal of the Opera National de Paris who was insisting on getting the sound conception in the low register and trying to transfer it to all registers. Playing a tune in all keys may help. VB gives as always some very useful tips...