The Princess and the Princes

[Derek Reaban]

About a month ago my 3-year-old was invited to his buddy Melanie's 3rd birthday party. He is one of three boys and does boy things. Girl things do not interest him at all!

Melanie's party was a Princess party and my 3-year-old did not want to have anything to do with it. I said, "there will be a Princess and several Princes there". He yelled, "I don’t want to be a Princess!". I said, "No. I mean you will be a Prince and there will be one or two other Princes there". He yelled louder, "I don’t want to be a Princess!!" I said, you get to be Prince Ali from Aladin and then I started singing the Prince Ali song and got him to start laughing. Eventually he was excited about getting to be a Prince!

I started thinking about this…

Princess vs. Princes

For those of us that are English speaking and have been spelling for longer than we can remember, the difference between these two words is very clear, even when spoken. For a 3-year-old who can't distinguish the subtle difference between these words, it means wearing a dress out in public! No wonder he got mad at me!

Relating this back to trumpet playing, how many players who hear a trumpet sound are unable to perceive the difference between a loud sound versus a resonant sound? They would fall into this same position of not understanding the subtle difference between the two sounds, just like the 3-year-old with the word Princess and Princes.

In a recent article by Craig Morris, entitled Fundamentally Speaking he discusses the importance of spending time every day with “foundation” exercises. He mentions James Thompson and James Stamp and says that, "this book is perhaps the most misunderstood and misused book in the trumpet community. When done properly, though, these exercises can be a great way to establish balance and center in one’s playing."

It took me years to understand what to listen for in my own sound to be able to distinguish a "loud" sound from a resonant sound (and finding my center). I felt very much like my 3-year-old when my instructors would model a sound and then have me play. The would say, "There! Do you hear the resonance? That's what I want!" The problem was I really couldn't "hear" what was different from behind the bell. Princess…Princes?

I could write about my experience with these subtleties all day and provide quotes from very prominent players. I don't want to do that though.

Just out of curiosity, what have you done to find your resonance? If you haven't found it yet, please know that in time and with enough concentrated focus everyday, you will get closer to seeing the Princes for the Princess!
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Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[ralphnz]

One of the main streets here is Princes Street. People always call it Princess. The fools.

[Lo]

^ i don't think that was the point of the post but that's funny. lol

[Derek Reaban]

Actually, that’s exactly the point that I’m trying to make. Many people think that the sound they are producing is a full, strong, resonant sound when actually it is merely a “loud” sound (very strong in the fundamental but lacking many of the overtones that gives sound character, maturity, and carrying power).

I know that I fit into this model for the majority of my time playing the horn!

I could clearly hear the difference between players that had this great sound versus the players that were just missing the resonant center when I would go to concerts, or hear them in ensembles or masterclasses. The problem for me was that, from behind the bell, I couldn’t perceive a difference between these two types of sound when I was playing. And I really thought that I was generating that great vibrant, resonant quality! I was shouting ”Princess” with all the confidence in the world and I’m sure everyone was thinking ”Doesn’t he mean PRINCES”.

What initially helped me the most in getting this sound happening in my own playing, surprisingly wasn’t sitting next to my fantastic instructors. They are outstanding models, but to get my foot in the door (away from loud and into “vibrant, resonant, and colorful”) I have to credit two players and their approach to sound production for their very first notes of a rehearsal.

I played a musical with a player from Tucson (Rob Gappinger I believe). He was playing some simple lip slurs between second line G and low C. They were soft, light, and VERY clear. Nothing was forced or too loud to begin his first notes of the evening (he was an engineer and has chosen trumpet as an avocation as I have). I studied his sound very carefully, because I knew that this was absolutely NOT how I would play that simple exercise. It was delicate, and it seemed he was just “letting” his sound develop. He wasn’t really controlling anything, just letting it come out. His sound was very vibrant and strong after he got going (he was playing lead and I was playing second). Seeing him begin so gently really got me to thinking. He allowed me to get my foot in the door to resonance.

