Schumann 2 on auditions

gringoloco · 03-17-2006, 01:10 PM

Hello Manny and community.
I have a specific question about Schumann 2 on auditions. They are asking for the first and 2nd parts. Would you recommend playing the second part as written (natural trumpet) or playing the first part an octave lower?

Any advice would be greatly appreciated.
Thanks,
Rob

Manny Laureano · 03-17-2006, 04:35 PM

As written. It's more difficult and more impressive if you pull it off.

ML

maccluer · 03-17-2006, 06:39 PM

You might try playing the notes down the octave that are missing from the 2nd part, and then the d's up the octave as written to give the 1st player a little more support.

gringoloco · 03-18-2006, 01:41 PM

Thanks for the replies guys.
Manny, is that what you guys do in the orchestra?
Josh, would you recommend this on an audition as well? I'm sure you've had to play this in auditions before. What did you do?
Thanks again guys,
Rob

Manny Laureano · 03-18-2006, 01:57 PM

Recently, I've asked Bob to play the parts as printed. I like the sound of of the original writing and the music director has been pretty adamant about having stuff played in its original form. No traditional inserts, no nothing.

When he plays notes in unison with me he just plays less. That should be the rule anyway. It's something deWaart once said about unisons; that the principals lead and the seconds stay a notch quieter. For octaves, the second player plays a little louder.

So, I don't much care to have octaves played where they're not written.

ML

gringoloco · 03-20-2006, 01:09 PM

Thanks again for the response. ONe more question.
Would it be reasonable to breath before the last dotted half note? that is to say, in the middle of the third bar. Security breaths are always nice.
Rob

Vulgano Brother · 04-05-2006, 04:22 AM

When Gunther Schuller was conducting us in Spokaane his take was that Beethoven knew what the unison d's would sound like and so used them, without a rest for the second trumpet. Other composers learned their stuff from Beethoven. Play the ink until told otherwise.

Manny Laureano · 04-05-2006, 08:28 AM

Breathing is always relative to phrasing and the direction of the line. Can one breathe in the middle of a sentence and still deliver a message effectively? Of course. Can one breathe in an illogical place and distract from the message? Yes. You have to choose well.

ML

03-17-2006, 01:10 PM	#1 (permalink)
gringoloco New Friend Join Date: Feb 2005 Location: Merida, Yucatan Posts: 33	Schumann 2 on auditions Hello Manny and community. I have a specific question about Schumann 2 on auditions. They are asking for the first and 2nd parts. Would you recommend playing the second part as written (natural trumpet) or playing the first part an octave lower? Any advice would be greatly appreciated. Thanks, Rob
	__________________ Be well, Rob

03-17-2006, 06:39 PM	#3 (permalink)
maccluer New Friend Join Date: Sep 2004 Location: St Louis Posts: 22	You might try playing the notes down the octave that are missing from the 2nd part, and then the d's up the octave as written to give the 1st player a little more support.
	__________________ www.joshuamaccluer.com

03-18-2006, 01:41 PM	#4 (permalink)
gringoloco New Friend Join Date: Feb 2005 Location: Merida, Yucatan Posts: 33	Thanks for the replies guys. Manny, is that what you guys do in the orchestra? Josh, would you recommend this on an audition as well? I'm sure you've had to play this in auditions before. What did you do? Thanks again guys, Rob
	__________________ Be well, Rob

03-20-2006, 01:09 PM	#6 (permalink)
gringoloco New Friend Join Date: Feb 2005 Location: Merida, Yucatan Posts: 33	Thanks again for the response. ONe more question. Would it be reasonable to breath before the last dotted half note? that is to say, in the middle of the third bar. Security breaths are always nice. Rob
	__________________ Be well, Rob

04-05-2006, 04:22 AM	#7 (permalink)
Vulgano Brother Moderator Fortissimo User Join Date: Mar 2006 Location: Home Posts: 2,969	When Gunther Schuller was conducting us in Spokaane his take was that Beethoven knew what the unison d's would sound like and so used them, without a rest for the second trumpet. Other composers learned their stuff from Beethoven. Play the ink until told otherwise.
	__________________ "A tool good enough to be so used and not too good" C.S. Lewis That Hideous Strength www.letsbuildhope.org

03-17-2006, 04:35 PM	#2 (permalink)
Manny Laureano Utimate User Join Date: Sep 2004 Location: USA Posts: 5,989	As written. It's more difficult and more impressive if you pull it off. ML

03-18-2006, 01:57 PM	#5 (permalink)
Manny Laureano Utimate User Join Date: Sep 2004 Location: USA Posts: 5,989	Recently, I've asked Bob to play the parts as printed. I like the sound of of the original writing and the music director has been pretty adamant about having stuff played in its original form. No traditional inserts, no nothing. When he plays notes in unison with me he just plays less. That should be the rule anyway. It's something deWaart once said about unisons; that the principals lead and the seconds stay a notch quieter. For octaves, the second player plays a little louder. So, I don't much care to have octaves played where they're not written. ML

04-05-2006, 08:28 AM	#8 (permalink)
Manny Laureano Utimate User Join Date: Sep 2004 Location: USA Posts: 5,989	Breathing is always relative to phrasing and the direction of the line. Can one breathe in the middle of a sentence and still deliver a message effectively? Of course. Can one breathe in an illogical place and distract from the message? Yes. You have to choose well. ML

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