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Trumpet
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Introduction
Versatile timbre and sound
Ignore brands
Practical tests
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Alto horn
Euphonium/baritone
Trombone
This certainly ranks among the most important decisions in a musicians life: choosing a new
instrument that caters to ones preferences and requirements. The most basic criterion is quite
obviously that the new instrument should at least be as good as the previous one.
Tuba/sousaphone
Marching brass
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An instrument with a smooth response in the upper register is of no use when it sound rather
thin. Likewise, a power ful sound without fair-to-good intonation (relative tuning of the notes) is
like a race car without wheels. I myself also tend to believe that my next instrument needs to be
versatile enough to work for different genres and settings.
Buying different instruments for different applications is an expensive hobby. The same applies to
mouthpieces: a good instrument is an instrument whose timbre and sound can be adapted to the
work at hand. I do indeed love my German trumpet with rotary valves for orchestra gigs, but I can
use my favorite instrument (a Tribune-series Bb trumpet) for both solo and orchestra settings.
Taking an informed decision isnt easy, though.
So heres my advice: try out potential candidates with a checklist of clearly stated
criteria and a tuning device. The latter always tells the truth.
I think we are all aware that the skull vibrations while playing can bias our impression to an almost
dangerous degree. What we hear differs seriously from what others hear. Asking a fellow musician
to assist you may provide invaluable hints, as long as his/her feedback is objective.
7. A good legato
The ability to play wide intervals legato style is a good give-away of the players and instruments
air flow.
Example of the Moon Choral from O. Nicolais Lustige Weiber von Windsor (3rd act):
8. Low register
Vibrant and free?
14. Intonation
With an electronic tuner: close your eyes and blow freely into the instrument. Only then open your
eyes and watch the needle/tuning indication. This is important to avoid spontaneous tuning
corrections and to pinpoint a basic tendency or dud notes.
Special tests for trumpet/flugelhorn/cornet:
test all notes with the 1st valve, because they are often intrinsically sharp, especially the A2 and F2.
Fingering changes to 2/3 are often bland (flat), usually Ab.
Do you need a lot of 3rd slide for the D1 (1/3)?
What about the C#1 (1/2/3 + 3rd slide)?
High register: tuning of the C#3, Eb3?
Now theres some food for thought. I sincerely hope you will find your perfect instrument!
Andreas Michel
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