The other player that I look back at (I was too slow to pick up on what he was doing at the time) was our own Dave Bacon. At every Wind Ensemble rehearsal, he and I would show up about the same time (half an hour before the downbeat to get warmed-up). He would always start with a very gentle approach to sound production. I was always playing rather loud in comparison (thinking I was producing a big resonant sound). He would gradually expand his gentle approach higher and higher in this really cool arpeggio drill that I’ve never heard anyone else ever play. When we would share the lead part, I always remember thinking, "his dynamic is well under mine...I’d better play out a little more".

Well, I have gone back and listened to CDs of this group with Dave playing principal. Holy Cow! His sound could have covered the band in an instant if he would let it. On tunes where I was playing principal, I would be heard, but just barely. Peter Bond would say, "I think of resonance as the quality which differentiates a musical sound from a 'noise on pitch.'". That was me..."Noise on Pitch". Man, it’s so frustrating to think back to this and realize "I was shouting out PRINCESS" but what I really meant to shout out was "PRINCES".

Dave would always say, "Roar Softly". It took me years to understand this!

My point with this post was to show how subtle this difference is between vibrancy and "loud" when it comes to sound production. Resonance is a still small voice that will be trampled if you are trying to generate a powerful, strong, big sound. That was the trap that I fell into for years. I finally slowed down and started listening to that still small voice. You will miss it in a heartbeat if you are in a hurry. If you embrace this gentle sound every time you sit down to play, what comes out the bell will astound you!
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Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[davidk]

Very interesting post, Derek! That is a great way to describe that issue! Unfortunately, I'm not sure if it is something that can be taught or not... you almost have to have that personal "eureka!" moment to get it. I think this ties in with the issue of truly knowing what kind of sound you want to have and constantly striving to achieve it.

[Derek Reaban]

David,

You Wrote:

[Derek Reaban]

My Wife was getting ready for a trip to Tucson to take my boys to Vacation Bible School and printed out a lot of pictures to do some scrap booking. I happened to see the pictures of the Princess Party (with my little Prince) and thought I would include them here. He was the only Prince!


The Prince Arriving at the Party


With the Princesses



The Party Favor (Weapon)


The Princess Looking On



Goodbye

_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[Jim-Wilson]

Derek,

You have a fine looking prince! Thanks for bringing your post back to the top and sharing something of your fine young man.

I actually remembered your post - it is a great illustration. At the time I was just starting my comeback from 36 years away from the trumpet. I sounded like a bad 4th grader that had just picked up the horn. I didn't have a clue what resonance was or sounded like. In my grade school/high school playing years I had become fairly technically proficient with reading, articulation, range and had a fairly decent sound but I'm pretty sure I didn't know "resonance" at all.

davidk wrote about resonance:

[Upstatetpt]

An Excellent Topic!! I have a student who comes in and just wails away at FFF all the time. His attacks are like a sledge hammer hitting a steel wall and it's all I can do to sit there and listen to that. I try to explain that I'd rather hear a FULL, RESONANT sound, rather than just loud. I've given him some flow studies to work on (softly), and some Caruso to help him dial in his aperture. Whenever I talk about playing he nods and smiles, as if he knows it all already and he's just letting me talk so I can feel like I'm earning my $20. As soon as I ask him to play he just starts wailing again

Anyway, that's not really what I wanted to talk about. I just wanted to say that playing with a resonant sound, for me, is not simply hearing it out of the bell, but feeling the resonance through my whole body. When my sound isn't as full as it should be I know there is some unnecessary tension somewhere in my body - or my breathing is off. When it sounds good, it feels good - and vice-versa.

"The Legend of Bagger Vance" was on late-night TV a few nights ago and I needed to unwind so I let myself get sucked into it. Yes, it's a cheesy movie about golf being the greatest game, blah, blah... But some of the concepts "Bagger" talks about (finding your natural, "authentic" swing) are very real and pertinent to a lot of things - like blowing the horn.

My 2 cents...

[soundnmind]

Eureka! moment:

My graduate school audition consisted of a "lesson-type" atmosphere where I was fortunate enough to play and receive critique from the trumpet professor. After performing the first piece, it only took one word from him to bring my sound to another level: color.

This allowed me to open my ears and listen for what I thought to be "colorful," full, resonant, open, focused, centered, etc. Rather than thinking of these descriptions separately, color seemed to capture it all.

