trumpet520

I have no idea where to start on improving my tone.(besides listening to other trumpets) should i work on etudes or scales? I want a really rich orchestral sound.

Derek Reaban

There are some great ideas that were presented by David Krauss at an ITG conference. I hope these are helpful to you! I know they've helped me.

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Derek Reaban
Tempe, Arizona

tpter1

520- I've done alot of work myself on my sound over the past year or so. I sound completely different now than I did before.

My development began with re-thinking my concept of sound. You are already 2/3 of the way there by saying "rich", instead of "dark".

I did alot of long tones, scale work, mouthpiece buzzing, leadpipe buzzing and work on the lyric solos in the Arban "Art of Phrasing" studies in the back of your Arban book.

Additionally, alot of breathing work has taken place. Check out "The Breathing Gym". (Someone mentioned it on here not too long ago).

Look in Manny's forum for his "game". He posts one every so often...I think we may be due again (hint, hint ). Basically, it's a chromatic scale excercise that opens up your sound in the middle register.

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-Glenn
"Roses have thorns; shining waters mud. Clouds and eclipses stain the moon and the sun; and history reeks of the wrongs we have done. After today, after today, consider me gone."- Sting

wiseone2

I would start by listening to myself. What don't I hear in my sound, and how can that be changed and improved?
I personally like The Studies on the Dotted Eight and Sixteenth in the Arban book as starting point for orchestral performance.
Next, I would work on the lyric side of my playing. Popular songs, opera arias, folk songs all work for singing with the trumpet. I would listen to the great voices and try to catch their good qualities. Truthful self-analysis is the key to rapid progress.
Listen......Listen....... Listen.
Wilmer

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Be sure Brain is engaged before putting Mouthpiece in gear.
S.Suark 1951

gchun

I would suggest getting (or borrowing) a decent quality recorder. (DAT recorder, flash recorder, mini disc, laptop, etc.) Record yourself with the recorder placed at various distances. At a distance, you get the "audience's" perspective and how your sound interacts with the room acoustics. With the recorder closer to you, you get an idea of your sound without the room acoustics. Both perspectives are important, depending on the type of performing you do.

Play at different volumes, different articulations, different musical styles, different extremes, etc. Also, try playing towards the mic, then purposely play "off mic". This can give you can idea of your sound's directionality.

Record lyrical exercises. Does your "musical expression" or "intensity" print to tape? A lot of musical intensity in live performance is acheived by tempo and volume. Listen back to the recording at at low volumes. Does the intensity STILL carry?

Record yourself in ensembles and compare your sound relative to the others. ( Does it blend, does it dominate, does it cut, etc.)

Tone, pitch, musicality, technique, etc. are all intertwined. Mastery of one element is meaningless without mastery and connection with the others. Make all the elements "connect" with each other.

I think you get the idea. The "tape" doesn't lie. It can be your best, honest critic.

Garry

trpt2345

Thanks, Derek, very interesting and helpful. Stuff like this is why I love this place. I Like, wery much!

Michael McLaughlin

Familiar acts are beautiful through love.
Percy Bysshe Shelley

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Chicago MM