INFLUENCESINAMERICANORCHESTRALTRUMPETPLAYING

EXAMININGTHEEFFECTSOFMUSICIANS’COLLEAGUES,TEACHERS,ANDTRADITION 

by

SEANBUTTERFIELD

B.M.,UniversityofColorado,2003

M.M.,WesternMichiganUniversity,2005

 

Adissertationsubmitted

totheFacultyoftheGraduateSchoolofthe

UniversityofColoradoinpartialfulfillment

oftherequirementforthedegreeof

DoctoroftheMusicalArts

DepartmentofBrassandPercussion

2011

 

 

ii  

 

Thisthesisentitled:InfluencesinAmericanOrchestralTrumpetPlaying:

ExaminingtheEffectsofMusicians’Colleagues,Teachers,andTraditionwrittenbySeanButterfield

hasbeenapprovedfortheDepartmentofBrassandPercussion

TerrySawchuk,committeechair

WilliamStanley

Date

Thefinalcopyofthisthesishasbeenexaminedbythesignatories,andwefindthatboththecontentandtheformmeetacceptablepresentationstandardsofscholarlyworkinthe

abovementioneddiscipline.

IRBprotocol#‐Exemptedstatus

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AbstractButterfield,SeanMitchell(D.M.A.,Music,BrassPerformanceandPedagogy)InfluencesinOrchestralTrumpetPlaying:ExaminingtheEffectsofMusicians’Colleagues,Teachers,

andTraditionDissertationdirectedbyAssociateProfessorTerrySawchuk

Thepurposeofthisprojectwastostudyhowmajororchestraltrumpetersperform

commonauditionexcerptsanddeterminewhethertheirmusicalinterpretationsareinfluencedby

performancetraditions,teachersorsectioncolleagues.Inpursuingthesegoals,thisdocumentnot

onlyactsasamusicalsurveyofmodernAmericantrumpetperformanceandpedagogybutalsocan

beutilizedtoaugmentone’soverallapproachtoperformingandteachingtrumpet.

Forthisdissertation,Iinterviewedandstudiedwithtwenty‐twotrumpeters,allofwhom

exceptoneweremembersofthesixmajorAmericansymphonies—theBostonSymphony,the

ChicagoSymphony,theClevelandOrchestra,theLosAngelesPhilharmonic,theNewYork

Philharmonic,andthePhiladelphiaOrchestra.Eachlessonconsistedofareviewofsevencommon

excerptsandaninterviewtodetermineeachplayer’smusicalinfluences.Inthispaper,Icombine

theseinterpretationsandinfluencestoreachthestudy’sprimaryobjective:establishingobjective

musicalcriteriainordertoexaminewhichinfluenceshavethemostprofoundeffectsona

musician’sinterpretations;theircolleagues,theirteachers,orthetraditioninwhichtheywere

trained.However,thisisnotastatisticalstudyanddoesnotattempttodrawdefinitiveconclusions.

Theseobjectivesareperformance‐based,andperformancepreferencesofmusiciansaretoo

complextodetermineasimplecorrectorincorrectmethod.Instead,Iattempttofindpatterns

withinthegroupingsthatmayaugmentperformers’andteachers’knowledgeandinterpretations.

Theresultscanbeutilizedbymusiciansregardlessoftheirlevel,althoughthediscussions

aretailoredfortrumpeterswhoalreadyhavesomebackgroundinthetopics.Performerscanuse

theresultstotailortheirauditionpreparation.Teacherscanusetheresultstofurthertheir

understandingofhowinterpretationsarepassedontostudents,therebyimprovingtheir

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pedagogicaltechniques.Studentscanusetheinterpretationsandpedagogicaltechniquesemployed

bythesemusicianstoaugmenttheircurrentstudies.

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ToJohnandLucyButterfield

Thankyousomuchforyoursupport,bothemotionalandfinancial,aswellastheoccasionalridetoKansas.

   

 

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Acknowledgments

Firstandforemost,Iwouldliketothankthetwenty‐oneworld‐classtrumpeters,eachof

whomspenthourswithme,oftenteachingatfarbelowtheirnormalrates.Iwasamazedatthe

talent,knowledge,andgenerosityofeverysingleparticipantandappreciatedtheirwillingnessto

helpmeinthisendeavor.Thesegentlemenwereaskindastheyweregifted.

ThisdissertationwasmadepossiblebygenerousfundingthroughaThomasEdwin

DevaneyDissertationFellowship.Inparticular,IwouldliketothankPaulaAndersonandKellyHine

fortheassistancetheyprovidedwhileIwassupportedbythefellowship.RightstotheHindemith

excerptareprovidedbyEuropeanAmericanMusicDistributorsLLConbehalfofSchottMusic.The

Mussorgsky/RavelexcerptisreprintedwithpermissionfromHawkesandSons.

Whenthisprojectwasnothingmorethanapipedream,BethDusinberrenotonlyconvinced

methatitwouldbepossible,butguidedmeinmysearchformentorsandfunding.Hereffortson

mybehalfexceededanythingIcouldhaveimagined,andIcannotthankherenough.Thisproject

wouldneverhavehappenedwithouther.

TerrySawchukwasnotonlymyfirsttrumpetteacher,buthehasbeenamentortomesince

thefreshmanyearofmyundergraduatestudies.Icanthinkofnomorefittingwaytoendmy

academiccareerthanunderhismentorship.Itrulyappreciateeverythinghehasdoneformeover

thepastdecadeandknowthatIwouldneverhavemadeittothispointwithouthisbeliefinme.I

haveknownWilliamStanleyalmostaslongasTerryandIowehimnolessgratitudeashehasgiven

meinvaluableadvicethroughmanytoughsituations.Theirmusicianshipandknowledgeas

teachersaresomethingtowhichIaspireinmyfuturecareer.

Iwouldalsoliketothanktherestofmydoctoralcommittee—KeithWaters,

NicholasCarthy,JamesAustin,andJeremySmith—foralloftheireffortsinmydissertationandits

accompanyingprojects.Whilenotadirectmemberofmycommittee,StevenBrunshasbeenan

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invaluableguidethroughthisprocess,andIamfortunatethattheAssociateDeanforGraduate

StudiesthathashelpedmethroughmyD.M.A.degreeisthesamemanthattaughtmyveryfirst

classasanundergraduate.Furthermore,Iwouldliketothanktherestofthefacultyandstaffatthe

UniversityofColorado‐Boulderforsupportingmethroughtwodegreesovernineyears;Iwas

extraordinarilyluckytobetaughtbysomanyincrediblemusiciansandpedagoguesduringmytime

here.Inparticular,IamgratefultoJoyceCheney,asthesuccessofmydoctoraldegreewasoften

dependentonherabilitytowalkmethroughtheredtapethatIwassoapttotripover.

Iwasblessedtohavemanyamazingformerteacherswhowereabletohelpmemakethe

manyconnectionsneededforaprojectofthisscope.Inparticular,EricBerlin,ChristopherStill,

ScottThornburg,andStephenJonesputmeintouchwithmostoftheparticipantsofthisproject,

andwithoutthem,IhavenoideahowIwouldhaveputthistogether.MyfriendsLisaRogers,Carlie

Kilgore,EvanHonse,andStephanieBettigwerealsokindenoughtoprovidemewithcontact

informationforcertainhard‐to‐findtrumpeters.

Needlesstosay,thetripstothesecitieswereexpensiveendeavors,andthisprojectwould

nothavebeenpossiblewithoutthemanyfriendswhoopenedtheirhomestome:ChristopherStill

andAmandaMcIntosh;HelenPolsonandAaronGlass;MatthewBarrettandHelenadeBres;

KathrynMetz;KristinandGrantElgersma;andAdamSmit.Thankyousomuch.

MitchandCorbyButterfield,myparents,havesupportedeveryendeavorIhaveeverchosen

regardlessofhowstrangemostofithasseemedtothem.Icouldnothaveaskedfortwomore

caringandlovingparents.

Last,butcertainlynotleast,Iwouldliketothankmyintelligent,beautiful,andsupportive

wife,MirandaWilson.Notonlyhassheprovidedmewithunendingencouragement,herinsights

intothisthedoctoralprocesshavemademolehillsoutofmountains.IcanonlyhopethatIwillfind

awaytopaybackherpatienceandsupportthroughmyD.M.A.overmanymorehappyyearsof

marriage.   

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Contents

Abstract..................................................................................................................................................................................iii

Acknowledgments.............................................................................................................................................................vi

ListofTables..........................................................................................................................................................................x

ListofFigures......................................................................................................................................................................xi

IntroductionandOverview............................................................................................................................................1

DocumentLayout...........................................................................................................................................................2

Methodology....................................................................................................................................................................5

PARTI:Performanceanalysisbyexcerpt...................................................................................................................11

CHAPTER1‐Hindemith................................................................................................................................................15

CHAPTER2‐Haydn.........................................................................................................................................................24

CHAPTER3‐Beethoven................................................................................................................................................34

CHAPTER4‐Bizet............................................................................................................................................................40

CHAPTER5‐Mahler........................................................................................................................................................48

CHAPTER6‐Mussorgsky/Ravel................................................................................................................................59

CHAPTER7‐Respighi....................................................................................................................................................65

PARTII:InterpretationComparisons...........................................................................................................................72

CHAPTER8‐ExcerptBreakdownbySection.......................................................................................................74

Hindemith........................................................................................................................................................................74

Haydn................................................................................................................................................................................76

Beethoven........................................................................................................................................................................79

Bizet...................................................................................................................................................................................83

Mahler...............................................................................................................................................................................86

Mussorgsky......................................................................................................................................................................89

Respighi............................................................................................................................................................................92

Overallconclusionsforcomparisonsbysections..............................................................................................95

CHAPTER9‐ExcerptBreakdownbyteacher.......................................................................................................97

EugeneBleeandPhilCollins..................................................................................................................................100

BarbaraButlerandCharlieGeyer.......................................................................................................................106

JamesDarling..............................................................................................................................................................112

ChrisGekker.................................................................................................................................................................116

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MarkGould...................................................................................................................................................................117

JohnLindenau.............................................................................................................................................................120

ThomasRolfs...............................................................................................................................................................122

MichaelSachs..............................................................................................................................................................125

CharlesSchlueter.......................................................................................................................................................127

JamesStamp................................................................................................................................................................129

WilliamVacchiano....................................................................................................................................................132

RogerVoisin.................................................................................................................................................................137

Overallconclusionsforcomparisonsbyteacher............................................................................................139

CHAPTER10‐ExcerptBreakdownbyTradition.............................................................................................143

Overallconclusionsforcomparisonsbytradition.........................................................................................162

Conclusion........................................................................................................................................................................164

BIBLIOGRAPHY...................................................................................................................................................................167

   

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ListofTables 

Table1.HindemithSortedbySection ....................................................................................................... 74 

Table2.HaydnSortedbySection ............................................................................................................. 77 

Table3.BeethovenSortedbySection ........................................................................................................ 80 

Table4.BizetSortedbySection ................................................................................................................. 84 

Table5.MahlerSortedbySection ............................................................................................................. 87 

Table6.MussorgskySortedbySection ...................................................................................................... 90 

Table7.RespighiSortedbySection ........................................................................................................... 93 

Table8.NumberofSeasonswithCurrentOrchestra......................................................................................................96

Table9.Blee/CollinsStudents ................................................................................................................. 101 

Table10.Butler/GeyerStudents ............................................................................................................. 106 

Table11.DarlingStudents.......................................................................................................................................................112

Table12.GekkerStudents........................................................................................................................ 116 

Table13.GouldStudents ......................................................................................................................... 117 

Table14.LindenauStudents .................................................................................................................... 120 

Table15.RolfsStudents ........................................................................................................................... 124 

Table16.SachsStudents .......................................................................................................................... 126 

Table17.SchlueterStudents ................................................................................................................... 127 

Table18.StampStudents ........................................................................................................................ 129 

Table19.VacchianoStudents .................................................................................................................. 133 

Table20.VoisinStudents ......................................................................................................................... 137 

Table21.MussorgskyCategoriesforHersethInfluences ....................................................................... 139 

Table22.MahlerCategoriesforPhilSmithInfluences ........................................................................... 139 

Table23.RespighiExcerptforYellow3andGray1 ............................................................................... 141 

Table24.HindemithSortedbyTradition ................................................................................................ 148 

Table25.HaydnSortedbyTradition ...................................................................................................... 150 

Table26.BeethovenSortedbyTradition ................................................................................................ 152 

Table27.BizetSortedbyTradition ......................................................................................................... 154 

Table28.MahlerSortedbyTradition ..................................................................................................... 156 

Table29.MussorgskySortedbyTradition .............................................................................................. 159 

Table30.RespighiSortedbyTradition ................................................................................................... 161 

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ListofFigures 

Figure1.HindemithSonataforTrumpetandPiano–trumpetpart,expositiononly....................................15

Figure2.Haydn,TrumpetConcerto–trumpetpart,expositiononly.....................................................................24

Figure3.Beethoven,LeonoreOvertureNo.3‐offstagetrumpetcall.....................................................................34

Figure4.Bizet,CarmenSuiteNo.1‐Prelude,1sttrumpet..........................................................................................40

Figure5.Mahler,SymphonyNo.5‐1sttrumpet,openingsolo..................................................................................48

Figure6.Mahler6/4RhythmClarification........................................................................................................................50

Figure7.Mahler16thNotesRhythmClarification.........................................................................................................51

Figure8.Mussorgsky/Ravel,PicturesatanExhibition‐Promenade,opening1sttrumpet........................59

Figure9.Respighi,PinesofRome‐offstagetrumpetsolo............................................................................................65

   

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Introduction 

 

Forthisdocument,Ispentoneyearstudyingwithovertwentyofthebestorchestral

trumpetersintheUnitedStates.Inoneofthemanyinterviews,atrumpeterdescribedthe

circumstancesofhisdeparturefromhisfirstprofessionalpositionwithamid‐majorsymphonyin

the1970s.

Ihadbeeninmypositionforayear,butitwasdecidedthatIwouldn’tberehired.TheytoldmethatIwasanEasternplayer,andtheywereaMidwesternorchestra.Inthosedays,therewasamuchbiggerdifference.SoIdidn’tfitintotheirsoundasmuchastheywouldhaveliked,soIlookedforadifferentjob.1

ThistrumpeterhasnowbeenamemberofamajorAmericansymphonyfordecades,andhefeels

thatmuchhaschangedoverhistenure.Whilehisquotehighlightstheperceiveddifferences

betweenthevarioustraditionsoftrumpetplaying,hisallusiontorecentchangesforeshadowsthe

contrastingrealitythatIfoundinmystudiesandanalysesforthisproject.

Inorchestraltrumpetplaying,thereisacommonpreconceptionthattheregioninwhicha

trumpeteristrainedorperformeddefinesthewayinwhichheorsheapproachesmusic,both

expressivelyandtechnically.Asmentionedinthepreviousquote,thetypicalregionaldivisionsin

theUnitedStatesareWestCoast,Midwest,andEastCoast,andthemajororchestraswithineach

divisionexemplifytheregionalstyle.Withthisinmind,Ioriginallysetouttoidentifythe

commonalitiesanddifferencesbetweenregionalstylesoforchestraltrumpetplaying,ifanyexisted,

aswellastofindwhichmusicalinterpretationsaremostprevalentamongtoporchestralplayers

today.

                                                            1InterviewwithRed4,July13,2010.SeeMethodologybelowforexplanationofalias.

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Aftermorethantwentylessonswiththesetrumpeters,halfofmyoriginalgoal,todetermine

themostcommoninterpretationsofstandardexcerpts,wascollectedreadilyenoughandis

presentedinPartIbelow.However,itbecameobviousoverthecourseofthisprojectthattheold

regionalstereotypeshadbecomeconsiderablylessdistinguishable,ifnotentirelyobsolete,onthe

individuallevel.Therewerestilldefinablestylesbetweentheseorchestras’trumpetsectionsasa

whole,buttherewasanevengreatervariationwithinthemembersofeachsection.Insteadof

strugglingtodividetheseplayersbyperceivedregionalstyles,PartIIofthisdocumentcompares

theirmusicalinterpretationstotheirpeersinothermajorsymphoniesinordertofindtheir

commonalitiesastoplevelmusicians.Byfocusingoneachplayer’shistoryasastudentanda

professional,thissectionalsoattemptstotraceinterpretiveandpedagogicalmethodsthrough

sharedteachersandinfluences.

Thesecomparisonsyieldedinvaluableinformationforteachers,students,andperformers

alike.Forperformers,thispaperactsasareferenceshowingwhichinterpretationsarecurrently

mostsuccessfulandinuseontheauditioncircuittoday.Forteachersandstudents,itprovidesa

comprehensivesurveyofthemostcommonpedagogicalapproachestoeachoftheseexcerptsas

wellasmethodsforaddressingoftenencounteredtechnicalissues.Studentscanusethese

techniquestoaugmenttheircurrentstudies,whileteacherscanusethecomparisonstoexamine

whichpedagogueshavehadthemostprofoundinfluenceandmoreimportantly,whichoftheir

pedagogicaltechniquesaresharedbycolleagues.Foreasierreference,Ihavealsoincludedtablesof

theanalysesforeachexcerptaswellaslistsgroupingthetrumpetersbytheirteachersand

traditions.

DocumentLayout

Thepaperisdividedintotwolargeparts,andbothpartsarefurtherseparatedinto

chapters.PartIbreaksdownthesevenchosenexcerptsbyanalyzinganumberofmusicaldecisions

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withintheexcerpts.Eachmusicaldecisionislabeledasacategory,andwhencombined,the

categoriescanbeusedtocreateanoverallimpressionofeachplayer’sinterpretationoftheexcerpt.

Furthermore,PartIincludesrankingsbyprevalenceofthechoiceswithineachcategoryandatthe

endofeachchapter,containsa‘compiledinterpretation’:ausableinterpretationthatincorporates

themostcommonlyusedmusicaldecisionsineachcategory.Thesecompiledinterpretationsarean

invaluabletoolforanytrumpeterpreparingforanauditionandanyteacherwishingtokeeptheir

repertoirecurrentwithmusicalstyles.Finally,eachoftheexcerptdiscussionsinPartIcontains

descriptionsofmanyofthetechniques,bothpedagogicalandperformance,whichthetrumpeters

usedtorefinetheirinterpretations.

PartIIusesthecriteriaestablishedinPartItocomparethetrumpeterstotheirpeersin

threedifferentgroupings:byorchestrasection,bycommonteachers,andbytradition.By

comparingthecriteriawithinthesethreesets,itispossibletofindpatternsamongtheplayersand

inferwhichinfluencescontinuetohavethemosteffect,ifany,intheseprofessionals’musical

interpretations.Thefinalchapteroffersabriefsummationandaconclusionoftheresults.

RelatedMaterials

Thereisnoshortageofliteraturemeanttosupplementtheorchestraleducationofan

aspiringtrumpeter.Yetthemethodology,scope,andobjectivesofthisprojecthavelittle

precedencewhencomparedtopreviousruminationsonthisbroadtopic.Numerousaideshave

beenreleasedbyprofessionaltrumpeters;mostprominentlyOrchestralExcerptsforTrumpet

recordedbyPhilipSmithandAuditionandPerformancePreparationforTrumpet;Orchestral

LiteratureStudiesseriesbyRobRoyMcGregor.Bothofthesecontainextremelyusefulinformation

fromtworenownedtrumpeters,buttheyonlyprovidethemusicalinsightsofonepersoninafield

definedbyitssubjectivity.

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ThemostsimilardocumentincontenttothisdissertationisHeatherRodabaugh’s2008

dissertation“PreparationforOrchestralTrumpetAuditions:thePerspectivesofThreeProminent

OrchestraPlayers.”Inherpaper,shecoverstheperformancesuggestionsofthreerespected

orchestraltrumpetersonfivestandardtrumpetexcerpts:Bach’sMagnificat,BWV243,Bartok’s

ConcertoforOrchestra,Debussy’s“Fêtes”fromTroisNocturnes,Gershwin’sPianoConcertoinF,and

RichardStrauss’sDonJuan.HerdissertationmakesanexcellentcompaniontoPartIbelowfor

auditionpreparation,especiallyconsideringthatthetwopaperscoverentirelydifferentexcerpts.

YetRodabaugh’sdocumentdiffersfromthisprojectnotonlyinscope,butalsoinintention;

Rodabaughintendedherpapertobeusedasaperformanceaid,whereasthisdocumentprovides

themusicalinterpretationsofprominentmusiciansonlyasameanstotheendofestablishingthe

fundamentalcommonalitiesbetweenthemusicians.Rodabaugh’sconclusionschapterdoesdiscuss

somecommonalitiesbetweenthethreetrumpeters.However,shefocusesonthepedagogical

suggestionsofdealingwiththedifficultiesofeachexcerpt,whereasinthisdocument,Iconcentrate

ontheinterpretivedecisionsemployedbyeachoftheplayers.

Othermajordocumentsonthesubjectoftrumpetorchestralpartsinclude“TheMost

RequestedTrumpetExcerptsfromtheOrchestralRepertoire”byJan‐KrzysztofDobrzelewski,“An

OrchestralAuditionPreparationToolforAspiringTrumpeters”byToddJamesHastings,“Guidefor

InterpretingOrchestralTrumpetRepertoireBasedonCommonPracticeofProfessionalPlayersin

RecordedPerformance:aThesis”byGarryJoeHardin,“SelectedExcerptsfortheTrumpetand

CornetfromtheOperarepertory:aGuideforPreparationandPerformance”byTimothyAllen

Shaffer,and“AGuidetoOrchestralAuditionRepertoireforTrumpet”byRobertVictorCannon.

However,likeRodabaugh’sdissertation,thesedocumentsareonlyintendedtoaugment

performanceandauditionpreparation.Furthermore,thediscussionsbelowaretheonlyanalyses

onthissubjectofwhichIknowthatdividemusicalinterpretationsintoobjectivelydescribed

categoriessothattheycanbeusedcomparatively.

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Therehavealsobeencountlessarticlespublishedonorchestraltrumpet

performanceintradeperiodicalssuchastheITGJournal,andsomeofthesewillbereferencedin

thediscussionsbelow.Foranextensivebibliographyofsuggestedjournalarticlesonthesetopics,

pleaseseetheJournalArticlesheadingundertheBibliographyinRodabaugh’sdissertation.2

Methodology

Overoneyear,Irecordedlessonswithtwenty‐twoofthecountry’sfinestorchestral

trumpeters.AllbuttwowerecurrentmembersoftheNewYorkPhilharmonic,LosAngeles

Philharmonic,PhiladelphiaOrchestra,ClevelandOrchestra,ChicagoSymphony,orBoston

Symphony.Ibeganbycontactingeverycurrentmemberofthesesymphonies;oftenthroughmutual

acquaintances,butoccasionallythroughorchestras’frontofficesortheschoolsatwhichthese

trumpeterstaught.Becausesymphonyplayersoftenteachprivately,myinitialemailsconsistedofa

simplerequestforalessonaswellasabriefdescriptionofmyproject.Inmysubsequentemailsto

theparticipants,ImadeitclearthatIwouldliketorecordthelesson,buttheserecordingswould

neverbemadepublic.Ialsosuggestedageneraltimeperiod—usuallyaweek—duringwhichI

couldbeintheircityandaskedthattheysuggestmeetingtimes,places,andfees.Thesetrumpeters

dochargepremiumratesfortheirlessons,soduringtheyearIspentpreparingthisproject,I

appliedforandprocuredfundingfromanexternalsource—inthiscase,theDevaneyDissertation

Fellowshipwhichpaidformyresearchandlivingexpensesforthedurationoftheproject.

Ireceivedanoverwhelminglypositiveresponsefromtheparticipants,manyofwhichhave

shownacontinuedinterestinthisdissertation.Ofthefivemembersfromtheseorchestrasmissing

fromthisproject,twowereforcedtocancelapreviouslyscheduledlessonwithlittlenoticefor

personalreasons,andonewassimplyunavailableduringmytimeinthatcity.Theothertwo

                                                            2Rodabaugh,“OrchestralTrumpetAuditions,”74‐77.

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omissionsfromtheprojectwereunfilledpositionsintheorchestras;thechairswerevacantwhileI

wasinthatcity.Ofthetwotrumpeterswhoparticipatedinthisprojectwhowerenotmembersof

thesesixmajorsymphonies,oneiscurrentlytheprincipalofamid‐majorAmericansymphonyand

theotherisaformerprincipalofoneofthesesixmajorsymphonies.

Ineachoftheselessons,wecoveredthesamesevenexcerpts.Tonarrowthefocusofthe

discussions,Iaskedthatthemusiciansprimarilydiscusstheirapproachestotheexcerptsinan

auditionsetting;however,manyofthetrumpetersalsovolunteeredtheiropinionsonthe

differencesbetweentheauditionandorchestralsettings.InthedescriptionsofPartI,Ihavenoted

thesedifferenceswheneverappropriate.

Thereweretwosoloexcerpts:theopeningofSonataforTrumpetandPianobyPaul

HindemithandtheexpositionfromConcertoforTrumpetinE♭byJosephHaydn.Theadditional

fiveexcerptswereorchestralpieces:theoffstagecallfromLeonoreOvertureNo.3byLudwigvan

Beethoven,thePreludefromCarmenSuiteNo.1byGeorgesBizet,theopeningsolofromSymphony

No.5byGustavMahler,theopeningsolofromthePromenadeofPicturesatanExhibitionbyModest

MussorgskyasorchestratedbyRavel,andtheoffstagesolofromthesecondmovementofPinesof

RomebyOttorinoRespighi.

Ichoseeachexcerptbecauseofitscurrentprominenceintheorchestraltrumpetauditions

aswellaswithspecificcriteriainmindforjudgingthecommonalitiesanddifferencesbetweenthe

players.Ifocusedthesecriteriaprimarilyonmusicaldecisionsthatcouldbedescribedobjectively,

i.e.changesindynamic,tempochoices,notelengths,andsoon.Indoingso,Iestablishedabasisfor

comparingmusicalinterpretationsinamannerthatisasobjectiveaspossibleconsideringthe

generalsubjectivityofmusicalinterpretation.IfIwasunsureofthevalidityofoneofthesecriteria,

Icontactedtheplayertoaskhisopinion.Iftherewasanunresolvablediscrepancy,Iexcludedthat

particularcriterionfromthecomparisonsasshownbytheblankresponsesinsomeofthe

musicians’interpretations.

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Iintentionallychosetodisregarddifferencesintonequalityeventhoughtonequalityis

oftenconsideredadefiningcharacteristicforanorchestralmusician.Timbreisdifficulttoquantify

inanobjectivemanner,andthisjudgmentisfurthercomplicatedaseachofthelessonswas

recordedinadifferentacousticspace.

Aftereachlesson,Iinterviewedthetrumpetersbriefly.Iaskedthemusicianstogivean

overviewoftheirtrumpeteducationincludingprimaryteachers,durationofstudy,andother

musicianstheyconsideredasprimaryinfluences.Ialsoaskedthemtolistanytrumpetersthatmay

havehadaninfluencethroughlessdirectmeans,i.e.masterclasses,recordings,etc.Iintentionally

allowedtheparticipantstodifferentiateprimaryinfluencesfromlesserinfluences—ratherthan

simplyaskingwhotheircollegeteacherswere—inordertoallowforthevaryingdegreestowhicha

teachermayaffectastudent.Byaskingwhichinfluenceseachplayervaluedmosthighly,Ihopedto

betterisolatetheinfluencesthathadthemostprofoundpedagogicaleffectontheparticipants;

therebyimprovinganycorrelationbetweenstudentssharingacommoninfluenceratherthanother

influencesinthestudent’senvironment,e.g.otherstudents,ensembles,etc.Ultimately,thereisno

waytrulytoisolatetheoriginofanideaorconcept,butpedagogicalpatternscouldbebetter

exploredusingtheabovemethod.

Inthelastportionoftheinterview,Iobtainedeachmusician’sprofessionalorchestral

historyandthedurationoftheirtenuresinthoseorchestras.Thisinformationestablisheda

narrativeofinfluencesandenabledmetogroupeachplayerwithotherparticipantsbycommon

teacherandregionaltraining.Ithencomparedmusicalinterpretationswithinthesegroupsaswell

astocurrentcolleagues.3

Thetrumpetplayersinthisprojectwillremainanonymousfortwoprimaryreasons.The

firstistoprotecttheirmusicalidentities.Ifaplayerisquotedasdisagreeingwiththeircurrent

musicdirectororcolleagues,itcouldcauseunnecessaryprofessionalstrife.Thesecondreasonisa

                                                            3 Thismethodologyismeantasanoverviewoftheproject.Ifyouwouldlikeamoredetailed

discussionofthecomparativeprocessesoftheproject,pleaseseetheintroductionsforPartIandPartII. 

8  

 

directeffectofthis;Iwantedeachofthemusicianstoplayandspeaktheirmindfreelywithout

worryingaboutwhattheothermembersofthetrumpetplayingcommunitywouldthinkoftheir

opinions.Mygoalinthisprojectwastogathertheiropinionsregardlessoftheircurrentposition,

andprovidinganonymityallowedthemtotellmeexactlywhattheybelieved.Furthermore,because

theselessonswereconductedinthelessonsetting,eachtrumpetercouldnotbeexpectedtohave

audition‐levelpreparationfortherecordings.IfIhadaskedthisofthem,manywouldhavedeclined

toparticipateintheproject,andtheirinterpretiveconceptswerefarmoreimportanttothisproject

thantechnicalperfectioninexecution.Yetevenwithoutperformance‐levelpreparation,their

extraordinarytalentswereobvious.

Therefore,eachparticipantinthisprojectisassignedanaliasbasedontheircurrent

orchestraandchairwithinthatorchestra.Eachorchestraisassignedacolorandthechairswithin

thesectionaregivenanumber.PrincipalTrumpetis1,SecondTrumpetis2,AssociatePrincipalis

3,andAssistantPrincipalis4.Forexample,theprincipaltrumpetofOrchestraYellowwillbe

knownasYellow1forthedurationofthisproject.Thetwoprojectparticipantswhowerenot

membersofthesixmajorsymphonieswillbelabeledasGray1and2.Thissystemallowsthereader

tomakecomparisonsoftheirownasthealiasesremainthesamethroughoutbothParts.Also,allof

thetablesincludedintheprojectarecolor‐codedtomatchtheassignedcolors.Otherthanme,the

onlypeoplewhoknoweachplayer’sidentityaremydissertation’sprimaryadvisors.

Ofcourse,anonymizingtheidentitiesoftheseplayersandtheorchestrastowhichthey

belonghadsomedrawbacks.Forexample,inthecomparisonsofPartII,Iwasunabletocompare

theinterpretationsofteacherswithwhomIstudiedfortheprojecttotheirstudentsthatalso

participatedintheproject,becausethiswouldhavegivenawayboththeidentityoftheteacherand

hisorchestra.Furthermore,asanauditionpreparationtool,thisdocumentprovidesgreatinsight

intothestylisticpreferencesoftheseprominentsymphonymusicians,andthisinformationcould

beusedtotailorauditionpreparationfortheseorchestrasorthegraduateschoolsatwhichthe

9  

 

performersteach.Unfortunatelyduetoanonymity,thereadercanonlylearnlarge‐scale

preferencesforeachofthefollowingexcerpts.However,astheconclusiontothisdocumentdetails,

individualpreferencesinmusicalinterpretationarenotnearlyasimportantasmusicalityand

execution.

Background

Thenotionofregionaldifferencesremainspresentinthemindsoftoday’sorchestral

performers.Onememberoftheseorchestrasgavethisdescriptionofasymphonytowhichhehas

neverbelonged.

Ithink[the]Cleveland[Orchestra]isthetightestorchestraoutthereasfarasmatchingthematicinterpretation.Evenifsomeoneplaysalickinareallystupidway,everypersonafterthemwillplayitthesameway.4

Thisdemonstratesacurrentculturalawarenessamongthesetrumpetersthatorchestral

musiciansvaluecertainmusicalcharacteristicsbasedonthehistoryoftheorchestra,performance

space,musicdirectors,colleagues,andmanyotherfactors.Eventhoughtheorchestralplayerwho

gavethequoteabovehasbeenemployedwithhiscurrentorchestraformanyyears,hewasactually

trainedintheClevelandareaandadmitstobeingbiasedtowardtheiroldrecordings.Whilehis

observationcouldverywellbetrue,hisregionaldefinitionofstylehasmoretodowithhis

recollectionsratherthananup‐to‐datefamiliaritywiththeorchestra.Givenhisprofessionalhistory

andthefactthatitwouldprecludehimfromattendingCleveland’sconcertsforthelasttwo

decades,hemayhaveheardtheClevelandOrchestrainconcertonlyonceortwiceoverthatspan.

Muchhaschangedoverthelastfortyyearsduringwhichthesemusicianshavebeen

performingprofessionally.Recordingtechnologyhasimprovedthefidelityoforchestralrecordings,

andtheinternethasmadeiteasiertoaccesstheserecordingsinstantlyfromanywhereinthe

world.Becauseofthesechangesinaccessibility,Ibelievethatregionaldifferenceshavemellowed

                                                            4InterviewwithRed2,July15,2010.

10  

 

considerably,andtheresultsofthisprojectconfirmthis.Forexample,fiftyyearsago,anAmerican

trumpeterwouldrarelyhaveconsideredplayingonarotary‐valvedtrumpet.Today,however,a

rotarytrumpetisstandardequipmentforaprofessionalAmericanorchestraltrumpeter,andwhile

noonechoosesitastheirprimaryinstrument,manyoftheseperformerssuggesteditsuseon

variousexcerpts.Furthermore,thetopplayersoftentakethetimeandexpensetogotoGermany

andworkwiththebestmanufacturerstheretocustomizethetrumpettotheirspecifications.

Whilethisinternationalawarenessunderscorestheprevalenceofanincreasinglylessdistinct

regionalproductinAmericanorchestraltrumpeting,itdoesnotimplyhomogeneitybetween

orchestras.Infact,asIbelievethefollowingresultsdemonstrate,thetrumpetersinthisprojectare

highlyindividualized.Eachmemberofthesemajorsymphoniespossessesenoughtalentand

knowledgetoswitcheasilyandplaytheprincipalpart.Assuch,eachtrumpeterinthisprojecthas

well‐definedinterpretationsforeachoftheexcerptsandmostoftendifferednotonlyfromthe

principalplayerandcolleaguesoftheirorchestrabutalsofromtheotherstudentsoftheirteacher.

11  

 

PARTI:Performanceanalysisbyexcerpt

InstructionsforunderstandingtheterminologyandshorthandofPartI

Simplyput,thefirsthalfofthisdocument,PartI,describeshoweachexcerptsounds.While

thispart’sunderlyingpurposeistoprovideamusicalframeworkforthecomparisonsofPartII,itis

alsodoublesasaperformancepreparationguideforthesevenexcerpts.Ihavebrokendowneach

excerptintoanumberofmusicaldecisionsandthenfurtherdividedeachofthesegeneraldecisions

bythevariousinterpretationsutilizedbytheparticipantsofthisproject.Toprovideclaritytothe

sometimeslengthymusicalanalyses,Iwillalwaysrefertotheoverallmusicaldecisionsofeach

excerptas‘categories’andtheindividualinterpretationswithineachcategoryas‘criteria.’Iwill

alwaysdenotecategorieswithsinglequotations,e.g.‘Methodforpacingtheopening’,whilecriteria

willalwaysbeitalicized,e.g.Halfnoteframe.

Understandingthesecategoriesandtheirshorthandcriteriaisnecessaryfor

comprehensionofthetablesandcomparisonsinPartII.ForquickerreferencewhilereadingPartII,

eachmaincategoryisgivenanunderlinedheadinginPartIandallcriteriaunderthatcategoryare

italicizedanduniformlyinsetfromthemargins.Theseunderlinedheadingscorresponddirectlyto

thecategorieslistedinthetablesofPartII,althoughsometimesthegrammarandstyleofthe

headinginthetableshavebeenshortenedtoaccommodateasmallerspaceinthetable.In

parenthesesfollowingeachcriterionbelow,thereisarankingfollowedbyanumber.Therankingis

theprevalenceofthatcriterioncomparedtotheothercriteriainthatcategory,andthenumberthat

followsisthenumberoftrumpetersinthisprojectthatusethatparticularcriterionintheir

interpretation.PartIdoesnotincludeadetailedbreakdownoftheplayers’decisions;forthat

information,pleaseseethetablesforeachexcerptinPartII.Thefollowingdiscussionsdoinclude

12  

 

specificperformanceandpedagogicaltipsfromthetrumpeters,butthesefocusprimarilyonthose

techniquesthathelptoclarifyparticularlyesotericdiscussionsofinterpretation.1

Eachexcerpt’schapterisadiscussionofnumerousinterpretivedecisions,althoughthese

decisionsfallintotwoclasses:thosethatareobjectiveenoughtobeusedinthecomparisonsofPart

IIandthosethataretoosubjectivetobeclearlydividedandcompared.Theanalysisofeach

categoryclearlystateshowprominentlythatcategorywillfeatureinPartII.Theobjective

categoriesincludetopicssuchastheinclusionorexclusionofadynamicchangeorthemethodused

topaceanimpliedrhythm;inshort,anymusicaldecisionthatcanbedescribedwithlittleorno

ambiguity.Thesubjectiveperformancesuggestionsareincludedonlytoenhanceaudition

preparationandincludetopicssuchastherelativeloudnessofaparticularperformanceorthe

qualityoftheplayers’sounds.Pleasenotethattheterm‘objective’refersonlytothemethodof

divisionwithineachcategory;thediscussionofeachcategory’seffectoninterpretationwillbe

subjective,asanydiscussionofmusictendstobe.Occasionally,Ihaveaddedpersonalnotes,but

onlywhenthesehelptoclarifyadescriptionorparaphraseaparticularlycomplicateddialogue.

Moreover,PartIanalyzeshoweachobjectivecategoryaffectsthelistener’simpressionof

theoverallinterpretation;someofthecategorieshaveamorepronouncedeffectthanothers.This

informationiscrucialforthecomparisonsofPartII.TheMiscellaneouscategoryundereachexcerpt

includesdecisionsnotdiscussedbythemajorityofthetrumpeters,andconsequently,thesetopics,

evenifobjectivelydefined,willnotbeusedinPartIIforlackofcomparabledata.

Copiesofeachexcerptareincludedatthebeginningofthechapterforreference.Every

excerpthasbeentakenoutofcontextandgivennewmeasurenumbers.Thisfacilitatesdiscussion

oftheexcerptbyeliminatingdifferencesbetweeneditions.Allmeasurenumberandrehearsal

                                                            1Becauseofthelargenumberoflessonsthatcontributedtothisproject,Ihaveavastamountof

informationpertainingtothepedagogicalandmusicaltechniquesnotonlyforthesesevenexcerpts,butalsogeneraltrumpettechnique,auditionimprovement,andperformanceenhancement.Thisinformationwillbereleasedatalaterdatepossiblyasanappendixtothisdissertation,butmostlikelyIwillrestructureittoincorporatethismaterialasamonograph.

13  

 

numberreferralsareapplicableonlytothepartsincludedwiththisdocument.Forexample,the

trumpetlinefortheBizetexcerptnormallybeginsinthethirdmeasureofthepiece.YettheBizet

excerptusedbelowhaseliminatedtheopeningtwobarsofrest,sothetrumpetlinebeginson

measure1.Inthismanner,Icanrefertoindividualmeasuresoftheexcerptwithoutconsidering

whetherthereaderisreferringtoanoriginalpartoranexcerptedpart.Also,becausesomeofthese

excerptsareprintedinvarioustranspositions,Iwillreferonlytothewrittennotenamesofthe

partslistedhereunlessexplicitlystated.However,Ihaveusedthemostwidelyrecognized

transpositiontoensurefamiliarityformosttrumpeters.

Eachofthesechapterswillendwitha‘compiled’interpretationfortheexcerpt.Thisisa

synthesizedinterpretationthatincorporateseachofthemostcommoncriteriafromtheexcerpt’s

categories.WhilethecompiledinterpretationwillbeusedforcomparisonsinPartII,italsoactsas

aquickreferenceforperformerspreparingtheseexcerptsforanaudition.Ifoneweretousethe

compiledinterpretation,itcanbeassumedthatthisinterpretationwouldbesafelynon‐offensive.

Whilethatsoundsuninspiringtoanambitiousorchestralmusician,regardinggeneralaudition

preparation,thesetrumpetersmostcommonlysuggestedthatfirst‐roundexcerptsneedprimarily

toshowcasethefundamentalsofmusic:abeautifulsound,goodintonation,consistenttime,and

knowledgeofthemusic.Thefirstroundisnotatimetoshowoff;insteadtheyadvisedthatitisa

timetoperformtheexcerptasitwouldbeplayedintheorchestra—nothingmore,nothingless.To

quoteBlue2inourinterview,“Youcan’twintheauditioninthefirstround,butyousurecanlose

it.”Becauseoftheprevalenceoftheseexcerptsinthefirstroundsofauditions,thecompiled

interpretationsattheendofeachofthefollowingexcerptsareextremelyusefulpreparation.2

Onaneditorialnote,IwillonlyusedoublequotationswhenIamdirectlyquotingsomeone.

Iwillusesinglequotationstoseparatewordsthatwouldnormallyhaveadifferentmeaningoutside

ofthecontext.Forexample,torefertoanoffbeatrhythmonaparticularbeat,Iwillwritethe‘and’

                                                            2Hunsicker,"SurveysofOrchestralAuditionLists."

14  

 

ofbeatx.Forclarityofdiscussion,eachexcerptwillonlybereferencedbythecomposer’ssurname.

Forexample,theopeningofMahler’sSymphonyNo.5willbereferredtosimplyastheMahler

excerpt.

15  

 

CHAPTER1—HindemithSonataforTrumpetandPiano—ExpositionofMovementI

 HindemithSonatainBforTrumpetandPiano–trumpetpartonly©1940bySchottMusicGmbH&Co.KG©RenewedUsedbypermissionofEuropeanAmericanMusicDistributorsLLC,

soleU.S.andCanadianagentforSchottMusicGmbH&Co.KG 

Figure1..HindemithSonatainBforTrumpetandPiano–trumpetpartonly 

ThefirstexcerptistheopeningofSonataforTrumpetandPianobyPaulHindemith.Unlike

theotherexcerpts,thisexcerptwaschosenassumingthattheinterpretationsoftheparticipants

16  

 

wouldbeeasilydifferentiated.Theprojectneededapiecethatwouldbeubiquitousenoughthat

eachofthetrumpeterswouldhavefirst‐handknowledgeofityetsoloisticenoughthatthese

orchestralmusicianswouldnothaveplayeditrepeatedlyforeachothertherebyinfluencingthe

others’interpretations.TheHindemithSonataisoneofthemostfrequentlyperformedsoloworks

fortrumpet,butasitisnotaconcertoandthereforenotplayedwithorchestra,itsatisfiedallof

theseprerequisites.

Aspostulated,therearelargedifferencesininterpretationsonthisexcerpt,andtheopening

dynamicisanexemplarofthis.Someplayersstatedthatitshould“grabtheaudience,”“showthe

weightofHindemith,”orbeplayedmitKraft(withstrength)asmarked,andmostoftenthese

musiciansplayedaveryfulldynamicattheopening.Conversely,otherswereconcernedabout

pacing,oftencommentingthattheopeningisonlyforteandthatthereisafortissimolaterinthe

exposition.Onemusician,Purple2,pointedoutthatthehighpointofthemovementoccursonthe

highBinthedevelopmentandadvisedthattheopeningshouldbetwodynamiclevelsbelowthatto

allowroomforgrowth.

Tempo

Aswithalloftheseexcerpts,thetempochosenontheHindemithiscrucialindetermining

theoverallstyleofthepiece.Ingeneral,thosethatchoseslowertempicreatedadeliberatefeel,

whilethefastertempihelpedthemusiciansplaywithgreaterconnectivity.Thetempochoices

rangedfrom100to128bpm,whichisinterestingconsideringthatthetempoismarkedatthetop

ofthescoreat92‐100bpm.Thetrumpeterswereevenlyspacedacrossthisfasterrangeoftempi,

butfiveplayersweregroupedat110bpmandthreeothersat115bpm.

