Derek Reaban

I had a really great weekend. My Church always does a Cantata at this time of year, and this year we did excerpts from the Messiah. I did double duty and sang in the bass section for two of the choruses and then moved down to the small chamber orchestra for a simple part on For Unto Us a Child is Born, and the standard parts to Glory to God and the Hallelujah Chorus.

I’ve been hired to play the Messiah countless times, but almost always as second trumpet. With the new approach that I’ve made in my articulation style recently, I never realized how little effort was involved in playing these parts!

We had a dress rehearsal on Saturday morning and a performance on Saturday evening (along with hymns and service music). Then two performances on Sunday morning (with an hour between services).

I did this several years ago and remember getting through it with a good sound, but feeling like I had expended just about all of my energy. This year it was MUCH different. I was able to play the high F (concert D) in the Hallelujah Chorus effortlessly. Starting the Glory to God several times cold in rehearsal was no problem. And on Saturday night I felt like practicing in the evening after the service! On Sunday I felt as if I could have done 4 or 5 more performances! And I practiced in the evening as usual!

This new dorsal / anchor / KTM articulation approach that I have adopted is so entwined with the process of sound production that it somehow “corrects” some of the deficits that I had experienced in the past.

Whatever it is, I’m glad that I’ve stumbled on to it. I got a call later in the day on Sunday from a friend that plays in the Phoenix Symphony and attends our Church, and she said that she’s never heard me sound better. She said, “You absolutely nailed that part!” I’m getting the same comments from my instructor. My Wife said that when she hears me play these days, the first thoughts that come into her mind is how easy I make it sound and how in tune I am. Wow!

On another note, my Wife sang “Rejoice Greatly O Daughter of Zion” and the joy in her sound really put me in the Christmas spirit. She too has recently started to fall into her sound, and it’s amazing to hear when good to great happens!

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Derek Reaban
Tempe, Arizona

Richard Oliver

Derek,

WTG! It's really something when it all works well isn't it!

Merry Christmas,

Richard

P.S. "Rejoice" that your wife sang is just wonderful isn't it? I've my Messiah choral book laying about. Maybe today, I'll piddle through some of the Arias and Recitatives.

Derek Reaban

Richard,

Thanks! My Wife was talking with her voice coach and found out that Handel wrote two versions of many of the solos; the 4/4 version with sixteenth runs and a 12/8 version with eighth note triplets. She chose the 12/8 version and it just gave so much life to the music. I’ve been hearing this music for such a long time and just found out this little piece of trivia!

Take care,

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Derek Reaban
Tempe, Arizona

Rgale

You really should ornament "Messiah" to do it authentically, for example in the DC from 'trumpet shall sound'.
Messiah is a great piece to do, if you can stay awake for the lengthy rests.
There's an old joke about the trumpeter that dreamed he was playing the "Messiah" and then he woke up, and he was!

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Listen to your inner voice before it says ,"I told you so".

brianwhitehead

I avoid adding ornaments to the DC, by not playing it at all. Far too much like hard work to play it twice!

A few conductors have asked for the DC in the rehearsal, but each time both I and the bass soloist I replied "Oh, no-one does the DC nowadays" and the conductor took our word for it. Phew!

ecarroll

Brian,

I've played The Trumpet Shall Sound approx. 1226 (maybe 1227?) times and have never once done it without the da capo. You'd be leaving more than half of the piece (B section & repeat of A) out!

Cheers,
EC