Needless to say, I was accepted and will begin regular study in August

Thanks Derek for your insightful topics!

[RBtrumpet08]

Ok, well I guess I shall be the first one here to post that he hasn't had this EUREKA! Oh well. I guess it can be said that I've only been playing 2 years, so I still have time. I am curious, however, about the difference between a resonant sound and an open one. Is there a difference? I think I understand and am working toward a nice open tone, but I don't know exactly about resonant. I feel that I play with an open tone, one that seems to, for one, sound best. But also, it seems to kind of 'lock in' if you might say. I tried the moving from tight to loose lips to find where it feels and sounds best, and I try to play in that more middle zone. Is there any way you can describe how you feel you are getting this resonant tone, and how an open sound relates to it?

Thanks!

-Sam still trying to find a resonant sound
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"Music is a combination of logic and emotion that together express more than either could possibly express alone."

[Derek Reaban]

Sam,

When I’m playing and everything is clicking, my resonant sound feels like I’m hardly working to produce the sound. There is very little effort involved in getting the sound to jump out of the horn. If I’m not resonating, there is a lack of vibrancy or overtones in the sound, and then I feel like I have to play “louder” to get the sound out. This effort just kills the sound. Working hard will almost always indication there is tension somewhere and your sound is just off the mark.

It looks like you are from Cincinnati based on your profile. If you really want to see how your “open” sound compares to what I consider a resonant sound, give this a try. Get together with several friends and work up a simple excerpt, portion of a solo, hymn, or etude in the middle register of the horn (let’s say between low C and 4th space E). When everyone has spent some time getting comfortable with this, find a big open room and set up a minidisk recorder on the far side of the room. Have each player play the piece with the others listening close to the recorder and agree on a comfortable dynamic.

When you are happy with your recording, schedule a group lesson with one of the players from the Cincinnati Symphony Orchestra:

Philip Collins – Principal Trumpet
Steven Pride
Douglas Lindsay - Associate Principal
Christopher Kiradjieff - Assistant Principal

Find a big room for the lesson and take in your prepared piece. Set up the recorder and each of you play as you did before and then have the CSO player play the same piece at the agreed on dynamic. Check out the needle on the recorder as you all stand on the other side of the room!

Then have a lesson on sound production and talk about ways to get more resonance in your sound. This will be the best way to get a first hand experience of what I’m talking about and you and your friends will be literally shocked at how powerful a tool focusing on resonance over volume can be.


Hope this helps!
_________________
Derek Reaban
Tempe, Arizona
Tempe Winds / Symphony of the Southwest

[Jim-Wilson]

Sam,

As an "old" neophyte on the trumpet I'm not the best one to use words to describe what I've felt to be my more "resonant" sound. But, since I'm the one you are referring to I'll jump in (this is not a defense). I'm certain there are many more who will be better descriptors of their "resonant" sound and I'm also certain my feeble attempts to explain will provide adequate fodder (and perhaps laughs) for further discussion.

So, the "resonant center" I feel I'm finally playing involves several different things of note to me - the order does not necessarily reflect their relative importance. First of all, when I'm "there" the sound becomes louder without any effort to add more air/play stronger, etc. Associated with this is a definite "ring" (I think Doc Severinsen calls it "Brrr...") which is very high pitched (increasing the sampling rate playing into my laptop using Audacity displays resonance spikes up to 45kHz which is the max I can sample - this goes away if I play "off center" or with excessive pressure so I really think it truly is improved resonance in my tone). I've been impressed at how "tight" the center is on some notes - just the most subtle adjustment in lip pressure, lip positioning relative to the teeth or the airstream through the lips will destroy it - that doesn't mean the sound goes bad but it loses that special character (color, fullness, resonance, etc.). Another thing of note is a feeling of "freedom" in my lips - actually an easing of the effort required to sustain the tone. Also, I usually note a greater "tingle" in my lips when I've stopped playing from the resonant center. One other thing of note is that when I play arpeggios that I feel I'm keeping centered, the notes just "pop out" much more easily and clearly.