Lengthanddirectionoffirstquarternote

Atfirst,thiscategoryseemstobeoflittleconsequence,butthefirstquarternoteofthis

piecesetsthetonefortheconnectivitytobeusedthroughouttheexposition.Everytrumpeterled

dynamicallytotheGonbeatoneofthesecondbar,butthosewhowantedtocreateastrict,martial

17  

 

feeladdedseparationtothequarternotethatprecedestheG.Otherswantedtocreatelong,

sweepinglines,whichsomeofthemusiciansclaimedwasstylisticallyconsistentwithHindemith’s

Germanmusicalheritage.Theseplayersconnectedthesetwonotes,leavingnospacebetweenthe

firstquarternoteandthefollowingG.Therefore,thelengthofthefirstquarternoteisindicativeof

thestylisticchoiceseachmusicianusedthroughouttheexposition.Thisquarternoteandits

accompanyingfigureoccurtwicemoreinm.24andtransposedinm.12

Long(mostcommon–11):ThequarternoteconnectedtothehighGwithnoseparationand

littleornoaccentonthefrontofthenote.Useofthiscriterionimpliedthattheexcerpt

wouldbeplayedinaconnectedmanner.Thisisnotmeanttosuggestthattheseplayers

approachthisexcerptinapurposelylegatofashion;theysimplyhadverylittleseparation

betweentheirnotes.

Equal(2nd‐5):ThequarternotereceivedanequalweightandshapetotheCandGthat

precedeandfollowitrespectively.Therewasaslighttapertothenote,butitwasstill

connectedtothefollowingG.Thisstylewasmostoftenassociatedwithamilitaristicstyleto

theexcerpt;eachlinewasstillconnected,butthereweremarch‐likequalitieswithineach

note.

Separated(3rd‐2):ThequarternotewasclearlyseparatedfromtheCandG,butnotshort.

Theseplayerspreferredaverticalfeelandoftenemphasizedharmonyovermelody.

Longwasclearlythemostcommonchoice;itwaschosenmorethantheothertwocombined.

Goalofthefirstphrase

Thiscategorydescribesthephrasethatbeginsonbeat1ofthefirstmeasureandendsafter

beat2ofm.4.Theopeningphraseistheprimarythemefortheentirefirstmovement,andinthe

expositionalone,itoccurstwicemoreatm.12andm.24.Thenumberofrecurrencesmakesitakey

factorinthephrasing,althoughthegoaltoneisnotnecessarilyindicativeofotherstylisticchoices.

Primarilyfocusingondynamicchanges,thiscategorylabelswhichnoteeachplayerchoseasthe

18  

 

peakofthephrase.EverytrumpeteremphasizedtheGonthedownbeatofm.2,sothe

differentiationcameonhowtheyapproachedthesecondhalfofthephrase.

LastC(mostcommon‐10):ThephraseledallthewaytotheConthedownbeatofm.4.

LowF(2nd‐4):Dynamically,thephrasecontourwasinversetothepitchesoftheline;asit

wentlower,itbecamelouderpeakingontheFonthedownbeatofm.3.

D♭(3rd–3):Thephrasepeakeddynamicallyonbeat3ofm.3.

E♭(4th–1):Thismethodsimplyfollowedthecontourofthesecondhalfofthisphraseand

peakedontheoffbeatofbeat4inm.3.

Again,therewasaclearfavoriteinthiscategoryinLastC,butLowFandD♭wereusedfrequently

enoughnottobeconsideredanomalies.

Phrasingofdescendingmotive

Thiscategoryexaminesthetwobarphrasethatbeginsonbeat3ofm.4andendsafterbeat

2ofm.6.Itsharesmanyqualitieswiththepreviouscategory,‘Goalofthefirstphrase’;itlabelsthe

dynamicgoaltoneofthephrase,isthematicallyimportantbecauseitisconstantlyrecycled

throughoutthepiece,andiseasilydividedintotwoparts—althoughthistheme’shalvesareshorter

atonlyfourbeatslong.Intheexposition,thisthemerecurstransposedtwiceinm.19andm.22.

2ndhighnote(mostcommon–9total[6offirsthairpinstyle,3ofsecondhairpinstyle]):

Thisstylecombinedthetwohalvesofthisgestureasonebyjoiningthemusingadynamic

‘hairpin’,acrescendofollowedbyadecrescendo.Thereweretwodivisible,albeitvery

similar,typesofhairpinsusedhere.Thefirststyleentailedstartingthefirstnote(beat3of

m.4)softerthantheprecedingmaterialandthencrescendoingtothesecondhighnote

(beat3ofm.5).Thesecondhairpinstylestartedatafulldynamicconsistentwiththe

previousmaterialbutgotmoreintenseonthesecondhighnote.Asformusicaleffect,they

wereequivalent;onesimplypeakslouderthantheother.Thisrelativechangecannotbe

objectivelycomparedthough,soIhavegroupedthemtogether.

19  

 

Lastnote(2nd‐5):Thisstylewasbasicallyasimplecrescendothatunitedthetwofigures

bycrescendoingtothelastnote.Inthefirstiterationofthephrasethatbeganinm.4,the

goaltonewastheAonthedownbeatofm.6.

BothhighnotesorBothbottomnotes(T‐3rd–4total[2ofeach]):Thisphrasingtreatedthe

twohalvesasdistinctgestures,butthereweretwodifferentapproaches.Thefirstwasto

dynamicallyemphasizethehighnoteofeachgesturewhich,inthecaseofthefirstiteration,

wouldbetheFquarternotesonbeats3ofm.4andm.5.Thesecondapproachwasto

crescendotothebottomnoteofeachgesture—thedownbeatsofm.5andm.6inthefirst

iterationofthephrase.Bothbottomnoteswasactuallyquitesimilartothe2ndhighnote

method;theonlydifferencewasthattheBothbottomnotescriteriontapersattheendofthe

bottomnoteinthefirsthalfratherthancontinuingthecrescendo.

The2ndhighnotephrasingwasthemostcommonapproachtothisphrase,butifthetwodifferent

stylesofhairpinsareconsidered,theywerenomorecommonthantheLastnotecriterion.Dividing

thephraseintotwohalveswastheleastcommonstyle.

PhrasingofthreebarsbeforeRehearsal1

Thiscategoryreferencesthegoaltoneofthephrasethatbeginsontheoffbeatofbeat2in

m.6andendsafterthehalfnoteatRehearsal1.Thisisoneoftwoobjectivelydefinedcategorieson

theHindemiththatweremostlyirrelevantinthecomparisonsofPartII.Thisisnotbecausethis

categoryisunimportantindetermininghowtheinterpretationsounds;rather,itisbecauseallthe

trumpeters’interpretationswerenearlyunanimousinthiscategory.Ihaveattendedperformances

ofthispiecewheretheC♯inm.8isthedynamicgoalaswellasperformancesinwhichaslightliftis

insertedaftertheA♭inm.7.However,onlyoneparticipantinthisprojectchosetheformerandno

participantsendorsedthelatter.Therefore,thiscategoryisusefulinpreparingforanauditionin

thatthereisclearlyoneacceptedphrasing,yetunfortunately,itisnotusefulindifferentiatingthese

participantsinPartII.

20  

 

FinalG(mostcommon–18):ThehalfnoteGonthedownbeatofRehearsal1wasthe

dynamicgoal.Thelinewasveryconnectedandalwaysmovedforward.

C♯beforefinalG(2nd–1):ThisalternatephrasingcrescendoedtotheC♯onthedownbeat

ofm.8andthenrelaxedthroughthelasttwonotes.

Inthisphrase,fiveoftheplayersalteredthearticulationsmarkedinthepart,butitdidnot

affecttheirphrasing.AllfivebrokethesluratRehearsal1andarticulatedtheGonthedownbeatof

m.9toemphasizethearrival.Oneoftheseplayersalsobroketheslurafterbeat1inm.7.Hedid

notgiveaspecificreason,butthisarticulationdidnotdisturbtheflowofhiscrescendotothefinal

G.

Thisopeningalsodisplayedoneofthemoreprodigioustalentsamongtheseplayers.Afew

ofthesetrumpetersplayedtheopeningeightmeasureswithtwobreaths;oneafterbeat2inm.4

andanotheronbeat2inm.6,yetmanyofthesetrumpeterswereabletoplaytheopeningeight

measureswithonlythebreathinm.4.However,oneoftheyoungesttrumpeters,Blue2,playedthe

entireopeningeightbarsinasinglebreathatanimpressivelyfullvolume.Evenmoreremarkable

wasthefactthatithadneveroccurredtothisplayerthatothersmightnotbeabletodothis;he

simplyhadneverconsidereddoingitanyotherwaynorhadhepaidattentiontoothertrumpeters’

breathingpatternswhenhehadattendedperformances.Whenaskedaboutthis,hesimplylaughed

andcommentedthathisteachershadalwaysteasedhimthathehada“freakish”lungcapacity.This

wasoneofthefirstencountersIhadinthisprojectwhereitbecameclearthatsomeoftheplayers

possessextraordinaryphysicaltalents.Nevertheless,itwashearteningtoknowthatforevery

playerthathadnaturalabilitieslikeBlue2,thereweremanyotherswhowerehisprofessional

equalwithouthavingthesameinnatephysicaladvantages.

Ritardandoatm.15

ThefinalcategoryfortheHindemithexcerptiswhethertheplayerusedaritardandoover

thelastbeatofm.15.Becauseofitsshorterduration,thisdecisionismuchlessprominentthanany

21  

 

ofthepreviouscategoriesandconsequentlyhasverylittleeffectontheoverallinterpretation.

However,ofallthecategories,manyofthemusiciansfeltmoststronglyaboutwhetheranyrubato

shouldbeused.TheirpreferencesweresplitalmostevenlybetweenNoandSlight,whileonlytwo

oftheplayerssaidtheyapproachthismeasurewithafullritardando.

No(mostcommon–8):Themostcommonanswerregardingthisritardandowasasimple

“no”.Manyofthesetrumpeters,includingOrange4andRed2,heldastrongdislikeforany

rubatohereandoftenpointedoutthatanydisturbancedestroysthelinearharmonicmotion

ofthedescendingD♭majorchordthatbeginsonbeat2ofm.15.Orange2wentsofarasto

callthisaffectation“phoney‐baloney”.

Slight(2nd–7):Conversely,almostasmanytrumpetersliketousesomerubatohere,but

eventheseplayersdidnotliketothinkofitasafullritardando.Instead,themostcommon

suggestionwasto“place”theeighth‐noteFonthe‘and’ofbeat4.Placingtheeighthnote

canbedescribedasmakingthenoteofsimilarshapetothelongnotesaroundit,butadding

extraemphasisthroughweight.Theextrastresscreatestheillusionofaslightritardando

withoutactuallyaffectingtime.

Yes(3rd–2):Onlytwoplayerssaidtheyuseatrueritardandoatthisspot,butwhen

listeningtotherecordings,theirritardandowasverysimilartotheplacingoftheeighth

noteusedintheSlightcriterion.Therefore,theyareplacedinthiscategoryprimarilyfor

semantics,butiftherewasadifference,itwouldbeeighthnoteisslightlymoreseparated

fromthefollowingnotethantheSlightplayers.

Inadditiontotherubatointhismeasure,manyoftheseplayersstatedthattheymustconsciously

savethepeakoftheircrescendoforthelastD♭inm.16.Duetothenaturaltendencytocrescendoas

thelinerisesinm.14,thismeantholdingbackdynamicallyontheascensiontothehighA♭,leaving

roomforacontinuouscrescendo.

Miscellaneous

22  

 

Atfirstglance,theprimarythreecategoriesdiscussedaboveseemtocoveronlythefirst

halfoftheexpositionofthissonata.However,eachofthecriteriawaschosenbasedonHindemith’s

reiterationofeachofthesemotivesthroughouttheexposition,andallbutoneofthesetrumpeters

wereconsistentinapplyingtheirfirstinterpretationofamotivethroughtheentiretyofthepiece.

Asmentionedunderthecategoriesabove,theopeningtwobarsarereiteratedtwicemoreinthe

expositionalone,oncebeginningonCandoncetransposeddowntheintervalofaperfectfourth.

Therefore,thetwocriteria,‘Lengthanddirectionoffirstquarternote’and‘Goalofthefirstphrase’,

areusedthreetimeseach.The‘descendingmotive’thatbeginsonbeat3ofmeasure3alsooccurs

twicemoreintheexposition,andbyslightlyalteringthesetwothemes,Hindemithcreatedallthe

materialthatcomprisestheexposition.Consequently,mostofthethematicinterpretationsofthe

expositionareestablishedinthefirstfourandahalfmeasures.

Therewerequiteafewinterpretationsofthesixteenth‐eighth‐eighthnotefigureinm.2.

Themostcommonwasastrictsixteenthnotefollowedbylong,weightedeighthnotescrescendoing

intothelowFonthedownbeatofm.3.Yetsomeoftheplayerswanteda“crushed”sixteenthnote

and/orheavyeighthnoteswithanarticulationsoheavythatitcreatedspacebetweenthenotes.

Trumpetersthatusedtheheavyeighthnotesoftenwentsofarastopullbackonthetemposlightly,

althoughIdonotthinkthiswasnecessarilyintentional.

WhilemostoftheplayerscrescendoedintoRehearsal3,afewdecrescendoedtotransition

smoothlyintothefollowingquietpassages;oneplayer,Blue3,crescendoedthroughthefinalbeat

ofm.26buttheninsertedasubitopianomarkingonthedownbeatofRehearsal3.

Threeofthemusicians,Yellow1,Purple1,andPurple2,playtheHindemithwithout

vibrato,sayingthatthevibratotakesawayfromthestrength.Thissuggestionoftenwas

accompaniedbyverysquarenoteswithverylittletaperforarigidinterpretation.Conversely,Blue

4,statedthathehadrecentlydevelopedanewpreferenceforusinglotsofvibratoonthepiece.

23  

 

Thefinal,althoughinfrequent,suggestionwastouseaGermanB♭rotarytrumpet.Bothof

theplayerswhorecommendedthis,Yellow4andGreen1,suggestedthatthenaturaltendenciesof

theGermanrotarytrumpetassistincreatingrounderattacks.Consequently,anaturallyrounder

attackallowsforaharderarticulationaddingbrilliancewithoutbecomingoverlyharsh.

CompiledInterpretation

Chooseatempobetween110and112bpm,playalongfirstquarternote,andphrasethe

firstfourbarstotheConthedownbeatofthefourthbar.Usehairpindynamicsforthenexttwo

barsandfollowitwithalong,sustainedphrasetothedownbeatofm.9.Beginninginm.12,the

phraseshouldcrescendosteadilyallthewaytotheD♭onthedownbeatofm.16withaslight

placingoftheeighthnoteFthatimmediatelyprecedesit;becautiousnottocrescendotoosoonon

thisphraseasitiseasytoover‐emphasizethefirsthighA♭.Thelastphraseshouldbestylizedto

matchthefirstphrasewithanextraedgethroughvolume.SlowlybuildintensitytotheCat

Rehearsal3withonlyasmallritardandoonthepenultimatequarternotes.

24  

 

CHAPTER2—HaydnConcertoforTrumpetinE♭—Exposition

Figure2.Haydn,TrumpetConcerto–trumpetpart,expositiononly

25  

 

Haydn’sConcertoforTrumpetinE♭isthemostrequestedsolopiecefororchestral

auditionsandoftenusedasafeaturefortheprincipaltrumpetoftheorchestra.1Itsprominenceon

theauditioncircuitisenoughtowarrantitsinclusionontheproject,butgiventhatmostofthese

trumpeterswillhaveplayedthiswiththeircurrentorchestra—likelyaccompanyingtheprincipal

player—itisthesolopiecethatismostlikelytohavebeendiscussedandperformedwithineach

section.Becauseofthis,IexpectedthissolotohavestrongergroupingthantheHindemith,butasit

isstillasolowork,Iassumedthatmostofthesemusicianswouldstrivetoputtheirownsignature

onthepiece.

Forthisdissertation,Ichosetoexcludethefirstthreeappearancesofthesolotrumpet.Ido

feelthesefiguresareimportanttotheoverallpieceandhighlightHaydn'ssenseofhumor,butthey

arenotnormallyrequestedinorchestralauditionsandthereforeareomittedfromthefollowing

discussion.

Haydn’soriginalmanuscripthadveryfewmarkingsinthetrumpetsolo,andthereis

considerabledebateonthesubjectofappropriatearticulationsforthesolopart.2Giventhe

numerouseditionsoftheHaydnandtheconflictingarticulationsofeach,Ielectedtoincludea

mostlyunmarkedcopyofthisexcerptandlettheparticipatingtrumpetersstatetheirpreferences.

Tempo

Thetempochoicesrangedfrom115bpmto134bpm.Themajorityofplayersgrouped

around120bpmwithninechoosing120bpmandanothertwoat122bpm.However,eightofthe

remainingninemusicianschoseatempobetween124and134bpm,sothetendencywastoskew

towardaquickertemporatherthanaslowerone.Onlyoneperson,Gray2,playedatatempobelow

120bpm,andhechosethenoticeablyslowertempoof115bpm.LiketheHindemith,thetempowas

                                                            1Hunsicker,"SurveysofOrchestralAuditionLists."2Bullock,“HaydnTrumpetConcertoArticulations”,1979;Moore,“Haydn’sTrumpetConcerto

Andante”,2007.

26  

 

animportantfactorindifferentiatingthevariousinterpretations,butitdidnothaveaspronounced

aneffectasthetempodidwiththeHindemith.OntheHindemith,achangeintempooftenimplied

anentirelydifferentapproachtothepiece,whereasontheHaydn,thequickertempisimply

providedanopportunitytodemonstratetechnicalvirtuosity.Thisprobablystemmedfrommostof

themusicians’wishesthatthepieceremaininaClassicalstyle,sotheychoseagentleroverall

approachtotheHaydntherebytemperingsomeoftheextremesininterpretation.

Goaloffirstthreenotes

Eachofthemusicianshadaparticulargoalinphrasingthefirstthreenotesofthis

exposition,anditdividedthemintotwodistinctcamps.Remarkably,theapproachtothesethree

noteswasastrongindicatoroftheoverallapproachtothepieceandthereforeanimportantfactor

incomparingtheirinterpretations.

E(mostcommon–9):AlmosteverypersonthataimedforEonthedownbeatofm.2simply

consideredthefirstthreenotesasapartofalargerfourbarphraseleadingtoeithertheG,

firstA,orCofm.3.Formostoftheseplayers,theiroverallapproachleanedtowarda

primarilylyricalstyle,andtheyweredisposedtofocusingmoreonconnectingthephrases

andlessoncreatingcontrastbetweenthevariousthemes.Theystroveforsmooth,light

lines.

C(2nd–8):Incontrast,theotherhalfofthesetrumpeterschosetoputaslightemphasison

thedownbeatofm.1,creatingtheimpressionthatthefirstthreenoteshaveaslight

decrescendo.Thesethreenotesstillprovidedforwardmotionandanoverallphrase

throughthefirstfourbars,butthestylewasmoredeclamatory.Mostoftheseplayersstated

thatthisfirstentranceneededtograbtheaudience’sattention,andonemusician,Orange4,

evencitedaSchenkeriananalysisinwhichthefirstCistheprimarynoteofthepiece.

Even(3rd–2):Thesetwopeoplechosenottoplaytheexcerptforme,becausetheydidnot

havethetrumpetthattheywouldnormallyplaythisexcerptonatthesiteofthelesson.Yet

27  

 

whenaskedwhattheirgoaltonewasforthefirstthreenotes,theysaidtheythinkofthem

asthreeequalnotesandtrytocreateaphrasethatextendsbeyondthefirsttwobars.Given

thedescriptionaboveforE,thesetwoprobablywouldfitinthatcriterion,butIfeltitbest

nottoassumewithoutarecordingtoconfirmthis.

Thiscategorywassplitevenlybetweenthetwomaincriteria.Neitherledtoamoreeffective

interpretationthantheother,butthedifferentapproachestothefirstthreenoteswereimportant

factorsintheseinterpretations.

Lengthofnon‐slurredeighthnotes

Thiscategorydoesnotfocusonaparticularpassage;insteaditextendsovertheentiretyof

theexcerpt.Specifically,thiscategorylabelsthelengthandshapeofconsecutivelyarticulated

eighthnotes.Aprimeexampleisthefiveconsecutiveeighthnotesinm.2,buttherearemultiple

runsofeighthnotesthroughouttheexposition.Eachplayerarticulatedconsecutive,tonguedeighth

notesinaconsistentstyle,andthelengthandshapeoftheseeighthnotesimpliedthestyleforthe

developmentandrecapitulation.Therearetwoexceptions;mostofthetrumpetersslurredthe

eighthnotesinm.9andm.11,sothesetworunsareomittedfromconsideration.Also,thiscategory

excludesthefanfarestyleeighthnotesinm.13;eachplayerconsistentlyplayedthoseeighthnotes

shorterandfirmerthanothereighthnotestohighlightHaydn’sgesturehearkeningthefanfare

natureofthetrumpetbeforethecompositionofthispiece.

Timpani(mostcommon–12):Thisstylewasplayedwithafirmattack,aslightbounce,and

asmallamountoftaper.Theeffectwassimilartoatimpanistplayingeighthnotesatthe

samespeed,andbecauseoftheintertwinedfunctionofthetrumpetandtimpaniinHaydn’s

orchestralmusic,thisanalogywasusedbymultipleplayerstodescribehowtheplayer

imaginedshapingtheireighthnotes.

Long(T‐2nd–3):TheseeighthnoteshavealighterattackthanTimpanieighthnotesand

littleornotaper.Thisstylewasusedonlyinthelightestandmostlyricalapproaches.

28  

 

Firm(T‐2nd–3):ThisapproachwassimilarinlengthandconnectiontotheLongeighth

notes,buthadamuchbouncier,harderattack.Theresultcreatedaconnectedbutenergetic

line.

Detached(T‐2nd–3):Thefinalstyleofeighthnotesisclearlystaccato,separatednotes.This

wasverydifferentfromtheotherthreecriteriaandrepresentsthemostaggressive

approachtothepiece.

TheTimpanieighthnoteswerethepreferredchoice,andthiswasmostlikelyduetoitsflexibilityto

functioninmultiplestylisticapproaches.Theotherthreecriteriamorecloselyreflectedthe

trumpeters’overallapproachestothepiece,whiletheTimpanistyledidnotnecessarilydenotea

particularstyle,e.g.lyricaloraggressive.ThismeantthatsomeoneusingLongstyleeighthnotes

approachedtheentireexcerptinalyricalmanner,butaplayerthatchoseTimpanistylecould

changeoverallstylesbetweenthevariousthemes.

Sixteenthnotetonguing

TheperformancepracticeofsixteenthnotetonguingpatternsinClassicalandBaroque

trumpetinghasbeenincreasinglyanalyzedoverthelastthirtyyears,andthisresearchhas

producedargumentsagainstthetypicalpracticesusedbytrumpetersontheHaydn.3Whilemanyof

theseplayersacknowledgedthisresearchandsomechosetoemployit,forthemostpart,these

orchestralplayersusedwhichevermethodthatenabledthemtomosteasilyachievethesoundthey

wanted.Thiscategorydoesnotimplyanyoverallstylisticchoicesliketheprevioustwocategories,

butitdoeshaveastrongeffectindetermininghowtheoverallinterpretationsoundswhen

comparedtotheinterpretationsofotherparticipants.

Slurtwo,tonguetwo(mostcommon–10):Forthissetofmusicians,themostcommon

methodusedtoarticulatefourormoresixteenthnoteswastoalternateslurringand

                                                            3Ibid.

29  

 

tonguinggroupsoftwo.Iftherewereonlytwosixteenthnotes,therewasnoconsistent

patternonwhethertheseplayersarticulatedorslurredthetwonotes.

Slurall(2nd–5):Thiscriterionisoneofthetwomethodstypicallyrecommendedinperiod

performancepracticestudies.Iftheplayerusedthismethodforlargegroupsofsixteenth

notes,theyalsoslurredanysmallergroupsoftwosixteenthnotestogetherandarticulated

thefollowingeighthnoteasinm.27orm.29.

Tongueall(3rd–3):Thisistheothermethodoftensuggestedinperiodperformance

practice.Howeveronetrumpeter,Green3,saidthathechosethismethodsolelybecause

thepurposeofaconcertoistodisplayvirtuosity,andrapidmultipletonguingwasagood

exampleofthis.Ifaplayerarticulatedthelargergroupsofsixteenthnotes,theymostlikely

tonguedallsixteenthnotesinthepieceincludingthesmallergroupsoftwo.

Varies(4th–2):Bothoftheseplayerssaidtheywoulddeterminewhichoftheabovethree

methodsoftonguingtheywouldemploybasedonthesituation—changingittofitthe

audition,theperformancevenue,theconductor’sorconcertmaster’srequests,etc.

ItisobviousfromtheaboveresultsthatSlurtwo,tonguetwoisstillthemostprevalentapproachto

articulatingtheHaydnConcertotoday,butIbelievethatSlurallandTongueallwillcontinuetogain

furthersupportasperformancepracticecontinuestoadvancetheseideas.Manyofthetrumpeters

whoutilizetheSlurtwo,tonguetwomethodadmittedthattheyareawareoftheresearchbutstill

preferthetechniquewithwhichtheylearnedthepiece.

Trillmethods

The‘Trillmethod’categoryissimilartothe‘Sixteenthnotetonguing’categoryinthatit

cannotbeusedtoinferoverallstylisticchoices,butitdoeshelpindifferentiatinghowtheoverall

interpretationsoundswhencomparedtootherperformers.Itisalsosimilartothe‘Sixteenthnote

category’becauseithasbeenhotlydebatedinperformancepracticecircles.Thereweremany

differentapproachestothiscategory,buttherewasaclearfavorite.

30  

 

Upperneighbor(mostcommon–11):Themostcommontrillmethodwastostarteverytrill

onthewrittenbeatfromtheupperneighborofthewrittennote.However,therewereafew

oftheseplayerswhoclaimedtouseUpperneighbor,buttheyactuallyaddedanupper

neighborgracenoteahalf‐beatbeforethestartofthewrittennote.Theythenstartedtheir

trillfromtheprincipalnoteonthewrittenbeat,althoughtheywerenotconsistentinwhen

theychosetoaddthegracenote.Forexample,mostoftheseplayersaddedthegracenotein

m.7,m.24,andm.25butchosetousethetypicalUpperneighborornamentinm.46.Even

thisimplementationwasnotconsistentthough,soIhaveincludedthemintheUpper

neighborcriterion—primarilybecausetheyallstatedthatthisisthemethodtheyuse.

Melodic(2nd–4):Thismethodbeganeverytrillfromtheprincipalnoteonthewrittenbeat.

Previousnoterule(T‐3rd–2):Stylistically,thismethodwasacombinationofthetwo

previouscriteria.Thetrillstartedfromtheupperneighborunlessthenotewasprecededby

theupperneighbor;inwhichcase,thetrillbeganfromtheprincipalnote.Forthiscriterion,

theornamentalwaysstartedonthewrittenbeat.

Directionalrule(T‐3rd–2):ThisrulewassimilartothePreviousnoterule,butitreversed

thedirections.Ifthenotewasapproachedfrombelow,thetrillbeganfromtheprincipal

note,yetifthenotewasprecededbythesamepitchorhigher,thetrillstartedfromthe

upperneighbor.

Varies(T‐3rd–2):LiketheVariescriterionunderthe‘Sixteenthnotetonguing’category,

twoplayersrefusedtoisolatetheirinterpretationtoonemethod.Instead,theyalteredtheir

ornamentationastheysawfit.

Upperneighboristhemostcommonchoice,butnoneoftheotherfourcriteriastandoutasaclear

secondchoice.

31  

 

Subitopianoatm.30

Thisisamusicalchoiceusedtoaccentuatethedifferencebetweentwoperceivedthemes;

theplayersaccomplishedthis,asthenameofthecategoryimplies,byinsertingasubitopiano

dynamicchangeonbeat2ofm.30.Asthiswasnotoneoftheoriginalcriteria,someofthe

trumpetersdidnotcommentonthis,yetenoughofthemdidtowarrantitsinclusionintheresults

tablesinPartII.Ofthosethatdidremark,itwassplitalmostevenlybetweenthosethatuseditand

thosethatdidnot.

Yes(mostcommon–7):Theseplayersusedthesubitochangeoftenstatingthatitallowed

themtoplaywithamartialstyleinm.29andalyricalstylebeginningontheEinm.30.

No(2nd–6):Thesemusiciansdidnotlikethisaffectationbecausetheyfeltitdestroyedthe

flowoftheline.

Slight(3rd–2):Thesetwoplayerswantedtoaccentuatethetwothemesbutdidnotlikethe

ideaofasuddendynamicchange;insteadtheypreferredtocreateadifferencebyswitching

toamorelyricalstylewithoutthedynamicchange.

Whilethiscategorywasnotusefulindifferentiatingthemusiciansbecauseofthesmalleramountof

responses,therewasaremarkablecorrelationbetweenthiscategoryandthefirstHaydncategory,

‘Goaloffirstthreenotes.’Amongthemusiciansthathadgivenresponsesinbothofthesecategories,

everypersonwhochosetophrasetotheEinthefirstthreenotesalsochosetheYescriterionofthis

category.Conversely,allbuttwoofthetrumpeterswhophrasedtheopeningintheCstylealso

choosetheNocriterionforthiscategory.Asdiscussedunderthe‘Goaloffirstthreenotes’category,

thedecisionofhowtoapproachthefirstthreenotesishighlyindicativeoftheoverallapproachto

thispiece,andthedatafromthiscategorystronglysupportsthisstatement.Thosethatchosethe

declamatoryCopeningfavorcontrastingthemesandthereforefavorthesubitopianointhis

category.Conversely,thosethatchoosethelyricalEopeningaremoreconcernedwiththeoverall

lineandthereforechoosenottobreakupthelinewithasuddendynamicchange.

32  

 

Miscellaneous

Themostcommonadvicegivenbytheparticipantsinthisprojectwastoalwaysbeawareof

thecallandresponsenatureofthismovement,andinparticular,theysuggestedlettingthestrings

determineyourinterpretations.Thiswasinsightfulguidance,buttheseplayersrarelyagreedon

howthestringsshouldaffectthedecisions.Forexample,twooftheplayers,Yellow1andPurple1,

insistedthatthethreequarternotesinm.42shouldmatchthelengthofthesimilarfigurethat

occursinthestringsinthepreviousbar,m.41.Yetotherssaidthattheypurposelyplayedthe

quarternotesinm.42inastylethatcontrastedthestringsinm.41tocreateinterest.Another

examplewasinhowtheplayersapproachedadjustingtheirtonecolor.Someofthetrumpeters

pridedthemselvesontheconsistencyoftheirtone,especiallyontheoftenfinickyE♭trumpet,while

anotherplayer,Purple1,basedhisentireinterpretationonchangingthetonecolortohighlighthis

designatedthemes.Becauseoftheseinconsistencies,Iwasunabletoformulatethesestylistic

choicesintocategories.

CompiledInterpretation

Thetemposhouldbearound120,butnoslower.Phrasingintheopeningisdebatable,but

accordingtotheprojectresults,itisslightlymorecommontobeginconfidentlyontheCyetto

allowenoughroomdynamicallytophrasethroughthefirstE,allthewaytoeitherthefirstAorCin

m.3.Thefirsteighthnotesshouldmatchtheoff‐the‐stringarticulationintheviolins,mostoften

describedastimpani‐likeinlengthandshape.Despiterecentperformancepracticestudies,the

slur‐two,tongue‐twostyleisstilloverwhelminglyusedonsixteenthnotes.Trillsshouldalwaysbe

approachedfromtheupperneighbor.Thereisnoclearpreferenceamongthemusiciansasto

whetherthereshouldbeasubitopianoonbeat2inm.30,butitisusedoftenenoughthatitcanbe

usedwithoutworryingthatitmayoffendanauditionpanel.Thequarternotesatm.78should

matchthequarternotesofthestringsintheprecedingbar.Allothermusicaldecisionsvaried

33  

 

enoughtoassumethatthesoloistmaychoosewhateverheorshelikesaslongasitfitsintoa

Classicalframework.

34  

 

CHAPTER3—BeethovenLeonoreOvertureNo.3—OffstageCall

Figure3.Beethoven,LeonoreOvertureNo.3‐offstagetrumpetcall

Thefirstorchestralexcerptoftheprojectistheoffstagecall(s)fromBeethoven’sLeonore

OvertureNo.3.Accordingtoarecentsurveyoftrumpetauditionlists,thisistheseventhmost

requestedexcerptinAmericanorchestralauditions.Musically,Iwasinterestedinthevariousways

eachtrumpeteralteredhistempithroughthisexcerpt,althoughnotelengthbecameastrong

differentiatingfactoraswell.Whenexaminingthefourmaincategoriesofthisexcerpt,itishelpful

todividethemintotwogroups.Thetwocategories‘Rubatoinfirsttwobars’and‘Accelerando’

determinetheoverallstructureofthisexcerpt,whereasthetwonotelengthcategoriesindicatethe

stylesemployedinthetwopartsofthisexcerpt.

Therewereasmanyinterpretationsofthisexcerptasthereweretrumpetersintheproject.

Whilemanyoftheperformersdiscussedtheroleoftheoffstagecallsintheopera,theactual

interpretationsvariedwidelyduetothelackoftechnicalinstructionsfromBeethoven.Becauseof

thisrelativefreedom,manyofthemusiciansstatedthattheconductorandperformanceacoustics

hadasmuchtodowithinterpretingthispieceastheirpersonalpreferences.Despitethe

35  

 

individualityoftheperformers,itwasactuallyrelativelyeasytocreatethecategoriesforthis

particularanalysis,becausethestructureoftheexcerptlendsitselftoeasilydefineddecisions.

Rubatoinfirsttwobars

Thisisoneofthetwo‘structural’criteriaforthisexcerpt,asitdeterminestheframework

forthefirsttwomeasures.Manyofthesetrumpetersstatedtheimportanceofpickingatempo

basedonthelineinthestringsthatprecedestheoffstagecall;theirtempi,however,wereadjusted

usingvariousamountsofrubatooverthecourseofthefirsttwobars.

Yes(T‐mostcommon–8):Thesemusiciansplayedeachnoteofthefirsttwobarsinastrict

tempoanddidnotalteranyofthenotelengthsfromwhatwaswrittenonthepart.

Rubato(T‐mostcommon–8):ThesetrumpeterswereslightlylessstrictthantheYes

criterionbutstillconsiderablymorerigidthantheNocriterion.Inthisstyle,thehalfnotes

andeighthnoteswereintimerelativetoeachother,butthesixteenthnoteswere

compressed.Twoofthemusicians,Yellow3andGray1,alsousedaslightamountofrubato

onthetwoeighthnotesonbeat4ofm.2,butthiswassimplyforeshadowingthecoming

accelerando.

No(3rd‐6):Therestoftheplayersfreelyutilizedrubatooverthefirsttwobars.Ineachof

theseinterpretations,thehalfnoteswereoftenmuchlongerthantheshorternotevalues,

butsomeofthetrumpetersevenchangedthelengthofhalfnotesrelativetoeachotherby

makingthesecondhalfnoteshorterthanthefirst.Thisstylewasusedtocreatetheillusion

ofextendingtheaccelerandothatnormallytakesplaceinm.3.

Thesecriteriawereevenlydistributedamongtheplayers.ForthecomparisonsinPartII,itshould

benotedthattheonlydifferencebetweenYesandRubatocriteriaistheslightcompressionofthe

sixteenthnotes,andbecauseofthis,thesetwocriteriasoundverysimilar.Bothwereutilized

slightlymorethanNo,butifpairedtheywereusedbysixteenofthetwenty‐twomusicians.

36  

 

Therefore,thevastmajorityofthesetrumpetersplaytheopeningtwobarsmostly,ifnotentirely,in

time.

Tempochange

Thesecond‘structural’criterionoftheBeethovenexcerptshapestheframeworkforthe

latterpartoftheexcerpt,m.3throughm.6.Everyinterpretationofthisexcerpthasatempochange

beginninginm.3andaritardandoduringm.5.Howeverastheseinstructionsarenotmarked,two

differentapproacheshaveevolvedtothequickening,althoughbothstylesusethesameritardando

inm.5.

Gradual(mostcommon–18):Inthisstyle,thetempochangeinm.3wasanaccelerando

whichbeganeitheronthedownbeatorlessfrequently,onthetwoeighthnotesofbeat4in

m.2.Theaccelerandocontinueduntilthedownbeatofm.4,althoughsomeplayers

preferredtocompletetheaccelerandobythefirstDsixteenthnoteonthe‘and’ofbeat3in

m.3.

Sudden(2nd–4):Thisstylechangedthetempobyinsertinganallabreveatthebeginningof

m.3.Itwasaninstantchangeoftempo,andthiswasoftenexaggeratedbystretchingthe

twoeighthnotesthatprecededitonbeat4ofm.2.

TheGradualcriterionwasusedbyalmosteverytrumpeter,whiletheSuddencriterionhasmostly

disappeared.TheallabrevewasastylepopularizedbyformertrumpetersWilliamVacchianoand

RogerVoisinaswillbediscussedfurtherunderthesub‐chaptersofthosetwoteachersinPartII.

Shapeofeighthnotes

Whiletheprevioustwocategoriesdescribedhowthisexcerptisinterpretedstructurally,

thelengthandshapeoftheeighthnotesarethebestindicatorsofstylisticinterpretation.Eachof

theplayersapproachedtheexcerptintwoparts—thefirsttwobarsandthelastfourbars—soI

havedividedtheinterpretationsintotwocorrespondingcategories.Thecriteriausedtolabeleach

37  

 

categoryarethesame,sothispaperwillexaminethecriteriaforbothcategoriestogetherandthen

listtheresultsseparately.

Therearethreedistinctshapesfortheseeighthnotes;Round,Short,andLong;butallhave

gooddefinitionandtone.

Roundeighthnotesaretaperednoteswithaveryslightseparation;dependingonthe

acousticsituation,thetapercanbeadjustedtocreateashortereffectwithoutchangingthe

actuallengthofthenote.

Shorteighthnotesareclearlyseparatednoteswithnotaper;theycouldbedescribedas

block‐shapednotes.Thisisthemostaggressiveshapeastheendofeachnoteisabruptand

sometimesevenrough.

Long,thefinalnoteshape,isablock‐shapednotedwithlittleornoseparationafterit.Itis

notalightorlyricalapproach;itisactuallyjustalonger,connectedversionoftheShortnote

andsoundsmoreaggressivethanRoundnotes.

Alloftheseshapesarecapableoftheintensityrequiredforthefanfare‐likenatureofthisexcerpt.

Pedagogically,Ifeelthattheeasiestwaytodescribethedifferenceinthesethreeeighthnoteshapes

istousesimplesyllables:Roundis‘dun’,Shortis‘duht’,andLongis‘duh’.Byspeakingthese

syllablesineighthnoterhythms,onecangainanauralapproximationofthethreedifferentstyles.

Firsttwobars

Round(mostcommon–13)

Short(2nd–5)

Long(3rd–4)

Lastfourbars

Round(mostcommon–13):Thesearenotthesamethirteentrumpetersasabove;onlynine

playedRoundinbothparts.

Short(2nd–7)

38  

 

Long(3rd–2):Onlyoneperson,Red3,playedlongeighthnotesinbothhalves.

Roundwasthemostcommonshapeforbothpartsoftheexcerpt.Whileitdidrepresenta

strongmajority,mostoftheperformerscautionedthattheywouldleantowardwhichevershape

gavethemthemostclarity,particularlyasthenotesareplayedfaster.Thispreferencelikely

explainswhytheShortstylegainedmoreusersinthelastfourbars.TheBeethovenisperformed

offstage,andmanyofthemusiciansmentionedthisasthedeterminingfactorinwhich

interpretationstheychose.Fourteenofthetwenty‐twomusicianschoosetousethesameeighth

noteshapeinthefirsthalfofthisexcerptastheydidinthesecondhalf,butgroupingofthese

playerswasveryodd.ThiswillbediscussedfurtherinPartIIundertheBeethovendiscussionof

Chapter8.

Miscellaneous

Volume–Ihaveincludeda‘Volume’categoryforthisexcerptinthetablesofPartII,butonly

halfofthetrumpetersmadeasuggestionregardingvolume.Consequently,itwillnotbeconsidered

asadifferentiatorinthecomparisons.Forthemostpart,ifoneofthemusicianssuggesteda

particularvolume,theymadeitclearthattheyadjustedtheirdynamicbetweenauditionand

performancesituations.Thosethataskedforaveryloudexcerpt,suchasYellow3,alwayscitedthe

factthattheexcerptisplayedoffstage,andyoumustplaywithenoughvolumeandclaritytobe

heard.Thosethattalkedabouttheauditionsetting,suchasOrange3,statedthatthisisusuallythe

firstorsecondexcerpt,andyouneedtopaceyourself;thisexcerptshouldbeplayedata

comfortablyfullvolumewiththebestsoundandintonationpossible.Someoftheseplayersfurther

suggestedthatyourmaximumusablevolumeshouldbesavedforanexcerptliketheopeningof

MahlerSymphonyNo.5oraRichardStraussexcerpt.Orange3warned,“Themostawkward

LeonoresI’veheardtendtobetheloudest.It’sstillBeethoven.”

39  

 

Vibrato–Whilemanyofthetrumpeterscautionedagainstusingawideorslowvibratofor

theBeethoven,Yellow3,Yellow1,andYellow2allsuggestedusinglittletonovibratoonthis

excerpt.

CompiledInterpretation

Aswithalltheorchestralexcerpts,thesuggestionsforauditionpreparationdifferedfrom

actualperformancesituations,alwaysleaningtowardamoreconservativeapproachinauditions.

Thevolumeshouldbefullbutnottheloudestonecanplay.Instead,saveyourloudestforexcerpts

thatwillappearlaterintheround.AstheBeethovenisoftenthefirstexcerpt,focusonplaying

comfortablyandwithyourbestsound.Theopeningtwobarsshouldbeintimeandfeltinaslow

four,andtheeighthnotesshouldbeintimewiththehalfnotes.However,thesixteenthnotescanbe

intimeorslightlycompressed,thischoicewassplitequallyamongthetrumpeters.Also,inthefirst

twobars,theeighthnotesshouldhavearoundshape.Agradualaccelerandobeginsinthethirdbar.

Pacethisaccelerandobysingle‐tonguingthesixteenthnotesonFinm.3andimmediatelyswitchto

adoubletongueforthesixteenthnotesonDthatfollow.Theeighthnotesinthefourthandfifthbar

shouldmatchtheshapeoftheopeningeighthnoteseventhoughtheywillbemuchfaster.Toassist

thedecelerandointhefifthmeasure,grouptheeighthnotesintogroupsoftwowithaslight

emphasisontheB‐flats.Holdthefinalnotethelengthofafullwholenoteattheoriginalspeed,and

donotbegintodecrescendothewholenotetooearly.

40  

 

CHAPTER4—BizetCarmenSuiteNo.1—Prelude

Figure4.Bizet,CarmenSuiteNo.1‐Prelude,1sttrumpet

ThesecondorchestralexcerptisthePreludetoActIfromBizet’s,CarmenSuiteNo.1.Ofthe

fiveorchestralexcerptsincludedinthisproject,thisappearsleastcommonlyinauditions,butitis

requestedonalmosthalfofalltrumpetauditionsandranksinthetopfifteenoverall.1Unlikethe

otherfourorchestralexcerptsinthisproject,itischosentodemonstratemasteryofthelowrange

ofthetrumpetandhasanextradifficultyinthatitcontainsanotethatcommonmoderntrumpets

arenotcapableofplayingnaturally.Itisnotoriouslydifficultforthesetechnicalreasons,andPurple                                                            

1Hunsicker,“SurveysofOrchestralAuditions.”

41  

 

1cautionedthat,“Trumpetersareveryforgivingwhenlisteningtothisonanaudition;nooneelse

is.”TherearequiteafewtricksusedtoplaythislowconcertE♭,andthesetricksweretheprimary

differentiatorinthisexcerpt.

