Solo pieces with mutes. Why?

Robert P · Heavyweight Member Joined: 28 Feb 2013 Posts: 2596

Things like the Tomasi. Mute in, mute out. Mute in, mute out. This has never resonated with me - it seems like something that's done...just because it is.

You listen to a flute piece you hear the sound of the flute. Or piano, violin, cello, guitar etc.

Do you like this compositional/performance practice?
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jhahntpt · Posted: Wed Apr 18, 2018 9:33 pm Post subject:

I agree with you...sometimes.

The use of mutes in Tomasi, Arutunian, etc. can add tonal colors that are not available to trumpet naturally. It allows the performer to create tremendous contrast in different musical sections. The seemingly endless amount of mutes also allow the performer to tailor their performance and really dig into what they want the work to sound like.

That said, there are times (looking at you Jolivet and ANYTHING that needs a Harmon mute for classical playing) where I do feel that it's just because. Sometimes it even comes off as a "well I heard this cool sound one time" angle from the composer and all of a sudden you're off to buy a solotone or bucket mute.
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Tpt_Guy · Posted: Wed Apr 18, 2018 10:10 pm Post subject:

Mutes can have a nice effect when used correctly. The Ewazen Trio in E flat for Trumpet, Violin and Piano makes good use of mutes, and even the violin is muted at some points, though it doesn't produce the same effect as our mutes. The distant sound a straight mute gives to Legend by Enescu works pretty well, I think. The straight mute in the Stevens Sonata seems appropriate. When Mark Gould recorded Café 1930 (originally for flute!) he used what sounded like a bucket for the first part of the tune, up to the key change, and it worked well.

As mentioned, there is a wide variety of mutes available so picking the right one can mean the difference between pleasing music to play and listen to, and an annoyed performer that is not so much fun to hear.
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Nonsense Eliminator · Posted: Thu Apr 19, 2018 5:02 am Post subject: Re: Solo pieces with mutes. Why?

kehaulani · Posted: Thu Apr 19, 2018 7:45 am Post subject:

Basically just adding to what's already been pointed out.

But I don't understand the question, anyway. Why not use different colors if they're effective? Surely you would want to have that option if it's effective.

Additionally, using flutes etc. as an example . . ever see a flute with a cup mute?

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Robert P · Heavyweight Member Joined: 28 Feb 2013 Posts: 2596

Andy Del · Posted: Thu Apr 19, 2018 9:10 am Post subject:

Flutes employ, a small do just about every other instrument, techniques to extend their tonal palette. Whisper tones, key clicks, etc.

We are lucky to have an array of mutes which can alter out sound and give some variation to performances... the alternative would be the sax.

Cheers

Andy
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cheiden · Posted: Thu Apr 19, 2018 10:04 am Post subject:

I don't think I've ever taken issue with accompanied solo literature that uses mutes. There have been times when I've seen unaccompanied solos where the mute changes seemed awkward. The act of stopping, fetching, inserting, then resuming can really take me out of the moment.
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trumpet56 · Heavyweight Member Joined: 16 Jun 2010 Posts: 623

I have always hated fast mute changes period...

cheiden · Posted: Thu Apr 19, 2018 12:34 pm Post subject:

trumpet56 · Heavyweight Member Joined: 16 Jun 2010 Posts: 623

Didymus · Posted: Fri Apr 20, 2018 10:44 am Post subject: As A Listener/Beginner

From the perspective of a beginner comeback player who listens more than he performs, I like the use of mutes in classical music. I guess they fall between exotic or extended techniques and supplemental techniques in terms of accessibility to the player and the audience. The best analogy I can think of is the use of spices in cooking. Too much or too many works against the point or goal to create an interesting effect or contrast.