Posts made by barliman2001

@administrator If you can manage C that would be perfect.

@newell-post He's a well-seasoned pro who plays everything with a Bach C. I'd like to use my own C to avoid problems - we've played together before, and our instruments blend astonishingly well (my C is a supposedly second choice Courtois marketed under the brand name Gaudet).

Hi there,
I've been selected to play 2nd trumpet in a staging of Elgar's Enigma Variations in Sicily. Organizer only provides original parts in F which is... let's describe it carefully... slightly challenging for me (I'm still living down my trumpet begin in Concert Pitch in a Lutheran trombone choir...). The other piece in the concert is to be Brahms #2, with most of the trumpet parts in D and only a very few notes in B natural. THAT is no problem, but the F transposition is.
Does anyone have a transcription-transposition of Elgar into either Bb or C and is willing to share?
Slightly URGENT!

As regards speed in old recordings: Of course there was a time restraint in these days. The technical ability was limited, and if a conductor and his orchestra wanted to do a recording of a certain piece, the technician would ask "How long?", be told a figure and then say, "Can't do that - too long." And then they would dispute whether to leave out a bit (quite a few written repeats simply vanished in this process) or whether to speed things up. And sometimes they did that, just to be able to record at all. There usually was no discussion of artistic merit because that had to go to the wall before the question of "record or not". And as recording was a profitable business even in the times when they were still discussing whether recording would stay or would be a one-time wonder, they usually chose to record.
Remember, when Sony developed the CD, they asked Karajan whether he thought 70 minutes was a good choice for max playing time, and he said they needed at least 75 minutes so that Beethoven's Ninth Symphony could fit on one CD without speeding up. They did not quite manage that, so 74 minutes became the standard. And an old Karajan recording of Beethoven #9 now suddenly was one minute shorter on the new medium compared to the old vinyl recording...

Composers and performers of all ages have been freely interpreting the work of their predecessors, even if only by playing pieces that were written for the instruments of the day on modern instruments. Obviously the modern piano sounds very different from the harpsichord many of Bach's works were originally intended for, and even farther from the spinet they were composed on; and the modern trumpet is a totally different beast from the original, and the performers are acclaimed - just think of Glenn Gould and his Bach performances. One guy that takes Bach even further into modernity is Jacques Loussier and his PlayBach group...

@trumpetb Specials are, well, special. I know that because I bought one, played it for about a month, and then the seller approached me whether he could buy the horn back - he was missing it so much. I agreed, of course, and got myself a Studio and, finally, a Recording.

https://www.worthpoint.com/worthopedia/vintage-1940s-dolnet-paris-mastertone-488008613

@bigdub Apple has a reputation for creating huge file sizes without really much showing for it... it just might be that Garage Band files are smaller and better handled by the computer... and if you are not running an original Apple system, the problem might just be that the conversion of Apple Music into a Windows compatible version has blown up file size so much that all the "rubbish" is clogging up the system to an extent that pitch is already affected, whereas playing time is not yet.

@discount-bassy Official Welcome too! You've reached forum where the most perfect trumpet players and the bloodiest of greenhorns - and all shades in between - gather amicably and learn from each other, in a fun atmosphere. And you've come here from the best of motives. Thank you.
Perhaps - if you are in the mood - you might tell us a few bits more about yourself so that we can form a picture of who and what you are beside a nickname and an avatar. No compulsion whatsoever. But we like to know whether you are, as Dorothy L. Sayers put it in the 1920s "boy, girl or hippogriff", where you are located (that is most important, if we are to recommend technicians or teachers or contacts), what kind of music you play and like and where you can be heard live, if someone happens to be in your area. Online contacts are very well; but personal friendships can only really develop if you can meet someone in person. I'm in Vienna, and quite a few TB members have already availed themselves of the opportunity to come here, have a nice talk about trumpets and other things over a meal or a coffee and cake; and in some cases, this ended up with concert tours all over the world, as ssmith1226 can vouch for (he's from the Florida Keys, and a call for help on TB caused him to fly over to Vienna and join a very special orchestra for tours to St. Petersburg, Russia and Lviv, Ukraine). And I have already responded to calls from Norway and Israel. So - the more you will let us know, the more we can plan you in!

Of course, there are still people around who have been through puberty but retained their boy voices, sometimes through relevant training. Most of these are nowadays called "counter tenors" or "male altos". One of the best known is Jochen Kowalski, here singing the alto aria "Bereite Dich Zion" from Bach's Christmas Oratorio:

@georgeb At any rate it is much more relaxing to be invited by the greats to play with them than to be called into action due to emergencies... I once attended a concert by the Dusko Gojkovich Big Band where a friend of mine was regulation 4th trumpet. At the last piece before the interval, he collapsed on stage and had to be brought to hospital by ambulance due to a ruptured gall bladder... when he was carried out, he had me called and told me "my case is in the greenroom - you carry on", and I had the unenviable task of playing on another guy's instruments, in an orchestra I had only heard once before, a repertoire I had never played... without rehearsal... somehow i got through without too many notes left out...

@newell-post Looks and sounds very, VERY interesting...

@newell-post That is the direction I'm thinking of.

@ssmith1226 "Due to the rising cost of electricity, police will replace tasers with nettle wands..."

For me, this Christmas season started with four Christmas market gigs and will continue with five more of the same, but that is almost nothing compared to other years where sometimes I had to play Christmas Oratorio three times in a row... this year is centred around my wife's debut at Graz Opera (she sang almost everywhere else, but never before in Graz) in the small but important role of Mrs. Kramer in Kurt Weill's biggest Broadway success, A Touch of Venus - played many thousans of times in the US, but never before in Austria... Another 12 performances to go...

For a moderator, it is a very difficult decition... on the one hand, let thins play out; but on the other hand, take the flak if someone runs amok... I am very bad at taking flak...

@dr-go ... and as the discussion seems to have maneuvered itself into no-man's-land (if not a dead end) and threatens to slip - again - into the murk of speculation and worse, I am finally locking this thread.

Whether you are celebrating Christmas, or Hanukkah, or Diwali, or the 12th Week of Halloween, or Birthday or Wedding Anniversary or Happy 9th Divorce, my Season's Greetings to you. May all of you enjoy the best of health, the best of food, the best of company, and the best of trumpets!

When I started on trumpet, at the tender age of 22 after winning a trumpet in a tombola (!), no one mentioned air support or posture to me...
but then, I was an experienced choir singer and already in the second year of voice studies at university...