Lead playing breakthrough

[Air Molecules Mover]

Dear fellow trumpet players,

I'd like to share with you all a story that happened to me the other day:

I have never considered myself as a real solid lead player, but with the years I slowly have been able to increase my usable range to a high E/F and enough endurance to allow me to survive on the first chair through a 2hrs big band gig.
That is to say that I am not a seasoned pro for that type of job, but occasionally I can sort of "hang on" the part and keep the leader and the band happy, which hopefully translates to a happy audience.

Now, the other day I had a rehearsal with a local big band. We are going through some vocal charts, with a guest singer for an upcoming gig. Everything is right up my alley, nothing crazy range wise etc...
Towards the end of the rehearsal the leader calls for an arrangement of a ballad (which will remain nameless) that has a 8 bar trumpet soli.

The lead part is written between B and F#, all above the staff, tempo at quarter = 60 !
Trumpets are in 4 part harmony.

When I see that , I sort of half jokingly say "who pulled out that f#@*£g arrangement ? " It looked like a transcription of a string part ! (Funny that I found out later that it was indeed a rip off of the original string lick)

First read through, I dropped out and froze.

So I kind of stuck my head out and spoke up as the "section leader"... I basically said that the band and the singer should select the charts more carefully so we could actually play them and sound good, blah blah....

The thing I had forgotten is that there was a sub in the section, playing on third, a guy I hade never met before...

So after my rant, the leader simply said: so why don't you pass on the first part ?

The lesson begins here...

So I pass on the part to that sub who stayed quiet during my speech... He had a quick glance at the lick, put it on the stand and quietly said: " yeah I got it !"

We read those 8 bars again, and sure enough he nailed the lick, like it was nothing at all...

Needless to say that he also nailed my mouth closed.

Today, I practiced what i remember of that lick, and strangely it sort of came out fine... Now if I get to play that chart again, I might pass it on or I might play the first part, I am not sure, but I know for a fact that I will not go into thinking that it cannot be played or that it is poorly written etc...

I think that experience made me realize that high note playing and lead playing in general is so much in the attitude, like the way that sub guy quietly said "yeah, I got it". Not bragging. Just saying.

I was on the other hand bragging about that this is not playable...
Well, no more !

The lesson for me as far as lead playing is concerned , (or any playing for that matter) is that aside from all the hours spent practicing, all the questions about technique, all the lessons etc.. , it would be all worthless without the mind set that we need to acquire.

My feeling is that it is that kind of humbling experience that steer us on the path to greater playing, no ? What do you think ?

Do you guys have had similar moments ? Some real life experience/lessons that have taken you to a greater level ? I am actually curious to hear about stories that helped you understand what you need to do to play at a whole new level, aside from intelligent practice in the practice room...

Thank you all !

[Brad361]

I always try to remember that what I might not be able to do certainly does not mean it's something the next guy can't; regardless of how impossible a part might seem to me, there is someone who can do it....and probably someone within a 25 mile radius!

Brad
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When asked if he always sounds great:
"I always try, but not always, because the horn is merciless, unpredictable and traitorous." - Arturo Sandoval

[jiarby]

everything is is playable... by somebody. If someone write it, then someone can play.

Even so, a real lead player should demolish a 60bpm ballad that only goes to F#. (something like Kenton's My Funny Valentine) I don't mean to say that to bash on you, but that's part of the normal job.

Just playing the 1st book doesn't make you a lead player.

[Air Molecules Mover]

[Brad361]

[Air Molecules Mover]

Brad and Jiarby,

I gather that you guys are probably able to state publicly that you'd be able to play almost anything... but what I am more interested in hearing is what did you do specifically to be able to do so, aside from the obvious "practice, practice, practice" ? When did you get to the point where you could say, "yeah I can play that, piece of cake ! " When and how did you get to the point where you know that you'll play it the first time through, like a "real" lead player "should" ?

I realized only afterwards that the phrase was not that crazy after all, even if it is not that easy to play it with a beautiful, relaxed sound. It was proven to me, and it left me wondering why I didn't play it the first time, when it mattered the most !

My goal is now to get to this level before I get to the bandstand, not afterwards...