ImustprefacethediscussionoftheBizetexcerptwithadisclaimer.Ifeelthatthese

categoriesdevolvedtobecometheleastusefuldeterminantsofalltheexcerptsintheproject.My

originalintentwastoincludecategoriesfornotereleasesanddynamicshapesinadditiontothe

categorieslistedbelow.However,thesetwoitemsweresoinconsistentinmostofthelessonsthatI

wasnotabletoestablishgeneralinterpretationsforcategorization.Thesereasonsaredescribedin

furtherdetailunderthe‘Miscellaneous’categoryneartheendofthischapter.Withoutthesetwo

criteria,therewasmuchlessinformationtoaccuratelydescribeanddifferentiatethe

interpretationsofthevarioustrumpeters.Underthe‘Miscellaneous’categorybelow,I’velistedthe

recommendationsforthelessobjectivecriteria,butonlysuggestionsthatweretolddirectlyto

me—noneoftheseareinferredfromlisteningtotheirplaying.Bydoingthis,IcanbesurethatIam

conveyingtheirexactintentionseveniftheyweresomewhatambivalentintherepresentationon

therecording.

MethodusedtoplaylowconcertE♭

Thiscategorywasthemostnotabledifferenceamongtheplayers.Inm.5,thereisawritten

lowF♯whichisunplayableonB♭trumpetwithoutresortingtopedalnotesorother‘tricks’.These

trumpetershadverylittledifficultyplayingthisnote,butdependingonwhichtricktheyused,it

affectedtheconsistencyoftonecolorintheopeningtovariousdegrees.Red2stated,“EverytimeI

playedthiswith[nameremoved]andhedecidestojustpullhisslideoutratherthandealwiththe

problem,it’simpossibletoplayintune.Thetimbresareallovertheplace.”

AsforthecomparisonsinPartII,thesemethodsonlychangedtheoverallsoundofthe

interpretationslightly,becauseeachplayerwasabletosmoothouttheinconsistencieswiththeir

immensecontroloftheinstrument.Also,thepreferredmethodwasveryinconsistentfromplayer

42  

 

toplayerbecausetheychosethemethodthatallowedthemtoplaythelowconcertE♭intheeasiest

manner.Therefore,thiscategorywasprobablythemostpersonaldecisionofanycategoryinthe

project,aseachplayerbasedthischoiceontheirphysicalattributesandequipmentratherthanthe

suggestionsoftheirteachersorcolleagues.

Forthethreecriteriabelowthatbeginwiththeterm‘trigger,’theperformermustprepare

thetrumpetbeforehand.OnaB♭trumpet,thethirdvalveslideisextendedalmosttotheendofits

length.Thislowerseverynoteplayedwiththirdvalvebyapproximatelyahalfstep,thusenabling

thetrumpettoplayalowconcertE♭withoutresortingtothepedalregister.2Tocompensateforthe

changeinlengthwhiletheslideisextended,everynotethatusesthirdvalvemustbefingereda

half‐stephigherthanisnormal.Forexample,awrittenlowGwouldbefingeredasanA♭,andthe

lowF♯ispossibleiffingeredasanG.ThisdoescreateagapinfingeringsatthelowAinm.5,but

thiscanbesolvedbyfingeringitasthirdvalveonly.Toassistwiththeaccuracyofquicklyfinding

thecorrectlengthofextensionforthethirdvalveslide,mostB♭trumpetscanbefittedwithan

extendedthirdvalvesliderod(orcatch).Thisequipmentmodificationiscriticalparticularlyforthe

Trigger1phraseandOnlylowE♭criteria,becausethesemethodsdonotallowforthethirdvalve

slidetobepreparedbeforebeginningtheexcerpt;itmustbeadjustedquicklyandcorrectlywithout

judgingthedistancevisually.

Trigger1bar(mostcommon–13):Inthismethod,theplayerextendedthethirdvalveslide

intherestsinm.4,usedthealternatefingeringsonlyform.5,andthenpulledtheslideback

induringthesilenceonthedownbeatofm.6.Oneofthesetrumpeterssuggestedthatifthe

thirdvalveslideisatallsticky,itisprudenttowaituntiltheeighthrestattheendofm.8.

Thisistechnicallylesstimetoactthanthequarternoterestofm.6,butiftheslidedoes

                                                            2OnmostBbtrumpets,thelowconcertEbshouldbetunedmorepreciselywiththefurtheraddition

ofslightlyextendingthefirstvalveslide.

43  

 

happentostick,youhavethefirstbeatandahalfofm.9topullitinasneitherofthose

notesusesthethirdvalve.Therefore,thisactuallyprovidestwofullbeatscomparedtothe

onebeatinm.6.Unfortunately,thisalsomeansthatalternatefingeringsmustbeusedfor

allofm.6throughm.8whichcanleadtointonationissuesifnotpracticed.Mostplayers

suggestedhavingthethirdvalveslidewelloiled,eliminatingthisissueforwell‐cared‐for

trumpets.

Triggeropening(2nd–4):Theseplayersextendedthethirdvalveslideandusedalternate

fingeringsfromm.1throughtheendofm.8.

Pulltuningslide(T3rd–2):Inthistechnique,thetrumpeterpulledthemaintuningslideof

aB♭trumpetfarenoughtomovethepitchcenteroftheentirehorndownonehalf‐stepinto

A.Thischangesmanyofthecharacteristicsofthetrumpet,soitmustbepracticedagreat

dealbeforeitcanbeplayedconsistentlyintune.

Customequipment(T3rd–2):Twooftheparticipantshadequipmentbuilttocreatea

trumpetcapableofplayingalowconcertE♭whileretainingtheintonationcharacteristicsof

atypicaltrumpet,unlikethePulltuningslidecriterion.Orange2hadacustomtrumpetinA

designedbySchilkeMusicProductswhichhedubbed“TheShredder.”Yellow2hada

customtuningslidemadeforhisB♭trumpetwithextra‐longpipestoturnhisB♭intoanA

trumpetwithpropergapsonthetuningslide.Thisfixedmanyoftheintonationproblems

presentinthePulltuningslidecriterion,buthewasforcedtoadjustallofthevalveslidesas

welltoapproximatethenecessaryaddedlengthofatrumpetinA.Inadditiontothesetwo,

Green4statedthathiscolleague(whodidnotparticipateinthisproject)usedacustom

maintuningslidebuiltforhisCtrumpetwithatriggerthatwhenpressed,addsenough

tubingtolowertheentirehornintothekeyofA;Ididnotaddthistotheresults,becauseI

wasnotabletoverifyitpersonally.

44  

 

OnlylowE♭(5th–1):Inthiscriterion,theplayeronlyextendsthethirdvalveslideforthe

lowF♯,butduetotheriskinessofastickyvalveslideorshakingtheinstrumentwhile

performing,onlyoneplayersuggestedusingthismethod.

Triggerall(Nousers):Ihavebeengivenpartsbypastteachersthatweremarkedwiththe

alternatefingeringstoplaytheentireexcerptwiththethirdslidepulledout,butnoneofthe

participantsinthisprojectusedthismethod.

Trigger1barwasclearlythepreferredmethodforthisexcerpt,butmostofthesetrumpeters

differentiatedtheirmethodsdependingontheperformancesituation–concertoraudition.The

aboveresultsportraytheirpreferencesfortheauditionsetting.Yetinconcert,manyofthese

musiciansstatedthatitisacceptabletoplaythelownoteaseitherasoftpedalorjustleaveitout

entirely.Blue3said,“Ifyouplayitwiththeorchestra,it’snotabigdeal.I’veplayeditmultipletimes

wherewejustplayeditasapedalnote.”

Tempo

ThetempioftheBizetexcerptrangedfrom58to75bpm,butthevastmajorityofplayers,

seventeenoftwenty‐one,choseatempobetween60and66bpm.Eightpeoplewereat60bpm

whichisthetempomarkedonsomeoftheeditionsofthismusic,althoughitisdebatablewhether

thatmarkingcamefromthepublisherorBizethimself.Becauseofthelackofconsistencyinother

categories,thetempoeachplayerchoseonthisexcerptwasoneoftheprimarydifferencesintheir

interpretations.Also,becausethisexcerpthadaslowerpulsethanmanyoftheothers,afewbeats

perminutedifferencewasmuchmorenoticeable.

Dynamicgoalofeachtwobarphrase

Thisexcerptcanbedividedintomanytwo‐measurephrases,butthiscategoryrefers

specificallytothefourtwo‐measurephrasesthatbegininm.1,m.3,m.9,andm.11.Theentire

Bizetexcerptisplayedwiththecellosection,andthesesmallphrasesarethereforeimportantto

establishthephrasingtobeusedthroughouttheexcerpt.

45  

 

Downbeat=(mostcommon–18):Thisstylegraduallyincreasesvolumetowardthe

downbeatofthesecondmeasureofeachphrasecreatinga‘hairpin’dynamicshape,and

thesetrumpetersoverwhelmingpreferredthis.Ofthosethatjustifiedtheirreasoning,most

statedthatemphasizingthedownbeatscreatedparallelphrasestructurewhencomparedto

thetwo‐measurephrasesinm.17andm.19,bothofwhichareclearlymarkedasgoingto

thedownbeat.

Beat3(2nd–4):Forthisstyle,theplayerspeakedtheirphraseonebeatearlierthanthe

Downbeatgroup,aimingforbeat3inthefirstmeasureofeachofthefourphrases.Their

logicforthiswasthatthisdynamicshapebettermatchedthewrittendynamiccontourof

thefour‐measurephrasesthatbeganinm.5andm.13,althoughonecouldalsoarguethat

beat3containsthemostcolorfulnoteofeachphrase—theloweredsixthscaledegreeof

eachtonalregionaswellasthelowernoteofanaugmentedsecondinterval.

Whilethereasoningbehindbothofthesecriteriaissound,theDownbeatgroupisfarmore

prevalent.

Miscellaneous

Dynamics–Themostcommonsuggestiononthisexcerptwasthatthetrumpetsectionmust

playunderneaththecellosectionandthereforeshouldnotplaytooloudly.Threeofthetrumpeters,

includingBlue4,alsosuggestedsavingtheloudestvolumeforthelasttwonotes,sotheexcerpt’s

overalldynamicswerepacedcorrectly.

Notereleases–Asalludedtoabove,therewastotalinconsistencyregardingthereleasesof

thelongnotesineveryotherbar,e.g.m.2andm.4,inwhichthereareloudhitsintheorchestraon

bothbeats2and3.Someplayerswereadamantlyopposedtogoingpastbeat1,andstatedthe

releaseshouldbeonthefirsthitonbeat2;othersinsistedthatthepassageshouldbeplayed

exactlyasmarkedwithareleaseonthe‘and’ofbeat1.Stillotherssuggestedreleasingonbeat3.

Red3justwantedanicetaperanddidnotcarehowlongitwent,andOrange4insistedthathe

46  

 

subdividedstaccatoeighthnotesinternallyandreleasedafterthethirdeighthnotecreatinga

middlegroundbetween1andtheoffbeatof1.Iwouldhaveusedthisasadifferentiatingcategory

inPartII,butIwasunabletogeneralizetheirsuggestionsbecausemanyoftheplayerswere

inconsistentwithinthelesson;Icouldnotdetermineconfidentlywheremanyofthemwantedthe

release.Afewplayersmentionedthattheydidnotfeelthatthetimingofthereleasewasimportant,

onlythatitwasconsistentandwell‐shaped.Inperformance,thereleaseisobscuredbyloudhitson

beats2and3butcanbesortedbywatchingtheprincipalcellistandreleasingwithherbowing.

Thetied‐notedilemma–Betweenm.7andm.8andagainbetweenm.15andm.16,thetie

connectingtwoquarternotesappearsinsomeeditionsbutnotinothers.Admittedly,Iwas

unawareofthisdiscrepancywhenIbegantheproject,soIplayeditasatiednoteanddidnotbring

itupintheearliestlessons.Yetnoonecommentedonthisuntilthethirteenthlesson,andbythe

endoftheproject,onlyfiveofthetrumpetersmadethisapointofdiscussion.Orange3andGreen4

mentionedthediscrepancy,butbothstillplaythetwonotesastied.Green1stronglysuggestedthat

thetieneverbeomitted.Onlyonetrumpeter,Red4,wasadamantaboutbreakingthistie,yethe

wascontradictedimmediatelyinmylessonthenextdaywithhiscolleagueofnineteenyears,Red2.

Afterexaminingthefullscoreforthissuite3,thesenotesareclearlysplitintotwoquarternotesin

boththecelloandtrumpetlines,andwhenlisteningtorecordingsofthispiece,thereisanobvious

harmonicchangeonthesedownbeats.However,giventhelackofopinionsfrommostofthese

players,commonperformancepracticeamongthesetrumpetersseemedtodifferfromtheactual

score.

CompiledInterpretation

Thetemposhouldbeat60bpmorslightlyfaster,butbecarefultonottakeittooslowly.

Playatacomfortablyfulldynamicatthebeginning,butmakesuretouseasoundthatwillfitwell

underneathacellosection.Thisisalyricalexcerpt,andyoushouldthereforestriveforalinewith

                                                            3Bizet,CarmenSuiteNo.1,1‐3.

47  

 

nosuddenchanges;Orange2describedthisas,“Youdon’twanttofeellikeyourtrumpetisblowin’

realclean.Youneedstuffbetweenthenotes.”Thereisnoagreementamongthesemusiciansabout

wheretoreleasethetiedquarternote/eighthnotethatoccursinm.2,m.4,m.10,andm.12.

However,makesurethereleaseissomewhattaperedandalwaysconsistentinauditions;the

downbeatofthosebarsshouldbetheloudestpointofa‘hairpin’phraseshape.Themostcommon

methodusedtoplaythelowconcertF♯istoemployanextendedthirdvalvesliderod.Withthis,

onecanusefalsefingeringsonlyforthetwobarphrasethatcontainsthelowF♯.Theslideshould

bepulledinonthequarterrestthatfollowsthesecondAofm.5.Someconductorswillwantto

breakthetiebetweenm.7andm.8andthecorrespondingphraseininm.15andm.16.Onlyone

playerstatedthisashispreferredinterpretation,sousethisatyourowndiscretion.However,you

shouldbepreparedtobreakthetieinanauditionifaskedtodoso.

48  

 

CHAPTER5—MahlerSymphonyNo.5—OpeningofMovementI

Figure5.Mahler,SymphonyNo.5‐1sttrumpet,openingsolo

ThethirdorchestralexcerptistheopeningfromMahler’sSymphonyNo.5,andsecondonly

toStravinsky’sPetrushka,itisthemostrequestedexcerptinAmericanauditionstoday.1This

excerptisarguablythemostvirtuosicmusicinthisprojectasitrequiresthetrumpet’sfullrangeof

dynamics,pitch,andtechnique.Blue3relatedananecdotethatdemonstratedthedifficultyofthis

                                                            1Hunsicker,“SurveysofOrchestralAuditions”.

49  

 

passage.Accordingtohim,theformerprincipaltrumpetoftheNewYorkPhilharmonic,William

Vacchiano,didnotperformtheopeningsevenmeasuresofthissymphony.Instead,hehadthe

secondtrumpetplayer,CarmineFornarotto,playtheprecariouslowtonguingoftheopeningbars,

andVacchianoresumedthesolopartstartingonbeat3ofm.8.Whilenoneoftheprincipalstoday

wouldconsiderthis,itillustrateshowuncomfortablethisopeningcanbeforthetrumpeter.Green1

evensuggestedthatthisdiscomfortisthereasonthatthissymphonyishisfavoritepieceto

perform,althoughnotfortheexpectedreason.“[It’s]suchagreatmoment.It’ssorarefora

conductortofeellike‘Ireally,reallyneedyou.’They’lldoanythingnottoscrewyouup.It’stheonly

timewhereyougettotelltheconductorwhatyouneed,andhe’llactuallylisten.”

Duetothewiderangeofmusicaldecisionstobemade,Iexpectedthisexcerpttohavethe

mostvariedinterpretations,anditfulfilledthoseexpectations.Forexample,oneofmyoriginal

objectiveswastocategorizethevariousapproachestothefirstsevenbars,butastheproject

progressed,itbecameclearthattherewereasmanyinterpretationsinphrasingtheopeningas

therewereinpacingit.Tosolvethis,Isplitthedecisionsofthefirstsevenbarsintotwoseparate

categories.

Methodforrushingtriplets

Inafootnoteonthefirstpageoftheprincipaltrumpetpart,Mahlerinstructsthetrumpeter

onhowtointerprettherhythmsoftheopening.Ittranslatesas“Theupbeattripletsofthistheme

shouldberenderedcontinuouslyinasomewhathastyquasiaccelerando,inthemannerofa

militaryfanfare!”2ThereisalsoapianorollofMahlerhimselfplayingthisopening,soitispossible

tohearwhathemeantbytheseinstructions.3Simplyput,theeighthnotetripletsshouldberushed,

butthehalfnotebeatmustremainconstantandunaffectedbythetriplets.Therearemany

techniquesusedtoachievethis,butonlythreemethodswereusedbytheparticipantsofthis

                                                            2Mahler,SymphonyNo.5,1.;TheoriginalGermantextis“DieAuftakt–TriolendiesesThemas

müssenstetsetwasflüchtigquasiacc.,nachArtderMilitarfänfarenvorgetragenwarden!”3Mahler,MahlerplaysMahler,compactdisc.

50  

 

project.ThisisanextremelyimportantcategoryincomparingtheplayersinPartII,becausethis

categorydeterminestheframeworkoftheopeningoftheexcerpt.

6/4(mostcommon–11):Inthismethod,theplayerdeterminedatempoforthehalfnote

andthensubdividedthehalfnotepulseintoquarternotetripletsinsteadoftheduple

divisionaswritten.Thiseffectivelyturnedtheopeningtimesignatureinto6/4witheach

halfnotebecomingadottedhalfnote.ThewritteneighthnotetripletsthatMahlerwrote

werethentransformedintoeighthnotetripletsthatbeganonthelastquarternoteofthe

secondquarternotetripletineachmeasure.

 

Figure6.Mahler6/4RhythmClarification

Someoftheproponentsofthismethodstatedthattheylikedthesecuritythatcamefrom

placingthetripletonabeat,ratherthananoffbeatasusedinthe16thnotesmethodbelow.

Tohonortheexactmarkingsinthepart,manyoftheseplayersalsoaddedaslight

crescendooneachtripletthatledtothesforzandohalfnotes.

Halfnoteframe(2nd–7):Thesecondmostcommoncriterionforthiscategoryisthemost

difficulttodescribe.Thesemusicianssimplyfelthowfasttheywantedthetripletsandthen

fitthatsoundintoaframeworkofasteadyhalfnote.Oneoftheplayers,Orange2,wentso

farastoeschewevendeterminingthishalfnoteframeworkandinsteadimaginedeachhalf

noteasapendulumswingingbackandforthathisdesiredtempo.Heusedthementalimage

ofthemomentumofthependulumtocreatehisrushedeighthnotes.Nonetheless,threeof

theplayersthatappliedthiscriterionsaidthattheyusedoneoftheothermethodswhen

51  

 

theywerelessexperienced,butatthisadvancedpointintheircareers,theycouldsimply

recallhowtheywantedtheexcerpttosoundwithoutusingaparticulartechnique.

16thnotes(3rd–3):Theleastusedtechniqueforpacingthisopeningwassomewhat

simplerthantheothertwo.Ratherthanchangingthestructureoftheopening,theplayer

changedtherhythmoftheeighthnotetriplets.Insteadofcuttimeaswritten,thismethod

requiredthetrumpetertosubdivideinto4/4.Usingthisquarternotebeat,eachtripletwas

transformedintothreesixteenthnotesandthenplacedonthesecondsixteenthnoteofbeat

4.4

 

Figure7.Mahler16thNotesRhythmClarification

Becausethisisthebeginningofthepieceandthelistenerhasnopointofreference,the

effectisverysimilartothe6/4methodaboveandisindistinguishabletoanunaware

listener.Ithastheaddedbenefitofnotrequiringthetrumpetertoswitchfromtripleto

dupletimeattheendoftheopeninglikethe6/4method.Eachoftheplayersthatusedthis

methodalsopointedoutthatbystartingthefigureoffthebeat,itwaseasiermentallyto

emphasizethedownbeatsforzandonotesratherthanthebeginningofthetriplets.Someof

thetrumpetersattributedthismethodtoeitherRogerVoisin,formerlyoftheBoston

Symphony,orVincentPenzarella,formerlyoftheNewYorkPhilharmonic.

Manyoftheseplayersaddedextralayerstotheirperformanceinterpretations.Yellow1and

Orange1statedthattheystretchtherestsinthefirstsixmeasuresto“increasethedrama”,

althoughtheysuggestedcautioninutilizingthisaffectationinanauditionasitcouldbeconstrued

                                                            4Forthisdocument,the‘ee’ofabeatreferstothesecondsixteenthnotesubdivisionwithinaduple

beat.

52  

 

asaninabilitytokeepasteadytempo.Interestingly,multipleparticipantspassedonastory

regardingtheopeningoftheMahlerasrecordedbyPhilSmith,principaltrumpetoftheNewYork

Philharmonic,andseveraltrumpetersadmittedthatthisrecording,madein1989underZubin

Mehta,wastheirfavoriterecordingofthissymphony.5AccordingtoGreen1,Mehtaaskedforthe

openingtrumpetsolo“tosoundlikethefinalbreathsofadyingman.Thetripletsareaquick,

painfulinhalationandthehalfnotesarelong,raspingexhalations.”Thisimagerycreatedaneffect

thatsoundedquitesimilartotheelongationofthesilencesbyYellow1andOrange1.

Acommonauditionsuggestionwastofindthetempooftheopeningbymentallysinginga

passagefromlaterinthepiece,mostofteneitherthefanfarethatbeginsonbeat2ofm.8orthe

lyricalmelodyinthestringsthatimmediatelyfollowstheopeningexcerpt.Owingtothefreedomof

theopening,establishingthetempofromamorerhythmicpassagecaneliminatetheneedfor

suddentempochangeslaterintheexcerpt.

Therewasalsolittleagreementamongtheadvocatesofanyofthesecriteriaastowhether

theopeningshouldbesingle‐ortriple‐tongued,althoughthiswasnotoneofmyoriginalquestions

fortheexcerptandthereforewasnotaskedconsistently.Notonlywastherebasicallyanevensplit

betweensingle‐andtriple‐tonguing,therewasalsodisagreementamongthosethatchooseto

triple‐tongue;someusedat‐t‐karticulationbecauseit“createsforwardmotion”,whileothers

preferredat‐k‐ttriple‐tonguepatternbecauseit“providesclarityandstability.”6Regardlessof

personalpreference,eachplayerwastechnicallycompetentenoughthattheywereableto

demonstratebothtonguingpatternsconvincingly.

Insummation,amajorityofthetrumpetersinthisprojectusedthe6/4methodtopacethis

music,buttherewerestillquiteafewwhopreferredtheHalfnoteframe,twoofwhichwere

principalplayers.Italsoseemedthatnotmanyoftheplayershadheardofthe16thnotecriterion,

butsomeofthemdidexpressinterestinitonceIexplainedit.Above,Ihavedescribedthe

                                                            5Mahler,Gustav,SymphonyNo.5,1989.6InterviewwithGray1,April15,2010;InterviewwithOrange4,May282010.

53  

 

numerousopportunitiesforindividualityinthiscategory,butthesesmallerchoicesdidnotchange

theoverallfeelandwerechosenprimarilyforthecomfortoftheplayer.

‘Phrasingofopeningpassage’

Whereasthepreviouscategorywasimportantforcomparingtheseplayersbecauseit

establishedtheframeworkofthisopening,‘Phrasingoftheopeningpassage’isequallyimportantas

itdescribesthestyleoverlayingtheframework.Theprimarydifficultyofinterpretingtheopening

sevenmeasuresofthisexcerptiscreatinganeffectivedynamicphrase,whilestillplayingthe

instructionsofMahler.Thereweretwowaysinwhichthesemusiciansaccomplishedthis,although

someofthemusiciansslightlyalteredtheminutiaeinbothofthesecriteria.

Terrace(mostcommon–13[11normaland2frommentalimage]):Themostcommon

methodofphrasingtheopeningsevenmeasureswastoassigndynamicterracestocertain

notes.Generally,theseplayersstartedatpianoasmarked,andeachofthefirstthree

iterationsincreasedbyonedynamiclevel.Forexample,acommonoutlinewastolabelthe

downbeatofm.1aspiano,thedownbeatofm.2asmezzopiano,andthedownbeatofm.3

asmezzoforte.Thewholenoteofm.3decrescendoedonedynamiclevelsothatthe

downbeatofm.5beganagainatmezzopiano.Thedownbeatofm.6wasmezzoforteand

wasfollowedbyalargecrescendothatpeakedatforteonthedownbeatofm.7.Ontopof

thesedynamics,eachofthewrittenarticulations,suchastheaccentsandsforzandi,wasstill

observed.

Yellow3describedthismethodassuch.“Eachofthefirstthreehalfnotesisafalse

alarmthathasaslightdecrescendo,buteachonegetssuccessivelylouderoverall.Thelast

threearetherealdealandeachonegrowstotheC♯[onthedownbeatofm.7]”Twoofthe

musiciansusedamentalimageratherthantherigiddynamicpatterndescribedabove,but

theoveralleffectwasthesame.Blue4imaginedtroopsmarchingcloserandclosertothe

listener,soeachiterationbecameslightlylouder.Thishadthesameterracedfeelasthe

54  

 

others,butforthisplayer,italsohelpedhimtobringoutthemilitaryfeelthatMahler

suggestedinhisinstructions.Orange2,asdiscussedabove,utilizedthementalimageofa

swingingpendulumtopacetheopening,yetmanipulatingthisimagealsohelpedhimto

phrasetheopening.Heimaginedthateveryotherswingofthependulumbecameslightly

wider,whichmeantthatthependulummustmovefastertomaintainasteadytempo.This

increaseinspeedrepresentedtheslightincreaseinvolumethatOrange2wantedforeach

halfnote.

Asmarked(2nd–6):TheothergroupoftrumpeterssimplytookMahler’swrittendynamics

literally.EachoftheseplayersalsopointedoutthatMahlerwasveryparticularinallofhis

markingsandinstructions,soifhehadwantedmoredynamiccontrast,hewouldhave

notateditthatway.Thismethoddiffersfromthepreviouscriterioninthatthedownbeatsof

m.1,m.2,m.3,andm.5aretechnicallythesamedynamic,piano,butthedownbeatofm.3

getsabitmorebecauseoftheaccentonit.Thesenotesalsodidnotdecrescendo,although

thesforzandiactedasanaturalweightwithaslighttaperthatcouldsoundlikea

decrescendoifnotdonequicklyenough.Thefourthtriplet,whichoccursonbeat4ofm.4,

thenreturnedtothesamedynamicandshapeasthefirsttwotriplets.Thedownbeatofm.6

wasthefirstlongnotethatincreasedinintensity,anditbeganacrescendothatendedafter

thepeakofthephraseonthedownbeatofm.7.

TheTerracemethodwasclearlythemostusedphrasing,butanauditioncommitteewouldhavea

difficulttimearguingwiththeAsmarkedcriteriongiventhatitrepresentswhatMahlerwrote.Most

importantly,alloftheseinterpretationswereconvincingwhenperformedbythesemusicians.

Tempo

Thetempochoicesofthisexcerptwerequitediverse;theyrangedfrom52to68bpmfor

thehalfnoteandweredistributedfairlyevenlyovermostofthisrange.Thelargestgroupingof

tempiwasbetween60and68bpm,andwithinthisrange,thereweretenplayersgroupedfrom64

55  

 

to66bpm.Theslowertempiweretheleastcommon,asonlyfourtempiwerebetween52to58

bpm.Inafewcases,thetrumpetersplayedaslowertempoforthefirstsevenmeasuresandthen

pickedupthetempoonbeat3ofm.8,buttheconsensuswastoneverdothisonanauditionlest

thecommitteethinkyourtimewasunsteady.ThetempooftheMahlerwasalargefactorinthe

overallinterpretation,especiallywhenconsideringthatattheseslowertempi,afewbeatsper

minutedifferencecouldalterthephrasingnoticeably.

Quarternotetriplet

Onthedownbeatofm.11,thereisaquarternotetripletlabeledTrioleflüchtigwhich

translatesasa‘fleeting(orrushed)triplet.’Therearetwoapproachestorushingthistriplet,but

bothtechniquesdonotaffecttheoveralltempo;thetripletisrushed,buttheG♯onbeat3ofm.11

isheldlongertocompensate.OfalltheMahlercategories,thisonewaspossiblytheleastimportant

indeterminingtheoverallstylebecauseitonlyaffectedonebeatandthedifferencebetweenthe

twostyleswassmall.

Rushed(mostcommon–16):Theplayersthatutilizedthistechniquecreatedasmall

accelerandowithinthefournotesaseachnotewasslightlyquickerthanthenotethat

precededit.Oftheplayersthatemployedthismethod,manycautionedthatitshouldnever

soundsimilartoaquarternotefollowedbytwoeighthnotes.

Steady(2nd–8):Inthismethod,allthreenotesareequalinlength,buttheyareplayed

quickerthantheactualmarkedquarternotetriplet.Orange1describeditasverycloseto

playingeighthnotesintimebuttyingthetopF♯intothenexthalfnote.

TheRushedcriterionisusedtwiceasoftenastheSteady,butSteadymightbeasaferoptioninan

audition.OfthosethatusedtheRushedmethod,noonedislikedtheSteadytechnique;theysimply

56  

 

likedtheRushedmethodmore.However,ofthetrumpetersthatpreferredtheSteadymethod,many

ofthemsaidthattheRushedtechniquesounded“corny”or“contrived.”7

Rushingoflasttriplets

Thefinaldecisionforthisexcerptiswhetherornottorushthetripletsinm.20,m.21,and

m.22inthesamemannerastheircounterpartsinthefirstsevenmeasures.Amongthese

trumpeters,twofactorswereimportantinthisdecision:consistencyandthetrombones.Those

playersthattreatedthesetripletsthesameastheopeningsixmeasuresreasonedthatthestyle

establishedintheopeningshouldbecarriedthroughoutthefigureandthattherestofthebrass

wouldhaveaneasiertimematchingthestyleifitwasconsistent.However,thosethatplayedthe

lattertripletsslightlyslowerorcompletelystraightwereconsideringthetechnicaldifficultyof

gettingthebrasstosoundtogether,especiallywhenconsideringtheaddeddifficultyofthe

trombonesectionhavingtomovetheirslidesquicklyenoughtoplaythiscleanly.Beforea

trombonistreadingthistakesoffense,therationalewasthatthefigureinthetrombonesismore

difficultbecauseitchangesnoteswhereastheprincipaltrumpetfigureisstatic.Thiscategoryis

certainlyanimportantdecisionfortheauditionsettingbutdoesnothaveaslargeaneffectonthe

interpretationasthepreviouscategories.

Yes(mostcommon–15):Theseplayersplayedthelasttripletsexactlythesameasthe

opening.

Slight(2nd–3):Thismethodwasthemiddlegroundbetweentherushedandstraight

figure.Green4suggestedthatthiseffectcouldbeachievedbytriple‐tonguingtheopening

butsingle‐tonguingthelasttriplets.

No(3rd–2):Thetripletsinthismethodareplayedintimeexactlyaswritten.

                                                            7InterviewwithYellow1,February9,2010;InterviewwithOrange2,May28,2010.

57  

 

Yeswaspreferredoverwhelminglybytheseplayers,butmanyofthemsuggestedthatan

auditioneeshouldalwaysbepreparedtoplaytheexcerptwithoutrushingthelasttripletsincase

thecommitteerequestsit.

Miscellaneous

Thecategoriesabovecovermostoftheexcerpt,butIwasunabletodesignacategorythat

successfullydescribedm.8throughm.10orm.14throughm.16.Thesedottedrhythmswere

playedrhythmicallystrictbyeverymusician,butthelengthandshapeofthedottednotesvaried

fromtrumpetertotrumpeter.Someconnectedthesenotesandsuggestedalwaysfocusingon“long

air”,8whileotherswantedthesenoteswithabitofseparationasdemonstratedonthepianoroll

thatMahlerrecorded.9Thegeneralconsensuswastoerrtowardconnectednotes,buttherewas

enoughvarietyinthestylestopreventcategoricaldescriptions.Therefore,thesebarsare

unfortunatelyexcludedfromthecomparisonsofPartII.

VibratoandRubato–Acommonperformancesuggestionwastobejudiciouswiththeuseof

vibratointhisopening.Manyoftheplayers,includingYellow1andYellow2,suggestedusingno

vibrato,particularlyinthefirstsevenmeasures,becausethismusicisstarkandsorrowful.Every

playerintheprojectwarnedagainstusinga“pretty”or“lyrical”vibratostatingthatitprovidedthe

incorrectmood,primarilybecausethemovementisentitled‘Funeralmarch.’Twooftheseplayers

alsosuggestedstretchingtheG♯inm.12tocreatemoretimeforthedramaticcrescendo,butthis

willbediscussedfurtherundertheEugeneBleeportionofChapter9.

Breathing–ThebreathstakenintheMahlerweresomewhaterraticandforoneplayer,

evencontentious.Sometrumpetersbreathedinm.10beforethesixteenthnoteF♯thatprecedes

theTrioleflüchtig,butothersfeltitdetractedfromtheforwardmotion.Themostdisputedbreath

occursinthewholenotesofm.17,m.18,andm.19.Someoftheparticipantsbelievedthatno

                                                            8InterviewwithBlue2,March8,2010.9Mahler,Gustav,SymphonyNo.5,1989.

58  

 

breathisnecessaryinthisregion,whileotherstookabreathbeforethefinalsixteenthnoteinm.16

becauseitmatchedthebreaththeytookinm.10.Noonetookabreathbetweenm.18andm.19,

buttwoplayersinsistedthatthewholeorchestrawillliftbetweenm.17andm.18.Ofthesetwo,

Green3wentsofarastosaythatanybodywhosaidotherwisemusthave“neverplayedwitha

conductorwhoknewwhathewasdoing.”

CompiledInterpretation

Thisistheonlyexcerptonwhichmanyoftheplayersmentionedaparticularrecordingthat

theyenjoyed:theaforementionedPhilSmithrecordingwiththeNewYorkPhilharmonicunder

ZubinMehta.Unsurprisingly,theoverallcompiledinterpretationmatchesthatrecordingperfectly.

Chooseatempoaround64andpacetheopeningusingthe6/4method.Itdoesn’tmatterifyou

single‐ortriple‐tonguetheopening,aslongasthenotesareclearlyarticulatedandnoticeably

rushed.PhrasetheopeningintheTerracestyledescribedabove.Whenyoureachthequarternote

triplet,compressitusingtheRushedmethodbymakingeachnoteslightlyquickerthanthe

previous.Timemaybestretchedveryslightlyoneitherofthehalfnotes(G♯andF♯)thatprecede

thetwohighB’s,andifthisisbeingplayedinanaudition,thefirsthighBwillbeginyourloudest

dynamicoftheentireround.YoumaybreatheimmediatelybeforeoraftertheDnatural,butyou

continuecrescendoingallthewaytothewholenoteB♭.Thefinaltripletsshouldberushedinthe

samemannerastheopening,butrememberthattrombonesplaythosenotesaswell,andyoumay

beaskedtorushthemataslightlyslowerpaceornotatall.Ifyoutriple‐tonguetheopening,single‐

tonguingcanbeacomfortabletechniquetoslowdownthefinaltriplets.

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CHAPTER6—Mussorgsky/RavelPicturesatanExhibition—Promenade

PicturesatanExhibitionbyModestMussorgsky,arr.by

MauriceRavel©Copyright1929byHawkes&Son(London),Ltd.ForallCountriesoftheWorld.ReprintedbyPermission.

Figure8.Mussorgsky/Ravel,PicturesatanExhibition‐Promenade,opening1sttrumpet

Ravel’sorchestrationofMussorgsky’sPicturesatanExhibitionisthefourthmostrequested

piecefororchestraltrumpetauditions.1LiketheBeethovenexcerpt,insteadofflourishesof

technique,thisopeningexcerptrequiressubtleinterpretivechoicestocreateinterestinglines

makingitanextremelyusefulexcerptforthisproject.Eachofthesetrumpetersimaginedthe

Promenadeasastatelygentlemanwalkingthroughanartexhibition,butthemethodsusedto

illustratethispicturevariedwidely.Everyrecordingofthispieceisdifferent,somemoresothan

others,andIexpectedtheretobeawiderangeofinterpretations.Twoofthecategoriesprovedto

befarmoreimportantthananyoftheothermusicaldecisionsindeterminingtheoveralleffect,so

                                                            1 Hunsicker,“SurveysofOrchestralAuditions”. 

60  

 

whiletheinterpretationsweresubtlydiverse,thedatadidnotdemonstratethisasmuchasIfirst

presumed.

Tempo

ThetempochoicesfortheMussorgskyrangedfrom82to96bpm.However,onlyone

personchose82bpm,andonlyonepersonchose96bpm.Everyothertrumpeterfellbetween84

and92bpm.Twelveplayerswereateither88or90bpm,meaningthatthemajorityoftheplayers

preferredamoderatetempo.Oftherestofthetrumpeters,therewasaslighttendencytowardthe

slowertempi,butthedifferencewasmarginal.Itseemedthatthetrumpeterswhohadmost

recentlywontheirjobssuchasGray2andYellow2,preferredslowertempireasoningthatthis

excerptwasanopportunitytoshowofftimbreandintonation.Yetmanythathadheldtheir

positionslongest—andpresumablyhadsatthroughmanyauditionssuchasOrange1andGreen

3—preferredfastertempi“thatwouldnotboreanauditioncommittee.”

Tempowasoneofthetwomostsignificantcomparativecategoriesforthisexcerpt.Iftwoof

thetrumpetersagreedoneveryinterpretivedecisionbutweremorethanfourbeatsperminute

apart,thetwointerpretationssoundedverydifferent.Ibelievethisisbecauseinthisexcerpt,more

thananyotherexcerptinthisprojectexceptpossiblytheHindemith,thetempowaschosenbased

ontheoverallstylethemusicianwanted.Thischoicewastieddirectlytoeachtrumpeter’svisionof

themoodandcharacteroftheirimaginedgentlemanintheartgallery,andthereforecorresponded

welltotheoverallstyleoftheexcerpt.Forexample,ifthetrumpeterimaginedthegentlemanas

elderlyandcalm,thetempowouldbeslower.Yetifthetrumpeterimaginedthegentlemanas

powerfulorsprightly,themusicianwouldreflectthatpersonawithaquickertempo.

Shapeofquarternotes

TheMussorgskyisrhythmicallysimpleanddominatedbyquarternotes.Theshapeofthese

quarternoteswastheothersignificantfactorindifferentiatingtheinterpretationsofthisexcerpt.If

61  

 

twoplayersagreedontheshapeoftheirquarternotesandchosesimilartempi,thetwo

interpretationssoundedverysimilar.

Sustained(mostcommon–15):Thesequarternoteshadaslightlyaccentedfront,block

shapednote,andlittletonoseparation.Becauseoftheenergeticattackandlackoftaper,

thismethodnaturallyprovidedthemostforwardmotionofthesefourcriteria.

Belltones(2nd–4):Thesewerethemostaggressivequarternotes;theyhadafirm,bouncy

attack,obvioustapers,andlittleseparation–inshort,theywerebell‐tones.

Lyrical(3rd–3):Thisstyleofquarternotehadagentleattackbutstillhadthesameblock‐

shapedbodyandlittletonoseparationastheSustainedcriterion.Thiswasthelightest

interpretationandwasalwaysaccompaniedbyatempoof88bpmorslower.

Tapered(none):Thefinalstyleinthiscategoryhadclearbutsedateattackswithtaperand

noseparation.ThisstyleonlydiffersfromtheBelltonestylebyitsattack—Tapereddoesnot

haveanyaccentonthefrontofthenote.Whilesomeoftheplayersdescribedthisasan

alternativethatconductorshadrequested,noplayerinthisprojectusedthisastheir

personalinterpretation.

TheSustainedstyleisclearlypreferredbythetrumpeterstotheotherstylesandisthesafestshape

forauditions.However,mostoftheteacherssuggestedthatpracticingtheothershapeswouldnot

onlyprepareyouforthecontingencyofthisbeingaskedonanaudition,butitalsowouldimprove

theconsistencyofyourchosenstylebyclearlydefiningthestylesinyourear.Orange2even

suggestedpracticingtheexcerptoneachkeyoftrumpet,e.g.C,B♭,E♭,etc.,toseehowthedifferent

timbresandphysicalcharacteristicsofthehornsinfluencedthenoteshapes.

Goalofeachphrase

Therestofthesecategoriesarenotnearlyascriticalastheprevioustwoindefiningoverall

style.‘Goalofeachphrase’describesthephrasingshapeofeachofthefourtwo‐measurephrases,

primarilythroughdynamicshaping.However,becausetherearenomarkeddynamicchangesand

62  

 

alloftheplayersputapremiumonconsistencyoftonethroughthisexcerpt,thedifferencesinthe

followingcriteriawereminimal.Thetrumpetersdidagree,however,thatthekeytomakinganyof

thesephrasingssuccessfulwastoalwayshaveforwardmotiontotheline,andconsequently,most

ofthesephrasingtechniquesaredesignedwithhorizontalconnectioninmind.Tobeperfectly

honest,ifIhadnotdiscussedthedetailswiththemusicians,Iwouldhavehadadifficulttimetelling

thedifferentmethodsapartsolelybylisteningtotherecordingsofthelessons,becauseeach

methodaccomplishedthesameobjective—forwardmotionandconnection.

Even(mostcommon–13):Mostofthetrumpetersdidnothaveaspecificphrasinggoalin

mind;theysimplytriedtoplaywithaneventonethathadenergyintheconnections

betweenthenotes.Yellow3pointedoutthatiftherewasconstantconnection,thenatural

contourofthelinewouldgenerateallthephrasingnecessarytocreateinterest.Therewere

twosmallvariationsthatstillfellunderthiscriterion.Yellow2playedmostoftheexcerpt

evenly,buthecrescendoedslightlyonthebottomnoteofthelasttwooctavejumpsinm.6

andm.8,thelowFandlowA♭respectively.Intheothervariation,Orange4playedthe

openingtwophrasesevenly,butthenswitchedtoMetricdivisionforthelasttwophrases.

Heislistedunderbothcriteria.

Arc(2nd–4):Inthisphrasing,thetrumpeteraimedforeitherbeat2orbeat4inthesecond

measureofeachtwo‐measurephrase.Regardlessofwhethertheychosebeat2orbeat4,

thechoiceremainedconsistentfortheentireexcerpt.Igroupedbothofthesegoaltones

togetherbecausetheyhadthesameauraleffect.

Hairpin(3rd–3):Thiswasthesimplestofthemethodsthatinvolvedanactualgoaltone;

thesemusicianssimplyaimedforthedownbeatofthesecondmeasureineachofthetwo‐

measurephrases.Oneplayer,Green4,didalterhislastphrasetoaiminsteadforthehigh

A♭ratherthanthedownbeat.

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Metricdivision(4th–1+1):ContrastingtheHairpin,thistechniquewasthemost

complicatedofthemethods.Tousethistechnique,thetrumpetermentallydividedthetwo‐

measurephrasesintomultiplesmallermeasurestoemphasizecertainbeatsthroughmetric

agogicaccents.Forexample,Green3groupedthequarternotebeatsintominiature

measuresof2+3+3+3forthefirsttwophrases,thenswitchedto3+3+2+3forthelasttwo

phrases.Orange4,listedaboveunderEven,switchestoMetricmodulationonlyforthelast

twophrases.

Whilethereweremultipleapproaches,theyallservedthepurposeofcreatinghorizontal

connectionwithinthelines.EventhoughEvenwasthemostcommon,thedynamicgoalsofthe

otherthreeweresoslightastomakelittleoveralldifference.

Extrabreath

Allofthesemusicianstakebreathsafterm.2,m.4,andm.6,althoughoneplayer,Red3,

demonstratedtheabilitytoplaythroughtheentireexcerptatnormalvolumeandtempowithout

takingasinglebreath.2Physicalraritiesaside,someplayerschosetotakeaquickextrabreath

betweenm.7andm.8.Thiscategorymakesnodifferenceininterpretationandisnotconsideredin

PartII.Itisonlyincludedtobenefitplayerspreparingforanaudition.

