Changing between cornet and trumpet in one concert

[rhatheway]

The community band I'm part of has performed several concerts where we have pieces of music written for both trumpet and cornet. Because not everyone in the trumpet section has both a trumpet and cornet (there's a few of us who do and we bring both), depending on the piece of music I may play trumpet on one piece, cornet on the next one, and then back again.

I don't mind it, as to me it's helping to improve my flexibility, but I'm curious if there is something I should do to make this change between instruments better/easier? I try to keep both horns warm by blowing air through them (when possible) so that at least I'm not going to pick up and play and be sharp right off the bat until the horn warms up, but is there anything else?
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Richard H
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Working on getting my chops back...

“Without music, life would be a mistake” ― Friedrich Nietzsche

1968 Getzen Eterna Severinsen
1958 Conn Director 14A

[JayKosta]

It depends of whether the parts 'really' are written for the slightly different sound of cornet versus trumpet.

I think that some pieces (primarily those intended for HS or college bands) have their major 'high brass' lines scored and labelled as 1/2/3/4/ for either cornet or trumpet - and there are 'supplemental' high brass parts that are labelled for the 'other' instrument - but it is not really necessary or important which instrument is used on either.
I think that is done for the situation were an ensemble has a large number of trumpet / cornet players, and to avoid too many players on the same exact part.

Unless the is a desire for a specific instrument 'sound', I don't see the need to switch between trumpet and cornet.
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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'.

[rhatheway]

[spitvalve]

I think just practicing on both horns back and forth in the same session will give you all the flexibility you need. Even if the mouthpieces are different. The more you practice switching the better it will be, as long as your practice on both horns is fundamentally sound and you're not wasting your chops on one horn before you pick up the other.
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Bryan Fields
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1991 Bach LR180 ML 37S
1999 Getzen Eterna 700S
1977 Getzen Eterna 895S Flugelhorn
1969 Getzen Capri cornet
1995 UMI Benge 4PSP piccolo trumpet
Warburton and Stomvi Flex mouthpieces

[zaferis]

I enjoy & prefer playing the parts as named - cornet and trumpet. Switching back and forth? Practice doing it.. yeah and maybe, depending on the temp of the room you may need to start with the slide in a little if you don't have a chance to warm the instrument up - but honestly I haven't had that issues very often.
Anytime you switch axes you have this issue - in the pit (musicals) trumpet to flugel to picc in a cool pit below the stage - tune sharp the pull out as the instrument warms. I just finished a local production of Sponge Bob, it has a few Flugel requirements, but none long enough to really warm it up, so I made sure to tune it at room temp.

Having compatible mouthpieces, ones that aren't drastically different makes the swapping easier and causes less fatigue. I like Mark Curry's mouthpieces for this reason - going from one to another with the same rim makes it that much easier.
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Freelance Performer/Educator
Adjunct Professor
Bach Trumpet Endorsing Artist
Retired Air Force Bandsman

[Seymor B Fudd]

I agree with the posters above, except Jay K; To be more precise - music written by say Williams does require the cornet sound and so might other pieces be.
Storing the mouthpiece in question in one´s pocket in order to keep it warm helps as does having tuned the horns prior to the performance

But my main idea/suggestion is that when playing the cornet you should take advantage of the inherent character, and it should be played "cornetty".
A vague term I know, meaning "dolce, singing, softer, rounder, always with the ears geared towards the image of the pastoral English country side, cows ruminating"- in stark contrast to Verdian trumpets.
Just to give you an idea. Never mind the cows also farting now and then...

Then, of course, there are occasions when the cornet sound might be different;i.e the entire section blowing the intro to Wilhelm Tell - but, this notwithstanding - always somewhat exaggerating the tonal differences between the cornet and the trumpet. In your mind!

Many words but there is a reason having different horn parts.
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Cornets: mp 143D3/ DW Ultra 1,5 C
Getzen 300 series
Yamaha YCRD2330II
Yamaha YCR6330II
Getzen Eterna Eb
Trumpets:
Yamaha 6335 RC Schilke 14B
King Super 20 Symphony DB (1970)
Selmer Eb/D trumpet (1974)

[rhatheway]

[rhatheway]

[rhatheway]

[zaferis]

[rhatheway]

[Dale Proctor]

I frequently play both cornet and trumpet in performances with one of the groups I’m in. Trumpet on trumpet parts and cornet on cornet parts. I use a similar size mouthpiece on both instruments, but one with a deeper cup on cornet. As someone has already said, we need to play the cornet like a cornet. I’m sure any composer who scores both trumpet and cornet parts for a piece intends for a contrast in sounds between the two parts, and I try to do that. Most of the time I’m on first part with either instrument, so even though the players on 2nd and 3rd cornet parts are typically playing trumpets, I still think my playing a cornet on 1st part makes a difference. Unless the room is really cool, switching back and forth between instruments doesn’t really produce too much of an intonation problem, and yes, I’ve put a mouthpiece in my pocket before to keep it warmer.
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"Brass bands are all very well in their place - outdoors and several miles away ." - Sir Thomas Beecham

[huntman10]

Or .... Just get yourself a good old Bach 181 ML 37 cornet, does both perfectly well! If you want some variation, get a Bach mouthpiece with a C cup to sound more "trumpetty" and a B cup (even better, no letter) cup to sound like the cornets!!

But what would the fun of that??
_________________
huntman10
Collector/Player of Fine (and not so fine) Brass Instruments including
Various Strads, Yammies, Al Hirt Courtois, Schilkes,
Selmer 25, Getzen Eternas, Kanstuls (920 Pic, CG)
Martin Custom Large Bore, Lots Olds!, Conns, etc.

[rhatheway]

[rhatheway]

[Dayton]

[rhatheway]

[Andy Del]

To answer the original question, to make the change easier, practice the change.

My quintet concert next weekend sees me play Bb, Eb and flugel. No issues changing. Then again, I don't even practice on the same Bb all the time.

When I was doing instrumental teaching full time, I used to have to demo brass - from trumpet to tuba. I may be able to play concerti on everything, but a working set of chops and air will overcome many many things. My colleague, the bass trombonist could manage to play bass bone in these sessions... but not tenor. Reason? Chops just didn't work.

June has a trumpet organ recital for me. I'll be playing picc a lot, plus Eb, cornet, maybe some flugel and I'd love to play Solus again... so add a C into the mix. It's not the changes I find a challenge, but making music so the audience loves every piece. Make this the focus and things should go better.

cheers

Andy
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so many horns, so few good notes...

[Christian K. Peters]

Hello all,
Dale said it. I organize a 10 member concert band trumpet section. 7 of us own cornets, as we play/played in the brass brand also. We have a strong section, and the ability to have cornets, warms up the high brass sound. Most of us playing cornets, play a deeper cup and similar width with our shepherd crook instruments.
For the most part, switching back and forth is not an issue.
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Christian K. Peters
Schilke Loyalist since 1976

[rhatheway]