Anyone has been in a similar situation ? What did you do to move ahead ?

[underdog]

I have found that my ear has always guided me for all of my playing including lead playing. I think that people struggle because they think that there is a method or a specific way that it has to be done. And, for many, that is true.
When I see what's on the page, I hear it in my head while I'm playing it. Most of my development was playing along with recordings. Classical, jazz, and a lot of "lead" or solo type high note material.

When you try to play thinks with your ear being your guide, you tend to forget about how to approach it and the music leads your chops. Now, if you're doing something wrong, a teacher needs to address that. But, if you're in the ball park, your ear tells you if you're too bright, dull, whatever. That's your ear either telling your body to adjust, or telling you to try some different equipment that can make playing things that you have difficulty with easier. If I sit down and work on playing double C's or above, I struggle. If I play it in a musical setting with other players and just sing in my head while I'm playing, or play along with a Doc or Maynard recording. I comes out without much thinking at all. My point is that your body will make small minor adjustments and that helps you to be able to "sing" through your horn, which for me, is what it's all about. I hope that this is helpful. I know that it's a little nondescript, but most of the good musical lead players or just players in general that can play musically in the higher register that I know or am familiar with approach playing in the same way.

next time you practice this type of thing. Sing it. Then play it in a lower key a few times. Rest. sing it again. Play it in a higher key. Repeat this process until you can play it where you want. Don't be afraid to try different mouthpieces either. Stay relaxed and sing it in your head while you play. Eventually, your body will figure out a way to get the music out inside you. You may switch equipment, you might figure out how to over come some bad habits, but in the end, if you can sing it in your head, you'll be able to play it.

Hope that this is helpful and good luck
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[Brad361]

[Air Molecules Mover]

[MrOlds]

I believe there are two stages or types of practice. The "finding it" stage and the "making it a habit" stage. Lots of us practice a new thing till we find "it" then we hack our way through with mixed results because we haven't internalized "it".

As underdog describes above, having a vivid internal model for "it" helps the body make adjustments to find it. Successful repetition gives you an internal model that says "I've got this".

[Air Molecules Mover]

[BGinNJ]

I'm not a lead player (yet) but this story reminded me of a recent experience. I started playing with a big band a few weeks after a long layoff.- and a really long time since I sight read big band charts.

It's mostly a rehearsal band, but they do perform a bit, and the first night i showed up, unbeknownst to me they were playing for their church hosts. They welcomed me, handed me 3rd trumpet parts, and away we went. Subsequent rehearsals, it was just the lead and me- so then i'm playing 2nd parts.

Now, if you'd asked me before, I probably would have expressed doubts if I was up to it. Even though it's just for fun, I figured I'd be a "pro" about it, and rise to the challenge. It's been good experience and helped my playing- to get better you have to step outside your comfort zone.

[Shaft]

There was a question in one of the second or third comments saying what does make a lead player? ( since it is not just playing the first part)

-Setting musical style (for the section/ the band)
-CONSISTENCY is big - (the band shouldn't guess how to phrase or on style every time a song is played)

Those are two foundations of lead playing as I understand it. Somebody has a website and there are probably more than one out there, that describes each person's role in the big band and in the trumpet section. It's got some great thoughts.

Here's a story that Pops told me once.

Him and a couple of the students were playing in a section and there was some cocky guy wanting to play lead. Something happened is in his arrogance caused Pops and his students to simply take all three of their parts up an octave.

This ended up burying the lead part and maybe the lead players ego.
There may have been something said and I believe Pops' response was that he could've taken his part up as well.

Trumpet players take a lot of heat and people assume that we're all cocky. We can't please everybody but every now and then somebody pops up that everybody can agree on is acting like a jerk.

Growing up and being out going I probably seemed like a jerk to some people. But at the end of the day looking back I feel like most of the time I fought against that stereotype as often as I could.

For a lot of this we just enjoy and get a kick out of playing with the pedal to the metal.

Thanks for starting this thread-it's nice to see some stories and remember some other ones.

+1 on ballads at 60 up to F# - most bands I have encountered or auditioned for like a G above high C out of their lead player.

Since I fell for You in an arrangement I have only goes up to an A or a B under high C and still has a big effect.
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