Lastbar(mostcommon–9):Theseplayersstatedthattheyhadoccasionallytakenthe

breathbeforethelastmeasurebutsometimeschosenotto,dependingontheperformance

situation.

No(2nd–8):Thesetrumpeterspreferrednottotakeabreathbeforethelastbar.As

auditionpreparationisintendedtobetheprimaryusageofthisPart,Ihaveclassifiedinthis

criteriontheonepersonwhosaidhedidnotusetheextrabreathinauditionsbutwaslikely

touseitduringperformance.

                                                            2 This was done solely for demonstrating efficiency of air. He never performs the excerpt without the 

three normal breaths. 

64  

 

Whilemanyoftheteacherscommentedonthelastbreath,noneofthemstatedthatthey

wouldconsidertheextrabreathatabooontheaudition.Somejuststatedapreferencefornot

takingonethemselves.Theonlyrequirementwasthatthebreathshouldnotaffectthetempoor

takeawaytoomuchtonefromthepreviousnote—exactlyliketheotherthreebreathsinthe

opening.

Miscellaneous

Green3andRed4suggestedthattheyincreasethevolumenoticeablyinthephraseswhere

thebrasswouldbeplayingwiththem,e.g.m.3andm.4,butmostofthemusiciansbelievedthat

simplyhearinganimaginaryorchestrajoiningyouasyouplayisenoughtomakethechangefelt.

CompiledInterpretation

Thetemposhouldfallbetween88and92bpm.Everyquarternotemustbeidentical—

slightlyaccentedfront,blockshapednote,nointentionalseparation.Eachnotesoundslikeithasa

slighttaper,butthatcomesfromtheweightandenergyineachnote’sarticulationratherthan

taperingeachnotedynamically.Ifthearticulationistooheavy,itcancreateseparation.Ratherthan

dynamicallyshapingthesephrases,eachphraseshouldsimplyhaveasenseofforwardmotion.If

youcrescendo,thenyouwillneedtofollowitwithadecrescendo,andadecrescendogoesagainst

theconsistentflowthatamanwalkingthroughanartgallerywouldhave.Ifyouneedanextra

breathinthelastphrase,takeitaftertheE♭inmeasure7,butmakeitquickandunobtrusive.

65  

 

CHAPTER7—RespighiPinesofRome—OffstageSolo

Figure9.Respighi,PinesofRome‐offstagetrumpetsolo

ThePinesofRomeisthethirdmostrequestedpieceontrumpetauditions,andtheoffstage

solofromthesecondmovementisthemostrequestedlyricalexcerpt.1LiketheMussorgskyand

Beethovenexcerpts,thisoffstagesolorequiresatremendousamountofcontrol,yetunlikethose

excerpts,theRespighiisatestofthemusician’slyricismandphrasing,muchliketheBizetexcerpt.

Forthisdissertation,Ithoughtthatstudyingeachplayer’suseofrubato,vibrato,anddynamic

shapeswouldbeenoughtodifferentiateeachinterpretation,butthedifferenceswereobfuscated

becauseeverytrumpeterapproachedthisexcerptwithasimilaroverallstyle—oneof

understatementandsimplicity.

ThisexcerptisbasedonaGregorianchantfromamassintheLiberUsualis,abookof

commonly‐usedGregorianchantsinCatholicservices;thisplainchantisusedspecificallyinthe

                                                            1 Hunsicker,“SurveysofOrchestralAuditions”. 

66  

 

SanctusfromMissaIX,“CumJubilo”ofSaintAntoineDaniel.2Becauseofthis,mostofthe

trumpetersexercisedconstraintintheirrubatoanddynamiccontrasts,andmanyusedthemental

imageofamonksingingachantinacatacomb.Manyofthetrumpeters,particularlyYellow4,had

studiedthesechantsandhadcopiesoftheoriginalon‐hand.Yellow1summarizedhisapproachto

thisexcerptas,“[I]useonlygentlephrases.Idon’twantanysharpturnsofphraseordramatic

crescendosanddecrescendos.Saveitforapiecethatcares.”

Tempo

Thetempochoicesrangedfrom55to72bpm,butonlythreeoftheplayerschoseatempo

below60bpm.Thirteenplayerschoseatempobetween60and64bpm,andmanyoftheseplayers

simplylookedatthesecondhandontheirwristwatchtofindatempoof60bpm.Likeeachofthe

otherexcerpts,tempowasimportantintheoverallinterpretation,butitdidnotaffectthestyleas

muchastheothers;almosteveryplayeremployedasimple,lyricalapproachregardlessofthe

tempotheyhadchosen.Forthosethatdidusetempiat66bpmorabove,themostcommon

reasoningwastopickatempothatwouldnot‘bore’anauditioncommittee;twoofthesemusicians

wereprincipalplayers,sothisadvicelikelystemsfromyearsoflisteningtothisexcerpton

auditions.

Rubato

Becauseofitslyricism,theRespighiexcerptisextremelyconducivetousingrubato.

However,eventhoughRespighicomposedprimarilyinaRomanticstyle,thisspecificpassage

shouldnotbetreatedassuch.Mostofthetrumpeterscautionedagainstusingovertrubatofor

manyreasons:theoffstagecommunicationdifficultiesthatrubatocancause,themoving

accompanimentinthestrings,andmostimportantly,theaforementionedchantoriginofthe

melody.Almostalloftheseplayersstretchedcertainnotes,butneverinanoverstatedmanner.For

                                                            2Foranexplanationofthesemassesaswellasscoresandaudiofiles,visitthewebsitefortheSaint

AntoineDanielChantOrdinariesathttp://www.antoinedanielmass.org/kyriale/IX.AccessedJune2011.;ThereisanexcellentdiscussionontheGregorianoriginsofthisexcerptontheTrumpetHeraldonlineforums.http://www.trumpetherald.com/forum/viewtopic.php?p=1140148.AccessedJune2011.

67  

 

example,itwascommontostretchthefirstnoteofbothoftheeighthnotetripletsandthenslightly

compressthesecondtwonotessothequarternotebeatwouldnotbedistorted.Thiscategory

makesasubtlebutnoticeabledifferenceintheoverallstyleoftheexcerpt,soitwasanimportant

determinantinthecomparisonsofPartII.

Beat(mostcommon–13):Inthisstyle,themusiciansestablishedastrictquarternotebeat

butallowedmovementwithinthebeats.Thismeantthatanyeighthnote,sixteenthnoteor

tripletcouldbestretchedorpushedsolongasitdidnotalterthearrivalofthenextquarter

notebeat.

Slight(2nd–4):ThismethodisidenticalinpracticetotheBeatmethod,buttheseplayers

restrictedtheusetoonlyoneortwofiguresintheexcerpt,usuallythetwotriplets.This

criterionisacompromisebetweentheBeatandStrictcriteria.

Phrase(T‐3rd–2):Twoofthetrumpetersadvocatedtheuseofrubatoacrossmultiplebeats

iftheperformermaintainedanaveragetempoacrosstheentireexcerpt.Theseplayers

believedthatthisexcerptisoneofthefewchancesinanauditionwhereatrumpetercan

demonstratehisorherlyricalmusicality,andthisisanopportunitythatshouldnotbe

wasted.

Strict(T‐3rd–2):Thefinaltwoplayersadvocatedastraightforwardinterpretationofthe

rhythmswithnorubato.Again,theyattributedthisdecisiontothechantoriginsofthe

excerpt.

TheBeatcriterionwasclearlythemostcommonchoiceforthiscategory,mostlikelybecauseit

allowedthemusiciansachancetoacknowledgetheunderlyingnatureofthechantwhilestill

demonstratingasmallamountofRomanticsensibility.

Vibrato

BecauseofitsGregorianchantorigins,ateacheronceinformedmeinamasterclassthatitis

appropriatetoplaythisexcerptwithoutvibrato.However,everyparticipantofthisprojectadvised

68  

 

againstthisbecausethisexcerptisoneofthefewchancesinanauditiontodemonstratelyrical

technique,andvibratoisanimportantcomponentofthis.Yetwhileeachmusiciandidusevibrato,

theyemployeditinmanydifferentmanners.Forexample,Yellow3andGray1usedagentleand

constantvibratobutremoveditatcertainspotstocreateemphasisoncertainnotes.Red2

employedvibratointheexactoppositemanner;heplayedtheexcerptwithverylittlevibratobut

increasedvibratoonthemostimportantnotesofhisphrase.Othersuseda‘delay’effectinwhich

mostnotesstartedwithoutvibratobutwasaddedandaltereddependingontheimportanceofthe

note.Becauseeachuseofvibratowaspersonalized,Iwasunabletogrouptheplayersintothe

necessarycriteriarenderingthiscategoryuselessforthelatercomparisons.

Phrasingmethods

Whenlisteningtotherecordingsoftheperformersonthisexcerpt,everyinterpretationwas

smooth,connected,andsubtlyphrased.Ashasalreadybeendiscussedthoroughlyabove,the

underlyingchantinfluencedeveryaspectoftheirinterpretations,andtheirphrasingwasno

exception.Ratherthancreatinginterestthroughlargedynamiccontrasts,almosteverytrumpeter

triedtoremoveallsuddenchangesor“bumps”fromtheirphrasing.Instead,theycreatedinterest

byemphasizinggoaltonesthroughalternativemeans,andthestructuresofthesedividedintotwo

basiccriteria.

Upperneighbor(mostcommon–17):Surprisingly,therewasanearunanimousmethod

amongtheplayerstophrasingthisexcerpt,althoughsomeweremoreobviousinusingthis

methodthanothers.Simplyput,themusiciansemphasizedanupperneighborresolutionin

mostmeasures,andIhavemarkedthesenoteswithanasteriskbelowthestaffinthe

includedpart.Eachofthesenoteswasgivenasmallamountofextraweightandresolvesto

thefollowingnotewithaslightdecrescendo,althoughsomeofthetrumpetersexcludedone

ortwooftheseemphasispoints.Whilethecontourinevitablyprovidednaturaldynamic

shape,thesemusiciansfocusedprimarilyonweightingthenotestokeepthephrasingmore

69  

 

subtle.Othersmadeaparticularpointofusingvibratotohighlightthesenotesasdescribed

underthe‘Vibrato’category.Ofthese,Red2usedvibratoonlyontheupperneighborsto

makethem“sparkle.”Conversely,Yellow3andGray1usedvibratooneverynoteexceptthe

upperneighbornoteslikeningthistoplayinganopenstringonastringedinstrument.

Contour(2nd–3):TheotherthreetrumpetersdidnotliketheUpperneighborphrasing;one

wentsofarastocallit“overlycerebral.”Theseplayerssimplyfollowedthecontourofthe

variousphrases,makingsuretheirlineswerealwaysconnectedandwithoutsudden

changesindynamic.

Thesephrasingtechniqueswereastrongfactorindeterminingtheoverallcharacterofthe

interpretation,butunfortunately,thegroupingwassopredominatelyinfavorofUpperneighbor

thatitwasnotaspracticalindifferentiatingthetrumpetersasitcouldhavebeen.

Lastnote

Whilenotanimportantindicatorofoverallinterpretation,theuseofvibratoonthelastnote

ofthisexcerptwasdiscussedbymanyofthesemusicians.Everyplayerusedaslowdecrescendoon

thisnote.Sotheprimaryargumentwashowtoapplyvibrato,andeachplayerwasspecificabout

howitshouldberesolved.Ididnotintendtodiscussthisoriginally,sosomeoftheparticipantsdid

notcommentonthis.However,enoughoftheintervieweesbroughtthisupwithoutpromptingthat

itwasworthnoting.

Partial(mostcommon–9):MostofthesetrumpetersbeganthefinalGwiththesame

vibratothattheyhadusedthroughouttheexcerptbutthenallowedthevibratotoslowly

cometoastop.Orange4describeditas“fadingtoblack”,whileOrange2explaineditas

“allowingthetonetobecomestill.”

End(2nd–5):Thesetrumpetersheldthevibratototheendofthenote,althoughYellow1

warnedthatifoneusesthismethod,itisimportantnottoendoneitherthehighorlowside

ofthepitch;thevibratomuststopdirectlyinthecenterofthepitch.

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None(3rd–1):Onlyoneplayersuggestednotusinganyvibratoonthelastnote.

Whilethiscategorywouldbeusefulinhelpingtopreparefortheminutiaofanupcoming

audition,theresultswerenotindicativeofanyoverallstylisticchoicesandwerethereforeexcluded

fromthecomparisonsofPartII.

Miscellaneous

Yellow3andGray1bothdiscussedusing“slowvalves”ontheRespighitocreateasmall

amountofportamentobetweenthenotes;theybothbelievedthisextraconnectionmimicsthe

humanvoiceaswellasroundsoffanysharpedgesinthecontourcausedbyslurringlarger

intervals.

Tonecolor–Severalofthetrumpeters,includingPurple1,Blue2,andBlue4,thoughtit

musicallynecessarytoaltertheirsoundslightlyinthemiddleoftheRespighiexcerpt.Inm.7,the

tonalityoftheaccompanimentshiftsfromGmajortoEminor,andtoreflectthischange,these

musicianschangedtheirtimbrefromthatdownbeatonwards.Orange1usedthefollowingmental

imagetofacilitatethechange.“Imaginelyinginafieldandwatchingthecloudsgoby.It’sabeautiful

sunnyday,andthecloudsarewhiteandwispy.WhenyougettotheEminorsection,theclouds

havetobecomesuddenlygray.Asyoumovetoward[m.9],thecloudsbecomethickerandthicker,

andintheend,theobserverjustfallsasleepwaitingfortherain.”

CompiledInterpretation

Chooseatempoaround62bpm,butdonotletitbecometooslow.Stylistically,thisshouldnot

beaRomanticlyricism,rather,itshouldbeunderstatedandbeautifulwithnosharpturnsofphrase

ordynamics.Thequarternotebeatshouldremainsteady,evenwhilebreathingbetweenphrases,

butasmallamountofrubatocanbeusedwithineachbeat,particularlyonthetwotriplets.For

phrasing,aimforthetensionandreleaseprovidedinmostbarsbyupperneighbornotesresolving

downwardbystepasmarkedonthepartabove.WhentheharmonychangestoEminorinm.7,

striveforadarkermoodthroughchangesintimbreandvibrato.Vibratoshouldbeused

71  

 

throughout,butlikethelyricalapproachtothisexcerpt,itshouldremainunderstated,nevertoo

wideortoofast.Byincreasingvibratoortakingitawayentirely,itcanaccentuateimportantnotes

suchastheupperneighbornotesinyourphrasing.Thelastnoteshouldbeginwithvibratobut

becomestilltowardtheendofthenote. 

72  

 

 

PARTII:InterpretationComparisonsAsdefinedintheIntroduction,theprimaryobjectiveofthisprojectwastoestablishwhich

musicalinfluences,ifany,affectinterpretationsofprofessionalmusicians.Ihaveconstructedthree

differentgroupingsfortheparticipantsinordertosearchforpatterns:colleagueswithintheir

currentorchestrasection,teachersandprimaryinfluences,andregionaltradition.Usingthe

categoriesoutlinedinPartItocomparepatternswithinthesesets,itispossibletodiscernsome

likelysourcesfortheinterpretationsofthesemusicians.

Becauseoftherelativelysmallsamplesize,thispartdoesnotattempttodrawdefinite

conclusionsbasedonstatisticalanalysis.Instead,thegoalistopresentpatternsandprovide

commentaryonthemostnoteworthyofthese.Inadditiontomyobservations,thisinformationwill

allowthereadertodrawtheirowninformedconclusionsandapplythemintheirperformingand

teachingastheybestseefit.Foreverygrouping,Ihavecreatedtablesthatarecolorcodedbythe

aliasofeachorchestra.Inthegroupingbytrumpetsection,thisisadmittedlyredundantasthe

orchestrasdefinethecolors,butthecolorsystemallowsforeasierpatternrecognitioninthe

groupingsbyteacherandbytradition.Iwillbeusingtheshorthandterminologyforthecategories

establishedinPartIforthefollowinganalyses.Becausethesecategorieshavealreadybeendefined

anddiscussedinthepreviouschapters,IwillnotbegoingintogreatmusicaldetailinthisPart,butI

haveaddedbriefdescriptionsofeachcriterionasfootnotesbelowtheinitialtables.Forfurther

descriptions,pleaserefertotheunderlinedsub‐headingsineachchapterinPartI;thosesub‐

headingsmatchthetables’headingsexactly.

AsdiscussedinPartI,someofthecriterialistedinthetablesdonotapplywellin

determininghowsimilarlytwoplayerssoundwhenplayinganexcerpt.Foryourreference,these

are:

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The‘Volume’categoryintheBeethovenexcerptwasnotincludedspecificallyintheoriginal

questionsforeachlesson,somanyofthetrumpeterswerenotquestionedaboutit.

Furthermore,whentheydidprovidearesponse,thesituationwasnotdefinedbetween

performingthisexcerptwithanorchestraversusperformingthisinanaudition,thus

makingitimpossibletoensurethattheiranswerswerereferringconsistentlytothesame

performancesituation.

The‘Beginningdynamic’categoryintheBizetisexcludedforthesamereasonsasthe

Beethoven’s‘Volume’category.

The‘Extrabreath’categoryoftheMussorgskywasaskedtoallofthemusicians,butsomeof

theplayer’sstatedthattheyhaddifferentpreferencesdependingonwhethertheywere

performingorplayinganaudition.Othersdidnotmentiontheperformancesituationatall,

creatinganinconsistencyacrossthecriteria.Moreimportantly,thisbreath,while

pedagogicallyrelevant,doesnotcreateanoticeabledifferencewhenlisteningtothe

recordingsandthereforedoesnotstronglydifferentiatetheplayers’interpretations.

The‘Vibrato’categoryfromtheRespighiexcerptisnotusefulforcomparisonsbecause

everyplayerinthisprojectusesvibratoonthisexcerpt,andIwasunabletogeneralizethe

nuancesofeachplayerintocriteria.

The‘Lastnote’categoryfromtheRespighiexcerptisexcludedforthesamereasonsasthe

Beethoven‘Volume’andBizet‘Beginningdynamic’categories.

74  

 

CHAPTER8—ExcerptBreakdownbySection

Hindemith

ThelikelihoodofeachtrumpeterhavingheardoneofhiscolleaguesperformtheHindemith

wasgreatlydiminishedbecauseitisaworkforsolotrumpetandpiano.Therefore,Ihypothesized

thatthisexcerptwouldhavethemostdifferentiationbysection,anditdidforthemostpart.There

were,however,someinterestingsimilaritiesbetweencertainplayers.

 

Table1.HindemithSortedbySection

Musician  Tempo  Length and Direction of 1st Quarter Note

a 

Goal of 1st Phrase Phrasing of Descending Motive

b 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15

c 

Yellow 1  124  Equal  Low F Both bottom notes Final G  Slight

Yellow 2  102  Equal  Last C Both bottom notes Final G  No

Yellow 3  128  Long  Last C 2nd high note Final G  Slight

Yellow 4  ‐  ‐  ‐ ‐ ‐ ‐

Purple 1  105  Long  Last C Last note Final G  ‐

Purple 2  105  Long  Low F and Last C Last note ‐ ‐

Blue 2  115  Long  D♭   Both high notes Final G (w/out breath) No

Blue 3  110  Equal  D♭  (possible last C)  ‐ C♯ before final G  No

Blue 4  114  Long  D♭   2nd high note, but both high 

Final G  Slight

Orange 1  120  Long  Last C 2nd high note Final G  Slight

Orange 2  110  ‐  ‐ Both high notes Final G  No

Orange 3  100  Equal  Last C Last note Final G  Slight

Orange 4  115  Long  Last C 2nd high note Final G  No

Red 2  115  ‐  ‐ Last note Final G  No

Red 3  120  Long  Last C Last note, but both low Final G (w/ tongue)  Slight

Red 4  118  Separated  Last C 2nd high note Final G  Slight

Green 1  110  Separated  Low F 2nd high note, but both high 

Final G (w/ tongue)  No

Green 3  112  Long  Low F 2nd high note, but both high 

Final G (w/ tongue)  ‐

Green 4  110  Long  Last C Last note Final G  No

Gray 1  110  Equal  E♭  2nd high note Final G  Yes

Gray 2  108  Long  Last C 2nd high note Final G, but last 3 notes 

Yes

 

                                                            aLong=leadingtohighG,noaccent;Equal=equalweightandshapetoCandG;Separated=

separatedfromCandGb2ndhighnote=hairpinphrasing;Bothhighnotes=twodistinctbutconnectedgesturescSlight=placingof8thnote

75  

 

Tempo

Twosectionsgroupedwellundertempo,OrchestraGreenandOrchestraPurple.Both

membersofOrchestraPurplechose105bpm,andinOrchestraGreen,everyonewasbetween110

and112bpm.ItisalsonoteworthythatGray1,formerprincipalofOrchestraGreen,wassimilarto

theotherOrchestraGreenplayers.

Goalof1stPhrase

TheentireOrchestraOrangesectionphrasedthiscategorytotheLastC,butthiswasthe

mostcommoninterpretation,soitisnotsurprising.However,allthreeofthemembersinOrchestra

BluephrasedtotheD♭,andthisisstrikingastheyweretheonlyplayersintheprojecttochoose

thisphrasing.ThisimpliesthattheremaybesomeparticulartraitthatthemembersofOrchestra

Blueshareintheirsectionthataffectsthewayeachindividualphrasesotherpieces.Unfortunately,

IwasnotabletoheartheprincipalofOrchestraBlueplaythispiece,sotherewasnotafourth

optionforcomparison.

Hindemithconclusionsbysection

Thecategoriesfromthetablenotdiscussedspecificallyabovewereeitheralmost

unanimous,suchas‘Phrasingof3barsbeforeReh.1,orverydivergent,suchas‘Lengthand

directionof1stquarternote’.Theonlytrumpetsectionthatmatchedallfouroftheprimary

categoriesontheHindemithwasOrchestraPurple.Yeteventhoughtheywereconsistentacrossall

fourofthemostimportantcategoriesforthisexcerpt,thesignificanceofthisissomewhat

diminishedastherewereonlytwoparticipantsfromthatsection.Theotherorchestrasoften

containedatleasttwomemberswithlikeinterpretations,forexampleBlue3andBlue4,butno

sectionhadthreeormoresimilarrenditions.Green1andGreen3matchedontwooftherarer

criteria—phrasingthefirstphrasetotheLowFandtonguingthewrittenGnaturalbeforeRehearsal

1.However,theydisagreedonthe‘Lengthanddirectionof1stquarternote’category,andafterre‐

listeningtotheirrecordings,Green3wasnotonlymoreconnectedthanGreen1,butalso

76  

 

considerablymoreaggressive.Whilethislastobservationissubjectiveandthereforeexcludedfrom

theresults;theyoveralleffectofthetwointerpretationswasquitedifferentregardless.

Consequently,becauseofthegreatlydifferinginterpretations,theresultssupporttheoriginal

hypothesisofthissonataprovidinglittlecorrelationwithinthesegroupings.

Haydn

FortheHaydn,Iassumedthattheprincipalofeachsectionwouldbetheperformerthatthe

othersheardonamostregularbasis,andtheinfluenceoftheprincipal’schoiceswouldbefurther

heightenedastheotherswouldbeaccompanyinghimintheorchestra.Therefore,Iexpectedthe

resultstobemostconsistentbetweenplayersthathadplayedwiththeprincipalforthelongest.

 

77  

 

Table2.HaydnSortedbySection

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes

d 

16th note tonguinge

Trill methodsf  Subito piano

at m. 30 

Yellow 1  130  C  Timpani Slur two, tongue two Upper neighbor  ‐

Yellow 2  120  E  Timpani Slur two, tongue two Upper neighbor  Yes

Yellow 3  130  E, but pretty equal 

Long Tongue all Upper neighbor  Yes

Yellow 4  120  E  Firm  Slur all Upper neighbor  Slight

Purple 1  130  E  Firm  Slur two, tongue two Melodic  Yes

Purple 2  ‐  ‐  Timpani Slur all Upper neighbor  Yes

Blue 2  132  C  Timpani Slur two, tongue two Upper neighbor  No (different phrasing) 

Blue 3  124  C  Long Varies Upper neighbor  No

Blue 4  120  C  Timpani Slur two, tongue two Upper neighbor  No

Orange 1  134  C  Timpani Slur all Previous note rule  No

Orange 2  120  C  Timpani Varies Varies  ‐

Orange 3  120  Even  Timpani Slur two, tongue two Melodic  Slight

Orange 4  120  E  Detached Slur two, tongue two Melodic  ‐

Red 2  122  E  Timpani Slur two, tongue two Upper neighbor  ‐

Red 3  126  E  Long ‐ Previous note rule  ‐

Red 4  120  Even  Timpani Slur all Upper neighbor (as grace note) 

No

Green 1  120  ‐  Firm  Tongue all Melodic  No

Green 3  128  E  Detached Tongue all Directional rule  ‐

Green 4  ‐  E  Timpani Slur two, tongue two Upper neighbor (as grace note) 

Yes

Gray 1  122  C  Timpani Slur all Directional rule  Yes

Gray 2  115  C  Detached Slur two, tongue two Varies  Yes

 

 

Tempo

Threeofthefourprincipalsselectedatempoat130bpmorabove,butthemajorityofthe

playerschoseatempoaround120bpmincludingtheprincipalofOrchestraGreen.Alone,this

contrastisalmostenoughtodisprovemyoriginalprincipal‐influencedtheory,buttheOrchestra

Orangesectionacedasanexemplar.AllthreesectionmembersplayedtheHaydnat120bpm,yet

Orange1wasabove130bpm.OrchestraYellowprovidesfurtherevidence;Yellow1hadbeen

playingwithYellow3forsevenyears,andtheychosethesametempo.YetYellow1hadbeen

playingwithYellow4for28years,andtheywere10bpmdifferent.

                                                            dLong=lyricalapproach;Firm=long,noseparation;Timpani=firmattack,bounce,taper;Detached

=staccato,separatedeVaries=followsnospecificrulefUpperneighbor=everytrillbeginsfromtheupperneighbor;Melodic=everytrillbeginsonthe

principleofthenote;Previousnoterule=fromupperneighborunlessthenoteisprecededbytheupperneighbor;Directionalrule=fromthenoteifapproachedfrombelow,fromupperneighborifprecededbythesameorhigherpitch

78  

 

Goalof1stphrase

Mostsectionshadamajorityinthiscategory,whichisnoteworthybecausethemajoritywas

notthesameinthevarioussections.OrchestraBluewastheonlyunanimoussection,while

OrchestraOrangehadthemostvariation.

Lengthofnon‐slurred8thnotes

Thiscategoryhadverymixedresults.OnlyOrchestraOrangeandOrchestraBluehada

majority,andneitherwasunanimous.

16thnotetonguing

Thiswassurprisinglydivergentconsideringthatthesectionwouldbeaskedtomatchthe

articulationsofthesoloist.Nosectionwasunanimousorevenhadmorethantwoplayersusingthe

samemethod.

Trillmethods

ThiswasprobablythetightestgroupingbysectioninanycategoryoftheHaydn.Both

OrchestraYellowandOrchestraBluewereunanimouslyinfavoroftheUpperneighborcriterion,

andtheOrchestraOrangesectionwasalsosimilarinitsapproachesgiventhattheMelodicand

Previousnotemethodsyieldverysimilarresultsinactualpracticeforthisexcerpt.1

Haydnconclusionsbysection

Nosectiontrumpeterplayedthisexcerptsimilarlytotheirprincipal’sinterpretation

regardlessoftimespentwiththeorchestra.Overall,thisexcerptwasasdivergentastheHindemith

ifnotmoreso.Asaconcertoisasolowork,theseresultsdoenforcethesoloisticprincipleof

personalexpression,butIfoundthedegreeofindividualizationsurprisinggiventhetimespent

playingthisworktogether.TheHaydnTrumpetConcertoisnotonlythemostperformedtrumpet

concerto,itisthemostpopularconcertothatHaydnwroteforanyinstrument.2Onlyahandfulof

                                                            1AsmostofthetrillsintheHaydnareapproachedfromtheupperneighbor,bothmethodsimplythat

thetrillbeginsonthenote.2 Tarr,“Haydn’sTrumpetConcerto—Origins”,66. 

79  

 

playersmadeamajorityofthesamedecisionsasanotherplayer,andonlytwoofthesebelongedto

thesameorchestra,Blue2andBlue4.However,afterre‐listeningtotherecordingsofbothofthese

trumpeters,thelargedifferenceintempocreatesavastlydifferentfeeltotheirinterpretations;

Blue2isquitevirtuosicwhereasBlue4’sapproachislyrical.Therefore,thereisnotruegrouping

withinsectionsonthisexcerpt.

Beethoven

Giventhattheparticipantsofthisprojectwereallprofessionalorchestralmusicians,I

assumedthatthesetrumpetsectionswouldhavegreatersimilaritiesininterpretationonthe

orchestralexcerptsthanthesoloexcerpts,astheorchestralpiecesrepresenttherepertoirethat

theyplaytogetherdaily.TheresultsfortheBeethovenexcerptconfirmedthisbyhavingstrong

majoritiesinthreeofthefoursignificantcategories,notonlywithineachsection,butacrossall

participantsoftheproject.

 

80  

 

Table3.BeethovenSortedbySection

Musician  Rubato in first two bars

g 

Tempo change

h 

Shape of 8th notes in 1st two bars

i 

Shape of 8th notes in last 4 bars

j 

Volumek

Yellow 1  Yes  Sudden  Round Short ‐ 

Yellow 2  Yes  Gradual  Round Short Loud

Yellow 3  Rubato  Gradual  Round Short Loud

Yellow 4  Yes  Sudden  Short Round Loud

Purple 1  Yes  Gradual  Short Round Loud

Purple 2  Yes  Gradual  Long Short ‐ 

Blue 1  Rubato  Gradual  Round Round ‐ 

Blue 2  Yes  Sudden  Round Long Comfortable

Blue 3  No  Gradual  Long Round ‐ 

Blue 4  Rubato (slight)  Gradual  Round Round Comfortable

Orange 1  No  Gradual  Round Round ‐ 

Orange 2  Rubato  Gradual  Round Round ‐ 

Orange 3  Rubato  Gradual  Round Round Comfortable

Orange 4  No (slightly long ½ notes) 

Gradual  Round Round Loud

Red 2  Yes  Gradual  Short Short ‐ 

Red 3  No  Gradual  Long Long ‐ 

Red 4  Yes  Sudden  Short Short ‐ 

Green 1  Rubato  Gradual  Round Round Comfortable

Green 3  No  Gradual  Short Short Loud

Green 4  No  Gradual  Round Round Comfortable

Gray 1  Rubato  Gradual  Round Round ‐ 

Gray 2  Rubato  Gradual  Round Round ‐ 

 

Rubatoinfirsttwobars

EverysectionexceptOrchestraOrangehadamajorityofplayersagreeonthiscategory,but

thetabledoesnotseemtoindicateasstrongagroupingforthiscategoryasitdidforcategories

below.Furthermore,asindicatedonthetable,someofthemusiciansusedminoralterationswithin

criteriafragmentingthiscategoryfurther.However,Chapter3explainedthattheYesandRubato

criteriaonlydifferbythelengthofthesixteenthnotesineachmeasureandthereforesoundvery

similar.Whenconsideringthis,itbecomesclearthatOrchestraGreenistheonlysectionthat

preferredthestricterNocriterionwhileOrchestraYellow,OrchestraBlue,OrchestraPurple,and

                                                            gYes=allnotesintime;No=longnotesarenotinstrictrelationto8thnotes;Rubato=8thnotesare

intimewithhalfnotes,but16thnotesarecompressedhGradual=accelerandohappensthroughoutbar3;Sudden=allabreveatbeginningofbar3iLong=blockshapewithverylittlespacebetweennotes;Short=separatedwithnotaper(block

shape);Round=separatedbutwithtaperjLong=blockshapewithverylittlespacebetweennotes;Short=hardstaccato;Round=separated

butwithtaperk(Onlyifmentionedbyteacherspecifically);Loud=forcefuloraggressivedynamic;Comfortable=

relaxeddynamic,butstillfull

81  

 

OrchestraRedfavoredtherelativelyfreeYesandRubatocriteria.OrchestraOrangewastheonly

sectionwhichdidnothaveamajorityofmembersfavoraparticularmethod.

Tempochange

Themethodofaccelerandowasalmostunanimousacrossalltheplayersinfavorofthe

‘gradual’accelerando,meaningthatitisnotveryusefulindifferentiatingthemusicians.

Furthermore,ofthefouroutliersthatusedtheSuddencriterion,Blue2admittedthathethoughtof

itasa‘gradual’accelerando,buthechangesthetempoquicklybeginninginbar3.Becauseofthis,

hisinterpretationsoundslikeanallabreve,hencehisinclusionintheSuddengrouping.Theother

threeoutliershaveonethingincommon:theywerethreeofthefouroldestperformersinthe

project.Therefore,theallabrevestyleisprobablyanolderinterpretationofthisexcerptthathas

fallenoutoffavor;thishypothesisisdiscussedfurtherunderWilliamsVacchiano’sstudentsinthe

nextchapter.

Shapesof8thnotes

Bothcategoriesthatlabel8thnotesinthetwoportionsofthisexcerptshowedstrong

groupingineverysectionexceptOrchestraPurple.Dependingonthesection,theplayersfavored

eitherRoundorShorteighthnotesshapes.OrchestraOrangewasunanimousintheirchoicesof

Roundeighthnotesforbothparts,butOrchestraBlue,OrchestraRed,andOrchestraGreenalsohad

amajorityofplayerschooseRoundeighthnotes.OrchestraYellowwasthemostinterestingcase,as

threeoutofthefourmemberschoseRoundeighthnotesforthefirsthalfbutswitchedtoShort

eighthnotesforthesecondhalf.Onlyeightofthetwenty‐twoparticipantschosetochangetheir

noteshapesbetweenthetwoparts,andOrchestraYellowhadfourofthese.Therefore,itisunlikely

tobeacoincidencethatthreeoftheOrchestraYellowmemberschangedstylesbetweenthetwo

halvesinadditiontousingthesamestylesinbothhalves.Ofthesethreemusicians,Yellow2is

relativelynewtothesection,butYellow1andYellow3havebeenplayingtogetherforsevenyears.

Consideringtheirchairs,Yellow4wouldlikelyneverplaythispiece,whichmightexplainwhyhis

82  

 

choicesforthetwohalvesoftheexcerptweretheexactoppositeofhisthreecolleagues.Overall,

thiscategoryrepresentsastrongcaseforcollegialinfluenceonthisexcerpt.

Beethovenconclusionsbysection

Basedonthetables,OrchestraOrangewaseasilythemostunifiedsectionontheBeethoven.

NotonlydidtheyallusetheGradualaccelerando,buttheymatchednotelengthsinbothhalvesof

theexcerptandonlydifferedonthestrictnessoftheirtimeintheopening.Whenexaminedas

sections,OrchestraYellow,OrchestraBlue,andOrchestraGreenallhadamajorityofthesame

answersineachcategory.However,forexcerptinterpretationstosoundsimilar,thecategories

mustalignfromplayertoplayer.Forexample,usingthemajorityanswersfromtheOrchestraBlue

sectioninBeethoven,wecanestablishthatthe‘compiled’interpretationforOrchestraBlue

employsRubatointhefirsttwobars,aGradualaccelerando,andRoundeighthnotesinbothhalves

oftheexcerpt.Thisisusefulasitgivesperformersausableguideinhowtointerprettheexcerpt,

andthisinterpretationdoesmatchperfectlywiththeprincipal’sinterpretation.However,whenI

actuallylistenedtothefourrecordingsinsequence,onlytwoofthemtrulysoundedsimilar,Blue1

andBlue4,becausetheymatchedallfourcriteria.Blue3onlymatchedtwooftheprincipal’s

criteria,andBlue2onlymatchedoneoftheprincipal’s.Whiletheircriteriacontributedtothe

majorityconsensusofinterpretation,theydonothaveasimilarinterpretationtowhatwasjust

establishedasthe‘OrchestraBlueinterpretation.’Therefore,OrchestraOrangeistheonlysection

thathadamajorityofplayersinterpretingthisexcerptinthesameway.

OtherthanOrchestraOrange,nosectionhaddiscernablecommonalitiescorrespondingto

thetables,althoughsomeplayerswithinthosesectionsmatchedupwell,particularlywhen

includingnon‐objectiveresults.Forexample,Yellow2andYellow3wereverysimilar.Theonly

differenceintheirinterpretationswasthatYellow3compresseshisfirstsixteenthnotesslightly;

otherwise,theiroverallstructure,notelengths,andtempochangesmatchedclosely.Furthermore,

eventhoughvibratousagewasnotabletobeincludedintheoverallcomparisons,Yellow1,Yellow

83  

 

2,andYellow3allsuggestedthattheymaychoosetousenovibratoonthisexcerpt.Becauseof

thesemultiplesimilarities,OrchestraYellowdoesshowastronginfluenceasasection.Some

playershadsimilargroupinginmultiplecategories,suchasGreen1andGreen4,butthiscouldbe

attributedtotheirsimilareducationalbackgrounds.Chapter9willexplorethisunderthestudents

ofBarbaraButlerandCharlieGeyer.Blue4isremarkablysimilartoBlue1’sinterpretation,butthis

isnotsurprisingasheisaself‐proclaimed“[Blue1]admirer.”

Bizet

TheBizetexcerptdifferedfromtheotherexcerptsinthattheprimarydecision,‘Method

usedtoplaylowE♭’,isamechanicaldecisionratherthanamusicalone.WhenIbeganthisproject,I

didnotrealizethatadecisionbasedonmechanicswouldbeconsiderablymorepersonalthan

musicaldecisions,andthisdifferenceaffectedthegroupingsconsiderably. 

84  

 

Table4.BizetSortedbySection

Musician  Method used to play low E♭l  Tempo Dynamic goal of each 2‐bar phrasem  Beginning dynamic

Yellow 1  Trigger opening  75 Beat 3 Mezzo forte 

Yellow 2  Custom equipment (tuning slide)  60 Downbeat Mezzo forte 

Yellow 3  Pull tuning slide  64 Downbeat Mezzo forte plus

Yellow 4  Trigger 1 bar  60 Downbeat Mezzo forte plus

Purple 1  Trigger opening  60 Downbeat Mezzo forte plus

Purple 2  Trigger 1 bar  65 Downbeat Mezzo forte 

Blue 1  Trigger 1 bar  65 Downbeat ‐ 

Blue 2  Trigger 1 bar  64 Beat 3 Mezzo forte 

Blue 3  Trigger 1 bar (plus following 2 bars) 58 Downbeat Mezzo forte plus

Blue 4  Trigger 1 bar  60 Downbeat Mezzo forte 

Orange 1  Only low E♭  70 (?) Downbeat Under celli 

Orange 2  Custom equipment (The Shredder) 60 Downbeat Mezzo forte 

Orange 3  Trigger 1 bar  66 Downbeat Easy forte 

Orange 4  Trigger 1 bar  60 Beat 3 Mezzo ‘comfortable’

Red 2  Trigger opening  64 Downbeat Comfortable forte

Red 3  Pull tuning slide  65 Beat 3 Mezzo forte 

Red 4  Trigger 1 bar  60 Downbeat ‐ 

Green 1  Trigger 1 bar  65 Downbeat Comfortable forte

Green 3  Trigger opening  68 Downbeat ‐ 

Green 4  Trigger 1 bar  ‐ Downbeat ‐ 

Gray 1  Trigger 1 bar  60 Downbeat ‐ 

Gray 2  Trigger 1 bar  62 Downbeat Mezzo forte 

 

MethodforreachinglowconcertE♭

Inmyexperienceasaperformer,itiseasiesttoplaythisexcerptintunewithinthetrumpet

sectionwhenbothplayersareusingthesamemethodtoreachthelowconcertE♭.Evenifboth

trumpetersareplayingatthecorrectpitch,thedifferentfingeringscancreateverydifferent

timbresmakingitseemoutoftune.Becauseofthis,Ithoughttherewouldbeagreementwithin

eachsectiononhowtoapproachthismechanically,yetthiswasnotthecase;OrchestraBluewas

theonlysectionthathadmorethantwoplayersusingthesamemethod.

Nevertheless,therewasareasonthatthesesectionsdidnotgroupstronglyinthiscategory.

Mostoftheteacherstoldmethattheychosetheirmethodbasedentirelyonwhatgavethemthe

bestresultsintheaudition,andPurple2evenadmittedtocreatinganalternateembouchurejust                                                            

lOnlylowE♭=onlytriggersthe3rdvalveforthelowE♭;Trigger1bar=pulloutthirdslideandusefalsefingeringsonlyfor2‐barmini‐phrasewithlownote;Triggeropening=pulloutthirdslideforopening8,9,or10bars;Triggerall=pulloutthirdslideforentireexcerptandusefalsefingering;Customequipment=

hadcustomhornorslidebuilttoplayinA;Pulltuningslide=pullsB♭tuningslideoutmEven=simplylyricalwithnodynamicgoal;Downbeat=downbeatof2ndbar;Beat3=3rdbeatof

1stbar

85  

 

forthefirstportionofthisexcerpt.Manyofthemremindedmethatthereasonforincludingthis

excerptonanauditionisnottodeterminewhichmethodtheplayeremploys;rather,itisto

determinewhocanovercometheobstaclewiththegreatesteaseandstillconveyacoherent

musicalphrase.Inthislight,itmakessensethateachplayerwouldembracethemethodthat

allowedthemtocopemosteasilywiththehurdle.Furthermore,manyadmittedtobeing

comfortablewithrelyingonalessconsistentmethodinperformance,e.g.playingtheconcertE♭as

apedaltonewithoutslideassistance,becausetheyweretryingtoplaybeneaththedynamicofthe

cellosectionanyway.2

Tempo

Tempochoiceswithineachsectionwerecompletelyinconsistent.Onlytwosections,

OrchestraYellowandOrchestraOrange,hadeventwoplayerswithinonebeatperminuteofeach

other,andthesewerebothatthetempocommonlymarkedontheexcerpt,60.

Phrasinggoalofeachmini‐phrase

LiketheaccelerandomethodfromtheBeethoven,thiscriterionwasalmostentirely

unanimous.AllbutfourplayerschosetheDownbeatcriterion,andthefouroutliersallbelongedto

differentsections,haddifferentteachers,andcamefromdifferentgenerations.Inshort,theyhad

nothingincommon.

Bizetconclusionsbysection

ThetwoinconsistenciesofthisexcerptasdefinedinPartI,thetiednotediscrepancyand

thereleaseofeachtwo‐measurephrase,madetheinterpretationsofthisexcerptextremelydifficult

tocompare.However,theexistenceofthesetwoinconsistenciesfurthersupportsthepreliminary

conclusionsthatthesetrumpetsectionsdidnotgroupwell.Thisdivergencewasespecially

                                                            2 Because of the acoustics of trumpets with only three valves, it is not possible to play below the first overtone of the instrument’s overtone series. Therefore, any note below the written low F♯ of a particular keyed trumpet, e.g. 

C or E♭, can only be played through physical manipulation of the performer’s embouchure, airstream, and throat. These false notes are called pedal tones. 

86  

 

surprisinggiventheprominenceoftheTrigger1phrasetechniqueforplayingthelowconcertE♭

andtheDownbeatmethodofphrasingforeachmini‐phrase;itseemedlikelythatgiventhesetwo

strongmajorities,chancealonewouldhavealignedtheinterpretationsofthemembersofatleast

onesection.Yetthetempochoicesweretoovariedformostoftheseinterpretationstosound

similar.Especiallywhenconsideringthatatthelowermetronomicspeedofthisexcerpt,the

differencebetweenoneortwobeatsperminutewasmoreexaggeratedthanitwouldhavebeenata

fastertempo.

Mahler

BecauseofthepopularityoftheMahlerexcerptamongtrumpeters,Ithoughtthisexcerpt

wouldhavemoreindividualnuancethantheotherexcerptsandthereforewouldbemoredifficult

todefinecategories.WhiletherewascertainlynolackofindividualityontheMahler,manyofthe

participantscitedsimilarinfluences,andthisnotonlyshowedwithintheirinterpretations,but

madegeneralizingthecategoriesmuchsimpler.