All of that being said, there is no doubt I don't know it all and have much to learn and may be "off" in my own assessment of my playing. I've been studying with an Eastman trained orchestral player and have not been to him since my "Eureka" moment to get his take concerning any potential change in my playing - hopefully time will allow for that soon.

I'm certain that many would say you need someone (a good teacher) to assist you in your quest for a fuller, more resonant sound. I wish you success in that endeavor.

Jim

[Jim-Wilson]

Note to all,

Apparently Derek was posting while I was composing my response. I am just now reading his post which just came before mine - really!

Jim

[RBtrumpet08]

Yes, yes, I'm a teen and should know all about technology but I don't have any experience with minidisc recorders... in fact I couldn't even tell you what one looked like. Well now I can since I just google image searched, but I don't understand what you mean the needle.

It might not matter that much since unfortunately I don't have the money, nor enough trumpet playing friends that would be willing to do that. I wish I could, but sorry.

This is partly on topic, yet partly off.....

I usually practice in my bedroom: carpet, clothes everywhere , mattresses, and its probably 20 feet or so by about 12 feet. (Both my brother and I use it). When I play, my sound goes like nowhere. I notice a huge difference, however, when I play in either my kitchen or living room. These resonate a lot more and personally, it is there that I feel I sound great. I know this is a normal reaction for probably everybody, but how much do you think my practicing normally in a "sound killing" room would affect my tone.
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"Music is a combination of logic and emotion that together express more than either could possibly express alone."

[mcamilleri]

That "Brrrr" is I think a very important clue, especially for players starting out trying to play with more resonance. I am quite sure that a lot of players have heard this "Brrr" at times in their own playing and then quickly backed away from it as it sounds harsh, and not at all like those deliciously dark, rich sounds you hear in recordings or in concerts from great players.

Trouble is, you don't get that rich, dark, sound out front without that "Brrr". If you go for that rich dark sound behind the bell you will sound dull, woofy, and fuzzing out front. If you go for that rich, dark sound behind the bell by using big mouthpieces, you will also sound dull out front.

Recently I switched to a GR MX cup, after a very long 2 year safari (both playing and equipment). It didn't give me much difference initially but it made me feel how I was manipulating my chops to play a 1.5C (my previous best choice). A month or so on with the MX cup and the manipulation is much reduced, my tuning slide has moved in about 1/4", intonation is much improved, and the sound, oh man! When I get it right the sound is amazing and it feels effortless. The sound is much more resonant and richer. It sounds both richer and more brilliant at the same time (I know, sounds like a contradiction, but it isn't). It projects much better too, and fff (e.g. Capricio Italiano) just has this big, brilliant sound, very loud but not harsh at all.

I suppose the point is that to get that resonant sound you need good playing habits AND good equipment that matches you. It may take a while to find the best balance for you, with many steps along the way. Good intonation is a big clue.

Start hunting that "Brrr". Don't be afraid of it - cultivate it. When you can find it consistently, ask someone to listen to your playing in a big room, or record yourself. You have to change your mental concept of good sound behind the bell to develop resonance.

Michael
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Alpha Angles
Besson Loyalist

[Derek Reaban]

Sam,

[RBtrumpet08]

Thanks! I will check out those posts! No I don't think I'm overblowing to play to my room. I've more just gotten accostummed my sound being more dulled in that room. Sometime's I'll have fun because if I aim it into the corner, it will have an echo.

Sorry, I don't have any trumpet friends that would be willing to spend $20 on that. Neither do I have access to either of those recorders. I might be able to do something similar, whenever our band fiiiinally installs the recording system in our band room, but that could be forever .

Thanks again for all your help! One question.... how do you have time to practice or even perform between helping all our helpless souls?!
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"Music is a combination of logic and emotion that together express more than either could possibly express alone."

[RBtrumpet08]

Ok.... So far in your posts, there is one thing that has really stuck out at me: play in a nice resonant room in which you feel you sound really good. Think about what that dynamic is and how much effort you are putting into it. Now move into a room such as my bedroom where it is all dampened, or even just outside and play the same exact way. Resist temptation to blow harder or louder. This is how you should play!


Is that all correct?
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"Music is a combination of logic and emotion that together express more than either could possibly express alone."

[Derek Reaban]

Sam,