How To Sound More Like An Orchestral Trumpeter In 20 Minutes

[@kennysaufley]

This is an awesome video, thanks for doing yeoman’s work and clearly presenting this. Definitely changes things in my conceptualization.

[@RyanBeachtrumpet]

Thanks for watching!

[@marksnow8581]

This is terrific. In orchestra, or in any context where the listener is back in the hall, what we hear is not what they hear. And what they talk about with the brass in general listening to the principal trumpet setting the tone for articulation and style is not talked about enough but is so important. It's not that the principal trumpet is more important than any other part, its that we (they) are usually the highest part in the brass, we do end up being the the QB for the brass section. Over the years, I've gotten feedback from other instruments that what I do as principal trumpet often sets the tone for other sections. It's a really critical role and an awesome responsibility.

[@RyanBeachtrumpet]

Couldn’t agree more!

[@WillBakerMusic]

Fantastic demonstration and so many actionable ideas. Thank you both

[@RyanBeachtrumpet]

Thanks for checking the video out Will!

[@MichaelJohnson-jq2dy]

Great content guys! My undergrad professor always said that as a musician you have to think like an actor on a stage. From where we sit in the audience they look normal but when you meet them face to face the amount of makeup they wear makes them look strange.

[@RyanBeachtrumpet]

Totally, it’s the same thing

[@us-Bahn]

The before-&-after comparisons are striking. I thought you would demonstrate the two approaches in your living room so we could closely hear what you’re doing in the “correct” hall version.

[@curtiseby8593]

This is interesting. Dave Monette often does tests of his horns outside from 400 feet away to show how the sound carries. He also does a video with Manny Laureano in the hall as your doing and videos him up close and far away to demonstrate what the horn does close and far

[@RyanBeachtrumpet]

I remember those videos! I watched them all the time. I hoped to build on that by making some observations about what this difference means when performing.

[@yishihara55527]

This is GREAT! I feel like coming to Bama now! LOL Many professionals don't want to dive into this topic, but it really does make a huge difference when players are aware of these factors. It actually goes deeper than articulation. There are students of Arnold Jacobs who talk about how...and get ready for this...a musician might need to play with a CRUDE SOUND on stage as it may end up sounding spectacular in the hall (Full transparency: I have never be able to let go and sound "bad" for the greater good). This is an issue that can get quite complex because variables change when playing in a different hall. They also change when making orchestra recordings depending on mic placement. We are only human, so I guess the best course of action would be to set up a recorder quickly and see how you sound (either somewhere in the hall if it's a concert or close if it's a recording). The real problem would be a live broadcast or a concert that is being professionally recorded with mics near each stand because you can't play two different ways at the same time. While doing this, be sure to remain disciplined and don't add any false accents, etc.

[@RyanBeachtrumpet]

I’m with you, it’s hard to go fully into making a crude sound. A lot of this kind of experimentation for me came from listening to players like Herseth and wondering how he sounds so present and lively. I think his articulation was a huge part of it.

[@yishihara55527]

@@RyanBeachtrumpet You are on the right track. Those men were absolute masters and I'm privileged to have been able to connect with them. I'm a flutist but studied with Arnold Jacobs...absolutely amazing man. These men had a shitty hall that they had to deal with. But since they were geniuses, they figured out how to adjust their playing so that it was optimal for the hall. I would have LOVED to live during the CSO's golden era under Reiner...nonstop goosebumps.

[@minorlion1327]

Now I want to play in a big hall again

[@RyanBeachtrumpet]

It’s definitely a luxury I try not to take for granted

[@anthonymiller3392]

When you audition, do you adjust your playing based upon the judges’ distance? Do you even know their distance if you’re behind a screen?

[@RyanBeachtrumpet]

I’ve never ever done that. But now, I’m wondering if tempering it a little when they are on stage next to you has some merit.

[@michaelmyers7416]

I enjoy your videos and the two of you together were particularly fine. So I have a question. Sometime ago in the universe far far away, I was principal trumpet of the Podunk Philharmonic. When I did the Tchaikovsky, I always tried to play the note before the 16ths very short to make sure the 16th stood out as exciting. Think Roger Voisin. Your thoughts?

[@RyanBeachtrumpet]

Which excerpt are you referring to? From the third movement?

[@michaelmyers7416]

Bar 262, etc. in your video. Thanks for responding.

[@manuelruizmartinez8058]

Hi Ryan, thanks for your videos and what a nice sound. Excuse me, what model is your trumpet? greetings from Mexico

[@RyanBeachtrumpet]

I have a third generation NY Yamaha with a YM bell. Thanks for watching!

[@curtiseby8593]

But you sound great ! 🎺

[@rlluther]

I don't actually know if this is true, but one of my teachers told me once that part of the reason that Tchaikovsky wrote the trumpet parts at such outrageous dynamics is that the instrument technology wasn't as good, so he was always asking for more in those places from the players. Also, gotta give a shout-out to the phrase "way up in the nosebleeds." When you actually think about it, that term is so, so ridiculous, but we use it all the time.

[@RyanBeachtrumpet]

So like, they weren’t great so he wanted more?

[@rlluther]

@@RyanBeachtrumpet That was my impression. This story may be apocryphal, but it's an interesting idea that the composer wrote his dynamic levels as a source of...spite, or "encouragement." It may also be totally made up, haha.