87  

 

Table5.MahlerSortedbySection

Musician  Method for rushing triplets

n 

Phrasing of openingo

Quarter note triplet

p 

Tempo (half note) 

Rushing of last triplets

q 

Yellow 1  Half note frame  ‐  Steady 68 No 

Yellow 2  6/4  Terrace (w/out pull back after 3rd) 

Steady 52 Yes 

Yellow 3  6/4  Terrace  Steady 60 Yes 

Yellow 4  6/4  Terrace  Steady 68 ‐ 

Purple 1  6/4  Terrace  Rushed 65 Yes 

Purple 2  16th notes  ‐  Rushed ‐ Yes 

Blue 1  6/4  Terrace  Rushed 60 Yes 

Blue 2  6/4  Terrace  Rushed 64 Yes 

Blue 3  16th notes  ‐  Rushed 58 Yes 

Blue 4  6/4  Terrace (Troops marching) Rushed 65 Yes 

Orange 1  Half note frame  Terrace  Rushed 66 Slight 

Orange 2  Half note frame (Pendulum) 

Terrace (Pendulum) Steady 55 Slight 

Orange 3  Half note frame  As marked  Rushed 62 Yes 

Orange 4  Half note frame  As marked  Steady 66 No 

Red 2  16th note  Terrace (but starts at mf) Rushed 64 Yes 

Red 3  Half note frame  As marked  Rushed 65 Yes 

Red 4  Half note frame  As marked  Rushed 66 Yes 

Green 1  6/4  Terrace  Rushed 62 Yes 

Green 3  6/4  As marked  Steady 66 ‐ 

Green 4  6/4  Terrace  Rushed ‐ Slight 

Gray 1  Half note frame  As marked  Rushed 54 Yes 

Gray 2  6/4  Terrace  Steady 66 Yes 

 

Pacingofopening

Onlyonesectionwasunanimousinthiscategory—OrchestraGreenusedthe6/4method—

buteveryothersectiongroupedintoatleastamajority.Evenmoreinterestingwasthatthe

preferredmethoddifferedbetweensections,indicatingthatcolleagueshadanoticeableinfluence

onthiscategory.OrchestraYellow,OrchestraBlue,andOrchestraGreenallhadamajorityof

membersthatfavoredthe6/4method,butOrchestraOrangeandOrchestraRedbothchosetheHalf

noteframe.The16thnotemethodwasrelegatedtoanunusualindividualpreference,andnosection

hadmorethanonepersonusingthismethod.

Phrasingofopening

                                                            n6/4=dividethehalfnoteintothreeandplacea16thnotetripletonthelastbeat;16thnotes=play

three16thnotesbeginningonthe‘e’ofbeat4;Halfnoteframe=getstempoandjust‘fits’rushedtripletsoTerrace=startatpianoandeachofthefirstthreeiterationsgetlouder(p‐mp‐mf)comebackdown

onelevelfor4thiterationandeachonegetsloudertolastforte;Asmarked=playsexactlywhatismarkedinthepart

pRushed=accelerandothroughthefigure,eachnotegetsquicker;Steady=allthreenotesareequal,butplayedfasterthananactualquarternote

qYes=sameasopening;No=intimetriplets;Slight=rushed,butnotasfastastheopening

88  

 

OnlyOrchestraYellow,utilizingtheTerracecriterion,wasunanimousinthiscategory.The

Terracemethodwasthemostcommonchoiceoverall,buteveryothersectionhadafairlyevenmix

oftheothercriteria.Conversely,OrchestraRedandOrchestraOrangehadmoremembersusingthe

Asmarkedstyle.Astheprincipalplayersaretheonlytrumpeterswhoregularlyperformthis

excerpt,thefactthateveryprincipalusedtheTerracecriterionwasthemostusefulinformationto

anyaspiringperformer.

Quarternotetriplet

OrchestraPurple,OrchestraBlue,andOrchestraRedwereunanimousinchoosingaRushed

quarternotetriplet,whiletheOrchestraYellowsectionwasunanimousinusingaSteadyquarter

notetriplet.AmajorityoftheOrchestraGreenplayersalsousedtheRushedtriplet,especiallywhen

includingtheformermemberoftheirsection,Gray1.OrchestraOrangewastheonlysectionwith

anevensplitbetweenthetwostyles.Thiscategoryhadthetightestgroupingbysectionofanyof

thecriteriathusfar.However,theRushedtripletwasbyfarthemostcommon,andonlyonesection

unanimouslychosesomethingdifferent.Fromtheseresults,wecanassumethatsomething

happenedwithinOrchestraYellowtopushthemtowardthelesscommonchoice,butdetermining

whatthatwaswouldinvolvegatheringmuchmorebackgroundinformation.Whenaskedaboutthis

preference,Yellow4citedhisGermanstudentsinsayingthatthistriplet“shouldbenobigdeal.”

Theotherthreemembersofthisorchestrasimplystatedthatitwasapersonalpreference,but

Yellow1admittedthathethoughttheRushedtripletsounded“corny”.

Tempo

Theresultswereinconsistentwithineachsectionontempochoicesonthisexcerpt.This

mightbeattributedtothefactthatsomeofthetrumpetersplayedtheopeningsevenbarswith

rubatoyetswitchedtoasteadiertempobeginninginm.8,buttherewasstilllittleconsensuswithin

thesections.OrchestraRedwasthemostconsistentsectionaseachofitsmemberschoseatempo

ofeither64or65bpm.OrchestraYellow,OrchestraBlue,andOrchestraOrangeallhadanextreme

89  

 

outlierwhochoseatempobelow59bpm,buttheirothermemberswerestillspreadbetween60

and66bpm.

Rushingoflasttriplets

Again,OrchestraRedwasunanimous,butOrchestraBlueandOrchestraPurplewerealso

unanimousinchoosingtorushthefinaltripletsinthesamemannerastheopening.

Mahlerconclusionsbysection

Ifwesettempoaside,theresultsseemtoimplythatthetrumpeterswerestrongly

influencedbytheircolleaguesontheMahlerexcerpt.Whileeachsectionhadoneoutlier,amajority

fromeachsectionwasremarkablysimilar,andfurthermore,mostofthesectionshaditsown

clearlydefinedapproachthatwasuniquetothatsection.Forexample,OrchestraBluehada

compiledinterpretationthatmatchedtheprincipal’sinterpretationexactly.Thiscompiled

interpretationwasthe6/4pacingoftheopening,Terracephrasing,andaRushedquarternote

triplet.Incontrast,OrchestraOrangeunanimouslyusedaHalfnoteframeopeningratherthan

OrchestraBlue’s6/4method,andOrchestraYellowunanimouslychosetouseaSteadyquarternote

tripletopposedtoOrchestraBlue’sRushedquarternotetriplet.Thestronggroupingwithineach

sectioncoupledwiththedifferentiationbetweenthesectionssuggeststhatcolleagueshadastrong

influenceonthisexcerpt.

Mussorgsky

Unliketheotherexcerptsincludedinthisproject,thecategoriesforthisexcerptarebroader

andcovertheentiretyoftheexcerpt.Twoofthecriteria,‘Tempo’and‘Shapeofquarternotes’,are

theprimarydeterminantsinhowthisexcerptsounds,becausewhencombined,theydescribe

almosteverynoteinthisexcerpt.Theconcentratedeffectofhavingonlytwoprominentcategories

madedifferentiatingtheparticipantsmoredifficultthansomeoftheotherexcerpts.

 

90  

 

Table6.MussorgskySortedbySection

Musician  Tempo  Shape of quarter notesr

Goal of each phrases

Extra breatht 

Yellow 1  90  Sustained  Even ‐ 

Yellow 2  88  Bell tones  Even, except last two octave jumps Last bar 

Yellow 3  88  Sustained  Even Last bar 

Yellow 4  82  Sustained  Hairpin ‐ 

Purple 1  86  Sustained  Even No 

Purple 2  84  Sustained  Even Last bar 

Blue 1  96  Sustained  Even No 

Blue 2  92  Sustained  Arc No 

Blue 3  84  Lyrical  Even Last bar 

Blue 4  88  Lyrical  Even No 

Orange 1  90  Sustained  Arc Last bar 

Orange 2  84  Bell tones  Even Last bar 

Orange 3  90  Bell tones  Arc No in audition 

Orange 4  88  Lyrical  Even, then Metric Division for last two bars 

Last Bar 

Red 2  90  Sustained  ‐ ‐ 

Red 3  92  Bell tones  Arc No 

Red 4  88  Sustained  Even Last Bar 

Green 1  88  Sustained  Hairpin No 

Green 3  90  Sustained  Metric division (2+3+3+3, then 3+3+2+3) 

‐ 

Green 4  90  Sustained  Hairpin (except last phrase goes to 

high A♭ ) Last Bar 

Gray 1  92  Sustained  Even  

Gray 2  84  Sustained  Even No 

 

Tempo

EveryorchestraexceptOrchestraBluegroupedwellontempo.Theaveragetempoof

OrchestraPurple,85bpm,wasslightlyslowerthanOrchestraYellow,OrchestraOrange,Orchestra

Green,andOrchestraRed,whichwereallaround90bpm.However,OrchestraYellowand

OrchestraOrangeeachhadoneplayerwhochosetoplaythisexcerptnoticeablyslowerthanthe

restoftheirsection.

Shapeofquarternote

OrchestraGreenandOrchestraPurplewerebothunanimousinchoosingtheSustained

style,andOrchestraYellowandOrchestraRedhadamajorityofplayersusingthiscriterionaswell.

                                                            rTapered=clearbutnotbouncyfront,tapers,noseparation;Belltones=bouncyfront,tapers,no

separation;Sustained=slightlyaccentedfront,blockshapednote,noseparation;Lyrical=blockshapednote,noseparation

sHairpin=downbeatofsecondbar;Arc=secondDorlastC;Even=noobviousgoal,justforwardmotion;Metricdivision=dividesthetwobarsupintomultiplesmallerbarstoemphasizecertainbeats

tLastbar=OKtobreathbeforelastbar;No=doesnotuseanybreathotherthanbeginningofeachphrase

91  

 

Conversely,OrchestraBlueandOrchestraOrangehadawidevarianceofcriteriawithintheir

sections.

Goalofeachphrase

MostsectionswereequallysplitbetweenEvenandArc,butOrchestraGreenwasunitedin

theiruseofalternativemethods;twoofthemusedtheHairpinphrasing,whiletheotherused

Metricmodulation.OutsideofOrchestraGreen,therewasonlyoneotheruseofeitherofthese

methods,andthatuseofMetricmodulationwasonlyappliedtoasmallportionoftheexcerpt.

Mussorgskyconclusionsbysection

TheresultsfortheMussorgskyexcerptconcludedsimilarlytotheresultsfortheBeethoven

excerpt.Itwaseasytoestablishacompiledinterpretationforeachsection,astherewereclear

majoritiesinmostcategories.However,theindividualapproacheswerenotsimilarenoughto

concludethatthemembersofeachsectionwereinfluencingtheircolleagues.Forexample,a

majorityofthemembersinOrchestraYellowuseatempobetween88and90bpm,Sustained

quarternotes,andEvenphrasing,butonlytwoofthemembersactuallymatchedbothofthe

primarycategoriesfordeterminingsimilarityonthisexcerpt.Asmentionedabove,Ifeelthatthe

encompassingnatureofthecategoriesisprimarilyresponsibleforthevariedresults;threeofthe

comparablecategories;‘Tempo’,‘Shapeofquarternote’,and‘Goalofeachphrase’;arepresent

throughouttheentireexcerpt.Conversely,ontheMahlerexcerpt,twoplayerscouldsoundsimilar

eveniftheyuseddifferentmethodsonthe‘Quarternotetriplet’or‘Rushingoflasttriplets’,because

thecategoriesonlyapplytoasmallportionoftheexcerpt.OntheMussorgsky,however,thetwo

mostimportantcategories,‘Tempo’and‘Shapeofquarternote’,3arepresentthroughoutthe

excerpt,andifonlyoneofthesetwoisdifferentfromanothertrumpeter,thetwointerpretations

willstillsounddifferentoverall.Thatbeingsaid,theOrchestraGreensectionmatchedboth‘Tempo’

and‘Shapeofquarternotes’,soeventhoughtheychosedifferentlyin‘Goalofeachphrase’,their

                                                            3 ThereasoningfortheimportanceofthesetwocategoriesisdefinedinChapter6,theMussorgsky

chapter. 

92  

 

interpretationssoundcomparable.BothoftheplayersfromOrchestraPurplesoundedverysimilar,

butasdiscussedpreviously,theywerealsothesmallestsamplesizeofanyorchestra.Twoplayers

eachfromOrchestraYellow,OrchestraBlue,andOrchestraRedsoundedsimilaraswell,butas

sections,therewasnotanoverallstrongcorrelation.

Respighi

AsmentionedinChapter7,TheRespighiwassimilartotheBizetinthatthecategoriesdid

notmarkedlydifferentiatetheinterpretationsoftheparticipants.UnliketheBizetthough,the

reasonwasnotbecausetheplayerswereinconsistent;itwasduetothegroup’stendenciesto

approachthisexcerptinthesamemanner.MostofthecategoriesfortheRespighihavestrong

majoritiesthroughoutalloftheparticipants,makingitdifficulttodeterminewhetherany

commonalitiesareduetoaparticularinfluence,suchastheircolleagues.

93  

 

Table7.RespighiSortedbySection

Musician  Tempo  Rubatou  Vibrato Phrasing methods

vLast note

w

Yellow 1  70  Beat  Yes Contour Partial 

Yellow 2  55  Slight  Yes Upper neighbor None 

Yellow 3  64  Beat  Yes Upper neighbor (through vibrato) 

End 

Yellow 4  62  Beat  Yes ‐ Partial 

Purple 1  60  Slight  Yes Upper neighbor ‐ 

Purple 2  64  No  Yes Upper neighbor ‐ 

Blue 1  60  Slight  Yes Contour Partial 

Blue 2  60  Phrase  Yes Upper neighbor End 

Blue 3  58  Beat  Yes Upper neighbor End (but slows)

Blue 4  62  Beat  Yes Upper neighbor Partial 

Orange 1  70  Beat  Yes Upper neighbor Partial 

Orange 2  56  Beat  Yes Upper neighbor Partial 

Orange 3  60  No  Yes Contour Partial 

Orange 4  64  Beat  Yes Upper neighbor Partial 

Red 2  66  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Red 3  68  Phrase  Yes Upper neighbor End 

Red 4  60  ‐  Yes Upper neighbor ‐ 

Green 1  62  Beat  Yes Upper neighbor Partial 

Green 3  64  Beat  Yes ‐ ‐ 

Green 4  66  Beat  Yes Upper neighbor End 

Gray 1  72  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Gray 2  60  Slight  Yes Upper neighbor ‐ 

 

Tempo

ThemembersofOrchestraGreenandOrchestraBluechosetempiwithinfourbpmofeach

other.Theothersectionshadafarwidervariance;OrchestraYellow’sprincipalandsecondplayers

wereactuallyafullfifteenbpmapart.Admittedly,theconsensustemposeemedtobearound60

bpm,buttwooftheprincipals,Orange1andYellow1,preferredmuchfastertempithantherestof

theirsections.

Rubato

OrchestraYellow,OrchestraOrange,andOrchestraGreenallhadamajorityofplayersthat

userubatowithineachbeat.OrchestraGreenwasunanimousinthis,andOrchestraYellow’sone

                                                            uBeat=absolutebeat,butroomwithinbeats;Phrase=beatsareflexible;Slight=occasionalrubato

withinbeat,butmostlystrict;Strict=norubatovUpperneighbor=generallyaimsforupperneighborappoggiatura,alsofollowscontour;Contour=

followsgeneralshapeofline,butgivesnoparticularnotesemphasiswEnd=vibratoallthewaytotheend;Partial=beginswithvibratoandfadestostill;None=no

vibrato

94  

 

differingplayer,Yellow2,didoccasionallyuserubatowithinthebeat,albeitmuchlessfrequently

thanhissection‐mates.OrchestraBlue,OrchestraPurple,andOrchestraRedhadverylittle

agreementinthiscategory.

Phrasingmethods

The‘upperneighbor’phrasingwaspopularenoughthateveryorchestrahadamajorityof

playersusingthis.OrchestraGreen,OrchestraPurple,andOrchestraRedwereallunanimous,but

theothersonlyhadoneoutliereach.

Respighiconclusionsbysection

Thelyricalnatureofthisexcerptlendsitselftoindividualisticexpression,butthe

interpretationswerequiteconsistentwithinsomeofthesections—OrchestraGreen,Orchestra

Orange,andOrchestraBlueinparticular.OrchestraGreenwasnearlyunanimous,andwhile

OrchestraOrangedidhaveawidevarietyoftempi,Orange3wastheonlyobviousoutlier.Forthe

OrchestraBluesection,the‘Tempo’and‘Phrasingmethods’categoriesgroupedwell,but‘Rubato’

categoryismoresimilarthanitseemsatfirstglance.IntheRespighichapterofPartI,theSlightand

Beatcriteriawereestablishedasquitesimilarinoverallstyle,becausetheSlightinterpretationis

simplyaslightlyrestrainedversionoftheBeatmethod.Therefore,theOrchestraBluesectionhad

fairlystrongmajoritiesineachofthecategories,andtheiroverallsimilaritieswereconfirmedby

listeningtotherecordings.However,theotherthreesectionsdidnotgroupnearlyaswell.In

particular,theprincipalandsecondtrumpetersinOrchestraYellowandOrchestraOrangewere

twoofthemostinterestingcontrasts.ThetwoprincipalplayerschosetoplaytheRespighimuch

fasterthanmost,andOrange1clearlystatedthathefeelsthat,“Alotofguysplaythistooslowly.”

However,theirsecondtrumpeters,Yellow2andOrange2,optedforthetwoslowesttempiofall

theparticipantsintheproject,yetinthelastfouryears,bothofthesesecondplayersweregiven

positionsintheorchestrabycommitteescontainingthesetwoprincipals.

95  

 

Overallconclusionsforcomparisonsbysections

Thecompletedcomparisonsofthesesixtrumpetsectionsyieldedmixedresults.Formostof

theseorchestras,itwaspossibletoestablishacompiledinterpretationusingthemajoritiesfrom

eachcategoryonalmosteveryexcerpt,andthissupportstheacceptedideathatsectionshave

establishedstyles.However,onlyhalfoftheplayersineachsectiontypicallymatchedenoughofthe

importantcategoriesinthecompiledinterpretationtotrulyrepresentthecompiledinterpretation.

Furthermore,manyoftheplayers’interpretationssharednotableresemblancestoeachotheron

particularexcerpts,butthesimilarplayerswithineachsectionoftenchangedfromexcerptto

excerpt.

Iexpectedcertaincomparisonstoyieldmoresimilarresults,buttheseassumptionswere

consistentlyincorrect.Forexample,becauseofthewayinwhichconcertseatingisassigned,the

principaltrumpetandsecondtrumpetarethetwoplayerswithinasectionwhoaremostlikelyto

playtogethereveryweekduringtheseason.YetasdiscussedundertheHaydnandRespighi

excerpts,thesepairingsofteninterprettheexcerptsincompletelydifferentfashions.

Also,lengthoftimeplayingwithaparticularplayerseemedtohavelittleeffectonhow

similartwoperformers’interpretationswere.Below,Ihaveinsertedatablethatshowshowlong

eachofthetrumpetershadbelongedtotheirsectionsatthetimeoftheinterview.

   

96  

 

Table 8. Number of Seasons with Current Orchestra 

Musician  Time with current orchestra

Yellow 1  28 years 

Yellow 2  3 years 

Yellow 3  7 years 

Yellow 4  28 years 

Purple 1  19 years 

Purple 2  8 years 

Blue 1  33 years 

Blue 2  2 years 

Blue 3  12 years 

Blue 4  4 years 

Orange 1  22 years 

Orange 2  11 years 

Orange 3  1 year 

Orange 4  4 years 

Red 2  19 years 

Red 3  9 years 

Red 4  36 years 

Green 1  6 years 

Green 3  17 years 

Green 4  8 years 

Gray 1  2 years with Orchestra Green

Gray 2  2 years 

 

Asdiscussedunderthe‘Tempo’categoryoftheHaydnabove,someofthesemusicianshave

farmoreincommonwithcolleagueswhohadhadlesstimetogetherratherthanmore.Onepossible

explanationisthatrecentadditionstotheorchestraareselectedbyanauditioncommittee

containingtheoldermusicians,whereasmanyoftheoldestparticipantsinthisprojectwent

throughaslightlydifferentprocessinwhichtheconductormayhavehadmoreinputthantheother

orchestramembersinvolvedintheselection.Regardlessofthereason,therewasnoidentifiable

methodtoforeseewhichplayerswouldgroupwithineachsectionandeachexcerpt.

Havingsaidthat,manyofthemembersofthesesectionspridedthemselvesonthecultureof

theircurrentorchestra.Forexample,everymemberofOrchestraOrangedescribedtheirpreferred

genericnoteshapethroughthesameunmistakableanalogy—deeplyparaphrased;eachnoteshould

be“likeasausage.”AllfouroftheOrchestraOrangemembersattributedthisanalogytotheformer

secondtrumpeterofOrchestraOrange.Whiletheobjectiveofthisdissertationisnotconcerned

withspecificpedagogicaltechniques,thisexampleshowsthatthesesectionsidentifythemselvesas

aunitregardlessoftheirindividualisticinterpretations.

97  

 

 

CHAPTER9—ExcerptBreakdownbyteacherYellow1hadthefollowinganecdoteabouthistimestudyingatJuilliardwithWilliam

Vacchiano,theformerprincipaloftheNewYorkPhilharmonic.

Icameintohisofficeformyfirstlesson,andIreallythoughtthatIwasgood.Asthelessonwenton,IfeltthatIwasplayingprettywell,andsoIwasn’tsurprisedwhenVacchianoturnedtomeandasked,“Doyouknowwhyyouguysmakeitsoeasytoteach?”Atthispoint,Iwasfullyexpectinghimtocomplimentmeonmynaturalabilities,butinstead,hesaid,“Becauseyouallmakethesamemistakes.”AlmosteveryoneofthetrumpeterswithwhomIstudiedforthisprojecthadasimilarly

amusingandinsightfulstoryabouttheirfavoriteteachers,andthefollowingcomparisonsattempt

toestablishwhatlastingeffectstheseteachersmayhavehadontheirstudents.Thischapterisan

analysissimilarinstructuretotheanalysisbytrumpetsectionsabove,buteachofthefollowing

sub‐chaptersiscategorizedbysharedteachersandinfluencesratherthancurrentcolleagues.Inthe

interviewportionofthelessonsforthisproject,Iaskedeachoftheparticipantstonametheir

primarymusicalinfluencesaswellasanyexperiencesthatleftalastingimpressiononthem.These

influenceswerenotlimitedtodirectteaching;theywereaskedtolistanyinfluencethattheyfelt

hadaneffectontheirmusicalgrowth,e.g.recordings,masterclasses,andformercolleagues.

Fromthisinformation,Idevelopedalistthatgroupsthesetrumpetersbyeachoftheirself‐

professedinfluences.Ihaveincludedthislistbelow,butthislistexcludesthemanyteachersand

influencesthathadonlyonestudent—thischapterisaboutcomparingthestudents,soitrequires

morethanonesubject.WhileIamsurethatalloftheseteachershavehadaprofoundeffectontheir

students,thispaper’scomparisonsfocusononlythoseteacherswhohadmultiplestudentslist

themasaprimaryinfluence,andIhavehighlightedthoseteachersinitalicizedtext.Aftereach

student’sname,Ihavelistedthemediuminwhichtheinfluencereachedthestudent.

98  

 

BernieAdelstein–ClevelandOrchestra

1. Yellow4–recordings2. Orange4–recordings3. Orange3–recordings4. Red2–recordings

MauriceAndre–solorecordingartist1. Yellow3–recordings2. Yellow1–recordings3. Orange1–recordings4. Orange4‐recordings

EugeneBlee–CincinnatiConservatoryofMusic,CincinnatiSymphony1. Yellow3–Primary,CCM2. Gray2–Primary,CCM3. Orange4–Primary,CCM4. Green3–Primary,CCM

LarryBlack–AtlantaSymphony(Cichowiczstudent)1. Orange4–colleague2. Green1–Primary,firstteacherin

HSBarbaraButler–NorthwesternUniversity,

EastmanSchoolofMusic1. Blue2–Primary,Northwestern2. Blue4–Primary,Northwestern3. Green4–Primary,Eastman4. Green1–Primary,Eastman

VincentCichowicz–ChicagoSymphony,NorthwesternUniversity1. Yellow3–onelessononly2. Purple1–Primary,Northwestern

PhilCollins–CincinnatiSymphony1. Orange4–Primary,lessons(not

affiliatedwithschool)2. Green3–Primary,lessons

JamesDarling–ClevelandOrchestra,BaldwinWallace,ClevelandInstituteofMusic1. Orange4–Primary,BW2. Orange3–Primary,BW3. Red2–Primary,BW

GlennFischthal1. Gray1–colleague2. Orange3–recordings

ChrisGekker–theJuilliardSchool,UniversityofMaryland,AmericanBrassQuintet,AspenMusicFestival1. Purple2–Primary,Aspen2. Orange2–Primary,Juilliard

CharlieGeyer–Eastman,AtlantaSymphony,Northwestern1. Yellow3–Primary,Eastman2. Blue2–Primary,Northwestern3. Blue4–Primary,Northwestern4. Green1–Primary,Eastman5. Purple2–fourorfivelessons

ArmandoGhitalla–UniversityofMichigan,NewEnglandConservatory,BostonSymphony1. Red2–Primary,NEC2. Orange1–somelessons

MarkGould–MetropolitanOpera,ManhattanSchoolofMusic,theJuilliardSchool1. Purple2–Primary,Juilliard2. Orange1–Primary,Juilliard3. Red3–somelessons

AdolphHerseth–ChicagoSymphonyOrchestra1. Yellow4–Primary,lessons2. Yellow3–recordings3. Purple1–recordings4. Purple2–recordings5. Blue2–recordings6. Blue3–recordings7. Gray1–recordings8. Orange1–somelessons,

recordings9. Green1–recordings10. Green3‐colleague

ArnoldJacobs–ChicagoSymphonyOrchestra1. Yellow4–Primary,manylessons2. Purple1–Primary,lessons3. Yellow3–onelessononly

99  

 

GilJohnson–PhiladelphiaOrchestra,UniversityofMiami1. Red4–Primary,quintetcoachat

Curtis,morethroughhisplaying2. Yellow4–recordings3. Blue3–recordings4. Red3–recordings

JohnLindenau–InterlochenSchoolfortheArts1. Purple2–Primary,Interlochen2. Blue3–Primary,Interlochen

WyntonMarsalis–recordingartist1. Blue4–recordings2. Green1–recordings

TimMorrison–BostonPops,BostonSymphonyOrchestra1. Purple1–colleague2. Orange3–recordings

VincentPenzarella–NewYorkPhilharmonic1. Yellow2–Primary,lessons2. Blue3–Primary,lessons

AnthonyPlog–LosAngelesfreelancer,numerousprofessionalorchestras1. Orange1–Primary,undergrad2. Yellow4–colleague

TomRolfs–BostonSymphonyOrchestra,NewEnglandConservatory,TanglewoodMusicFestival1. Purple2–Tanglewood2. Blue4–Tanglewood3. Blue2–Tanglewood

MichaelSachs–ClevelandOrchestra,ClevelandInstituteofMusic1. Purple2–Primary,CIM2. Orange2–somelessons,colleague

DocSeverinsen–recordingartist1. Yellow3–recordings2. Purple1–recordings3. Red2–recordings

CharlieSchlueter–BostonSymphony,NewEnglandConservatory,MinnesotaSymphony,UniversityofMinnesota1. Yellow2–Primary,NEC2. Purple1–Primary,Universityof

MinnesotaSusanSlaughter–St.LouisSymphony

1. Yellow2–recordings2. Green4‐colleague

PhilSmith–NewYorkPhilharmonic,ChicagoSymphonyOrchestra1. Yellow3–colleague,recordings2. Yellow2–recordings3. Purple2–recordings4. Blue2–colleague,recordings(self‐

admittedobsession)5. Blue4–colleague,recordings6. Green4–recordings7. Green1–somelessons,recordings8. Green3–recordings

MarieSpeziale–CincinnatiSymphony,IndianaUniversity,RiceUniversity1. Gray2–Primary,Indiana2. Green3–recordings

JamesStamp–LosAngelesPhilharmonic,UniversityofSouthernCalifornia1. Yellow1–Primary,USC2. Yellow4–Primary,lessons3. Orange1–Primary,lessons

TomStevens–LosAngelesPhilharmonic1. Yellow3–recordings2. Yellow1–lessonswhileinhigh

schoolandundergraduate3. Orange1–recordings

JamesThompson–AtlantaSymphony,Eastman,MontrealSymphony(JamesStampstudent)1. Green1–Primary,lessonsinhigh

schoolandundergraduate2. Yellow3–recordings3. Purple2–recordings4. Orange4–colleagues

100  

 

WilliamVacchiano–NewYorkPhilharmonic,theJuilliardSchool1. Yellow1–Primary,Juilliard2. Blue1–Primary,Juilliard3. Red2–Primary,lessonsover3

summersafterVacchianohadretired

4. Yellow4–recordings5. Orange1–somelessons

RogerVoisin–BostonSymphony,NewEnglandConservatory,TanglewoodMusicFestival1. Yellow4–recordings2. Yellow2–Tanglewood3. Blue3–somelessons4. Orange1–Tanglewood

Forthetablesundereachinfluencebelow,Ihavere‐groupedtheinformationfromthe

tablesofthepreviouschapterbytheteacher‐specificgroupingsonthelistabove.Todenote

primaryinfluences,Ihaveincludeda‘P’inparenthesesfollowingthenamesonthetable.Thetables

arestillcolor‐codedbysection,butthesetablesarearrangedtoreflecttwomorehierarchies.

Primarystudentsarealwayslistedabovenon‐primarystudents;andwithinthisordering,

participantshavebeenarrangedbyapproximateage,sopatternsthatmayoccuracrossgenerations

canberecognizedeasier. 

EugeneBleeandPhilCollins

EugeneBleeandPhilCollinsaregroupedtogetherastheywerebothprincipaltrumpet

playersintheCincinnatiSymphonyandtaughtatCincinnatiConservatoryofMusic.Furthermore,

theysharedmanyofthesamestudents,althoughEugeneBleehastwomoreincludedinthis

project,Yellow3andGray2.Oneoftheirstudents,Green3,describestheCincinnatitraditionas

stronglytiedtotheGermantradition.

EugeneBleewasprincipalinCincinnatifromthefiftiesthroughtheseventies.HispredecessorwasHelmuth‘Henry’WohlgemuthwhowasbroughttherebyReiner.Henrywastherefromthemid‐thirtiesuntilGenetookover.HenrywasfromGermany,sothat’swheremyGermanicmusicalheritagecomesfrom.Myinterpretationstendtoreflectthis.

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Blee’slinkstotheGermanheritagewillbediscussedfurtherbelow,particularlyasthey

differentiatehisstudentsfromCollins’s.Notonlydoeseachofthesefourstudentscurrentlybelong

todifferentorchestrasections,buttheiragesspantwenty‐fiveyears.

Table9.Blee/CollinsStudentsTeacher: Eugene Blee Hindemith: Sonata       

Musician  Tempo  Length and Direction of 1st Quarter Note 

Goal of 1st Phrase 

Phrasing of Descending Motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m.15 

Yellow 3 (P)  128  Long  Last C 2nd high note Final G  Slight

Green 3 (P)  112  Long  Low F 2nd high note, but both high Final G (w/ tongue) ‐

Orange 4 (P)  115  Long  Last C 2nd high note Final G  No

Gray 2 (P)  108  Long  Last C 2nd high note Final G, but last 3 notes 

Yes

 

Teacher: Phil Collins Hindemith: Sonata       

Musician  Tempo  Length and Direction of 1st Quarter Note 

Goal of 1st Phrase 

Phrasing of Descending Motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m.15 

Green 3 (P)  112  Long  Low F 2nd high note, but both high Final G (w/ tongue) ‐

Orange 4 (P)  115  Long  Last C 2nd high note Final G  No

 

Hindemith‐Withtheexceptionofthetemposelections,theHindemithexcerptwasquite

unifiedamongtheplayers.Admittedly,thedifferencesintempididmakeamarkeddifferencewhen

listeningtotheplayback,butthetechnicaldecisionsbearstrongresemblances.Green3wasthe

onlyonethatdidnotagreeonthe‘Goalof1stphrase’category.Also,whileitisnotatopicthatcan

beincludedinthisproject,hisextremedynamicvolumeforthisexcerptfurtherdistancedhis

interpretationfromtheotherthreewhenlisteningtotherecordings.Ontheotherhand,Orange4

andGray2werenoticeablysimilar,andYellow3paralleledbothofthemineverycategoryexcept

‘Tempo’.

Teacher: Eugene Blee Haydn: Concerto     

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Yellow 3 (P)  130  E, but pretty equal 

Long Tongue all Upper neighbor  Yes

Green 3 (P)  128  E  Detached Tongue all Directional rule  ‐ 

Orange 4 (P)  120  E  Detached Slur two, tongue two Melodic  ‐ 

Gray 2 (P)  115  C  Detached Slur two, tongue two Varies  Yes

    

102  

 

Teacher: Phil Collins Haydn: Concerto     

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Green 3 (P)  128  E  Detached Tongue all Directional rule  ‐ 

Orange 4 (P)  120  E  Detached Slur two, tongue two Melodic  ‐ 

 

Haydn‐AllfouroftheHaydninterpretationsweredifferent.Whiletheopeningtwobars

soundedfairlysimilar,thedifferencesin‘16thnotetonguing’and‘Trillmethods’createddrastically

differentstylesbetweenthefour.

Teacher: Eugene Blee Beethoven: Leonore     

Musician  Rubato in first two bars 

Tempo change 

Shape of 8th notes in 1st two bars Shape of 8th notes in last 4 bars 

Volume

Yellow 3 (P)  Rubato  Gradual Round Short  Loud

Green 3 (P)  No  Gradual Short Short  Loud

Orange 4 (P)  No (slightly long ½ notes) 

Gradual Round Round  Loud

Gray 2 (P)  Rubato  Gradual Round Round  ‐

 Teacher: Phil Collins Beethoven: Leonore     

Musician  Rubato in first two bars 

Tempo change 

Shape of 8th notes in 1st two bars 

Shape of 8th notes in last 4 bars 

Volume

Green 3 (P)  No  Gradual Short Short  Loud

Orange 4 (P)  No (slightly long ½ notes) 

Gradual Round Round  Loud

 

Beethoven‐LiketheHindemith,Yellow3andGray2interpretedthisexcerptquitesimilarly.

Ontheotherhand,bothOrange4andGreen3weresimilarintheirpacingandstructure,butthey

differedontheireighthnoteshapesandoverallstyle.

Teacher: Eugene Blee Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of each 2‐bar phrase 

Beginning dynamic

Yellow 3 (P)  Pull tuning slide  64 Downbeat Mezzo forte plus

Green 3 (P)  Trigger opening  68 Downbeat ‐ 

Orange 4 (P)  Trigger 1 bar  60 Beat 3 Mezzo ‘comfortable’

Gray 2 (P)  Trigger 1 bar  62 Downbeat Mezzo forte

 Teacher: Phil Collins Bizet: Carmen     

Musician  Method used to play low 

E♭ Tempo Dynamic goal of each 2‐bar phrase  Beginning dynamic

Green 3 (P)  Trigger opening  68 Downbeat ‐ 

Orange 4 (P)  Trigger 1 bar  60 Beat 3 Mezzo ‘comfortable’

 

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Bizet‐AsdiscussedintheBizetportionofChapter8,themethodforreachingthelow

concertE♭washighlyindividualized,soitwasnosurprisethattherewaslittleagreementonthat

withinthisgroup.Asforthemusicaldecisions,however,therewasafairlystronggroupingacross

allfourstudents.TheinterpretationofOrange4soundedthemostdifferentbecauseofthewayhe

shapedeachphrase,buttheotherswerequitesimilar.

Teacher: Eugene Blee Mahler: Sym. No. 5       

Musician  Method for rushing triplets Phrasing of opening Quarter note triplet Tempo (half note) 

Rushing of last triplets 

Yellow 3 (P)  6/4  Terrace Steady 60 Yes 

Green 3 (P)  6/4  As marked Steady 66 ‐ 

Orange 4 (P)  Half note frame  As marked Steady 66 No 

Gray 2 (P)  6/4  Terrace Steady 66 Yes 

 Teacher: Phil Collins Mahler: Sym. No. 5     

Musician  Method for rushing triplets Phrasing of opening Quarter note triplet Tempo (half note) 

Rushing of last triplets 

Green 3 (P)  6/4  As marked Steady 66 ‐ 

Orange 4 (P)  Half note frame  As marked Steady 66 No 

 

Mahler‐Onceagain,Yellow3andGray2matchedalmostperfectly.Gray2’stempowas

slightlyfaster,buttheirinterpretationswereotherwiseidentical.Bothoftheseplayerseven

suggestedanunwrittenaffectation;inm.12,theyrecommendedthattheG♯couldbestretched

eversoslightlytoallowmoretimeforthedramaticcrescendotothehighB.Anotherpointof

interestinthisgroupwasthechoiceoftheSteadymethodforrushingthequarternotetriplet.

OrchestraYellowwastheonlyorchestrasectiontostronglyfavortheSteadymethod,butallfourof

thesestudentschosetophrasethisway,includingthememberherewhobelongstoOrchestra

Yellow.TherewereonlyeightplayersintotalwhochosetheSteadymethod;halfofthemstudied

withBlee,andthisleadstoanimportantconnection.GivenGreen3’sdescriptionoftheGerman

heritageoftheCincinnatiplayers,itwasnosurprisethatoneofthenon‐Bleestudents,Yellow4,

saidthereasonhechosetheSteadyquarternotetripletisduetohisGermanstudents.Heclaims

thathehadtaughtmultipleGermanstudents,andeachofthemhadsaidthatintheirstudiesin

Germany,theyweretaughtthatthequarternotetriplet“shouldbenobigdeal”.Whilethisisnot

104  

 

enoughevidencetodrawadefinitiveconclusion,wecanhypothesizethattheSteadyquarternote

tripletmayhaveoriginatedintheGermantradition.Unfortunately,itwouldbeverydifficulttotest

thiswithoutstudyingdirectlyunderGermantrumpeters;myfirstinclinationwastotestthis

hypothesisagainstrecordingsofthispieceasperformedbyGermanorchestras,butIbelievethis

wouldbeanunreliablesourceastheconductormaybealteringthenaturalinclinationsofthe

trumpetplayer.

Teacher: Eugene Blee Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Yellow 3 (P)  88  Sustained  Even Last bar

Green 3 (P)  90  Sustained  Metric division (2+3+3+3, then 3+3+2+3) 

‐ 

Orange 4 (P)  88  Lyrical  Even, then Metric Division for last two bars 

Last Bar

Gray 2 (P)  84  Sustained  Even No 

 Teacher: Phil Collins Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Green 3 (P)  90  Sustained  Metric division (2+3+3+3, then 3+3+2+3) 

‐ 

Orange 4 (P)  88  Lyrical  Even, then Metric Division for last two bars 

Last Bar

 

Mussorgsky‐TheMussorgskyexcerpthadtwonoteworthysimilaritiesunderthe

Blee/Collinsstudents.ThefirstwasthatYellow3andGray2werealmostidenticalininterpretation

again.Theirphrasingandnoteshapechoicescreatedverysimilarsoundingrenditions,andtheir

tempiwerefairlyclose.

Green3’sandOrange4’suseofMetricmodulationphrasingwastheothernotable

developmentinthisgrouping,anditpresentsaveryinterestingcasefortheinfluenceofCollinsasa

teacher.Orange4andGreen3aretheonlytwoplayersintheentireprojecttouseMetric

modulationintheirphrasingofthisexcerpt,andbothstudiedwithBleeandCollins.However,

neitheroftheotherBleestudents,Yellow3andGray2,usedMetricmodulationinphrasing,and

neitherofthemstudiedwithCollins.Therefore,itislikelythattheMetricmodulationconcept

originatedwithCollins.Furthermore,Orange4usedalessstrictversionofMetricmodulation

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phrasingbyonlyusingitonthelasttwobars,whereasGreen3usedthisphrasingfortheentire

excerpt.ThiscouldbebecauseOrange4listedmultipleprimaryinfluences,yetGreen3listedonly

thesetwoCincinnatiteachersasprimaryinfluences.Orange4’scurrentinterpretationmay

thereforereflectbothCollins’sandBlee’steachingaswellasotherinfluences,whereasGreen3is

stillinfluencedbyhisonlyprimaryteachers.

Teacher: Eugene Blee Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Yellow 3 (P)  64  Beat  Yes Upper neighbor (through vibrato) 

End 

Green 3 (P)  64  Beat  Yes ‐ ‐ 

Orange 4 (P)  64  Beat  Yes Upper neighbor (most of the time) 

Partial

Gray 2 (P)  60  Slight  Yes Upper neighbor ‐ 

 Teacher: Phil Collins Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Green 3 (P)  64  Beat  Yes ‐ ‐ 

Orange 4 (P)  64  Beat  Yes Upper neighbor (most of the time) 

Partial

 

Respighi‐Allfouroftheplayerssoundedsimilaronthisexcerpt,withGray2beingslightly

stricterthantheotherthree.However,theirsimilaritieswerenotnecessarilyrelatedtoaparticular

influenceifweconsiderthattheoverallinterpretationsamongalltwenty‐twoplayerswerefairly

similarasdefinedinthepreviouschapter.

Blee/Collinsconclusions

Giventhedisparateagerangeofthefourstudentsandtheirvariouscurrentlocations,itis

nosurprisethatthereweredifferencesinmanyoftheirinterpretations.However,Yellow3and

Gray2weretwoverysimilarplayersininterpretationaswellasbeingtheyoungestandoldestto

havestudiedwithBlee.Yellow3tendedtochooseslightlybriskertempi,buttheinterpretationsof

bothplayerswereveryalike,exemplifiedbysuggestingthesameunwrittenaffectationinthe

Mahlerexcerpt.Interestingly,theybothstudiedonlywithBlee;theothertwostudents,Green3and

Orange4,studiedwithbothBleeandCollins.Green3andOrange4werealsomuchmoresimilarto

eachotherininterpretationsthantheyweretoYellow3andGray2.Therefore,Bleeshowsthe

106  

 

strongesteffectonbothYellow3andGray2,whileCollinsprovidedacontrastingviewforboth

Green3andOrange4.

 

BarbaraButlerandCharlieGeyer

LikeBleeandCollins,itisbeneficialtoexamineBarbaraButlerandCharlesGeyerasapair

aswell.Notonlyaretheymarried,buttheyhavetaughttogetherattheEastmanSchoolofMusic

andlatermovedtogethertojointhefacultyofNorthwesternUniversity.Theysharedmanyofthe

samestudentsasshowninthetables,andthetwostudentsuniquetoeachteacher,Purple2and

Yellow3,presentachancetostudyexactlywhichcharacteristicsbelongedtoeachteacher.Ofthe

students,Blue2andBlue4weretwooftheyoungestplayersintheproject,attendedschool

together,currentlyplayintheOrchestraBlue,andlistedButlerandGeyerastheironlyprimary

teachers.Itisthereforenotalargeleapoflogictoassumethattheyshouldhavemanysimilar

interpretations,althoughBlue4saidthathestudiedprimarilywithGeyerwhileBlue2spentmore

timewithButler.Green1andGreen4alsoattendedschooltogetherandcurrentlyplayinthesame

orchestra,butGreen4onlylistedButlerasaprimaryteacher.Yellow3wasmucholderthanallof

theseotherstudents,andPurple2onlyhadahandfuloflessonswithGeyer.Becauseofthis,I

expectedYellow3andPurple2tohaveweakertiestothisgroupthantheotherfour.

