trumpetnick

Ed,

Recently I was practicing some Bach transcriptions on the B flat and noticed that my tone is not centered enough and the high register tend to be rather dark. It seems that the main problem is attacking the notes, though I like this dark sound even in the high register in orchestra setting but it does not sound right for Bach. When I play on C trumpet it sounds much clearer and brighter (the high register) but the main question is how to transfer this to my B flat playing. The sounds that I am after is the one you hear when Alyson Balsom is playing (well, she's playing C trumpet) in the high register YouTube - Alison Balsom plays Paganini Caprice No. 24 which sometimes sounds almost like a piccolo or Niklus Ekland on his Art of the baroque trumpet....Maurice Andre is probably also a good example to follow as far as centered tone is concerned...Any ideas?

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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

ecarroll

Nick,

I've always favored approching each note from the high side and relaxing down into the center. I've found that my sound (and those of my students) is much more lively when formed in this fashion. An overly dark sound suggests to me that you're starting below center and forcing up. Try tuning higher and relaxing more...and check back after a few days?

(just a guess without actually hearing you)

Best,
EC

rowuk

Hi Nick,
what transcriptions are you playing? If they are the cello suites for instance, the darker sound may be uncomfortable but better suited.
Whenever I play a lot of C trumpet, I get critical of my Bb sound too. I just remind myself that the Bb has a different purpose in life. Bb=earthy/brassy, C= liquid/creamy.
Gzent has a post on a cut down Bb not doing what he wants. check that out!

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Whenever I feel blue, I start breathing again.

trumpetnick

Robin,

I play a transcription of the 1st Bach cello suite which I found on the internet (free-scores.com or something like) and those transcripions of Bach inventions which Andrew posted for trombon and trumpet. They seems more problamatic than the cello suite. As for cello suite, I have been hesitating quite a lot wether to play it on B flat or C trumpet. it may be true the B flat trumpet is more similar to the cello, but in this case seems even more appropriate to get a cornet. The C trumpet however gives me a clearer and brighter sound which at least in my head is more appropriate for Bach's music. Even more, it feels easier to make sudden dynamics change without causing the intonation to suffer from. What do you think?

Concerning the initial question, it seems that in my desire to make it sound easy I was using not enough air which was making the sound a bit darker.

Ed can you elaborate a bit your idea? I don't know how to negotiate the practice of...how do I explain that? Most player play in high pitch...so they say...I've heard many great trumpeters saying that...and trying to sit well on the pitch center in stead of lipping down or up (though I still do in the orchestra)...is this the same thing you say by approaching the note on the high side and relaxing afterwards?

__________________
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

ecarroll

Nick,

I'm not suggesting that you lip anything up or down...but I am suggesting that you can relax down into the center. It's about the blow, not the chops, and your ears will be your guide. The resulting resonance may feature more high, singing, overtones and enhanced clarity.

Lot's of pathways,
EC

trumpetnick

Thanks, Ed. I think that have finally got the idea. I think that the articulation is already better though the sound is stil slightly darker that I would like to...I guess that this is Robin's point...and then I am playing a trumpet which has quite orchestral, broad sound and will never sound as some lighter B flats like Bach 37 for example....But I will do my best to get as close as possible to that kind of sound

__________________
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

ecarroll

Nick,

I'm assuming you're a highly skilled player (especially so as you studied at the Northern). Play the sound that you have in your imagination. . . you'll figure it out.

Cheers,
EC

rowuk

Nick,
Bach did not write that stuff for trumpet. Therefore there is no "better" or "worse" historically speaking. What is important is the vibrance/resonance of each note - something that good cellists with good cellos have in abundance.
I use a 4 valved flugelhorn to play the cello suites because I want the low notes played where Bach wrote them.
The Bach 2-Part inventions were written for an instrument that did not have incredible dynamic range or the range of "color" that modern instruments have. There is almost nothing that can go wrong, regardless of which instrument that you choose!
Critical is the consistency of phrasing and articulation that hallmarks Bachs' compositions. That is where your energy must be when playing. I am sure that you sound fine on any horn!

__________________
Whenever I feel blue, I start breathing again.

ecarroll

Robin,

I can't agree more. Thank you.

Best,
EC

Luis M. Araya

Hi,
Have you tried with a different size of the oral cavity? This can give you a brighter sound.

Luis

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