| View previous topic :: View next topic |
| Author |
Message |
walter
Veteran Member
Joined: 15 Nov 2001
Posts: 428
Location: near Philadelphia
|
 Posted: Mon Apr 08, 2002 9:52 am Post subject: |
 |
|
| [ This Message was edited by: walter on 2002-09-20 07:46 ] |
|
| Back to top |
|
 |
big brian
Veteran Member
Joined: 06 Nov 2001
Posts: 440
|
| Posted: Mon Apr 08, 2002 10:22 am Post subject: |
|
|
...
Last edited by big brian on Mon Apr 30, 2018 3:09 pm; edited 1 time in total |
|
| Back to top |
|
|
pbtrpt
New Member
Joined: 06 Apr 2002
Posts: 10
|
| Posted: Mon Apr 08, 2002 8:30 pm Post subject: |
|
|
| When I mentioned doubling in the other forum it was in reference to the use of the rotary trumpets in particlar. Specifically I was refering to FF parts in Bruckner Symphonies where with many larger orchestras you have and assistant 1st horn and maybe an asst. 1st trombone along with the usual group. Going with 4 trumpets and the added body of sound can help the overall blend, especially if it means that everyone can play with a healthy tone and not have to bust a gut. As a general rule I would very rarely use doubling on anything else....maybe use 4 guys on something like Tchaik. 4, 5, 6........ but I wouldn't do it on much else. |
|
| Back to top |
|
|
PC
Veteran Member
Joined: 10 Apr 2002
Posts: 398
Location: Trondheim, Norway
|
| Posted: Mon Apr 29, 2002 11:02 pm Post subject: |
|
|
Hi,
I am ambiguous in general about doubling: I guess our trumpet egos want us to be the loudest and best sounding instrument in the orchestra and this all by ourselves, with no aid (we're not a violin section, after all)! Sheer satisfaction of nailing high parts and solos, covering all the others, where everyone knows it is you who did it and not some kind of team effort! That said, even with the best pros around, some scores are too dense to always be sounding at one's best and at the desired volume level; in these cases, there is no shame of having a bumper aid a little, while holding long tones or in long non solo passages, taking the lead back where the glitz returns to the part.
Having some passages doubled in an intelligent way can be very effective: have one trumpet blast the part with a good zing for ultimate projection while the assistent plays softer with emphasis on very dark sound and you get the best of both worlds! This can also restore the balance with the horn section where a lot of the music is doubled anyway; the modern French horns are quite powerful but by nature very dark sounding compared to the trumpets, so doubling the trumpets as mentioned above can compensate somewhat.
Hope this makes sense!
Pierre |
|
| Back to top |
|
|
|