Table10.Butler/GeyerStudentsTeacher: Barbara Butler Hindemith: Sonata     

Musician  Tempo Length and Direction of 1st Quarter Note 

Goal of 1st Phrase 

Phrasing of Descending Motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Green 4 (P)  110  Long  Last C Last note Final G  No

Green 1 (P)  110  Separated  Low F 2nd high note, but both high Final G (w/ tongue)  No

Blue 2 (P)  115  Long  D♭   Both high notes Final G (w/out breath) 

No

Blue 4  114  Long  D♭   2nd high note, but both high Final G  Slight

    

107  

 

Teacher: Charles Geyer Hindemith: Sonata     

Musician  Tempo Length and Direction of 1st Quarter Note 

Goal of 1st Phrase 

Phrasing of Descending Motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Yellow 3 (P)  128  Long  Last C 2nd high note Final G  Slight

Green 1 (P)  110  Separated  Low F 2nd high note, but both high Final G (w/ tongue)  No

Blue 4 (P)  114  Long  D♭   2nd high note, but both high Final G  Slight

Blue 2 (P)  115  Long  D♭   Both high notes Final G (w/out breath) 

No

Purple 2  105  Long  Low F and Last C 

Last note ‐  ‐

 

Hindemith–Oftheplayersthatstudiedwiththesetwoteachers,onlyBlue2andBlue4

interpretedtheHindemithexcerptinasimilarmanner,whichofcourseisnotsurprisinggiventhe

strongtiestoeachotherlistedabove.Strangely,Green4andGreen1hadcompletelydifferent

interpretationsofthepiece.Thismaybeattributedtothefactthattheywerefromanolder

generationthanBlue4andBlue2andconsequentlyhadhadmoretimetodevelopseparately,but

theycurrentlyplayinthesameorchestraandhavedonesoforthelastsixyears.Asexpected,

Yellow3andPurple2hadverylittleincommonwiththeotherfour.

Teacher: Barbara Butler Haydn: Concerto       

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Green 4 (P)  ‐  E  Timpani Slur two, tongue two Upper neighbor (as grace note) 

Yes 

Green 1 (P)  120  ‐  Firm Tongue all Melodic No 

Blue 2 (P)  132  C  Timpani Slur two, tongue two Upper neighbor  No (different phrasing) 

Blue 4  120  C  Timpani Slur two, tongue two Upper neighbor  No 

Teacher: Charles Geyer Haydn: Concerto       

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Yellow 3 (P)  130  E, but pretty equal 

Long Tongue all Upper neighbor  Yes 

Green 1 (P)  120  ‐  Firm Tongue all Melodic No 

Blue 4 (P)  120  C  Timpani Slur two, tongue two Upper neighbor  No 

Blue 2 (P)  132  C  Timpani Slur two, tongue two Upper neighbor  No (different phrasing) 

Purple 2  ‐  ‐  Timpani Slur all Upper neighbor  Yes 

 

Haydn‐Onthisexcerpt,Blue4andBlue2wereagainsimilarininterpretation,butunlike

theHindemithexcerpt,Green4wasverysimilartobothofthemaswell.Therewasaslight

108  

 

differenceintheirtempi,buttheywerefairlyuniform.Otherwise,therewasverylittlegroupingin

thisexcerptamongtheotherstudentsofeitherteacher.

Teacher: Barbara Butler Beethoven: Leonore       

Musician  Rubato in first two bars 

Tempo change 

Shape of 8th notes in 1st two bars 

Shape of 8th notes in last 4 bars 

Volume

Green 4 (P)  No  Gradual Round Round  Comfortable

Green 1 (P)  Rubato  Gradual Round Round  Comfortable

Blue 2 (P)  Yes  Sudden Round Long Comfortable

Blue 4  Rubato (slight)  Gradual Round Round  Comfortable

Teacher: Charles Geyer Beethoven: Leonore     

Musician  Rubato in first two bars 

Tempo change 

Shape of 8th notes in 1st two bars 

Shape of 8th notes in last 4 bars 

Volume

Yellow 3 (P)  Rubato  Gradual Round Short Loud

Green 1 (P)  Rubato  Gradual Round Round Comfortable

Blue 4 (P)  Rubato (slight)  Gradual Round Round Comfortable

Blue 2 (P)  Yes  Sudden Round Long Comfortable

Purple 2  Yes  Gradual Long Short ‐

 

Beethoven‐Forthefirstorchestralexcerpt,weseethefirsthintofinterpretivedifferences

intheinterpretationsofBlue2andBlue4.Interestingly,Blue4andGreen1wereverysimilar,and

Yellow3sharedquiteabitincommonwithbothofthem.Unfortunately,theseresultsarerendered

somewhatambiguousasbothBlue2andPurple2weredissimilarfromtheotherthreeaswellas

eachother.

Teacher: Barbara Butler Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of each 2‐bar phrase 

Beginning dynamic 

Green 4 (P)  Trigger 1 bar  ‐ Downbeat ‐ 

Green 1 (P)  Trigger 1 bar  65 Downbeat Comfortable forte

Blue 2 (P)  Trigger 1 bar  64 Beat 3 Mezzo forte

Blue 4  Trigger 1 bar  60 Downbeat Mezzo forte

Teacher: Charles Geyer Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of each 2‐bar phrase 

Beginning dynamic

Yellow 3 (P)  Pull tuning slide  64 Downbeat Mezzo forte plus

Green 1 (P)  Trigger 1 bar  65 Downbeat Comfortable forte

Blue 4 (P)  Trigger 1 bar  60 Downbeat Mezzo forte

Blue 2 (P)  Trigger 1 bar  64 Beat 3 Mezzo forte

Purple 2  Trigger 1 bar  65 Downbeat Mezzo forte

 

Bizet‐WiththeexceptionofBlue2’schoicetophrasethetwo‐measurephrasestothethird

beatinsteadofthedownbeatofthenextbar,theBizetexcerptshowedextremelystronggrouping.

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YetasdiscussedinChapter4,thecategoriesfortheBizetwerenotthemostreliableandcreatedthe

mostuniformlyinterpretedexcerptinthisprojectbecausethediscrepancieswerenotabletobe

generalizedintocategories.Thismeansthattheresultsabovedonotnecessarilyprojectastrong

influencefortheteachinginfluenceofButlerandGeyer.Ifwecreatea‘compiled’interpretationof

theButler/GeyerstudentsusingthesamemethodsdetailedinPartI,theButler/Geyer

interpretationwasidenticaltotheoverallinterpretation.Therefore,thesimilaritiesinButler/Geyer

studentsprobablyreflectedthegenerallyacceptedpracticeratherthantheinfluenceofthese

teachers.

Teacher: Barbara Butler Mahler: Sym. No. 5       

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet Tempo (half note) 

Rushing of last triplets 

Green 4 (P)  6/4  Terrace Rushed ‐  Slight

Green 1 (P)  6/4  Terrace Rushed 62  Yes

Blue 2 (P)  6/4  Terrace Rushed 64  Yes

Blue 4  6/4  Terrace (Troops marching) Rushed 65  Yes

Teacher: Charles Geyer Mahler: Sym. No. 5     

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet Tempo (half note) 

Rushing of last triplets 

Yellow 3 (P)  6/4  Terrace Steady 60  Yes

Green 1 (P)  6/4  Terrace Rushed 62  Yes

Blue 4 (P)  6/4  Terrace (Troops marching) Rushed 65  Yes

Blue 2 (P)  6/4  Terrace Rushed 64  Yes

Purple 2  16th notes  ‐  Rushed ‐  Yes

 

Mahler‐OntheMahlerexcerpt,theresultsamongthesemusicianswereremarkably

consistent—especiallygiventhenumberofvariablesontheMahler.Green4,Green1,Blue2,and

Blue4werealmostidenticalininterpretation,andlisteningtotherecordingsconfirmsthis.Yellow

3onlydifferedinthe‘Quarternotetriplet’category,andasdiscussedabove,allofthemembersof

OrchestraYellowdothis.Therefore,hisonlyinterpretivecontrasttotheotherGeyer/Butler

studentswaslikelyduetooneormoreofhiscurrentcolleagues.Again,Purple2isanoutlierfrom

theothers,particularlydifferentiatedbyhisuseofthe16thnotemethodofpacingtheopening.

   

110  

 

Teacher: Barbara Butler Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Green 4 (P)  90  Sustained  Hairpin (except last phrase goes to high A♭)  Last Bar

Green 1 (P)  88  Sustained  Hairpin No 

Blue 2 (P)  92  Sustained  Arc No 

Blue 4  88  Lyrical  Even No 

Teacher: Charles Geyer Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Yellow 3 (P)  88  Sustained  Even Last bar

Green 1 (P)  88  Sustained  Hairpin No 

Blue 4 (P)  88  Lyrical  Even No 

Blue 2 (P)  92  Sustained  Arc No 

Purple 2  84  Sustained  Even Last bar

 

Mussorgsky‐Whenexaminingthetable,theinterpretationsoftheMussorgskyseemmuch

morefragmentedthanthepreviousexcerpt,yetasmentionedunderthesectioncomparisonsfor

thisexcerpt,the‘Tempo’and‘Shapeofquarternotes’categoriescontributedmuchmoreto

determiningtheoverallcharacteroftheexcerptthantheothercriteria.Alloftheprimary

Geyer/Butlerstudentschoseatempobetween88and92bpm,andallbutBlue4usedtheSustained

quarternoteshapes.Becauseofthis,theprimarystudentsdidsoundquitesimilar,althoughPurple

2’sslowertemposethimapartfromtherestofthegroupyetagain.

Teacher: Barbara Butler Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Green 4 (P)  66  Beat  Yes Upper neighbor End 

Green 1 (P)  62  Beat  Yes Upper neighbor Partial

Blue 2 (P)  60  Phrase  Yes Upper neighbor End 

Blue 4  62  Beat  Yes Upper neighbor Partial

Teacher: Charles Geyer Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Yellow 3 (P)  64  Beat  Yes Upper neighbor (through vibrato)  End 

Green 1 (P)  62  Beat  Yes Upper neighbor Partial

Blue 4 (P)  62  Beat  Yes Upper neighbor Partial

Blue 2 (P)  60  Phrase  Yes Upper neighbor End 

Purple 2  64  No  Yes Upper neighbor ‐ 

 

Respighi‐Likemanyoftheotherorchestralexcerpts,Blue4andGreen1arebasically

identicalintheirinterpretivechoices,andPurple2isacompleteoutlier.Therearequiteafew

similaritiesinthecategoriesofthisexcerpt,butasdiscussedinthepreviouspart,theoverall

interpretationsofthisexcerptweresimilaramongmostofthemusicians.

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Butler/Geyerconclusions

OnewouldthinkthatBlue4andBlue2,theyoungerGeyer/Butlerpair,wouldbevery

similaracrossalltheexcerptsconsideringthattheircollegiateandprofessionalcareershave

mirroredeachothersoclosely.However,whiletheyinterpretedbothofthesoloexcerptsalike,

theirinterpretationsoftheorchestralexcerptswerequitedissimilar.Inparticular,Blue2employed

someoftheleastcommoninterpretations,suchastheSuddenaccelerandointheBeethoven,and

thesechoicessethimapartnotonlyfromBlue4,butfrommostoftheotherplayersintheproject.

TheolderGeyer/Butlerpair,Green1andGreen4,hadasimilarlymirroredcollegiateand

professionalsituation,yettheirinterpretiveresultsweretheexactoppositeoftheyoungerpair’s.

Theirinterpretationsdifferedgreatlyonbothofthesoloexcerpts,yettheirorchestralexcerpt

interpretationswereverysimilar.Whenbeginningtheproject,Iassumedthatresultslikethese—

dissimilarsoloexcerptsandsimilarorchestralexcerpts—wouldbethepredominantoutcomesas

theseplayersperformtheorchestralexcerptsregularlywitheachother.

Whilethispresumptionhasturnedouttobemostlytrue,theparallelsituationscombined

withthecontrastingresultsofthesetwoGeyer/Butlerstudentpairsmayprovideinsightintohow

thepreferencesoftheseteachersdevelopedoverthecourseoftheircareers.Itisquitepossiblethat

asButlerandGeyerevolvedasteachers,theychosetofocusmoreonthesolorepertoireratherthan

theorchestralrepertoire.Thisisreflectedinthesimilaritiesoftheolderpair’sorchestral

interpretationsandthesimilaritiesoftheyoungerpair’ssolointerpretations.Asimmenselyskilled

teachers,ButlerandGeyerwouldbeabletoteachmusicalfundamentalstotheirstudentsusingany

repertoireand,moreimportantly,applicationoftheseskillstootherpiecesfromtherepertoire.

Whilethissuppositionmayormaynotaccuratelyportraytheslowevolutionofthesetwoteachers’

pedagogicalstyles,manyfactorshavelikelyplayedjustasimportantaroleinthesestudents

carryingondifferentsetsofinstructions.Inparticular,ButlerandGeyerchangedteaching

institutionsbetweenthesesetsofstudents,andthecultureofeachschoolmayrepresentaneven

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strongerinfluence,especiallywhenconsideringthatthepreviouschapterofthisdissertation

demonstratedhowstronganeffectamusician’speersmayhaveonmusicalinterpretation.

Purple2’soverallcontrasttothegroupisalsousefultothisstudy.Heistheonlystudent

herewhodidnotlisteitherGeyerorButlerashisprimaryteacher.Notonlydohisdissimilarities

lendcredencetotheinfluencethatthesetwoteachershadontheirprimarystudents,hepresents

aneasilydemonstrableexampleofhowastudentwithlittlecontactwithoneteacher,willbe

influencedmorebyfrequentinteractionswithotherteachersandcolleagues.Whilethisconcept—

timespentstudyingwithateacherhasaproportionatelyincreasingeffectonastudent—seemslike

commonsense,itdoesprovidefurtherevidencethatthecriteriaandmethodsbeingusedinthis

projectreflectconceptswhichwealreadyholdtobetrueandlogical.

JamesDarling

JamesDarlingwasamemberoftheClevelandOrchestraforoverthreedecades,andduring

histimeinCleveland,hetaughtmanystudentsatboththeBaldwin‐WallaceCollegeConservatoryof

MusicandtheClevelandInstituteofMusic.Allthreeofhisstudentsinthisprojectstudiedwithhim

asundergraduatesatBaldwin‐Wallace,andinterestingly,thesethreestudentsgraduatedfromthis

institutionseparatedalmostperfectlybyadecadeeach.Thisseparationallowsustocompare

Darling’steachingstyleatvariouspointsinhiscareer.

Table11.DarlingStudents

Hindemith: Sonata     

Musician  Tempo  Length and Direction of 1st Quarter Note 

Goal of 1st Phrase 

Phrasing of Descending Motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Red 2 (P)  115  ‐  ‐ Last note Final G  No

Orange 4 (P)  115  Long  Last C 2nd high note Final G  No

Orange 3 (P)  100  Equal  Last C Last note Final G  Slight

 

Hindemith–Unfortunately,inourlesson,Red2neverplayedthefirstthreeandahalf

measuresofthisexcerpt,soIwasunabletogathertwoofthecriteriafromhimonthisexcerpt.

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Orange3wasquitedifferentinmostofthecategoriesfrombothRed2andOrange4,sotherewas

verylittlesimilaritybetweenthethreeplayers.

Haydn: Concerto       

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Red 2 (P)  122  E  Timpani Slur two, tongue two Upper neighbor  ‐ 

Orange 4 (P)  120  E  Detached Slur two, tongue two Melodic  ‐ 

Orange 3 (P)  120  Even  Timpani Slur two, tongue two Melodic  Slight

 

Haydn–Forthisexcerpt,thethreecategories—‘Tempo’,‘16thnotetonguing’,and‘Trill

methods’—occurredthroughouttheexcerpt.Allthreeofthesemusiciansmatchedinthe‘Tempo’

and‘16thnotetonguing’categories,andOrange4andOrange3matchedperfectlyinallthreeofthe

majorcategories.Yetalloftheirotherdecisionsweredifferent,includingtheothertwocategories

listedonthetableaswellasthesmallphraseshapesnotlistedonthetable.Therefore,thetwo

interpretationsweresimilarinoverallstructure,butthedetailswerecontrastingenoughtocreate

highlyindividualizedinterpretations.Red2’sinterpretationwasnoticeablydifferentfromthe

interpretationsofOrange4andOrange3.

Beethoven: Leonore   

Musician  Rubato in first two bars Tempo change 

Shape of 8th notes in 1st two bars 

Shape of 8th notes in last 4 bars 

Volume

Red 2 (P)  Yes  Gradual Short Short  ‐

Orange 4 (P)  No (slightly long ½ notes) Gradual Round Round  Loud

Orange 3 (P)  Rubato  Gradual Round Round  Comfortable

 

Beethoven–Orange4andOrange3approachedthisexcerptinmuchthesamemanner,and

thiswaslogicalastheybothplayinOrchestraOrange.Red2’schoicesweredifferentinalmost

everycategory.Asareminder,the‘Volume’criterionshouldnotbeconsideredforthiscomparison.

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of each 2‐bar phrase 

Beginning dynamic

Red 2 (P)  Trigger opening  64 Downbeat Comfortable forte

Orange 4 (P)  Trigger 1 bar  60 Beat 3 Mezzo ‘comfortable’

Orange 3 (P)  Trigger 1 bar  66 Downbeat Easy forte

 

Bizet–EachplayerinthisgroupactuallysoundedquitedifferentontheBizeteventhoughit

waseasytoestablisha‘compiled’interpretation.Whiletherewasaclearmajorityinthethree

primarycategories,allbut‘Beginningdynamic’,enoughmajoritiesdidnotlineupwithinthe

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individualstocreateoveralllikenesses.Admittedly,Red2andOrange3approachedthemusical

aspectsofthisexcerpt,‘Tempo’and‘Dynamicgoalofeachtwo‐barphrase’,inthesameway,but

becauseRed2triggeredtheentireopening,thetonecolorswerequitedifferentoneverynote

involvingthirdvalve.

Mahler: Sym. No. 5       

Musician  Method for rushing triplets Phrasing of opening Quarter note triplet Tempo (half note) 

Rushing of last triplets 

Red 2 (P)  16th note  Terrace (but starts at mf) Rushed 64  Yes

Orange 4 (P)  Half note frame  As marked Steady 66  No

Orange 3 (P)  Half note frame  As marked Rushed 62  Yes

 

Mahler–LiketheBeethovenresultsforthisgroup,Orange4andOrange3werevery

similar,whileRed2wasdifferentthroughouttheentireopening.Thetwodifferencesbetween

Orange4andOrange3,‘Quarternotetriplet’and‘Rushingoflasttriplets’,werebothisolatedand

didnotdetractmuchfromtheiroverallsimilarity.

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Red 2 (P)  90  Sustained  ‐ ‐ 

Orange 4 (P)  88  Lyrical  Even, then Metric Division for last two bars 

Last Bar

Orange 3 (P)  90  Bell tones  Arc No in audition

 

Mussorgsky–EventhoughallthreeoftheplayerschoseasimilartempofortheMussorgsky,

theyalldifferedinthemostimportantcategory,‘Shapeofquarternotes’.Becauseofthis,therewas

littlecorrelationbetweenthesethreeplayersonthisexcerpt.

Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Red 2 (P)  66  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Orange 4 (P)  64  Beat  Yes Upper neighbor (most of the time) 

Partial

Orange 3 (P)  60  No  Yes Contour Partial

 

Respighi–ThisistheonlyexcerptwhereRed2matchedwellwithanotherplayerinthis

group,Orange4.Conversely,thisistheonlyexcerptwhereOrange3stronglycontrastedOrange4.

AsthisistheonlyresultunderDarling’sstudentsthatgoesagainsttheseeminglymuchstronger

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groupingofbelongingtoOrchestraOrange,thismayrepresentagenerationaldividegiventhat

Orange3istenyearsyoungerthanOrange4andtwentyyearsyoungerthanRed2.

Darlingconclusions

OftheDarlingstudents,theinterpretationsofOrange4andOrange3groupedaswellas

anytwomusiciansinthisproject,butRed2’shadlittleincommonwitheitherofthem.Thisseems

tocorroboratetheconclusionsofthepreviouschapterasbothOrange4andOrange3belongedto

theOrchestraOrangesection,whereasRed2didnot—thestudyofthesethreestudentssuggests

thatcolleagueshavestrongertiesthanteachers.

Eventhoughthisdataisasmallsamplesize,ifweassumetheassertionthatcolleagueshad

amorepronouncedeffectherethantheteacheristrue,itpresentsaninterestingtimelineforthe

developmentofayoungtrumpeter.AllthreeofthesemusiciansstudiedwithDarlingas

undergraduates,andinmostcollegiatemusiccurriculums,anundergraduatedegreeisatimeto

honethebasicsofmusicianship,e.g.toneandtechnique,assumingthatmanyofthefinernuancesof

musicalinterpretationwillbeestablishedinlaterdegreesandprofessionalengagementswhenthe

technicalaspectsoftheinstrumentbecomelessofabarrier.Havingstudiedwithallthreeofthese

players,Icanattesttotheirwonderfulsoundsandtechniques,andeachofthemattributedmuchof

theirfundamentaltechniquetotheteachingofDarling.Therefore,itisquitepossiblethatasa

teacher,Darlingmayhavechosentofocusmoreonthetechnicalaspectsoftrumpetplayingrather

thantheinterpretive.ThisiscertainlynottoimplythatDarling’steachingwouldhaveignoredthe

musicalaspectsasthatwouldhavebeenallbutimpossiblewithsuchtalentedstudents,buthemay

havesimplychosentofocusonthetrumpetplayingoftheserelativelyyoungstudentstoprepare

themfortheirupcomingcareers.

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ChrisGekker

ChrisGekkercurrentlyteachesattheUniversityofMarylandbuthaspreviouslytaughtat

theJuilliardSchoolandtheAspenMusicFestival.Itwasatthelattertwooftheseinstitutionsthat

hetaughtbothofthestudentsinvolvedinthisproject.

Table12.GekkerStudents

Hindemith: Sonata     

Musician  Tempo  Length and direction of 1st quarter note 

Goal of 1st Phrase Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15

Orange 2 (P)  110  ‐  ‐ Both high notes Final G  No 

Purple 2 (P)  105  Long  Low F and Last C Last note ‐ ‐ 

Haydn: Concerto   

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito pianoat m. 30 

Orange 2 (P)  120  C  Timpani Varies Varies  ‐

Purple 2 (P)  ‐  ‐  Timpani Slur all Upper neighbor  Yes

Beethoven: Leonore   

Musician  Rubato in 1st two bars  Tempo change Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Orange 2 (P)  Rubato  Gradual Round Round  ‐

Purple 2 (P)  Yes  Gradual Long Short  ‐

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases Beginning dynamic

Orange 2 (P)  Custom equipment (The Shredder) 60 Downbeat Mezzo forte

Purple 2 (P)  Trigger 1 bar  65 Downbeat Mezzo forte

Mahler: Sym. No. 5     

Musician  Method for rushing triplets Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Orange 2 (P)  Half note frame – (pendulum) 

Terrace (using “Pendulum) 

Steady 55 Slight 

Purple 2 (P)  16th notes  ‐ Rushed ‐ Yes 

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Orange 2 (P)  84  Bell tones Even Last bar

Purple 2 (P)  84  Sustained Even Last bar

Respighi: Pines       

Musician  Tempo  Rubato Vibrato Phrasing methods  Last note

Orange 2 (P)  56  Beat  Yes Upper neighbor Partial

Purple 2 (P)  64  No  Yes Upper neighbor ‐ 

 

Gekkerconclusions

Ratherthangothrougheachoftheexcerpts,itiseasytoglanceatthetablesandseethat

thesetwostudents,Purple2andOrange2,hadverylittleincommon.Theyareclosetothesame

age,sothereisnotagenerationalgap.BothPurple2andOrange2listedGekkerasaprimary

influence,buttherearemanypossibleexplanationswhyneitherstudenthadmuchcorrelationin

theirinterpretations.Orange2describedGekkeras“anincredibleteacherwhowasabletotakemy

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existingideasandteachmehowtopolishthemtoatrulyprofessionallevel.”Itispossiblethat

GekkermayhavefocusedmoreonimprovingOrange2’spre‐existingpersonalchoicesratherthan

tryingtochangehisinterpretationstoaparticularstyle.Ontheotherhand,Purple2onlystudied

withGekkerforabrieftimeattheAspenMusicFestivalandmayhavesimplyneverplayedthese

particularpiecesforhim.Itisalsoquitepossiblethatoneofthesestudentsmaybeastrong

indicatorofGekker’steaching,whiletheotherhasdrawnmoreinfluencefromsomeoneor

somewhereelse.Unfortunately,withonlytwostudents,itisimpossibletofurtherthiscomparison.

Regardlessofhisinfluenceontheseexcerpts,bothstudentsspokehighlyofGekkerandreferredto

himasa“majorinfluence.”

MarkGould

MarkGouldisaformerprincipaloftheMetropolitanOperaOrchestra,andiscurrently

trumpetfacultyatboththeJuilliardSchoolandManhattanSchoolofMusic.OfGould’sthree

studentsthatparticipatedinthisproject,onlytwolistedhimasaprimaryinfluence.Interestingly,

ofthetwoprimarystudents,theyoungerstudentstudiedwiththeolderprimarystudent,Orange1,

beforehestudiedwithGould.Thenon‐primarystudenthad“fourorfivelessons”withGouldbut

alsosaidthatGouldlefta“lastingimpression.”

Table13.GouldStudents

Hindemith: Sonata     

Musician  Tempo 

Length and direction of 1st quarter note 

Goal of 1stPhrase 

Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Orange 1 (P)  120  Long  Last C 2nd high note Final G  Slight

Purple 2 (P)  105  Long  Low F and Last C Last note ‐ ‐

Red 3  120  Long  Last C Last note, but both low Final G (w/ tongue)  Slight

 

Hindemith–Orange1andRed3wereverysimilarintheirinterpretationsonthe

Hindemith,onlydifferingintheirshapingofthe‘descendingmotive’.Thismotivewasoneofthe

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twoprimarypiecesofthematicmaterialfortheexposition,however,sotheircontrastswerequite

noticeable.Purple2differedfromboth.

Haydn: Concerto     

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Orange 1 (P)  134  C  Timpani Slur all Previous note rule  No

Purple 2 (P)  ‐  ‐  Timpani Slur all Upper neighbor  Yes

Red 3  126  E  Long ‐ Previous note rule  ‐ 

 

Haydn–Unfortunately,whenPurple2playedtheopeningoftheHaydn,eachplayingwas

quitedifferent—almostimprovisatory.Consequently,Iwasunabletodetermineaconsistenttempo

oranopeningphrasingrenderinghisresultsforthisexcerptlessuseful.However,Purple2

matchedOrange1inmostoftheothercriteria,andthisshouldnotbeasurpriseconsideringthat

Purple2alsostudiedwithOrange1.Eventhoughtheirapproachtotrillswasdifferent,the

‘Previousnoterule’wasactuallyaslightlymodifiedUpperneighbor,meaningthatthefinalproduct

wasstillquitesimilar.Red3hadverylittleincommonwiththeothertwoonthisexcerpt.

Beethoven: Leonore     

Musician  Rubato in 1st two bars 

Tempo change 

Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Orange 1 (P)  No  Gradual Round Round  ‐

Purple 2 (P)  Yes  Gradual Long Short  ‐

Red 3  No  Gradual Long Long ‐

 

Beethoven–WhileallthreeplayersusedagradualaccelerandoontheBeethoven,thiswas

notveryindicativeofanyparticularinfluenceasitwastheoverwhelmingchoiceamongallthe

playersintheproject.Otherwise,therewasalmostnocorrelationamongthesethreeplayersonthis

excerpt.

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases  Beginning dynamic

Orange 1 (P)  Only low E♭  70 (?) Downbeat Under celli 

Purple 2 (P)  Trigger 1 bar  65 Downbeat Mezzo forte

Red 3  Pull tuning slide  65 Beat 3 Mezzo forte

 

Bizet–ThiswasevenlesscorrelationamongtheseplayersontheBizetexcerptthanthere

wasontheBeethoven.Theydidallchoosetoplaytheexcerptataquickertempothanthemarked

tempoof60bpm,butthatwasnotallthatuncommon.

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Mahler: Sym. No. 5     

Musician  Method for rushing triplets Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Orange 1 (P)  Half note frame  Terrace Rushed 66 Slight 

Purple 2 (P)  16th notes  ‐ Rushed ‐ Yes 

Red 3  Half note frame  As marked Rushed 65 Yes 

 

Mahler–EachofthesemusicianschosetouseaRushedmethodunder‘Quarternotetriplet’,

butotherwisetheseplayerssoundedverydifferentonthisexcerpt.Thisisfurtherdiminishedas

the‘Quarternotetriplet’categorywasoneofthetwoleastimportantdeterminantsonthisexcerpt.

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Orange 1 (P)  90  Sustained  Arc Last bar 

Purple 2 (P)  84  Sustained  Even Last bar 

Red 3  92  Bell tones  Arc No 

 

Mussorgsky–Again,itwaspossibletoestablishmajoritiesineachcategoryforthe

Mussorgsky,butnotwoplayersinthisgroupproducedsimilarsoundingoverallinterpretations.As

discussedabove,thetwomostimportantcategoriesforthisarethe‘Tempo’and‘Shapeofquarter

notes’,andnoneofthesethreematched.

Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Orange 1 (P)  70  Beat  Yes Upper neighbor Partial

Purple 2 (P)  64  No  Yes Upper neighbor ‐ 

Red 3  68  Phrase  Yes Upper neighbor End 

 

Respighi–AllthreestudentsinthisgroupusedvibratoandUpperneighborphrasing,but

botharesocommonthattheyarenotindicativeofgroupingwithoutothersimilarcriteria.Inthis

group,therewerenotanyothermatchingcategories.

Gouldconclusions

LikethestudentsofGekker,therewereveryfewsimilarinterpretationsamongGould’s

threestudents.Itissurprising,however,thatPurple2andOrange1didnotgroupmorestrongly

giventhatOrange1wasaprimaryteacherofPurple2.Purple2seemstobeauniquemusician,and

thisisstrengthenedoverthenexttwoteachers.

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JohnLindenau

JohnLindenauwasthetrumpetinstructorattheInterlochenArtsAcademyformorethan

threedecades.Lindenaucurrentlyhastwostudentsinmajorsymphonies,Blue3andPurple2,and

bothofthesestudentslistedhimasaprimaryinfluence.

Table14.LindenauStudents

Hindemith: Sonata     

Musician  Tempo Length and direction of 1st quarter note 

Goal of 1st Phrase Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Blue 3 (P)  110  Equal  D♭  (possible last C)  ‐ C♯ before final G  No

Purple 2 (P)  105  Long  Low F and Last C Last note ‐ ‐

Haydn: Concerto       

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Blue 3 (P)  124  C  Long Varies Upper neighbor  No

Purple 2 (P)  ‐  ‐  Timpani Slur all Upper neighbor  Yes

 

HindemithandHaydn–TheinterpretationsofBlue3andPurple2onbothsoloexcerpts,the

HindemithandtheHaydn,differedinalmosteveryway.

Beethoven: Leonore     

Musician  Rubato in 1st two bars 

Tempo change 

Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Blue 3 (P)  No  Gradual Long Round  ‐

Purple 2 (P)  Yes  Gradual Long Short  ‐

 

Beethoven–Blue3andPurple2alsosoundedquitedifferentontheBeethoven.Whileboth

usedaGradualtempochange,therewereonlyfourplayersinthisprojectwhochoseadifferent

criterion,soBlue3andPurple2werecertainlynotuniqueinchoosingtheGradualmethod.

However,Blue3andPurple2alsousedLongeighthnotesinthefirsttwomeasures;thiscriterion

wasnoteworthyastheyweretwoofonlyfourplayersintheprojecttoshapetheseeighthnotesthis

way.Unfortunately,theseeighthnotesareleastsignificantcategoryforthisexcerptandcontribute

littletotheoverallsoundoftheinterpretation.

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases  Beginning dynamic

Blue 3 (P)  Trigger 1 bar (plus following 2 bars) 58 Downbeat Mezzo forte plus

Purple 2 (P)  Trigger 1 bar  65 Downbeat Mezzo forte

 

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Bizet–Purple2andBlue3werealmostidenticalintheirinterpretationsoftheBizet.The

onlyminordifferencewasthatPurple2choseaquickertempo.However,thecategoriesforthe

Bizetwerenotthemosteffectivedifferentiators,sotheseresultsshouldbeconsideredwith

restraint.

Mahler: Sym. No. 5       

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet Tempo (half note)  Rushing of last triplets

Blue 3 (P)  16th notes  ‐  Rushed 58 Yes 

Purple 2 (P)  16th notes  ‐  Rushed ‐ Yes 

 

Mahler‐BothoftheseplayersalsointerpretedtheMahlerexcerptinsimilarwaysevenso

farasevadingthequestionofhowtheyphrasetheopening.Onlythreetrumpetersintheproject

usedthe16thnotemethodofpacingtheopening,soitispossiblethatLindenaumayhavehad

somethingtodowithdisseminatingthistechnique.Itisunlikely,however,thathewasthe

originator—thisisdiscussedunderthestudentsofRogerVoisinlaterinthischapter.

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Blue 3 (P)  84  Lyrical  Even Last bar

Purple 2 (P)  84  Sustained  Even Last bar

 

Mussorgsky–Again,Purple2andBlue3madealmostidenticalchoicesontheMussorgsky,

buttheonecategoryinwhichtheydiffered,‘Shapeofquarternotes’,wasthemostcrucialcategory

indeterminingsimilarinterpretationsforthisexcerpt.Admittedly,the‘Sustained’and‘Lyrical’

choiceswereverycloseinoveralleffect,butthedifferencewasnoticeablewhenlisteningtothese

tworecordings.

Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Blue 3 (P)  58  Beat  Yes Upper neighbor End (but slows)

Purple 2 (P)  64  No  Yes Upper neighbor ‐ 

 

Respighi–Becauseoftheimportanceofthe‘Tempo’and‘Rubato’categoriesonthe

Respighi,Purple2andBlue3werenotsimilaroverallonthisexcerpt.TheinterpretationofBlue3

includedamuchfreersenseofrubatothanthecleanerchoicesofPurple2.

Lindenauconclusions

122  

 

BecauseInterlochenisahighschoolprogramandthelargeagegapbetweenthesetwo

students,Iassumedthatmostmusicaltraininglearnedthisearlyinastudent’sdevelopmentwould

behardertoretainoverthelongcourseofacareer.Yetwhilethesoloexcerptsshowedtwovery

differentmusicaldecisions,therewerequiteafewsignificantsimilaritiesbetweenthesetwo

playersintheorchestralexcerpts.Inparticular,theLongeighthnotesintheopeningofthe

Beethovenandthe16thnotemethodforpacingtheopeningoftheMahlerarebothrarechoicesand

suggestthatLindenauhadalastingeffectonthesetwostudents.Asyoumayhavenoticed,Purple2

hasappearedonmanyoftheseteachercomparisonsasalmostallofhisprimaryaswellashis

secondaryinfluenceshappenedtobewell‐knownorchestralpedagogues.UntilLindenau’stwo

students,hewasacompleteoutliertoeverygrouping,buttheLindenautreewaseasilyhis

strongestgrouping.Whilethisgroupingwasnotincrediblyconsistent,itwasinterestingthatPurple

2’shighschoolteacherseemedtohavehadthemostnoticeableinfluence.

EventhoughLindenaucurrentlyhasstudentsplayinginmanyprominentpositionsaround

theworld,itisunfortunatethatthisprojectwasnotabletoincludemoreofhisstudents.Hewasthe

onlyteacherwithmultiplestudentsonthislistwhotaughtatthehighschoollevel.Itwouldhave

madeforaninterestingpedagogicalstudyiftherehadbeenmorestudentsofhisinthisdissertation

toallowforastrongercomparisonofthelastingeffectsofearlyprivateteaching.Giventhat

LindenauseemstohavebeenPurple2’sonlynoticeableinfluence,itwouldmakeaveryinteresting

studytoseeifastudentwasmoreinfluencedbytheirfirstgreatteacherthansubsequentgreat

teachers.

ThomasRolfs

ThomasRolfsiscurrentlytheprincipaltrumpetoftheBostonSymphonyOrchestraand

teachesattheNewEnglandConservatoryandTanglewoodMusicCenter.Noneofhisthreestudents

includedinthisprojectlistedhimasaprimaryteacherastheyallspentonlyoneortwosummers

123  

 

workingwithhimatTanglewood.Furthermore,twoofthesestudents,Blue2andBlue4,were

alreadydiscussedandcomparedunderboththeOrchestraBluecomparisonbysectionaswellas

theGeyer/Butlercomparisonbyteacher.Becausethesetwostudentsarealreadystronglygrouped

togetherbytheirsectionandprimaryteachers,theonlycomparisonsworthmentioninghereareif

eitheroftheOrchestraBluestudentsmatchestheotherRolfsstudent,Purple2.Purple2hada

greatmanyfamousteachers,yetheonlygroupedwellwithhisprimaryhighschoolteacher,

Lindenau.

124  

 

Table15.RolfsStudents

Hindemith       

Musician  Tempo  Length and direction of 1st quarter note 

Goal of 1stPhrase 

Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Purple 2  105  Long  Low F and Last C 

Last note ‐ ‐ 

Blue 4  114  Long  D♭   2nd high note, but both high 

Final G  Slight

Blue 2  115  Long  D♭   Both high notes Final G (w/out breath) 

No 

Haydn         

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Purple 2  ‐  ‐ Timpani Slur all Upper neighbor  Yes 

Blue 4  120  C  Timpani Slur two, tongue two Upper neighbor  No 

Blue 2  132  C  Timpani Slur two, tongue two Upper neighbor  No (different phrasing) 

Beethoven     

Musician  Rubato in 1st two bars  Tempo change 

Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Purple 2  Yes  Gradual Long Short ‐ 

Blue 4  Rubato (slight)  Gradual Round Round Comfortable

Blue 2  Yes  Sudden Round Long Comfortable

Bizet     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases 

Beginning dynamic 

Purple 2  Trigger 1 bar  65 Downbeat Mezzo forte 

Blue 4  Trigger 1 bar  60 Downbeat Mezzo forte 

Blue 2  Trigger 1 bar  64 Beat 3 Mezzo forte 

Mahler     

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Purple 2  16th notes  ‐ Rushed ‐ Yes 

Blue 4  6/4  Terrace (Troops marching) 

Rushed 65 Yes 

Blue 2  6/4  Terrace Rushed 64 Yes 

Mussorgsky       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath 

Purple 2  84  Sustained  Even Last bar 

Blue 4  88  Lyrical  Even No 

Blue 2  92  Sustained  Arc No 

Respighi       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Purple 2  64  No  Yes Upper neighbor ‐ 

Blue 4  62  Beat  Yes Upper neighbor Partial 

Blue 2  60  Phrase  Yes Upper neighbor End 

 

Rolfsconclusions

WhiletherewereoneortwosimilaritiesbetweentheOrchestraBluemembersandPurple

2,theoveralldifferenceswereobvious.However,therewasoneexampleofdirectevidencethatdid

notshowuponthetable.WhileworkingontheRespighiexcerptwithBlue2,hesaid,“Oneofthe

thingsIreallytrytobringoutonthisexcerptisthetonecolorchangeattheEminor.[m.7onthe

125  

 

includedpart]IfirstheardthisfromTomRolfs,andIthinkit’sreallyimportanttoreflectthistonal

shiftinyouraudition.”IcanconfirmthatRolfsinsistsonthistonecolorchangeinhisteaching,and

Purple2andBlue4alsobroughtupthistimbrechangeinmylessonswiththem.Thisisaprime

exampleofhowateachercanpassonsomethinghefindsimportantevenifhehaslimitedcontact

withthestudent.Thatbeingsaid,hewasnotthesestudents’primaryteacher,andconsequently,he

didnotseemtopassonhisoverallinterpretationstoanyofthisgroupofstudents.

MichaelSachs

MichaelSachsiscurrentlyprincipaltrumpetoftheClevelandOrchestraandteachesatthe

ClevelandInstituteofMusic.Ofhistwostudentshere,Orange2listsSachsasasecondaryinfluence

withwhichhehashadsomelessonsbutmoreimportantly,hadbeenacolleagueofSachsatsome

pointduringhiscareer.Theotherplayer,Purple2listedSachsasaprimaryinfluenceasPurple2

completedhisundergraduatedegreewithSachs.Thisisthelastteacheronthislistunderwhich

Purple2appears.

126  

 

Table16.SachsStudents

Hindemith: Sonata       

Musician  Tempo  Length and direction of 1st quarter note 

Goal of 1st Phrase Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m.15 

Purple 2 (P)  105 Long  Low F and Last C Last note ‐  ‐

Orange 2  110 ‐  ‐ Both high notes Final G  No

Haydn: Concerto       

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods 

Subito pianoat m. 30 

Purple 2 (P)  ‐  ‐  Timpani Slur all Upper neighbor 

Yes

Orange 2  120  C  Timpani Varies Varies  ‐

Beethoven: Leonore     

Musician  Rubato in 1st two bars 

Tempo change 

Shape of 8th notes in first two bars Shape of 8th notes in last 4 bars 

Volume

Purple 2 (P)  Yes  Gradual Long Short  ‐

Orange 2  Rubato  Gradual Round Round  ‐

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases 

Beginning dynamic

Purple 2 (P)  Trigger 1 bar  65 Downbeat Mezzo forte

Orange 2  Custom equipment (The Shredder) 60 Downbeat Mezzo forte

Mahler: Sym. No. 5     

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Purple 2 (P)  16th notes  ‐ Rushed ‐ Yes 

Orange 2  Half note frame – (pendulum) 

Terrace (using “Pendulum) 

Steady 55 Slight 

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Purple 2 (P)  84  Sustained  Even Last bar 

Orange 2  84  Bell tones  Even Last bar 

Respighi: Pines       Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Purple 2 (P)  64  No  Yes Upper neighbor ‐ 

Orange 2  56  Beat  Yes Upper neighbor Partial

 

Sachsconclusions

MuchlikePurple2’scomparisontotheOrchestraBluemembersundertheRolfsand

Geyer/Butlerteachertrees,Purple2wasdissimilartoOrange2onalmosteveryexcerpt.Theonly

excerptonwhichOrange2andPurple2groupedwellwastheMussorgsky,buttheydidnotmatch

onthemostimportantofthecategories,‘Shapeofquarternotes’.Therefore,therewasno

noticeablegroupingunderthetwostudentsofSachs,butastherewereonlytwotocompare,thisis

notaveryrepresentativesampling.

127  

 

CharlesSchlueter

CharlesSchlueterwastheprincipaltrumpetoftheBostonSymphonyandtaughtattheNew

EnglandConservatoryandtheTanglewoodMusicCenter.Priortothat,heperformedandtaught

acrossthecountryincludingplayingprincipaltrumpetfortheMinnesotaOrchestraandteachingat

theUniversityofMinnesota.Whilebothofthestudentsinthefollowingcomparisonslisted

Schlueterasaprimaryinfluence,theywereseparatedbyasizeableagedifference.

Table17.SchlueterStudents

Hindemith: Sonata       

Musician  Tempo  Length and direction of 1st quarter note 

Goal of 1stPhrase 

Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Purple 1 (P)  105  Long  Last C Last note Final G  ‐

Yellow 2 (P)  102  Equal  Last C Both bottom notes Final G  No

 

Hindemith–Purple1andYellow2bothhadsomewhatsimilarinterpretationsonthe

Hindemithastheychosecomparabletempiandapproachedmanyofthephrasesinthesame

manner.However,theinterpretationsofPurple1wereconsiderablymoreconnectedasshownby

the‘Lengthanddirectionof1stquarternote’and‘Phrasingofdescendingmotive’categories.In

bothofthesecategories,Purple1simplyledtothelastnote,whereasYellow2createdamartial

feelbyusingmoreseparationintheopeningthreenotemotiveaswellasbreakingthedescending

motiveintotwosmallerphrases.Becauseofthesegeneralstylisticdifferences,thetwo

interpretationsendedupsoundingquitedifferent.

