Lick from Gypsy
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Does anyone know what is meant here? I can guess at a couple of different possibilities but one I can't imagine is why anyone would want to hear two trumpets play a stuffy and flat unison G.
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Use alternate fingering in lieu of double tongue to get the desired effect. 1/3 works better than 3 in this case, though, at least for me it does.
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@flugelgirl Thanks, that was what I figured that is what the arranger was trying to say but it is notated extremely poorly. whoever did it can't even spell properly.
I agree that 1-3 is a better choice if that is the desired effect although using one valve could be faster and cleaner if one has good chop control.
Have you played the show?
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Doesn't he mean to alternate on each eighth between an open "G" followed by a note fingered with the third finger? It's goal is a more percussive effect than a melodic one? What's the tempo?
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p.s. Actually, if you want a definitive answer, I would ask Tim Wendt on TH. He 's done a ton of shows.
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@Kehaulani said in Lick from Gypsy:
Doesn't he mean to alternate on each eighth between an open "G" followed by a note fingered with the third finger? It's goal is a more percussive effect than a melodic one? What's the tempo?
That’s pretty much exactly what I said. I haven’t played this show, but have seen similar notation many times in other shows and charts.
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@flugelgirl I appreciate your input. I have never seen alternate fingering directions marked this badly.
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@Kehaulani
I was banned from TH a long time ago for some reason that the lords of TH never had the courage to give an answer.
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I generally disagree with banning people, but some individuals on this site have been over-agressive lately.
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@administrator I don't know much about what has happened here but the admins at TH that received my messages were quite rude to not even bother to answer.
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@Kehaulani I appreciate your answer too, K-man.
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I am a gypsy so all these licks come to me instinctively.
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I saw (but, sorry, can't find again) a video of Mark Inouye from San Francisco Symphony describing this very alternating fingering technique for fast passages like in "Scheherazade". And I also remember in Brass Band back in the 60s using this technique to simulate string tremolos (I think it was in an arrangement of Lalo's "Le Roi d'Ys"). There are probably many techniques that we don't utilize as much as we could.
