Kind of surprising revelation

[Lionel]

That and one of those,

"Why oh why didn't I think of that 30 years ago"?

I'm going to pose a question at the end here. Then depending upon how many if any responses reply/answer it? Will answer it in a later response. Not trying to build suspense here but I want to see how obvious the correct answer is.

Lemme tell ya, the revelation I had was both very helpful yet humbling. As again, I probably should have made this realization 20 to 30 years ago. Would have spared me much grief over the years. Here goes,

There's a seasonal, strong amateur wind ensemble I have the 1st chair cornet/trumpet seat in. Among other charts we played was a short dittie by Leonard Berstein titled "Danzon". Transcribed no doubt from symphony to wind ensemble. A quick piece as it's over in just barely more than 2 minutes.

Smack dab in the middle of the piece is a very exposed 1st trumpet solo. At first glance it doesn't look that hard. However it has wide interval leaps. That and covers nearly two octaves and ends on a high C, Sustained. Or the concert B flat. Appears deceptively simple. However the interval leaps plus the somewhat weird scale or mode that it's in kinda compounds the technical issues. It's tricky and much tougher than it appears. Also? I'm not really a classical trumpet player.

Plus, like most everything Bernstein ever wrote it is essentially a practice study in intervals. Yet unlike other beautiful interval "studies" of his like "Maria" or "Tonight" this one is less melodic. Almost polytonal. Like something found in a Vassily/Brandt or Concone study book. I'd say the damned solo could easily have passed for an advanced study in ear training. And like I said,

An incredibly exposed solo. "Hey! Dig me folks".

So we probably went over the chart a half dozen times in rehearsal. Though never singled out by the director nor even asked to play it twice? I was never very happy with my performance in rehearsal. Thinking to myself,

"Damn. I may have to take this darn thing home and actually practice it. Not THAT! lol.." Except that I thought several choice expletives about my situation. Words which will remain un-written. Use your imagination...

So I did. Well take it home anyway. Never seemed to find time to practice it of course. Nor any other piece. Yet I thought about it* and remained displeased with my continued performance. In fact it was not until the very day before our concert when I had my revelation. I then knew that this nuisance solo was going to be a piece of cake! In fact at the concert the next evening I totally nailed the thing. Dead perfect. Perfect intonation too. Not even the slightest of mild miffed attacks. In fact the director singled me out to substantial ovation at the end.

Shows how much an audience knows.. Anyway if you're still reading by now, here's the question,

What change in procedure did I make that made this solo so easy?

Hints:

A. I never "woodshedded" the part. And I wasn't even in all that great of condition that night. Maybe 3/4's of my primo shape. Kinda just average.
B. The change I made was instantaneous. And again it made me slap my forehead for not thinking of it years sooner. Decades really.

Have at it.

*Taking music home but leaving it on the shelf is something a music educator once called,
"Learning by osmosis". Lol.
Oddly enough I've still found this helpful through the years. And it was beneficial esp in the above example. Because by taking a chart home, yet not practicing it I tend to feel guilty about the situation. The guilt puts me more on my toes at rehearsal and concert. At any rate?

I've done this my whole life. Earnestly taking my music home with the full intent of practicing it! Yet never following through. I see no reason to change procedures now. Good intentions pave what highway?
_________________
"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).

[Christian K. Peters]

Hello Lionel,
Easy situation to be in. After many solo lines played with the feeling I could have done better...I have tried to resign myself to the adage of practicing until I can't play it wrong. At least, if I glitch a note in the performance, I know it is the result of a live performance and I still feel good about the entirety of the presentation. I don't like the feeling of knowing I could have done better.
I spent my entire undergrad life of under prepping, because a lot of stuff came easy and I was working my way through school. Now, I have time to put in to trying to master stuff. Or, at least get to the limit of my capabilities sooner. Though I have to admit, being under prepped, does give you an edge when it comes to playing the line and thinking...Oh crap...sometimes the notes become clearer...
_________________
Christian K. Peters
Schilke Loyalist since 1976

[Brad361]

Just my opinion here, either you were totally relaxed, or you got lucky, or both.

It’s certainly possible to practice something to the point where it begins to degrade, but I think a lot of that is psychological. There needs to be a balance between over preparation and under preparation, sometimes that’s difficult to find. I once went so overboard working on the book for a musical that I screwed up my chops, didn’t recover for a couple of weeks.

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

[Lionel]

Thank you Brad and Christian for your well thought out replies. As for continuing the suspense? Naw. The beauty of my discovery is so freakin obvious that it deserves being exposed. So I think.

All I did was,

A. Transpose the 10 measure solo down a perfect fourth. Checking for proper flats or accidentals.

B. Switch over to my E Flat soprano tpt during the rests!

Bam! Played it dead perfect. Easily. Total ringer. Which of course brought me to this realization,

"Why oh why have I not done this before? Goodness Ive had my E Flat tpt 44 years!!!"

Only modifications I made wss I used a mouthpiece with a more open back bore and slightly deeper cup than I usually put into my E Flat. To round out the tone better. Making the sound indistinguishable from my B Flat.

My Yamaha E Flat tpt is from 1974. Rec'd from my brother and mother on my 19th birthday. Neither of these people alive today. Both long gone. ALS killed them.

My E Flat was hand chosen from a trio of Yamaha's by the principal trumpet of the BSO. Who declared that my E Flat was "not only the best of the trio but the finest horn" he had "ever played in his life".

Ive heard similar positive comments from other major league players who've played the thing. In addition the horn has enormous sentimental value to me. Of course.
_________________
"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).

[JoseLindE4]

The Eb is a life saver. I started using Eb trumpet more and more after I heard about Malcolm McNab using it so much. If you approach it right, you can make it sound like a bigger horn with a much more security.

[CJceltics33]

I wasn’t sure what to guess, but I remembered that mouthpiece buzzing provides great benefits during passages with tricky intervals for me. I’ll buzz it on my mp then play it...better tone and accuracy.

I was somewhat disappointed when you revealed you used your Eb. I’ll add that to the long list of things I want lol...a Xeno, a cornet, etc etc...

[Lionel]