Haydn: Concerto       

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing 

Trill methods Subito piano at m. 30 

Purple 1 (P)  130  E  Firm Slur two, tongue two 

Melodic Yes

Yellow 2 (P)  120  E  Timpani Slur two, tongue two 

Upper neighbor  Yes

 

Haydn–OtherthantheiruseofSlurtwo,tonguetwounder‘16thnotetonguing’,therewere

veryfewsimilaritiesbetweentheirpreferencesontheHaydn.

Beethoven: Leonore     

Musician  Rubato in 1st two bars 

Tempo change 

Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Purple 1 (P)  Yes  Gradual Short Round  Loud

Yellow 2 (P)  Yes  Gradual Round Short  Loud

128  

 

 

Beethoven–Bothofthesemusiciansstartedtheexcerptthesame,buttheireighthnote

lengthswerereversed,creatinganoticeabledifferencefromthesecondbarthroughtheend.

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases  Beginning dynamic

Purple 1 (P)  Trigger opening  60 Downbeat Mezzo forte plus

Yellow 2 (P)  Custom equipment (tuning slide) 60 Downbeat Mezzo forte

 

Bizet–Yellow2wasoneofonlytwotrumpetersinthisprojecttousecustomequipmentfor

theBizet,althoughhementionedthathesometimesusedatriggermethodsimilartoPurple1ifhe

didnothavehiscustomhornwithhimforaperformance(neverinaudition,though.)Otherthan

thisslightdifference,Purple1andYellow2wereidenticalintheirapproachtothisexcerptaswas

typicalforthisexcerpt.

Mahler: Sym. No. 5       

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet Tempo (half note) 

Rushing of last triplets 

Purple 1 (P)  6/4  Terrace Rushed 65 Yes 

Yellow 2 (P)  6/4  Terrace (w/out pull back after 3rd) 

Steady 52 Yes 

 

Mahler–Whilebothplayersapproachedtheopeningflourishesinthesamemanner,the

largegapintempocreatedverydifferentstylesfortheexcerpt.

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Purple 1 (P)  86  Sustained  Even No 

Yellow 2 (P)  88  Bell tones  Even, except last two octave jumps  Last bar 

 

Mussorgsky–Thetableforthesemusiciansseemedsimilaratfirstglance,butthemost

importantdeterminantforthisexcerptwasthe‘Shapeofquarternotes’category.TheBelltones

preferredbyYellow2largelycontrastedtheSustainedchoiceofPurple1.

Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Purple 1 (P)  60  Slight  Yes Upper neighbor ‐ 

Yellow 2 (P)  55  Slight  Yes Upper neighbor None

 

Respighi–EventhoughYellow2favoredaslightlyslowertempothanPurple1,thesetwo

interpretationsendedupsoundingquitesimilar.Bothplayersfavoredaverysimpleapproachto

thelyricismnecessaryforthisexcerptandcautionedagainstover‐Romanticizing.

129  

 

Schlueterconclusions

ThesimilaritiesbetweenthesetwostudentsontheBizetandtheRespighiexcerpts,

particularlytheircommentsaboutlyricalapproaches,suggestedthatSchluetermayhavehadsome

lastingeffectonhisstudents’lyricalplaying,yettheoveralleffectofPurple1andYellow2were

quitedifferent.

JamesStamp

JamesStampgrewupinMinnesota,andlikeCharlesSchlueter,spenttimeplayingwith

whatwouldbecometheMinnesotaOrchestra.StampmovedtoLosAngelestoplayformovie

soundtracksandeventuallybecameamemberoftheLosAngelesPhilharmonic.Whileteachingat

multipleuniversitiesinLosAngeles,Stampdevelopedanimpressivereputationasabrass

pedagogue,andmanyofhiswarm‐upexercisesandpedagogicaltechniquesarestillemployedby

trumpeterstoday.AllthreeofthefollowingstudentslistedStampasaprimaryinfluence,andwhile

theyoungestofthesestudentsisnearlyfiftyyearsold,thesestudentsstillspanovertwenty‐five

years.

Table18.StampStudents

Hindemith: Sonata       

Musician  Tempo Length and direction of 1st quarter note 

Goal of 1stPhrase 

Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Yellow 4 (P)  ‐  ‐  ‐ ‐ ‐ ‐ 

Yellow 1 (P)  124  Equal  Low F Both bottom notes Final G  Slight

Orange 1 (P)  120  Long  Last C 2nd high note Final G  Slight

 

Hindemith–Yellow4declinedtocommentonhisinterpretationoftheHindemith,sohis

datawasunavailableforthiscomparison.Theothertwostudents,Orange1andYellow1,shared

almostnocommoninterpretivedecisionsonthisexcerpt.

   

130  

 

Haydn: Concerto     

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito pianoat m. 30 

Yellow 4 (P)  120  E  Firm Slur all Upper neighbor  Slight

Yellow 1 (P)  130  C  Timpani Slur two, tongue two 

Upper neighbor  ‐ 

Orange 1 (P)  134  C  Timpani Slur all Previous note rule  No

 

Haydn‐TheresultsfortheStampstudentsontheHaydnexcerptrepresentyetanother

exampleofa‘compiled’interpretationincorrectlyportrayingtheinterpretationsofthegroup.

Thereisaclearmajorityineachofthecategories,butnotwoplayersactuallysoundalikeonthis

piece.

Beethoven: Leonore     

Musician  Rubato in 1st two bars 

Tempo change 

Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Yellow 4 (P)  Yes  Sudden Short Round  Loud

Yellow 1 (P)  Yes  Sudden Round Short ‐

Orange 1 (P)  No  Gradual Round Round  ‐

 

Beethoven–TheoverallresultsfortheBeethovenexcerptwiththisgroupwerethesameas

theHaydn—therewerecategoricalmajorities,buttheydidnotaccuratelyreflectlike

interpretations.TheindividualnotelengthsofbothofOrchestraYellowstudentswereexact

opposites.However,asshownbythe‘Rubatoinfirsttwobars’and‘Accelerando’categories,they

bothhadasimilaroverallstructureonthisexcerpt.Thesetwostudentsweretwoofonlyfour

playersintheentireprojecttousetheSuddenmethodoftempochangeonthisexcerpt,andthat

wouldseemtoimplythatStampmayhavebeenaproponentofthis.Idonotclaimtoknowwhat

Stamp’spreferencewasregardingthis,butaswillbediscussedshortlyunderWilliamVacchiano’s

students,multipletrumpetershavesuggestedthattheSuddentempochangecanbeattributedto

Vacchiano.BothYellow4andYellow1studiedwithVacchiano,whichmeansthatthischoicelikely

hadlittletodowithStamp.

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases Beginning dynamic

Yellow 4 (P)  Trigger 1 bar  60 Downbeat Mezzo forte plus

Yellow 1 (P)  Trigger opening  75 Beat 3 Mezzo forte 

Orange 1 (P)  Only low E♭  70 (?) Downbeat Under celli 

131  

 

 

Bizet–ThesethreeinterpretationsoftheBizetexcerptcouldhardlybemoredisparate,

evenwhenexcludingtheinconsistenciesofthisexcerptthatdidnotappearunderthesecategories.

Mahler: Sym. No. 5     

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Yellow 4 (P)  6/4  Terrace Steady 68 ‐ 

Yellow 1 (P)  Half note frame  ‐ Steady 68 No 

Orange 1 (P)  Half note frame  Terrace Rushed 66 Slight

 

Mahler–AllthreeplayerschoosesimilartempifortheMahlerexcerpt,butthatwastheonly

consistentcategoryfortheMahlerexcerpt.ItwasinterestingthatYellow1andOrange1usedthe

Halfnoteframestructureforpacingtheopeninggivenitsrelativeobscurity,butallofOrange1’s

sectionuseditisaswell.ThismightnotprecludeStampfromteachingthismethod,however,

becauseOrange1isalsotheoldestandlongest‐tenuredmemberofOrchestraOrangeaswellasthe

principal.Therefore,itisquitepossiblethatheisresponsibleforunificationofOrchestraOrange,

andStampmayhavebeentheteacherthatpassedontheHalfnoteframecriterion.Unfortunately,

weonlyhavethreeStampstudentsforcomparison,soitisdifficulttomakeanyfurtherassumption.

Therewasasimilaritybetweentwooftheseplayersthatwasnotincludedonthelisted

categories.BothYellow1andOrange1suggestedthattherestsintheopeningsixmeasuresofthe

Mahlershouldbestretchedto“increasedrama.”Stampisaprobablesourceofthisinterpretationas

heistheonlyprimaryteachertheybothshared,althoughbothofthesetrumpetersalsostudied

withWilliamVacchianotovaryingextents.

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath 

Yellow 4 (P)  82  Sustained  Hairpin ‐ 

Yellow 1 (P)  90  Sustained  Even ‐ 

Orange 1 (P)  90  Sustained  Arc Last bar 

 

Mussorgsky–Yellow1andOrange1soundedverysimilarontheMussorgskyexcerpt,even

thoughOrange1usedaslightdynamicarcinhisphrasing.Yellow4’srenditionsoundedlikea

comparablebutslowerversionoftheothertwo.

132  

 

Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Yellow 4 (P)  62  Beat  Yes ‐ Partial

Yellow 1 (P)  70  Beat  Yes Contour Partial

Orange 1 (P)  70  Beat  Yes Upper neighbor Partial

 

Respighi–Likethepreviousexcerpt,Yellow1andOrange1hadquiteabitincommonon

theRespighi,buttheirphrasingcreatedanoticeabledifference.TheContoureffectthatYellow1

usedmeantthateachtwobarphrasepeakedmuchsoonerthantheUpperneighbormethodof

Orange1.

Stampconclusions

TherewasnotmuchgroupingamongStamp’sstudents,althoughOrange1andYellow1did

sharemanysimilaritiesoverthelastthreeexcerpts,includingthedistinctivesuggestiontostretch

therestsintheopeningoftheMahler.However,bothareprincipaltrumpetplayers,soitwasno

surprisethattheyhaddevelopeddifferingopinionsoverthemanyyearssincetheystudiedwith

Stamp.Itwassurprising,however,thatYellow4wassodifferentfromYellow1consideringthat

theynotonlystudiedwithStamp,butalsohadplayedwitheachotherinthesameorchestraforthe

lasttwenty‐eightyears.

WilliamVacchiano

WilliamVacchianowasamemberoftheNewYorkPhilharmonicforthirty‐eightyearsand

taughtattheJuilliardSchool,theManhattanSchoolofMusic,andtheMannesCollegeofMusicfora

staggeringsixty‐sevenyears.Itisestimatedthathetaughtovertwothousandtrumpetstudents

duringhistenuresatthoseinstitutions,soitisnoshockthathecurrentlyhasfivestudentsinmajor

symphonies–threeofthemasprincipal.Ofthestudents,threelistedVacchianoasaprimary

influence.

133  

 

Table19.VacchianoStudents

Hindemith: Sonata       

Musician  Tempo  Length and direction of 1st quarter note 

Goal of 1stPhrase 

Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15

Yellow 1 (P)  124  Equal  Low F Both bottom notes Final G  Slight

Red 2 (P)  115  ‐  ‐ Last note Final G  No

Yellow 4  ‐  ‐  ‐ ‐ ‐ ‐ 

Orange 1  120  Long  Last C 2nd high note Final G  Slight

 

Hindemith–Asdiscussedabove,theHindemithexcerptresultsforbothYellow4andRed2

werenotusable,andIwasunabletogetanyinterpretationsforBlue1oneithertheHindemithor

Haydnexcerpts.Consequently,Orange1andYellow1weretheonlytwostudentsofthisgroup

withcompleteinterpretivedata,andtheyweredifferentinalmosteveryway.

Haydn: Concerto     

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Yellow 1 (P)  130  C  Timpani Slur two, tongue two Upper neighbor  ‐ 

Red 2 (P)  122  E  Timpani Slur two, tongue two Upper neighbor  ‐ 

Yellow 4  120  E  Firm Slur all Upper neighbor  Slight

Orange 1  134  C  Timpani Slur all Previous note rule  No

 

Haydn–Thetwoprimarystudents,Yellow1andRed2,werequitesimilarintheiroverall

stylesasshownbytheirmatchingresultsin‘Lengthofnon‐slurred8thnotes’,‘16thnotetonguing’,

and‘Trillmethods’.Allthreeofthesecategoriesoccurthroughoutthepieceandareimportantfor

thesecomparisons.HoweverYellow1andRed2phraseddifferentlyasshownunder‘Goalof1st3

notes’aswellaschooselargelydifferenttempi,sotheirinterpretationsseemedquitedifferent

whenlisteningtotherecordings.Thetwonon‐primarystudentswerenoticeablydifferentfromthe

primarystudentsaswellaseachother.

Beethoven: Leonore     

Musician  Rubato in 1st two bars 

Tempo change Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Blue 1 (P)  Rubato  Gradual Round Round  ‐

Yellow 1 (P)  Yes  Sudden Round Short ‐

Red 2 (P)  Yes  Gradual Short Short ‐

Yellow 4  Yes  Sudden Short Round  Loud

Orange 1  No  Gradual Round Round  ‐

 

Beethoven‐TheBeethovenexcerptisparticularlyinterestingfortheVacchianogrouping.In

alessonwithEricBerlinfouryearsago,BerlintoldmethathebelievedVacchianowasthe

134  

 

originatoroftheallabrevechangeonthisexcerpt.Unprompted,twoofthetrumpetersinthis

project,Blue3andPurple1,alsoattributedthecreationandsubsequentpopularizationofthealla

brevestyletoVacchianoeventhoughtheydidnotuseit.Assumingthattheseexperienced

trumpeterswerecorrectintheirattribution,itwouldfollowthatVacchiano’sstudentswouldalso

usetheSuddentempochange,yetonlytwoofthefiveVacchianostudentsusedtheSuddentempo

change.

Admittedly,therewereonlyfourplayersintheentireprojectthatstillplayeditasanalla

breve,sotwoVacchianostudentswasadisproportionatelylargenumber.Ofthetwonon‐Vacchiano

studentstousetheSuddenstyle,Red4camefromthesamegenerationasYellow4andYellow1,

theVacchianostudents,butdidnotlistanyconnectiontoVacchiano,althoughitisquitepossible

thatRed4heardVacchianoplaythisoverture.Blue2isoneoftheyoungestplayersintheproject

andhadnodirecttiestoVacchiano.Blue2didstateexplicitlythathetriedtoachievearesultthat

combinedboththeGradualandSuddencriteria,buthisinterpretationsoundedidenticaltothe

otherallabrevestyleplayershencehisinclusioninthatgroup.

ThereisaprimarysourceofVacchianoplayingtheBeethovenexcerpt.In1960,theNew

YorkPhilharmonicrecordedtheLeonoreOvertureNo.3withLeonardBernsteinconductingand

WilliamVacchianoplayingprincipaltrumpet.Ontherecording,VacchianodidusetheSudden

tempochangeinbothiterationsofthecall.Sowhileitisnotpossibletodetermineconclusively

whetherVacchianocreatedtheallabrevestyle,orevenifheisprimarilyresponsiblefor

disseminatingitthroughouttheUnitedStates,hisrecordingfrom1960provesthathefavoredthis

affectationandthatYellow1,Yellow4,andpossiblyevenRed4mayhavealltakenthis

interpretationfromVacchiano.

Thisisoneofthefewexcerptstowhichwecanrefertoaprimarysourceoftheteacher

performing,butgiventhatitispossiblethatBernsteinmayhaveaskedVacchianotointerpretthe

excerptinaparticularway,wecannotentirelytrustthisrecordinginthesamewayweusethe

135  

 

recordedinterviewswiththeseplayers.itisinterestingtoseewhichstudentsaremostsimilarto

theteacher.Yetthecomparisonitcreatesisstillilluminating.Wehavealreadyestablishedthatthe

SuddencriterionisaprominentfeatureofVacchiano’sinterpretation,buthisrecordingalso

providedthefollowinginterpretations:thefirsttwobarswereplayedwithRubato,andhis‘8th

noteshapes’wereRoundforbothhalvesoftheexcerpt.WhileYellow4andYellow1weretheonly

twotouseVacchiano’stempochange,theydonotmatchhiminanyotherconsistentmanner.

However,Orange1matchedVacchiano’snotelengthsandBlue1matchedbothnotelengthsand

therubatoopening.Becauseofthis,Blue1soundedcloserstylisticallytoVacchianothaneitherof

thestudentsthatusedthesuddentempochange.Sowhilethetempochangedrewtheattention,the

pacingandnotelengthsofthisexcerptweremoreimportantindeterminingsimilarityinthestyle.

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases  Beginning dynamic

Blue 1 (P)  Trigger 1 bar  65 Downbeat ‐ 

Yellow 1 (P)  Trigger opening  75 Beat 3 Mezzo forte

Red 2 (P)  Trigger opening  64 Downbeat Comfortable forte

Yellow 4  Trigger 1 bar  60 Downbeat Mezzo forte plus

Orange 1  Only low E♭  70 (?) Downbeat Under celli

 

Bizet–Asmentionedpreviously,‘Tempo’ismostoftenthedeterminingfactorinthis

excerptfollowedcloselyby‘MethodusedtoplaylowE♭’.AmongtheVacchianostudents,therewas

anextremelywiderangeoftempi,andonlytwomusicianswerewithinfivebpmofeachother.

TherewasalsoverylittlecorrelationinhowtheplayersplaythelowconcertE♭.Therefore,there

wasbasicallynoagreementamongtheVacchianostudentsonthisexcerpt.

Mahler: Sym. No. 5     

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Blue 1 (P)  6/4  Terrace Rushed 60 Yes 

Yellow 1 (P)  Half note frame  ‐ Steady 68 No 

Red 2 (P)  16th note  Terrace (but starts at mf) 

Rushed 64 Yes 

Yellow 4  6/4  Terrace Steady 68 ‐ 

Orange 1  Half note frame  Terrace Rushed 66 Slight

 

136  

 

Mahler–Otherthanthe‘Phrasingoftheopening’category,therewerenoconsistent

similaritiestogrouptheVacchianostudentstogether.Theseresultswerenotsurprisingifwe

considerthatVacchianoneverplayedthisexcerptasawholeasdetailedinChapter5.

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Blue 1 (P)  96  Sustained  Even No 

Yellow 1 (P)  90  Sustained  Even ‐ 

Red 2 (P)  90  Sustained  ‐ ‐ 

Yellow 4  82  Sustained  Hairpin ‐ 

Orange 1  90  Sustained  Arc Last bar 

 

Mussorgsky–Unlikethepreviousexcerpts,theVacchianostudentsgroupedwellonthe

Mussorgsky.Yellow1,Red2,andOrange1soundedverymuchalike,becausetheyusedthesame

tempiand‘Shapesofquarternotes’.Blue1andYellow4didmatchon‘Shapesofquarternotes’as

well,buttheyusedthefastestandslowesttempirespectivelyofanytrumpeterintheprojectgiving

theirPromenadesnoticeablydifferentfeelsfromtheotherthreeVacchianostudents.

Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Blue 1 (P)  60  Slight  Yes Contour Partial

Yellow 1 (P)  70  Beat  Yes Contour Partial

Red 2 (P)  66  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Yellow 4  62  Beat  Yes ‐ Partial

Orange 1  70  Beat  Yes Upper neighbor Partial

 

Respighi–Orange1andYellow1wereslightlysimilarontheRespighi,buttheir

interpretationswerecomparedunderJamesStamp’sstudentsabove.Theotherthreestudentsall

differedonthesignificantcategoriesof‘Tempo’and‘Rubato’.

Vacchianoconclusions

WhiletheVacchianostudentshadsomenoteworthycomparisons,particularlyonthe

Beethoven,therewasverylittleevidencetoestablishtheprimarydecisionsofVacchiano.Most

likely,thiscanbeattributedtothelargetimethathaspassedsinceanyofthesestudentsstudied

withVacchiano.Asaset,theyhadthehighestaverageageofanyofthegroupings,sothestudents’

preferenceshadhadtimetoevolve.

137  

 

RogerVoisin

RogerVoisinwasprincipaloftheBostonSymphonyforthirty‐eightyearsandservedonthe

facultiesoftheNewEnglandConservatory,BostonUniversity,andtheTanglewoodMusicCenter.

MuchlikeWilliamVacchiano,hiscareerspannedseveraldecades.HebeganplayingwiththeBSOin

1935,buthewasstillteachingatTanglewooduntilhisdeathin2008.FourtrumpeterslistedRoger

Voisinasaninfluence,althoughnoneofthemconsideredhimaprimaryinfluence.

Table20.VoisinStudents

Hindemith: Sonata     

Musician  Tempo  Length and direction of 1st quarter note 

Goal of 1stPhrase 

Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Yellow 4  ‐  ‐  ‐ ‐ ‐ ‐

Orange 1  120  Long  Last C 2nd high note Final G  Slight

Blue 3  110  Equal  D♭  (possible last C) 

‐ C♯ before final G  No

Yellow 2  102  Equal  Last C Both bottom notes Final G  No

 

Hindemith–Therewerenosimilaritiesamongtheinterpretationsofthesestudentsonthe

Hindemithexcerpt.

Haydn: Concerto     

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods  Subito piano at m. 30 

Yellow 4  120  E  Firm Slur all Upper neighbor  Slight

Orange 1  134  C  Timpani Slur all Previous note rule  No 

Blue 3  124  C  Long Varies Upper neighbor  No 

Yellow 2  120  E  Timpani Slur two, tongue two Upper neighbor  Yes 

 

Haydn–ThreeoftheVoisinstudentsusedthesametrillmethodfortheHaydn,butUpper

neighborwasthemostcommonchoiceforthiscategoryacrossallthetrumpeters,soitcannotbe

linkedonlytoVoisin.Therewerenofurthersimilaritieswiththisgroup.

Beethoven: Leonore     

Musician  Rubato in 1st two bars 

Tempo change 

Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume

Yellow 4  Yes  Sudden Short Round  Loud

Orange 1  No  Gradual Round Round  ‐

Blue 3  No  Gradual Long Round  ‐

Yellow 2  Yes  Gradual Round Short  Loud

 

Beethoven–NoneoftheseplayersapproachedtheBeethoveninthesamemanner.

   

138  

 

Bizet: Carmen     

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases  Beginning dynamic

Yellow 4  Trigger 1 bar  60 Downbeat Mezzo forte plus

Orange 1  Only low E♭  70 (?) Downbeat Under celli

Blue 3  No  Gradual Long Round

Yellow 2  Custom equipment (tuning slide) 60 Downbeat Mezzo forte

 

Bizet–OntheBizetexcerpt,onlytwotrumpeters,Yellow4andYellow2,hadasomewhat

similaroverallinterpretation,buttheyarebothmembersofOrchestraYellow.Theirsimilaritiesare

morelikelylinkedtotheirorchestraconsideringthattheyarealmostfortyyearsapartinage.

Mahler: Sym. No. 5       

Musician  Method for rushing triplets Phrasing of opening Quarter note triplet Tempo (half note) 

Rushing of last triplets 

Yellow 4  6/4  Terrace Steady 68  ‐

Orange 1  Half note frame  Terrace Rushed 66  Slight

Blue 3  16th notes  ‐ Rushed 58  Yes

Yellow 2  6/4  Terrace (w/out pull back after 3rd) 

Steady 52  Yes

 

Mahler–Again,theonlytwosimilarinterpretationswerethetwomembersofOrchestra

Yellow,althoughtheychoosedrasticallydifferenttempi.InthelessonwithBlue3,hestatedthat

RogerVoisintaughthimtousethe16thnotemethodforpacingtheopeningtriplets,yetnoneofthe

otherstudentshereusedthatmethod.Thiscanpossiblybeattributedtothefactthatnoneofthese

studentsconsideredVoisinaprimaryinfluence,althoughitisalsoconceivablethattheysimply

achievedbetterresultsusingoneoftheothermethods.

Mussorgsky: Pictures       

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath

Yellow 4  82  Sustained  Hairpin ‐ 

Orange 1  90  Sustained  Arc Last bar 

Blue 3  84  Lyrical  Even Last bar 

Yellow 2  88  Bell tones  Even, except last two octave jumps  Last bar 

 

Mussorgsky–NoneoftheVoisinstudentsmatchedonthetwomostimportantcategories,

‘Tempo’and‘Shapeofquarternotes’,sotherewerenomeaningfulsimilaritiesinthisgrouponthe

Mussorgsky.

Respighi: Pines       

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Yellow 4  62  Beat  Yes ‐ Partial

Orange 1  70  Beat  Yes Upper neighbor Partial

Blue 3  58  Beat  Yes Upper neighbor End (but slows)

Yellow 2  55  Slight  Yes Upper neighbor None

139  

 

 

Respighi–Atfirstglance,thereseemedtobequiteafewcommonalitiesamongthestudents

ontheRespighi,butthedrasticrangeoftempicreatedfouruniqueinterpretationsforthisexcerpt.

Voisinconclusions

Asexpected,therewerenosubstantialsimilaritiesamongtheVoisinstudents,mostlikely

duetoVoisinbeingtheoldestteacherdiscussedhereandthereforehavingnoprimarystudents.

Overallconclusionsforcomparisonsbyteacherandinfluences

Asmentionedinthispaper’sintroduction,thisprojectcontainsmanyvariablesthatcannot

beisolatedinascientificmanner,andbecauseofthis,theconclusionsdrawnforthisprojectcannot

bedefinitiveinnature.Inthischapter,Ihavehighlightedthepatternsthatwerenoteworthyand

useful,butinreality,theseresultsareonlyhelpfulinbeginningtounderstandwhateffectsa

teachermayhaveonastudent.Thisisnotonlyasmallsamplesizeofeachteacher’sstudents,but

alsoasmallsampleoftherepertoirethattheteacherwouldhavecoveredwitheachstudent.For

thesecondaryinfluences,itislikelythatsomeofthematerialinthisprojectwasnotcoveredin

theirinteractions.However,ifasecondaryinfluencewasknownforaparticularperformanceofa

piece,itshouldbepossibletoseeadirectcorrelation.

Table211.MahlerCategoriesforPhilSmithInfluences

Mahler       

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Yellow 3  6/4  Terrace Steady 60  Yes

Green 3  6/4  As marked Steady 66  ‐ 

Green 4  6/4  Terrace Rushed ‐ Slight

Green 1  6/4  Terrace Rushed 62  Yes

Purple 2  16th notes  ‐ Rushed ‐ Yes

Yellow 2  6/4  Terrace (w/out pull back after 3rd) 

Steady 52  Yes

Blue 4  6/4  Terrace (Troops marching) Rushed 65  Yes

Blue 2  6/4  Terrace Rushed 64  Yes

 

AsdiscussedintheChapter5,manyofthisproject’sparticipantsmentionedtheimportance

ofPhilSmith’srecordingofMahler’sSymphonyNo.5withtheNewYorkPhilharmonicunderZubin

140  

 

Mehta.ThistableshowstheinterpretationsontheexcerptofthestudentswholistedPhilSmithas

aninfluence,primarilythoughhisrecordings,andtheresultsarestriking.Thereisaclear

agreementineachcategory,andthecompiledinterpretationmatchestherecording’s

interpretationexactly—6/4,Terrace,Rushed,atempobetween60and65bpm,andYesforthefinal

triplets.Oddly,theoneoutlierunderthe‘Pacingoftheopening’category—Purple2,ourperpetual

outlier—exhibitedthemostaffectionforthisparticularrecording.Whenaskedabouthowhecame

tohisinterpretationontheMahlerexcerpt,heresponded,“IjustlistenedtothePhilSmith

recordingsomanytimesthatIcouldsoundjustlikehim.”Admittedly,byitself,thetechniqueused

on‘Methodforrushingtriplets’doesnotnecessarilyprecludehimfromsoundinglikePhilSmith,

butitdoesdemonstratehowdifferentlyeachinfluencecanaffectanindividual.ExcludingPurple2,

theinfluenceofthisrecordingisremarkable.

Furthermore,anothernotableobservationcomesfromcomparingtheoverallcompiled

interpretationoftheMahlerexcerptfromPartItotheinterpretationtakenfromthe

aforementionedrecordingofPhilSmith;thetwointerpretationsareidentical,andasdiscussedin

PartI,manyofthetrumpetersmentionedanadmirationforPhilSmith’srecordingofthisopening,

eveniftheydidnotlisthimasaninfluence.Thatrecording’sprominencehaslikelycontributedto

themosthomogenousinterpretationoverallofanyoftheseexcerpts,butitstilldidnotcompletely

erasedifferencebetweensectionsasdemonstratedundertheMahlerportionofChapter8.

Table222.MussorgskyCategoriesforHersethInfluences

Mussorgsky       

Musician  Tempo  Shape of quarter notes Two‐measure phrasing Extra breath

Yellow 4 (P)  82  Sustained  Hairpin ‐ 

Orange 1  90  Sustained  Arc Last bar

Purple 1  86  Sustained  Even No 

Blue 3  84  Lyrical  Even Last bar

Yellow 3  88  Sustained  Even Last bar

Green 3  90  Sustained  Metric division (2+3+3+3, then 3+3+2+3)  ‐ 

Gray 1  92  Sustained  Even  

Green 1  88  Sustained  Hairpin No 

Purple 2  84  Sustained  Even Last bar

Blue 2  92  Sustained  Arc No 

 

141  

 

ThissecondtableincludestheinterpretationsofonlytheparticipantswholistedAdolph

Herseth,thefamousformerprincipalofChicagoSymphony,asaninfluence.Allbutoneofthese

musicianssaidthatHersethwasonlyasecondaryinfluencebecausetheydidnotstudywithhim;

theyonlylistenedtohisrecordings.Whileitisarguable,Iamfairlyconfidentinstatingasa

trumpeterthatHerseth’srecordingsofMussorgsky’sPicturesatanExhibitionarehismost

recognizedefforts,andthetablesfromthisprojectsupportthisstrongly.OntheMussorgsky,the

resultsofthe‘Shapeofquarternote’category,themostimportantstylisticcategoryforthisexcerpt,

isalmostunanimousacrosstenoftheparticipants.Theotherstylisticallydefiningcategory,

‘Tempo’,hasonlytwooutliersmeaningthatalmostalloftheseinterpretationsarequitesimilar

regardlessofthe‘Two‐measurephrasing’category.Ofcourse,itisimpossibletotellwhether

Herseth’sinterpretationsontheserecordingswerehisaloneandnotinfluencedbyanynumberof

factors,e.g.theconductorortherecordingspace.Regardless,thefinalproductoftheserecordings

doesseemtoaffectthosemusicianswholistedhimasaninfluenceforthisproject.

InmylessonwithGray1,therewasafurtherexampleofthefragmentarynatureofmusical

influencethroughteaching.WhendiscussingtheRespighiexcerpt,Gray1statedthatasinglelesson

hadchangedeverythingabouthisapproachtothisexcerpt.Fortunately,thispersonwasYellow3,

sowecancomparetheirinterpretationsoftheRespighidirectly.1

Table23.RespighiExcerptforYellow3andGray1

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note 

Yellow 3  64  Beat  Yes Upper neighbor (through vibrato) End 

Gray 1  72  Beat  Yes Upper neighbor (through vibrato) ‐ 

Asidefromamoderatedifferenceintempo,itisobviousthatGray1hadmodeledhis

interpretationofthisexcerptafterYellow3;theywerealsotheonlytwotrumpetersintheentire

projectwhoexplicitlystatedthattheyremovedallvibratotoemphasizetheimportantnotesofthe

Upperneighborphrasing.However,theBeethovenwastheonlyotherexcerptthatthesetwo

                                                            1Yellow3onlyhadoneparticipantinthisprojectlisthimasaninfluence,sohewasnotgivenhis

owncomparisonsectioninthischapter.

142  

 

interpretedsimilarly,andevenonthatexcerpt,theyusedadifferentstyleforthelastfourbars.

Therefore,eventhoughGray1consideredYellow3aprimaryinfluence,Yellow3onlydirectly

affectedGray1onone,ormaybetwo,ofthesesevenexcerpts.

Allthreeofthesesamplesareindicativeoftheresultsofthischapter.Ateacher’sinfluence

islimitedduetothemanycompetingforcesforastudent’sattention.Forexample,itisquite

possiblethatoneofthesemusiciansmayhavechosenthePhilSmithinterpretationoftheMahler

excerpt,theBudHersethrecordingoftheMussorgsky,theirundergraduateteacherforthe

Hindemith,andeverythingelsefromtheircurrentcolleagues.Therefore,thecommonsense

conclusionofthischapterissimplythatateachershouldexpecttobeastronginfluenceona

student,butcertainlynottheonlyinfluence.Thislessonisofparticularimportancetocollegiate

musicprofessors;thepeersofastudentwillhaveasmuch,ifnotmoreinfluenceontheprogressof

astudentthanprivateinstruction.Thereforeinmyopinion,itisimportanttoestablishastrong

traditionofstudentleadershipwithinthestudioandtorecruitandacceptstudentsthatwillhelp

continuethis.Iamsurethattherearemoreexperiencedteachersthanmewithopinionsonthis,

buttalentshouldnotbethesoledeterminantinacceptingstudentsforprivatestudy. 

143  

 

 

CHAPTER10—ExcerptBreakdownbyTradition 

 

 

Asmentionedintheintroduction,theoriginalimpetusofthisprojectwastostudythe

differentregionalschoolsoforchestraltrumpeting—EastCoast,Midwest,andWestCoast.AsI

begantheproject,Iwasundertheimpressionthatthesemusicianshadearnedtheirjobsplayingin

theappropriateschool,andoccasionally,thisideawasreinforcedbythetrumpeters.Forexample,

intheinterviewportionofmylessonwithOrange1,hesaid,“It’snotacoincidencethatstudents

thatgrewupintheareaeventuallywonjobshere.”Uponcompletionoftheprojecthowever,Ifelt

thatnoneoftheparticipantsstruckmeasparticularly‘regional’.Eachtrumpeterwas

extraordinarilytalentedandthoughtful,andassuch,myimpressionofthesetrumpetersdenied

simpleregionalcategorizations.Forthisreason,Idecidedtoanalyzetheplayersinonemore

grouping—bythetraditioninwhichtheyweretrained.Ihavedesignedstandardsthatestablisha

traditionforeachofthesixcitiesincludedinthisproject:Boston,Chicago,Cleveland,LosAngeles,

NewYork,andPhiladelphia.Foraplayertobelongtoatradition,hemusthavemetatleastoneof

thefollowingcriteria:beenamemberoftheprofessionalsymphonyofthecityforaseason,studied

atadegreegrantinginstitutioninthecity,listedanestablishedmemberofthecity’ssymphonyasa

primaryinfluence,orstudiedwiththesymphony’strainingorchestra.1

Thislistexcludesthetrumpetersfromtheircurrentorchestraiftheircurrentpositionisthe

onlylinktheyhavetothatorchestra.Forexample,atrumpeterwhoiscurrentlyemployedbythe

NewYorkPhilharmonic,butneverstudiedinNewYorkorwithamemberoftheNewYork

PhilharmonicwouldnotbeontheNewYorklist.

                                                            1Thissectionwillonlyconsiderthecollegiate‐leveltrainingorchestrasofBostonandChicago,

TanglewoodandtheChicagoCivicrespectively.

144  

 

Asapreliminarytestforthissetofcriteria,Imadealistusingthecurrentmembersofthese

sixsymphoniestoseeifanygroupingswerereadilyapparent,andtheresultswereremarkable

enoughformetoincludethislisthere.Forthefollowinglist,Ionlyusedinformationthatwas

readilyavailablefromeachsymphonymember’sbiographyaslistedontheircurrentorchestras’

websitesortheirpersonalwebsite,notinformationgatheredfromtheinterviewsforthisproject.

Byusingonlypublicallyavailableinformation,Iamabletolisttheactualnamesofthetrumpeters.

InthethreeyearssinceIbeganthisproject,therehasbeensometurnoverinthesections.This

meansthatthislistnotonlyincludesmultipletrumpetersthatdidnotparticipateinthisproject,it

alsoexcludesmultipletrumpetersthatwereparticipantsofthisproject.Becauseofthis,Ifeel

confidentinlistingtheirrealnames,asitisnotpossibleusingthislisttotellwhichofthesetrumpet

playersactuallyparticipatedintheprojectandthereforecannotbeusedtodeciphertheanonymity

establishedinthepreviouschapters.

TraditionTree–currentasofJune2011Currentmembersoftheorchestraareitalicized.Boston–Criteria:heldpositionwithaprofessionalorchestrainBoston;studiedatadegreegrantinginstitutioninBoston;studiedwithCharlieSchlueter,RogerVoisin,oracurrentmemberoftheorchestra;studiedattheTanglewoodMusicCenter.AllofthecurrentmembersoftheBostonSymphonyareonthislist.

1) TomRolfs‐StudiedwithCharlieSchlueter,studiedatTanglewood2) BenWright‐StudiedatTanglewood3) TomSiders‐StudiedatTanglewoodwithTomRolfs4) MichaelMartin‐StudiedatTanglewoodwithTomRolfs5) ChrisStill‐StudiedatNECwithCharlieSchlueter,studiedatTanglewoodwithVoisin6) EthanBensdorf‐StudiedatTanglewoodwithTomRolfs7) MatthewMuckey‐StudiedatTanglewoodwithTomRolfs8) ThomasSmith‐StudiedatNECwithRobertNagel9) MichaelSachs‐StudiedatTanglewoodwithRogerVoisin10) RobertEarley‐StudiedatNECwithGhitalla,performedwithBostonPops

145  

 

Chicago–Criteria:heldpositionwithaprofessionalorchestrainChicagoincludingtheChicagoCivic;studiedatadegreegrantinginstitutioninChicago;studiedwithAdolphHerseth,VincentCichowicz,CharlesGeyer,BarbaraButler,orwithacurrentmemberoftheorchestra.AllcurrentmembersoftheChicagoSymphonyareonthislistexceptMarkRidenour.

1) TageLarsen‐StudiedwithBarbaraButler2) ChrisMartin‐StudiedwithCharlesGeyerandBarbaraButler3) JohnHagstrom‐GrewupinChicago4) JimWilt‐StudiedwithCharlieGeyeratEastman5) TomRolfs‐StudiedatNorthwesternwithVincentCichowicz6) BenWright‐FormermemberoftheCSO,studiedwithCharlieGeyerformultiplelessons7) MichaelMartin‐StudiedatNorthwesternwithBarbaraButlerandCharlesGeyer,

performedwiththeChicagoCivic8) PhilSmith‐FormermemberoftheCSO9) EthanBensdorf‐StudiedatNorthwesternwithBarbaraButlerandCharlesGeyer,

performedwiththeChicagoCivic10) MatthewMuckey‐StudiedatNorthwesternwithCharlesGeyerandBarbaraButler,

performedwithChicagoCivicCleveland–heldapositionwiththeClevelandOrchestra;studiedatadegreegrantinginstitutioninCleveland;studiedwithBernardAdelstein,JamesDarling,orwithacurrentmemberoftheorchestra.TwoofthecurrentmembersoftheClevelandOrchestraareonthislist.MichaelSachsandJackSuttedidnothaveprevioustiestothisorchestra.

1) MikeMiller‐StudiedatBaldwinWallacewithJimDarling2) LyleSteelman‐StudiedatBaldwinWallacewithJimDarling,grewupinCleveland3) BenWright‐StudiedatCIMwithMikeSachs4) RobertEarley‐StudiedatBaldwinWallacewithJimDarling

LosAngeles–heldpositionwithaprofessionalorchestrainLosAngeles;studiedatadegreeinstitutioninLosAngeles;studiedwithTomStevens,JamesStamp,TonyPlog,JamesThompson(throughJamesStamp),orwithacurrentmemberoftheorchestra.Yellow1istheonlycurrentmemberoftheLosAngelesPhilharmoniconthislist.JimWiltandChrisStilldidnothaveprevioustiestoLosAngeles.

1) DonGreen‐StudiedatUSCwithTomStevensandJamesStamp2) ThomasSmith‐StudiedwithDonGreenovertwosummers3) MichaelSachs‐StudiedatUCLA,whiletherestudiedwithAnthonyPlogandJames

Stamp,grewupinLosAngeles4) ChrisMartin‐PerformedasguestprincipalwithLosAngelesPhilharmonic,studied

withJimThompsonatEastman

146  

 

NewYork–heldpositionwithaprofessionalorchestrainNewYork;studiedatadegreegrantinginstitutioninNewYork;studiedwithWilliamVacchiano,VincentPenzarella,orwithacurrentmemberoftheorchestra.PhilSmithistheonlycurrentmemberoftheNewYorkPhilharmoniconthislist.EthanBensdorf,MatthewMuckey,andThomasSmithdidnothaveprevioustiestothisorchestra.

1) PhilipSmith‐StudiedatJuilliardwithWilliamVacchiano2) JimWilt‐FormermemberoftheNewYorkPhilharmonic3) ChrisStill‐StudiedwithVincePenzarella4) DonGreen‐StudiedatJuilliardwithWilliamVacchiano5) BenWright‐StudiedatJuilliardwithMarkGould6) MichaelSachs‐StudiedatJuilliardwithMarkGould7) JackSutte‐StudiedatJuilliardwithChrisGekkerandRayMase8) DavidBilger‐StudiedatJuilliard9) RobertEarley‐StudiedwithWilliamVacchianooverthreesummers

Philadelphia–heldpositionwiththePhiladelphiaOrchestra;studiedatadegreegrantinginstitutioninPhiladelphia;studiedwithGilJohnson,FrankKaderabek,SeymourRosenfeld,SamKraus,orwithacurrentmemberoftheorchestra.TwoofthecurrentmembersofthePhiladelphiaOrchestraareonthislist.DaveBilgerandBobEarleydidnothaveprevioustiestoPhiladelphia.

1) JeffCurnow‐StudiedatTemplewithSeymourRosenfeld2) RogerBlackburn‐StudiedatCurtiswithSamKraussandGilJohnson3) BenWright‐MultiplelessonswithDaveBilger4) JackSutte‐StudiedatCurtiswithFrankKaderabek5) ChrisMartin‐FormermemberofthePhiladelphiaOrchestra

Themostnotableobservationisthatwithonlyoneexception,eachoftheplayersinthisproject

havereceivedtraininginatleastone,ifnotmore,ofthesixcitiesstudiedinthisproject.Thelargest

groupingsbycityareinBostonandChicago;threeofthefourmembersoftheChicagoSymphony

havetiestoChicago,andallfouroftheBostonSymphonymembersstudiedinBostonatsomepoint.

Theotherfourorchestrashaveatleastonecurrentmemberoftheirorchestralinkedtotheircity,

butitisclearthattheyhavefarlessthanstudentsoverallthaneitherBostonorChicago.Ibelieve

themaindifferenceliesinChicago’sandBoston’strainingorchestras.Bothofthemajor

symphonieswithatrainingorchestratieddirectlytotheirprogramseemtohaveafargreater

reach.Forexample,BostonwouldhavesixfewerstudentstiedtotheirtraditionifTanglewood

wereexcluded,leavingonlyfourstudentswhoactuallycompleteddegreeswithmembersofthe

BSO.Becauseofthis,thischapterwillpayspecialattentiontostudentswhoplayedinthetraining

programstoseeiftheyshareademonstrablelink.

147  

 

Intheprevioustwochapters,comparisonsbysectionandbyteacher,thelargestgroupinvolved

sixmusicians,butmosthadbetweentwoandfour.Inthesecases,itwasfeasibletocomparethe

overallinterpretationofeachtrumpetertoeachoftheotherinterpretationsofthegroup.Aclear

majorityinoneortwoofthecategorieswithineachexcerptwasworthcommenting,butunlessthe

overallinterpretationsmatched,itwasnotenoughtoattributeastylisticinfluence.Yetinthis

chapter,twoofthetraditions,BostonandChicago,haveconsiderablymorestudentsthanany

previousgrouping,soIhaveadjustedthecomparisonstrategytoaccommodatethis.Ifnoobvious

majoritiesarepresent,Iwillcomparetheinterpretationswithineachtraditiontothemajoritiesin

eachcategoryestablishedinPartI.Inthismanner,itispossibletodeterminewhetherthe

majoritiesineachtraditionareactuallyuniquetothattraditionorsimplyatendencythroughoutall

thetrumpetersintheproject.Furthermore,thischapterwillfocusprimarilyonlarge‐scale

comparisons.Becauseoftherepeatedindividualcomparisonsbysectionandbyteacher,mostof

theindividualcomparisonsthatcouldbeexaminedinthischapterhavealreadybeendiscussed,

primarilyunderoneormoresharedteachers.

