Practice for wind band

[BBB1976]

Hi everyone

What's good practice/preparation for playing 1st trumpet in a wind concert band?
I think the challenges are lyrical solo playing, endurance is a big one and power etc...!
Am very busy during the week with a day job, so looking to prioritise things in my practice.
I would really appreciate your ideas.

Best.

[JayKosta]

For the typical amateur wind bands that I've played with, the main concern is -
Playing the right note at the right time!
Then comes fine volume control, phrasing, tone, etc.

The critical part is to have your notes 'land' exactly where the conductor wants them - which might be different than how 'you feel the music'.
Yes, in solo phrases you have some liberty, but you must NOT disrupt the 'ensemble playing' along with you. Keep the 1st beat of every measure at the right time, and a little flexibility with the others.

If you can always play the right note at the right time, you'll be doing great.

Jay
_________________
Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'.

[dstdenis]

I've found the biggest issue in playing 1st parts in amateur wind bands is accuracy. The more difficult repertoire often has writing that jumps around a lot and requires great agility.

Along with the usual practice materials, I've found it really helpful to work on arpeggio studies. These help develop accuracy, strength and stamina. Examples include the Arban chord studies on pp 142–151 and the Franquin method (qPress edition) arpeggio exercises on pp 178–204.

Also helps to work on multiple tonguing on a regular basis so it's ready when you need it.
_________________
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Cornet Getzen Custom 3850S
Flugelhorn Courtois 155R
Piccolo Stomvi

[BBB1976]

Hi guys

Yes good suggestions so far! To be honest, I'm quite an advanced player and don't really have an issue with playing on the downbeat, but thank you for the suggestion - much appreciated. Playing arpeggios is a good idea, and I know what you mean re: accuracy! There is one piece in the band which does skip around, and is easy to crack a note!! Plus of course everybody notices as its exposed!!! (Typical trumpet conundrum I guess)
Anyhow, I've been practising the Cincinnati studio digest of late, which covers everything I need for wind band. Its a balance of stamp, Clarke, arban, concone etc.....really well organised and fun!! Looking forward to further suggestions and thanks again.

Best

[Christian K. Peters]

Hello all,
Most importantly is to go into rehearsal knowing your part. Preparing the difficult passages at the proper tempo with the right articulation and using a tuner to check notes in passages, is how I prepare. Most important, as our conductor says, come in to learn how your part fits into the rest of the band. If you are fighting your own part, you can't listen across the room. I went back to our community group after a 20+ year absence. I had high respect for my college director, and he had agreed to temporarily return to the podium.
_________________
Christian K. Peters
Schilke Loyalist since 1976

[kehaulani]

What is the Cincinnati studio digest, please? Thanks.
_________________
"If you don't live it, it won't come out of your horn." Bird

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[Derek Reaban]

I'm in a similar situation. I have a demanding day job and play in a wind ensemble and 3rd trumpet in a local symphony. Endurance can be an issue on the principal book in wind ensemble and it's really important to know what NOT to play.

Anytime there is a unison line in the section make note of it in your part and decide if you need to play. If there is a thickly scored section starting in the low register and finishing with an exposed line in the principal book, think about what the audience is going to hear. If you need to lay out until a bar or so before the exposed section, that's the part that they'll hear, so be smart in what you choose to play.

Also, if you are lucky enough to have another good player to share some of the 1st parts with, decide who will be playing and who will be resting. And if you're playing marches, trade phrases or whole repeats (marches will tax endurance like nothing else) so only one person is playing at a time. This can make a huge difference to improved endurance when you have a demanding program to play.

I've been in this wind ensemble for 30 years, and this is what works best for me. Hope these suggestions are helpful.
_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[BBB1976]

Hi Kehaulani and Derek

The digest can be found if you google CCM Trumpet Studio PDF. You will recognise stuff in the daily routine. All great stuff!
Derek, yes endurance is a massive thing in wind bands. I have also ran a few Arban characteristic studies, when time is limited to practice. This really helps with endurance.

Best[/i][/u]

[kehaulani]

[blbaumgarn]

arpeggio studies,, tonguing excersizes if you run into more technical passages. I also liked lip slurs even when tired trying to keep air flowing and being able to play the entire study without running out of air and pressing on the mpc. What you are talking about is what I did from my mid twenties on. I was lucky when married in that my wife never minded letting me blare away in a bedroom because I felt I needed to work on our music.
_________________
"There are two sides to a trumpeter's personality,
there is one that lives to lay waste to woodwinds and strings, leaving them lie blue and lifeless along a swath of destruction that is a
trumpeter's fury-then there is the dark side!" Irving Bush