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Neruda Trumpet Concerto



 
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Ryrytheguy
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Joined: 18 Feb 2016
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Location: Canonsburg, Pennsylvania

PostPosted: Thu Mar 21, 2019 8:27 pm    Post subject: Neruda Trumpet Concerto Reply with quote

Hi, I am playing the Neruda Concerto for my jury, and I am currently playing it on a long bell Bach Eb trumpet. I am looking for any advice in keeping the integrity of the piece, and for advice that would make me successful.
Thanks guys,
Ryan Fulton
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zaferis
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PostPosted: Fri Mar 22, 2019 3:13 am    Post subject: Reply with quote

https://www.youtube.com/watch?v=eiXI_aMstZM solo starts ~ 0:58

Listen, shed, listen, shed... I know, I know, stock answer.

I too have the Bach long bell Eb, Is there anything peculiar that this instrument brings to this solo? I don't think so. This Eb has a C trumpet bell, so a touch broader in tone vs. many Eb designs but IMO a nice choice for solo work. Spend some time getting comfortable on the Eb, it's a smaller instrument, play it so.

One specific exercise that I like, play and settle in on a higher pitch (written top line F or G atop the staff), center and tune that note - hold that embochure set, then play a section of the solo (maintain that "set"). This helps with tone, lightness and flexibility.

In practice, slur twice, articulate once - keep the tongue light. Record yourself and listen.

Musicially, listen to how smoothly Ms Helseth plays (linked above), and how she phrases. There's nothing heavy or agressive sounding here.
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Ryrytheguy
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PostPosted: Fri Mar 22, 2019 5:08 am    Post subject: Reply with quote

Thank you for the reply. The Eb long bell doesn't bring any particular challenge to the piece, I was just concerned more about the ornamentation, which Ms. Helseth's recording does not feature, nor is it performed on a Corno de Caccia.
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Christian K. Peters
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Joined: 12 Nov 2001
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Location: Eugene, Oregon

PostPosted: Fri Mar 22, 2019 6:45 am    Post subject: Neruda trumpet concerto Reply with quote

Hello all,
If you are talking jury...This term.. Kind of late to ask interpretive questions??? Spring break is next week on the left coast. Anyway, it sounds that you have listened to other performances already. Fluidity comes to mind. Given enough time on any instrument, one can get it to play as one wants. Regarding ornamentation, if you are running into many interpretations of the piece, and if they are all valid representations/performances of that piece, you are given reign to do what ever you see fits you, your facility, the time in preparation and the the equipment you are playing on. I have had a couple of Yamaha fixed belled D/Eb's and a Bach EL. Did not really like any of them enough to keep them. I have a Schilke soprano Eb cornet that I think fits the second movement beautifully, as I have performed that in church many times. If I could justify having an Eb trumpet, it would be a Schilke E3L. My buddy had one, and it was stellar.
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zaferis
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Joined: 03 Nov 2011
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PostPosted: Fri Mar 22, 2019 11:06 am    Post subject: Reply with quote

Ryrytheguy wrote:
...... I was just concerned more about the ornamentation, which Ms. Helseth's recording does not feature, nor is it performed on a Corno de Caccia.


You lost me..! Tine certainly plays ornamentation(s) and then where did you come up with "corno de caccia"? She not playing one, and if you have a Bach Eb long bell, you're not..???

The original "Corno de Caccia" would have been a natural horn, long trumpet.. (not the modern valved one).. pre-valved instruments.. high in the overtone series-trumpet or horn player, really one and the same. Think natural trumpet not horn.
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astadler
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Joined: 11 Feb 2014
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Location: US

PostPosted: Fri Mar 22, 2019 1:32 pm    Post subject: Reply with quote

I'm working this piece up myself right now. Listen to as many different recordings as possible; there are lots of different approaches to the ornamentation and the style, especially the appogiaturas. It's also important to have a good edition of the piece, some editors will change the way appogiaturas or other ornamentations are notated and not make it apparent that they made editorial choices. David Hickman's edition is a good choice, and Ed Tarr's edition is excellent; he includes a facsimile of the original solo part, makes very editorial choices and makes it clear what is original and what is his. He also includes several pages of great information on how certain ornaments would have been performed, as well as justification for the few editorial choices he made. If you're a college student and your school doesn't have that edition, try getting it through interlibrary loan if you don't want to order it yourself.
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epoustoufle
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PostPosted: Fri Mar 22, 2019 11:04 pm    Post subject: Reply with quote

Also don't be meathead! Listen to non-trumpet players. Be brave, take risks - you have to hit the audience somewhere/somehow (head, heart, military, emotions, sorrow, etc.).

[youtube]mGQLXRTl3Z0[/youtube]
[youtube]gpS_u5RvMpM[/youtube]

https://www.youtube.com/watch?v=mGQLXRTl3Z0

https://www.youtube.com/watch?v=gpS_u5RvMpM
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Ryrytheguy
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Joined: 18 Feb 2016
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Location: Canonsburg, Pennsylvania

PostPosted: Mon Mar 25, 2019 6:36 am    Post subject: Reply with quote

epoustoufle wrote:
Also don't be meathead! Listen to non-trumpet players. Be brave, take risks - you have to hit the audience somewhere/somehow (head, heart, military, emotions, sorrow, etc.).

[youtube]mGQLXRTl3Z0[/youtube]
[youtube]gpS_u5RvMpM[/youtube]

https://www.youtube.com/watch?v=mGQLXRTl3Z0

https://www.youtube.com/watch?v=gpS_u5RvMpM


Thanks for the advice, sometimes I think us trumpet players forget that other examples of fine music exist out in the world. Thank you for providing the excellent recordings as well.
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