Again,thelistthatIusedtoestablishthetraditiontreeforthecomparisonsbelowisdifferent

thantheonelistedabove.Someofthesectionshavemadechangesrecently,sothesechangesare

reflectedonlyinthepreviouslist,notthefollowingtables.Anystudentwitha‘T’inparentheses

followinghisnamestudiedinthetrainingorchestraofthatcity.Likethepreviouschapter,the

musiciansaresortedbydescendingapproximateagewithineachtradition,butnotbytraining

orchestra.

148  

 

Table24.HindemithSortedbyTradition

Musician  Tempo  Length and direction of 1st quarter note 

Goal of 1stPhrase 

Phrasing of descending motive 

Phrasing of 3 bars before Reh. 1 

Ritard. at m. 15 

Boston     

Orange 1 (T)  120  Long  Last C 2nd high note Final G  Slight

Purple 1 (T)  105  Long  Last C Last note Final G  ‐

Red 2  115  ‐  ‐ Last note Final G  No

Blue 3  110  Equal  D♭  (possible last C) 

‐ C♯ before final G  No

Purple 2 (T)  105  Long  Low F and Last C Last note ‐ ‐

Yellow 2 (T)  102  Equal  Last C Both bottom notes Final G  No

Blue 4 (T)  114  Long  D♭   2nd high note, but both high 

Final G  Slight

Blue 2 (T)  115  Long  D♭   Both high notes Final G (w/out breath) 

No

Chicago     

Yellow 4  ‐  ‐  ‐ ‐ ‐ ‐

Purple 1  105  Long  Last C Last note Final G  ‐

Yellow 3  128  Long  Last C 2nd high note Final G  Slight

Gray 1  110  Equal  E♭  2nd high note Final G  Yes

Green 4  110  Long  Last C Last note Final G  No

Green 1  110  Separated  Low F 2nd high note, but both high 

Final G (w/ tongue)  No

Purple 2  105  Long  Low F and Last C Last note ‐ ‐

Yellow 2  102  Equal  Last C Both bottom notes Final G  No

Blue 4 (T)  114  Long  D♭   2nd high note, but both high 

Final G  Slight

Blue 2 (T)  115  Long  D♭   Both high notes Final G (w/out breath) 

No

Cleveland     

Red 2  115  ‐  ‐ Last note Final G  No

Orange 4  115  Long  Last C 2nd high note Final G  No

Purple 2  105  Long  Low F and Last C Last note ‐ ‐

Orange 3  100  Equal  Last C Last note Final G  Slight

Los Angeles     

Yellow 4  ‐  ‐  ‐ ‐ ‐ ‐

Yellow 1  124  Equal  Low F Both bottom notes Final G  Slight

Orange 1  120  Long  Last C 2nd high note Final G  Slight

Blue 3  110  Equal  D♭  (possible last C) 

‐ C♯ before final G  No

Gray 1  110  Equal  E♭  2nd high note Final G  Yes

Green 1  110  Separated  Low F 2nd high note, but both high 

Final G (w/ tongue)  No

New York     

Yellow 1  124  Equal  Low F Both bottom notes Final G  Slight

Orange 1  120  Long  Last C 2nd high note Final G  Slight

Red 2  115  ‐  ‐ Last note Final G  No

Yellow 3  128  Long  Last C 2nd high note Final G  Slight

Orange 2  110  ‐  ‐ Both high notes Final G  No

Purple 2  105  Long  Low F and Last C Last note ‐ ‐

Yellow 2  102  Equal  Last C Both bottom notes Final G  No

Philadelphia     

Red 4  118  Separated  Last C 2nd high note Final G  Slight

Orange 2  110  ‐  ‐ Both high notes Final G  No

Red 3  120  Long  Last C Last note, but both low 

Final G (w/ tongue)  Slight

Green 1  110  Separated  Low F 2nd high note, but both high 

Final G (w/ tongue)  No

Purple 2  105  Long  Low F and Last C Last note ‐ ‐

149  

 

 

Hindemith–Withoneminorexception,noneofthetraditionshadanystronggroupingson

thisexcerpt,evenwhencomparedtothecompileddata.TheLosAngelestraditionhadaminor

exceptionunder‘Lengthanddirectionof1stquarternote.’Forthisgroup,therewasamajorityof

Equal,eventhoughtheoveralldataisheavilyskewedtowardLongquarternotes.Thatbeingsaid,it

cannotevenbeconsideredastrongpatternasitwasonlyonecategoryinamuchlargerset.Neither

ofthetrainingorchestrashadanyparticulardifferencesfromtherestofthegroup.

150  

 

Table25.HaydnSortedbyTradition

Musician  Tempo  Goal of 1st 3 notes 

Length of non‐slurred 8th notes 

16th note tonguing Trill methods Subito pianoat m. 30 

Boston         

Orange 1 (T)  134  C  Timpani Slur all Previous note rule  No

Purple 1 (T)  130  E  Firm  Slur two, tongue two Melodic Yes

Red 2  122  E  Timpani Slur two, tongue two Upper neighbor  ‐ 

Blue 3  124  C  Long Varies Upper neighbor  No

Purple 2 (T)  ‐  ‐  Timpani Slur all Upper neighbor  Yes

Yellow 2 (T)  120  E  Timpani Slur two, tongue two Upper neighbor  Yes

Blue 4 (T)  120  C  Timpani Slur two, tongue two Upper neighbor  No

Blue 2 (T)  132  C  Timpani Slur two, tongue two Upper neighbor  No (different phrasing) 

Chicago         

Yellow 4  120  E  Firm  Slur all Upper neighbor  Slight

Purple 1  130  E  Firm  Slur two, tongue two Melodic Yes

Yellow 3  130  E  Long Tongue all Upper neighbor  Yes

Gray 1  122  C  Timpani Slur all Directional rule  Yes

Green 4  ‐  E  Timpani Slur two, tongue two Upper neighbor (as grace note) 

Yes

Green 1  120  ‐  Firm  Tongue all Melodic No

Purple 2  ‐  ‐  Timpani Slur all Upper neighbor  Yes

Yellow 2  120  E  Timpani Slur two, tongue two Upper neighbor  Yes

Blue 4 (T)  120  C  Timpani Slur two, tongue two Upper neighbor  No

Blue 2 (T)  132  C  Timpani Slur two, tongue two Upper neighbor  No (different phrasing) 

Cleveland         

Red 2  122  E  Timpani Slur two, tongue two Upper neighbor  ‐ 

Orange 4  120  E  Detached Slur two, tongue two Melodic ‐ 

Purple 2  ‐  ‐  Timpani Slur all Upper neighbor  Yes

Orange 3  120  Even  Timpani Slur two, tongue two Melodic Slight

Los Angeles         

Yellow 4  120  E  Firm  Slur all Upper neighbor  Slight

Yellow 1  130  C  Timpani Slur two, tongue two Upper neighbor  ‐ 

Orange 1  134  C  Timpani Slur all Previous note rule  No

Blue 3  124  C  Long Varies Upper neighbor  No

Gray 1  122  C  Timpani Slur all Directional rule  Yes

Green 1  120  ‐  Firm  Tongue all Melodic No

New York         

Yellow 1  130  C  Timpani Slur two, tongue two Upper neighbor  ‐ 

Orange 1  134  C  Timpani Slur all Previous note rule  No

Red 2  122  E  Timpani Slur two, tongue two Upper neighbor  ‐ 

Yellow 3  130  E  Long Tongue all Upper neighbor  Yes

Orange 2  120  C  Timpani Varies Varies ‐ 

Purple 2  ‐  ‐  Timpani Slur all Upper neighbor  Yes

Yellow 2  120  E  Timpani Slur two, tongue two Upper neighbor  Yes

Philadelphia         

Red 4  120  Even  Timpani Slur all Upper neighbor (as grace note) 

No

Orange 2  120  C  Timpani Varies Varies ‐ 

Red 3  126  E  Long ‐ Previous note rule  ‐ 

Green 1  120  ‐  Firm  Tongue all Melodic No

Purple 2  ‐  ‐  Timpani Slur all Upper neighbor  Yes

 

Haydn–MuchliketheHindemith,theresultsfortheHaydnhadveryfewpatternswithin

thesetraditionsthatdidnotmatchthenormsestablishedinPartI.TheClevelandandPhiladelphia

151  

 

traditionsbothchoseverysimilartempi,butthetempitheychosecenteredaroundthemost

commonlyusedtempoinPartI,120bpm.Inthe‘Goaloffirstthreenotes’category,theoverall

resultsweresplitevenlybetweenCandEgoaltones,buttheLosAngelestraditionfavoredtheC

phrasing.TheLosAngelesandPhiladelphiatraditionsweretheonlytwogroupsthatdidnotfavor

theSlurtwo,tonguetwomethodfor‘16thnotetonguing’,butneithergroupfavoredanymethod;

theplayerswithinthosetraditionssimplydidnotagreeonthatcategory.Again,neitherofthe

trainingorchestramembersshowedcommonalitiesdifferentlyfromtherestofthetrumpeters.

152  

 

Table26.BeethovenSortedbyTradition

Musician  Rubato in 1st two bars  Tempo change 

Shape of 8th notes in first two bars 

Shape of 8th notes in last 4 bars 

Volume 

Boston     

Orange 1 (T)  No  Gradual Round Round ‐ 

Purple 1 (T)  Yes  Gradual Short Round Loud 

Red 2  Yes  Gradual Short Short ‐ 

Blue 3  No  Gradual Long Round ‐ 

Purple 2 (T)  Yes  Gradual Long Short ‐ 

Yellow 2 (T)  Yes  Gradual Round Short Loud 

Blue 4 (T)  Rubato (slight)  Gradual Round Round Comfortable 

Blue 2 (T)  Yes  Sudden Round Long Comfortable 

Chicago     

Yellow 4  Yes  Sudden Short Round Loud 

Blue 1  Rubato  Gradual Round Round ‐ 

Purple 1  Yes  Gradual Short Round Loud 

Yellow 3  Rubato  Gradual Round Short Loud 

Gray 1  Rubato  Gradual Round Round ‐ 

Green 4  No  Gradual Round Round Comfortable 

Green 1  Rubato  Gradual Round Round Comfortable 

Purple 2  Yes  Gradual Long Short ‐ 

Yellow 2  Yes  Gradual Round Short Loud 

Blue 4 (T)  Rubato (slight)  Gradual Round Round Comfortable 

Blue 2 (T)  Yes  Sudden Round Long Comfortable 

Cleveland     

Red 2  Yes  Gradual Short Short ‐ 

Orange 4  No (slightly long ½ notes) 

Gradual Round Round Loud 

Purple 2  Yes  Gradual Long Short ‐ 

Orange 3  Rubato  Gradual Round Round Comfortable 

Los Angeles     

Yellow 4  Yes  Sudden Short Round Loud 

Yellow 1  Yes  Sudden Round Short ‐ 

Orange 1  No  Gradual Round Round ‐ 

Blue 3  No  Gradual Long Round ‐ 

Gray 1  Rubato  Gradual Round Round ‐ 

Green 1  Rubato  Gradual Round Round Comfortable 

New York     

Blue 1  Rubato  Gradual Round Round ‐ 

Yellow 1  Yes  Sudden Round Short ‐ 

Orange 1  No  Gradual Round Round ‐ 

Red 2  Yes  Gradual Short Short ‐ 

Yellow 3  Rubato  Gradual Round Short Loud 

Orange 2  Rubato  Gradual Round Round ‐ 

Purple 2  Yes  Gradual Long Short ‐ 

Yellow 2  Yes  Gradual Round Short Loud 

Philadelphia     

Red 4  Yes  Sudden Short Short ‐ 

Orange 2  Rubato  Gradual Round Round ‐ 

Red 3  No  Gradual Long Long ‐ 

Green 1  Rubato  Gradual Round Round Comfortable 

Purple 2  Yes  Gradual Long Short ‐ 

 

Beethoven‐Atfirstglance,thereismuchmoreagreementwithinthetraditionsonthe

Beethoven,butthisisdueprimarilytothemuchgreaterconformityamongalltheplayersinthe

153  

 

projectontheorchestralexcerpts.Thisoverallagreementislogicalconsideringthatallofthe

playersareprincipallyorchestraltrumpetersandtheorchestralexcerptshavelessroomfor

personalinterpretationthanasoloworksuchastheHindemithorHaydn.

Onthisexcerpt,IwascurioustoseeiftheNewYorktraditionwouldincludeallofthe

trumpeterswhousethe‘Sudden’tempochangeasWilliamVacchianowasobviouslyamajor

influenceinthattradition.Yetduetothecriteriausedheretocategorizethetraditions,therewere

actuallyfewerplayerswhousedthistempochangeunderNewYork.Thisisbecauseoneofthe

Vacchianostudentswhousedthe‘Sudden’tempochangedidnotfulfillthecriteriahereinorderto

belongtotheNewYorktradition.Thisstudent,Yellow4,listedVacchianoasaprimaryinfluence

becauseofhisfondnessofVacchiano’srecordings,notbecausehewaseverabletostudydirectly

withVacchiano.Consequently,therewaslesscorrelationheretotheinterpretationofVacchiano.

Again,therewasnospecialgroupingamongthetrainingorchestramembers.

154  

 

Table27.BizetSortedbyTradition

Musician  Method used to play low E♭  Tempo Dynamic goal of 2‐bar phrases 

Beginning dynamic

Boston     

Orange 1 (T)  Only low E♭  70 (?) Downbeat Under celli 

Purple 1 (T)  Trigger opening  60 Downbeat Mezzo forte plus

Red 2  Trigger opening  64 Downbeat Comfortable forte

Blue 3  Trigger 1 bar (plus following 2 bars) 58 Downbeat Mezzo forte plus

Purple 2 (T)  Trigger 1 bar  65 Downbeat Mezzo forte

Yellow 2 (T)  Custom equipment (tuning slide) 60 Downbeat Mezzo forte

Blue 4 (T)  Trigger 1 bar  60 Downbeat Mezzo forte

Blue 2 (T)  Trigger 1 bar  64 Beat 3 Mezzo forte

Chicago     

Yellow 4  Trigger 1 bar  60 Downbeat Mezzo forte plus

Blue 1  Trigger 1 bar  65 Downbeat ‐ 

Purple 1  Trigger opening  60 Downbeat Mezzo forte plus

Yellow 3  Pull tuning slide  64 Downbeat Mezzo forte plus

Gray 1  Trigger 1 bar  60 Downbeat ‐ 

Green 4  Trigger 1 bar  ‐ Downbeat ‐ 

Green 1  Trigger 1 bar  65 Downbeat Comfortable forte

Purple 2  Trigger 1 bar  65 Downbeat Mezzo forte

Yellow 2  Custom equipment (tuning slide) 60 Downbeat Mezzo forte

Blue 4 (T)  Trigger 1 bar  60 Downbeat Mezzo forte

Blue 2 (T)  Trigger 1 bar  64 Beat 3 Mezzo forte

Cleveland     

Red 2  Trigger opening  64 Downbeat Comfortable forte

Orange 4  Trigger 1 bar  60 Beat 3 Mezzo ‘comfortable’ 

Purple 2  Trigger 1 bar  65 Downbeat Mezzo forte

Orange 3  Trigger 1 bar  66 Downbeat Easy forte 

Los Angeles     

Yellow 4  Trigger 1 bar  60 Downbeat Mezzo forte plus

Yellow 1  Trigger opening  75 Beat 3 Mezzo forte

Orange 1  Only low E♭  70 (?) Downbeat Under celli 

Blue 3  Trigger 1 bar (plus following 2 bars) 58 Downbeat Mezzo forte plus

Gray 1  Trigger 1 bar  60 Downbeat ‐ 

Green 1  Trigger 1 bar  65 Downbeat Comfortable forte

New York     

Blue 1  Trigger 1 bar  65 Downbeat ‐ 

Yellow 1  Trigger opening  75 Beat 3 Mezzo forte

Orange 1  Only low E♭  70 (?) Downbeat Under celli 

Red 2  Trigger opening  64 Downbeat Comfortable forte

Yellow 3  Pull tuning slide  64 Downbeat Mezzo forte plus

Orange 2  Custom equipment (The Shredder) 60 Downbeat Mezzo forte

Purple 2  Trigger 1 bar  65 Downbeat Mezzo forte

Yellow 2  Custom equipment (tuning slide) 60 Downbeat Mezzo forte

Philadelphia     

Red 4  Trigger 1 bar  60 Downbeat ‐ 

Orange 2  Custom equipment (The Shredder) 60 Downbeat Mezzo forte

Red 3  Pull tuning slide  65 Beat 3 Mezzo forte

Green 1  Trigger 1 bar  65 Downbeat Comfortable forte

Purple 2  Trigger 1 bar  65 Downbeat Mezzo forte

 

Bizet‐Asexpected,therewerenonoteworthypatternsundertheBizet,aseachcategory

underthisexcerptclearlyalignedwiththeoverallresults.TheNewYorktraditionhadtheleast

155  

 

amountofTrigger1phraseunder‘MethodusedtoplaylowE♭’,butthissimplymeantthatthere

wasnoagreementatall.

156  

 

Table28.MahlerSortedbyTradition

Musician  Method for rushing triplets 

Phrasing of opening Quarter note triplet 

Tempo (half note) 

Rushing of last triplets 

Boston       

Orange 1 (T)  Half note frame  Terrace Rushed 66  Slight

Purple 1 (T)  6/4  Terrace Rushed 65  Yes 

Red 2  16th notes  Terrace (but starts at mf) Rushed 64  Yes 

Blue 3  16th notes  ‐ Rushed 58  Yes 

Purple 2 (T)  16th notes  ‐ Rushed ‐ Yes 

Yellow 2 (T)  6/4  Terrace (w/out pull back after 3rd) Steady 52  Yes 

Blue 4 (T)  6/4  Terrace (Troops marching) Rushed 65  Yes 

Blue 2 (T)  6/4  Terrace Rushed 64  Yes 

Chicago       

Yellow 4  6/4  Terrace Steady 68  ‐ 

Blue 1  6/4  Terrace Rushed 60  Yes 

Purple 1  6/4  Terrace Rushed 65  Yes 

Yellow 3  6/4  Terrace Steady 60  Yes 

Gray 1  Half note frame  As marked Rushed 54  Yes 

Green 4  6/4  Terrace Rushed ‐ Slight

Green 1  6/4  Terrace Rushed 62  Yes 

Purple 2  16th notes  ‐ Rushed ‐ Yes 

Yellow 2  6/4  Terrace (w/out pull back after 3rd) Steady 52  Yes 

Blue 4 (T)  6/4  Terrace (Troops marching) Rushed 65  Yes 

Blue 2 (T)  6/4  Terrace Rushed 64  Yes 

Cleveland       

Red 2  16th notes  Terrace (but starts at mf) Rushed 64  Yes 

Orange 4  Half note frame  As marked Steady 66  No 

Purple 2  16th notes  ‐ Rushed ‐ Yes 

Orange 3  Half note frame  As marked Rushed 62  Yes 

Los Angeles       

Yellow 4  6/4  Terrace Steady 68  ‐ 

Yellow 1  Half note frame  ‐ Steady 68  No 

Orange 1  Half note frame  Terrace Rushed 66  Slight

Blue 3  16th notes  ‐ Rushed 58  Yes 

Gray 1  Half note frame  As marked Rushed 54  Yes 

Green 1  6/4  Terrace Rushed 62  Yes 

New York       

Blue 1  6/4  Terrace Rushed 60  Yes 

Yellow 1  Half note frame  ‐ Steady 68  No 

Orange 1  Half note frame  Terrace Rushed 66  Slight

Red 2  16th notes  Terrace (but starts at mf) Rushed 64  Yes 

Yellow 3  6/4  Terrace Steady 60  Yes 

Orange 2  Half note frame – (pendulum) 

Terrace (using “Pendulum) Steady 55  Slight

Purple 2  16th notes  ‐ Rushed ‐ Yes 

Yellow 2  6/4  Terrace (w/out pull back after 3rd) Steady 52  Yes 

Philadelphia       

Red 4  Half note frame  As marked Rushed 66  Yes 

Orange 2  Half note frame – (pendulum) 

Terrace (using “Pendulum) Steady 55  Slight

Red 3  Half note frame  As marked Rushed 65  Yes 

Green 1  6/4  Terrace Rushed 62  Yes 

Purple 2  16th notes  ‐ Rushed ‐ Yes 

 

Mahler–TheMahlergroupingscontainedthefirstnotableresultsundertradition,andthey

wererelatedtothepacingoftheopening.TheBostontraditioncontainedallthreeofthe

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trumpetersthatusethe16thnotesunder‘Methodforrushingthetriplets’.Thisisnoteworthy,

becauseRogerVoisin,theformerprincipaloftheBostonSymphony,wasknowntouseandteach

thismethodasdiscussedunderVoisin’sgroupinginthepreviouschapter.There,onlyoneofhis

studentsusedthe16thnotemethod,butnoneofthoseparticularstudentslistedhimasaprimary

influence.YethereundertheBostontradition,weseealloftheplayersthatusedthe16thnote

method,andallthreeofthemwerestronglyassociatedwiththeBostontraditionthroughtheir

formerteachersand/ortheircurrentpositions.Twoofthemwerenon‐Tanglewoodstudents

meaningthattheyreceiveddegreesfromBostoninstitutions.However,therewasstillamajorityof

playersundertheBostontraditionwhoutilizeddifferentmethods,sowecannotgosofarasto

claimthe16thnotemethodisafixtureinthiscity—especiallyconsideringthatamajorityofthe

trumpetersundertheBostontraditionusedadifferentmethod.Furthermore,twoofthethree

musiciansthatusethe16thnotemethod,Purple2andRed2,alsocompleteddegreesinCleveland

institutions,soitispossiblethataprominentfigureinthattradition,i.e.BernardAdelstein,may

haveusedthe16thnotemethodaswell.

ThesecondsignificantgroupingwasundertheChicagotraditionof‘Methodforrushingthe

triplets’.Whilethe6/4methodwasthemostcommonchoicefortheopening’spacing,itwasnot

veryfaraheadoftheHalfnoteframemethod.YettheChicagotraditionwasfaroutofproportionas

onlytwooftheeleventrumpetersdidnotusethe6/4method.WhileIhadbeentaughtthe6/4

methodbymultipleteachersbeforebeginningthisproject,noonehadeverattributedittoa

specificplayer.Whilethisisonlyspeculation,givenAdolphHerseth’sextremelylongtenureasthe

principaloftheChicagoSymphonyOrchestra,itisquitepossiblethatheplayedarolein

popularizingthispacingmethod.

Finally,theotherfourtraditionsallhadamajorityofplayersthatfavoredtheHalfnote

framemethodofpacing.Thisisstrangeasonlysevenplayersintheprojectusedthismethod,but

theywerespreadoutovertheotherfourtraditionsinsuchawaythatthismethodseemedmore

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popularthanitactuallywas.TheHalfnoteframemethodisnotanoverwhelmingmajorityinanyof

thesetraditions.Theotherfourcategoriesofthisexcerptallalignedwiththenormsoftheoverall

resultsoftheproject.

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Table29.MussorgskySortedbyTradition

Musician  Tempo  Shape of quarter notes Goal of each phrase Extra breath 

Boston       

Orange 1 (T)  90  Sustained  Arc Last bar 

Purple 1 (T)  86  Sustained  Even No 

Red 2  90  Sustained  ‐ ‐ 

Blue 3  84  Lyrical  Even Last bar 

Purple 2 (T)  84  Sustained  Even Last bar 

Yellow 2 (T)  88  Bell tones  Even, except last two octave jumps Last bar 

Blue 4 (T)  88  Lyrical  Even No 

Blue 2 (T)  92  Sustained  Arc No 

Chicago       

Yellow 4  82  Sustained  Hairpin ‐ 

Blue 1  96  Sustained  Even No 

Purple 1  86  Sustained  Even No 

Yellow 3  88  Sustained  Even Last bar 

Gray 1  92  Sustained  Even  

Green 4  90  Sustained  Hairpin (except last phrase goes to 

high A♭) Last Bar 

Green 1  88  Sustained  Hairpin No 

Purple 2  84  Sustained  Even Last bar 

Yellow 2  88  Bell tones  Even, except last two octave jumps Last bar 

Blue 4 (T)  88  Lyrical  Even No 

Blue 2 (T)  92  Sustained  Arc No 

Cleveland       

Red 2  90  Sustained  ‐ ‐ 

Orange 4  88  Lyrical  Even, then Metric Division for last two bars 

Last Bar 

Purple 2  84  Sustained  Even Last bar 

Orange 3  90  Bell tones  Arc No in audition

Los Angeles       

Yellow 4  82  Sustained  Hairpin ‐ 

Yellow 1  90  Sustained  Even ‐ 

Orange 1  90  Sustained  Arc Last bar 

Blue 3  84  Lyrical  Even Last bar 

Gray 1  92  Sustained  Even  

Green 1  88  Sustained  Hairpin No 

New York       

Blue 1  96  Sustained  Even No 

Yellow 1  90  Sustained  Even ‐ 

Orange 1  90  Sustained  Arc Last bar 

Red 2  90  Sustained  ‐ ‐ 

Yellow 3  88  Sustained  Even Last bar 

Orange 2  84  Bell tones  Even Last bar 

Purple 2  84  Sustained  Even Last bar 

Yellow 2  88  Bell tones  Even, except last two octave jumps Last bar 

Philadelphia       

Red 4  88  Sustained  Even Last Bar 

Orange 2  84  Bell tones  Even Last bar 

Red 3  92  Bell tones  Arc No 

Green 1  88  Sustained  Hairpin No 

Purple 2  84  Sustained  Even Last bar 

 

Mussorgsky–TheresultsforMussorgskysortedbytraditionwereparalleltotheoverall

resultsfortheproject.AllthreeHairpinuserswerelistedundertheChicagotradition,butChicago

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wasoverwhelminglyskewedtowardtheEvenphrasing.Otherwise,therewerenoanomaliesof

note.

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Table30.RespighiSortedbyTradition

Musician  Tempo  Rubato  Vibrato Phrasing methods Last note

Boston       

Orange 1 (T)  70  Beat  Yes Upper neighbor Partial 

Purple 1 (T)  60  Slight  Yes Upper neighbor ‐ 

Red 2  66  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Blue 3  58  Beat  Yes Upper neighbor End (but slows)

Purple 2 (T)  64  No  Yes Upper neighbor ‐ 

Yellow 2 (T)  55  Slight  Yes Upper neighbor None 

Blue 4 (T)  62  Beat  Yes Upper neighbor Partial 

Blue 2 (T)  60  Phrase  Yes Upper neighbor End 

Chicago       

Yellow 4  62  Beat  Yes ‐ Partial 

Blue 1  60  Slight  Yes Contour Partial 

Purple 1  60  Slight  Yes Upper neighbor ‐ 

Yellow 3  64  Beat  Yes Upper neighbor (through vibrato) 

End 

Gray 1  72  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Green 4  66  Beat  Yes Upper neighbor End 

Green 1  62  Beat  Yes Upper neighbor Partial 

Purple 2  64  No  Yes Upper neighbor ‐ 

Yellow 2  55  Slight  Yes Upper neighbor None 

Blue 4 (T)  62  Beat  Yes Upper neighbor Partial 

Blue 2 (T)  60  Phrase  Yes Upper neighbor End 

Cleveland       

Red 2  66  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Orange 4  64  Beat  Yes Upper neighbor (most of the time) 

Partial 

Purple 2  64  No  Yes Upper neighbor ‐ 

Orange 3  60  No  Yes Contour Partial 

Los Angeles       

Yellow 4  62  Beat  Yes ‐ Partial 

Yellow 1  70  Beat  Yes Contour Partial 

Orange 1  70  Beat  Yes Upper neighbor Partial 

Blue 3  58  Beat  Yes Upper neighbor End (but slows)

Gray 1  72  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Green 1  62  Beat  Yes Upper neighbor Partial 

New York       

Blue 1  60  Slight  Yes Contour Partial 

Yellow 1  70  Beat  Yes Contour Partial 

Orange 1  70  Beat  Yes Upper neighbor Partial 

Red 2  66  Beat  Yes Upper neighbor (through vibrato) 

‐ 

Yellow 3  64  Beat  Yes Upper neighbor (through vibrato) 

End 

Orange 2  56  Beat  Yes Upper neighbor Partial 

Purple 2  64  No  Yes Upper neighbor ‐ 

Yellow 2  55  Slight  Yes Upper neighbor None 

Philadelphia       

Red 4  60  ‐  Yes Upper neighbor ‐ 

Orange 2  56  Beat  Yes Upper neighbor Partial 

Red 3  68  Phrase  Yes Upper neighbor End 

Green 1  62  Beat  Yes Upper neighbor Partial 

Purple 2  64  No  Yes Upper neighbor ‐ 

 

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Respighi–Asmentionedpreviously,theoverallresultsfortheRespighiweresimilartothe

Bizetexcerptinthattheywerefairlyconsistentamongalltheproject’smusicians.Soitisno

surprisethattherewasstronggroupingwithinthevarioustraditions,butthiswasmostly

attributedtotheoverallresultsforthisexcerpt.Excludingcategoriesinwhichtherewereno

outliers,i.e.‘Vibrato’,therewereactuallycategoriesthatwereunanimouswithintraditions.The

‘Rubato’categoryofLosAngelesandthe‘Phrasingmethods’categoryofBostonandPhiladelphia

weretwosuchexamples.Idonotbelievetheseresultsimplyanythinginparticularotherthanthese

categorieswereagreeduponbymostoftheprofessionalplayersinthecountrytoday.The‘Rubato’

categoryamongtheBostontraditionwastheonegroupingintheRespighiwhichwasnotas

uniformastheoverallresults,althoughtherewasnoobviousconclusiontobedrawnfromthis.

Again,thetrainingorchestramembersdidnotdifferentiatetheirinterpretationsfromtheothers.

Overallconclusionsforcomparisonsbytradition

Forthemostpart,thischapterwassubtractionthroughaddition.Whilethereweresome

similaritieswithinthetraditiontrees,particularlyontheMahlerexcerpt,theseplayersweretoo

individualistictobeabletosortthemdownintoonetradition.Itwasnotsurprisingthenthatthere

wasnoparticulargroupingamongthetrainingorchestramembers.WhileIwastoldbymanyofthe

playersthatTanglewoodwasalife‐changingexperience,therewassimplynotenoughcontactover

theshorttimethefestivalisinsessiontohaveapronouncedeffectoninterpretationsofeachof

theseexcerpts.Furthermore,therepertoirechangedeachsummermeaningthateachstudentthat

attendedwouldhaveauniqueexperience.

Mostsignificantly,theresultsofthischapterfurtherreinforcemyhypothesisthatthese

individuals’musicalinterpretationsaretoocomplicatedtobebrokendownintosimplisticlabels

suchasEastCoastorMidwest;thetraditional‘schools’arefadingacrossthecountry.Thisisnotto

saythattheindividualorchestrasdonothaveaparticularstyle,butitdoesimplythatthestyleis

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dependentmoreonimmediateinfluences,suchastheprincipaltrumpeterand/ortheconductor

settingastyleandtherestofthesectionhavingtheabilityandwillingnesstosupportthatdecision.

   

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Conclusion

Thecategoriesusedtoanalyzeeachexcerptwerechosenbecauseeachcouldbedescribed

inobjectivetermsandproducedquantifiableresultsonthesubjectofinterpretation.Yetby

definition,musicissubjective,andtheartofinterpretationisthekeytoestablishingone’s

performancestyle.Therefore,itisconceivablethatthesetrumpeterssharedsomebondwhich

cannotbequantifiedandstudied,anditisthissubjectivematerialthatdeterminedthereasonthese

trumpetersendedupplayingtogetherinaparticularorchestra.

Asafortunateside‐benefitofthisproject,Iwasabletoattendatleastoneperformance,and

oftenmultiplerehearsalsadditionally,ofeachoftheseparticipatingorchestras,andeverytrumpet

sectionnotonlyblendedtimbresbuthadauniqueapproachtothemusic.Thereareamyriadof

possibilitiestoexplainthisphenomenon,suchastheconductororperformancespace.Havingsat

nexttoeachoftheseplayersformultiplehours,however,Ifeelthatthemostlikely,albeit

contradictory,explanationfortheirtogethernesswhileperformingasasectionliesintheir

individualtalents.

Iftherewasonemajorcommonalityamongthesetrumpetersitwastheirincrediblyhigh

technicalproficiency.Theyallhadstrongmusicalopinionsandwereabletoconveythesebecause

themechanicalandphysiologicaldifficultiesofplayingthetrumpetneverimpededtheirmusical

vocabulary.Whentheseplayersdiscussedwhattheylistenforinanaudition,themostconsistent

commentwasthatyourinterpretationsshouldstay“insidethebox.”Theysaidthisisbecausethe

committeeisnotlookingforamusicianwhotakesthemostmusicalrisks;thecommitteewantsthe

musicianwhocommunicateswell‐informedandinspiringideasintheeasiestandmostconsistent

manner;thisisthepersonwithwhomitwillbeeasiestforthecommitteememberstoperform.

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Iamnotimplyingthatanyofthesemusicianswerelessthanthehighestcaliberofartist,

simplythatbecauseofthesubjectivenatureofmusic,thesemusiciansunderstoodthatothergreat

performerswilllikelyhavedifferentmusicalideas.Thereforethedifferencebetweenthewinnerof

anauditionandtheothersistheabilitytoformamusicalideaandconveyitinanear‐flawless

manner.Red3summarizedthiswiththefollowinganalogy.

Shakespearewasanextraordinarilycreativeperson,butthatwouldnothavemeantanythingifhesuckedattheEnglishlanguage.Notonlydidhehavegoodideas,buthecommunicatedtheminabrilliantway.Thisiswhatwehavetodoonthetrumpet.Becreative,butmakesureyoudon’ttripyourselftryingtogetthatideaout.Theseresultshaveprofoundimplicationsforallaspiringorchestraltrumpetersonthe

auditioncircuit.Whenpreparingforanaudition,manytrumpetersworrythattheirinterpretations

needtobeadjusteddependingontheorchestraforwhichtheyareauditioning,yettheresults

aboveclearlysayotherwise.Noneoftheorchestrasectionsshowedtrulyconsistentagreementson

howtheyinterpretedtheseexcerpts.Eachtrumpeterhadauniquesoundandpersonality,butthey

werealltechnicallyproficientatthehighestlevel.Iwalkedoutofmostoftheselessonsfeelingthat

thecorrectinterpretationwaswhateverIhadjustbeentold,evenwhenthoseopinionsoften

disagreedwithwhatIhadbeentoldbytheinstructor’scolleagueonlyadayearlier.Eachteacher

believedinhisinterpretationsandwasabletoutilizehismassivetechniquetoconveymusical

decisionsinawaythatleftmeconvinced.Thiswasthedifferenceintheirabilitytowinanaudition,

andwhilemanyofthemwentaboutachievingthisintheirownuniqueway,Ibelievethisproject

hasproventhatifaperformer’smusicalideasareinformedandcompelling,theywillnotstandin

hisorherwayofwinningaposition.

TheprincipalofOrchestraPurplefinishedourlessonwiththefollowingstory,andIfeelitis

afittingwayinwhichtoconcludethispaper.

Iwasalreadyin[OrchestraPurple],andIwenttoChicagotoplayforsomevery‘prominent’friends.Itwaskindoftherapeutic,youknow,goingbacktotherootsofmyplaying.Iwastherefor3or4days;Iplayedforseveralpeople;andIkeptanotebookandwrotedownallthenotes.Aftergoingthroughthesenotesoverthe

166  

 

nextcoupleofdays,Igotridofeverysinglenoteexceptone.Everynotewasavalidargumentfromanaccomplishedmusician,butitwasn’tme.Itwasn’thowIplayed.Whateveryoutakefromthis,ithastosoundlikeyou.Youhavetobecomfortableplayingthatway.Youhavetolikeit.Youhavetoloveit.Youhavetolikeyoursound,yourplaying,andpossiblymoreimportantly,youhavetolikeyourself.Otherwise,itwillneverbeconvincing,andifyou’redoingitforsomecontrivedreason,theaudience,whetherit’sapackedhallorsomestupidcommittee,willknowyou’refakingit.Justbeyourself.

 

167  

 

BIBLIOGRAPHY 

Becausethisprojectreliesheavilyontwenty‐oneanonymousinterviews,thisbibliography

hasbeendividedintothreesectionsforeasierreference.Thefirstsectionlistsallsources

exceptinterviewsandaudiorecordings;thisincludesbooks,dissertations,theses,journal

articles,scoresandmostwebsites.Thesecondsectionisalistingofanonymousinterviews

withthedatesoftheirrecordings,andthefinalsectionlistsallotheraudioandvisualmedia

referencedinthisdocument.

 

1. SOURCESEXCLUDINGINTERVIEWSANDRECORDINGS

Beethoven,Ludwigvan.LeonoreOvertureNo.3.Leipzig:Breitkopf&Härtel,1890.Bizet,GeorgesandErnestGuiraud,arr.CarmenSuiteNo.1.Paris:Chaudens,1882.Blake,C.Michael.“AComprehensivePerformanceProjectinTrumpetLiteratureandanEssay

ExplainingtheWestGermanOrchestralSystem,withInformationonEmploymentProceduresandOpportunitiesforBrassPlayersofForeignOrigin.”DMADiss.,UniversityofIowa,1982.

BostonSymphonyOrchestra."BostonSymphonyOrchestra–Trumpets."AccessedApril21,2011.

http://www.bso.org/bso/mods/bio_toc.jsp?id=cat240038.Bullock,Donald."ArticulationsfortheHaydnTrumpetConcerto."ITGJournal4,no.1(1979):26‐28.Canon,RobertVictor.“AGuidetoOrchestralAuditionRepertoireforTrumpet.”DMAdiss.,The

UniversityofTexasatAustin,1989.ChicagoSymphonyOrchestra."ChicagoSymphonyOrchestra–Brass‐Trumpets."AccessedApril

20,2011.http://cso.org/About/Performers/Performers.aspx?hid=771&cpid=772&cid=79&nid=826

ClevelandOrchestra."TheMusicians–ClevelandOrchestra."AccessedApril20,2011.

http://www.clevelandorchestra.com/about/people/musicians.aspx.

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Dobrzelewski,Jan‐KrzystofW.“TheMostRequiredTrumpetExcerptsfromtheOrchestralRepertoire”.DMADiss.,ArizonaStateUniversity,2004.

Gorham,Charles.Mahler:aBrassPlayer'sGuidetotheGermanInstructionsContainedinthe

SymphoniesofMahler.Portland,ME:PPMusic,1992.Hamil,RichardG.“AlternativeTrumpetsforSelectOrchestralExcerpt.”MMThesis,BowlingGreen

StateUniversity,1999.Hardin,GarryJoe.“GuideforInterpretingOrchestralTrumpetRepertoireBasedonCommon

PracticeofProfessionalPlayersinRecordedPerformances:aThesis.”MMThesis,AppalachianStateUniversity,1990.

Hastings,ToddJames.“AnOrchestralAuditionPreparationToolforAspiringTrumpeters.”DMA

Diss.,UniversityofTexasatAustin,1998.

Haydn,Joseph.TrumpetConcertoinE♭,Hob.Vlle:1.Leipzig:Eulenburg,1903.Hindemith,Paul.SonataforTrumpetandPiano.Mainz:SchottMusic,1968.Hunsicker,J.David."SurveysofOrchestralAuditionLists."ITGJournal35,no.3(2011):66‐68.LosAngelesPhilharmonic."LAPhilOrchestralRoster–LAPhil."AccessedApril20,2011.

http://www.laphil.com/philpedia/musicians.cfm.Mahler,Gustav.SymphonyNo.5.Leipzig,C.F.Peters,1904.

http://imslp.org/wiki/Symphony_No.5_(Mahler,_Gustav)McGregor,RobRoy.AuditionandPerformancePreparationforTrumpet,OrchestralLit.Studies‐Vols.

I‐IV.Montrose,CA:BalquhidderMusic,1996.Moore,Brian.“Haydn’sTrumpetConcerto:theTempoandArticulationoftheAndanteMovement.”

ITGJournal31,no.2(2007):40‐42.Mussorgsky,ModestandMauriceRavel,arr.PicturesatanExhibition.Berlin:EditionRussede

Musique,1929.NewYorkPhilharmonic."NewYorkPhilharmonic:MusiciansoftheOrchestra–TrumpetSection."

AccessedApril20,2011.http://nyphil.org/meet/orchestra/index.cfm?page=section.NorthwesternUniversity."Brass:BienenSchoolofMusic–NorthwesternUniversity."Bienen

SchoolofMusic.AccessedApril20,2011.http://www.music.northwestern.edu/faculty/brass/index.html.

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Sachs,Michael.“UsingDifferentKeyedInstrumentsintheOrchestra:When,How,andWhy”.ITG

Journal35,no.4(2011):84‐87.Smith,Phil."PhilSmith–Bio."www.principaltrumpet.com.AccessedApril11,2011.

http://www.principaltrumpet.com/home.html?p=bio.Respighi,Ottorino.PinidiRoma(PinesofRome).Milan:G.Ricordi&C,1925.Rodabaugh,Heather.PreparationforOrchestralTrumpetAuditions:thePerspectivesofThree

ProminentOrchestraPlayers.DMADiss.,UniversityofOklahoma,2008.Shaffer,TimothyAllen.“SelectedExcerptsfortheTrumpetandCornetfortheOperaRepertory:A

guideforPreparationandPerformance”.DMAdiss.,TheUniversityofTexasatAustin,1999.

Shook,BrianA."ITGNews:WilliamVacchiano1912‐2005."InternationalTrumpetGuildHome

Page.AccessedMay24,2011.http://www.trumpetguild.org/news/news05/425vacchiano.htm.

Smith,NormanE.“AStudyofCertainExpressive‐AcousticEquivalentsinthePerformanceStylesof

FiveTrumpetPlayers.”PhDDiss.,FloridaStateUniversity,1968.Tarr,EdwardH."Haydn'sTrumpetConcerto(1796‐1996)anditsOrigins."ITGJournal21,no.1

(1996):30‐34,43.

2. INTERVIEWS

Allinterviewswereconductedinconfidentiality,andthenamesofintervieweesare

withheldbymutualagreement.

InterviewwithBlue2,March8,2010.

InterviewwithBlue3,March11,2010.

InterviewwithBlue4,March10,2010.

InterviewwithGray1,April15,2010.

InterviewwithGray2,February3,2010.

InterviewwithGreen1,December13,2010.

InterviewwithGreen2,December14,2010.

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InterviewwithGreen4,December10,2010.

InterviewwithOrange1,May27,2010.

InterviewwithOrange2,May28,2010.

InterviewwithOrange3,May29,2010.

InterviewwithOrange4,May28,2010.

InterviewwithPurple1,March4,2010.

InterviewwithPurple2,March5,2010.

InterviewwithRed2,July15,2010.

InterviewwithRed3,July13,2010.

InterviewwithRed4,July13,2010.

InterviewwithYellow1,February9,2010.

InterviewwithYellow2,February11,2010.

InterviewwithYellow3,February8,2010.

InterviewwithYellow4,February11,2010.

3. RECORDINGS

Beethoven,Ludwigvan.BernsteinCentury:LeonoreOvertureNo.3inCmajor,Op.72a.NewYorkPhilharmonic,LeonardBernstein.RecordedOctober1960.Sony63153,1998,compactdisc.

Mahler,Gustav.MahlerPlaysMahler:theWelte‐MignonPianoRolls.GustavMahler.Recorded

September1905,ImpClassics,2007,compactdisc.Mahler,Gustav.SymphonyNo.5.NewYorkPhilharmonic,ZubinMehta.RecordedSeptember1989.

Teldec3984‐28170‐2,1999,compactdisc.Mussorgsky,Modest.PicturesatanExhibition,aNightonBaldMountain,andOtherRussian

Showpieces.ChicagoSymphonyOrchestra,FritzReiner.RecordedDecember1957.BMGClassics09026‐61958‐2,1994,compactdisc.

Smith,Philip.OrchestralExcerptsforTrumpet.SummitRecordsDDD144,1995,compactdisc.