Skills of film trumpet players

psalt · Regular Member Joined: 10 Oct 2002 Posts: 93

What are the skills unique to film trumpet playing.
I see it as having an orchestral approach to sound and technique but with the time feel and energy of commercial playing.
Peter Salt.

trumpetmike · Posted: Wed Aug 27, 2003 3:48 am Post subject:

I would say a stunning ability to sight-read and great consistency.
When people are paying for an orchestra and a studio, the last thing they want is to pay for extra time because someone hasn’t been able to play it correctly.
Sound wise, you need to be able to do whatever is required. Sometimes you need to be the soaring trumpet lead, other times you are purely part of the blend. And you have to know this without necessarily being told in copious rehearsals!
From sight-reading a piece to laying it down forever may only be one run through, if that.
So, in simple terms – awesome technique (you never know what these film composers are going to throw at you), an amazing ability to sight-read, total consistency (take 24 must sound the same as take 1) and a sound that can fit into any genre.
My hat comes off to all those guys who do it.

trumpetmike · Posted: Wed Aug 27, 2003 3:48 am Post subject:

Having just read my last post - it all sounds soo easy!
(JOKE!)

jhatpro · Posted: Wed Aug 27, 2003 4:17 am Post subject:

I noticed you've posted requests for info on pre-war NY and LA studio players and now this on trumpet playing for films.

You might be interested in Scott Yanow's excellent "Trumpet Kings"? In it he profiles several hundred jazz and commercial players and has a lot of astute observations on their playing style and ability.

The book is available in paper for $22.95 from Backbeat Books at http://www.backbeatbooks.com

_________________
Jim Hatfield/Chicago Area
"Collect trumpets. They're cheaper than violins and safer than guns."

[ This Message was edited by: jhatpro on 2003-08-27 07:18 ]

JohnBennett · Posted: Wed Aug 27, 2003 9:43 am Post subject:

During the late 1930's, Charlie Margulis was a legendary first trumpet player who worked in movie and radio studios both in NYC and LA. He had great technique and was very accurate under pressure...but occasionally everything was not so perfect. While working with the Jack Cathcart orchestra at the Riviera Hotel in Las Vegas, he once told us that whenever someone clammed a note during recording music for a western movie...for instance during a chase scene when the cowboys were galloping after the bad guys...that the sound effects guy told him not to worry...he would cover it up with a gunshot!

John

[ This Message was edited by: JohnBennett on 2004-07-08 11:58 ]

CTeneyck · Posted: Wed Aug 27, 2003 4:05 pm Post subject:

I read once a studio musician's comments on the experience: 90% boredom, 10% PANIC

fuzzyjon79 · Posted: Wed Aug 27, 2003 4:21 pm Post subject:

from what I've heard... you pretty much come in, sit down, read a chart you haven't seen before, get your paycheck, and leave... LOL
_________________
J. Fowler
"It takes a big ole' sack of flour, to make a big ole' pan of biscuits!"

tcutrpt · Posted: Fri Aug 29, 2003 2:57 pm Post subject:

Flawless sightreading is a must. Also, the ability to sit in a room for 8 hours without playing a note and then having to rip down a lead chart is common enough that it is a necessary ability. I got to talk to Jon Lewis when here was here for ITG last summer and he made it sound very rewarding if you have the personality for it. BTW, he is one of the most consistent players I've ever heard and his sound is unbelievable!
_________________
Matt Cyr
trumpetmc@gmail.com

Castle Bravo · Heavyweight Member Joined: 13 Apr 2003 Posts: 542

Seek out Lonely Angel. He's a studio cat in London that has been on many films, from James Bond to Shrek, & Lord of the Rings.

tromba mann · Posted: Sun Aug 31, 2003 4:51 am Post subject:

Lonely Angel played on the LOTR soundtrack? Wow. There are some great exposed brass licks in that score. Howard Shore really knows his stuff.

Lonely Angel - you're my new hero.

DaveH · Heavyweight Member Joined: 20 Nov 2001 Posts: 3861

I have a copy of an article from an issue of Windplayer that is a few years old now that discusses the nature of the studio/session business in Los Angeles, and what is required of the players who do it full time. It also lists the equipment that was being used by what was listed as the top 25 players in LA at that time...

Obviously, playing skills were assumed. Beyond that, it was the ability to "do it right the first time," a high level of mental concentration, and to play a variety of styles easily and accurately. Also, it seemed like the ability to have "people skills" and work together as a team in a section was important. The ability to produce a good audition tape wasn't important. It was the ability to do it right when the pressure was on, right there on the spot when the tape started rolling...

It mentioned that past reputation was important for most of these players. They seemed to have established themselves so that "word of mouth" over time was what was important in getting them the repeat calls...

[ This Message was edited by: DaveH on 2003-08-31 11:02 ]

OCTA-C · Posted: Sun Aug 31, 2003 2:53 pm Post subject:

If you really want some musical insight into the work of all studio musicians than go and pickup the CD entitled "The Carl Stalling Project". It came out about 1990. He was the composer and musical director of the famous Warner Bros. cartoons from the mid 1930's to the early 1960's. Some of that soundtrack music is phenomenal!! The time changes, the breaks, the odd sounds needed from the instruments and the outstanding musical flourishes of these top-notch players. And all this on a mono or 2 track sound stage! You can even here Carl stop the orchestra and say "Puddy-tat chasing Tweedy-bird Take#2". The booklet included is very informative and even has a section of transcript from his music. The center of the boolet has a full spread of the orchestra, singers, etc. on the sound stage that must number 100+!! I only wish that they gave the names of the members that played throuhout the years.

_________________
Jay S.

"May the good sound be yours!"

"Always remember to blow into the proper end of the horn!"-circa. 1900 (Harry Gardoon)

[ This Message was edited by: OCTA-C on 2003-09-01 09:01 ]

Trptbenge · Posted: Fri Sep 05, 2003 3:17 am Post subject:

The king of the movies is First Call Studio Musician Malcomb McNab. He has played on over 1500 soundtracks. He is a classically trained player. When I saw him at a clinic he was playing a NY Bach. Besides having the skills to do the job he said it is important to be able to sight read and perform when called - even if you have been waiting hours.

Mike

Strawdoggy · Posted: Fri Sep 05, 2003 3:37 am Post subject:

Interesting posts. Thanks for the link, Jim.

Steve