Profession - Trumpeter
It so happened in life that I, like most of you, loved the computer very much. Participation and victories in competitions in computer science, Olympiad, EGE. After long agonies of choice, my profession decided to make ... music. At one point, I realized that I could not live without it. After school, quietly from the majority enters the music college. Now, a few years later, in which I plunged into this kaleidoscope, I can tell you:
“Hi, * username *! My name is Sergey, and I'm a trumpeter! ”
I was inspired to write this article by the comments to the published article that we were taught the music literacy wrong before. Here I want to tell you in detail about the complexities and share some specific features of our work. There is a lot of material, so I will divide it into several separate articles.
A little bit about yourself. Now I am an artist of the orchestra of the headquarters of the Pacific Fleet in the city of Vladivostok and the pop symphonic orchestra of the Primorsky Philharmonic Society. Also in parallel get higher education.
')
Since the work in the army is associated with some degree of secrecy, I can not show all the photos that I would like.
Each orchestra and conductor has its own specifics. The military brass band, as is commonly believed, plays marching music, provides various ceremonies, including funerals. This is a generally accepted stereotype, and in part it is true. Our exemplary orchestra should be able to do all this, and does it as needed. Various city events, military exercises, the arrival and departure of ships - everywhere they call us. I would like to say a separate word about the classic “Cannon” at 12 o'clock in the afternoon. Before her shot, our trumpet fraternity plays ceremonial signals, anticipating the most powerful shot, in the immediate vicinity of which are shaking at home. The people even joke that on the background of the wall where the musician stands, you can see the half-witted silhouettes of his comrades.
Cannon eyes trumpeter
Source: primamedia.ru/news/508357
In the main working time we are engaged in playing music. Completely different: from popular and easy pieces to the most complex classical works. The headquarters building has a special studio with an orchestra, where rehearsals take place.
I was not allowed to shoot the rehearsal itself, but after the end - please.
Standard rehearsal goes like this: picking up, adjusting for a general tone and several sets of rehearsals for 45 minutes with breaks for tea and rest. The work process is strictly regulated by the time of labor law and is violated only in consultation with the musicians. The directors in the musical theater in which I worked before often tried to break it. For some reason, they had the impression that we were just sitting and doing nothing. And working for an extra hour is not difficult for us.
In fact, working in an orchestra is a physically and mentally complex process. Imagine that your lungs should work like a compressor, giving an outrageous pressure for the average person that hits the head. Add to this a constant auditory control, so as not to fly out of the group and rhythm. And visual, where one of your eyes looks at the notes, and the other at the conductor. All this must be done at the same time, while pressing the right buttons. Yes, and it is advisable not to overstrain, but the sound suffers. Another hour?
Opening of the competition. Source www.newsvl.ru/sport/2016/05/22/147654
I would also like to draw your attention to the word “tool” in a general sense. In my understanding, it is a kind of device for performing a highly specialized task. And the next time you look at any musical instrument, remember this definition. Get at least a guitar, flute, piano - they are all sharpened for a specific range of tasks that often overlap. Why am I doing this?
Pause. Oh, I have them! I spend almost half of my working time counting pauses. The picture is this: part of the work, I am silent. Then at a strictly allotted time I play a piece of music. I am silent again. I play again. And so to the end, just observing the temporary vertical. This is probably the whole art - to be able to count huge pauses in the background, without being distracted from the book or phone.
Fragment of the concert. The black rectangles on the stave are pauses, where the number is the number of bars of my silence.
This situation is why.
The pipe is a tool with a wide range of technical, dynamic and sound capabilities. But all this is necessary in solo practice, and in the orchestra it is rarely used in full, since it requires tremendous skill and experience from the performer. Mainly used harmonic support, classic trumpet signals, melody, counterpoint. Small runners are not as common as they could be. And in almost every major work there are huge fragments, where you just need to keep silent.
In addition to the ability to count pauses as a background, you need to be able to read and write what is between the lines. These are a kind of comments on the music code, which warn about the stops, the behavior of the conductor, the change of tempo, the inconvenient coups of the notes and much more.
Already formed a certain sign system, which is understood almost throughout the world.
See the “glasses” - look at the conductor. And the bigger they are, the more attentive you should be. This means that now there may be a change of pace, an abrupt stop or something else that you need to pay attention to. With gratitude, I would like to recall my mentor in the theater on this difficult matter. “You have to write so that any person who sits in your place understands you the first time and plays it right, and not put all the flourishes that only you can understand.” It’s a pity that not everyone had such people who explained.
Fragment from the play “Sevastopol Waltz”. And yes, every pencil addition has a crucial meaning.
* Decryption. Size 2 \ 4, “Con Sord” - play with the mute. “>” - select a note. The crossed circle - “lantern”, means the transition to the same after the second time. “Points. More points! ”Extreme attentiveness! “Vi → de” is a straightforward transition with no other options. “2 times” - execute the given fragment twice. Between vi-de strikethrough fragment, which was previously performed. *
Without proper experience to read this from a sheet is very difficult. And it is still very well written, believe me.
A completely different feeling develops when you come to the rehearsal of the pop orchestra. It’s as if you start speaking another language. All the classic concepts that you have learned better than “Our Father” here acquire a completely different meaning. Here the conductor asks us: “Pee so that the pack sounds!”.
Our conductor Dmitry Butenko. Source www.newsvl.ru/vlad/2016/11/13/153477
A pack is in this case an ensemble chord game. Those. we in 4 pipes perform a chord sequence of 4 sounds, where everyone plays his part as a melody. And so that it sounds bright, juicy and beautiful, we have to give everything to the fullest.
It is necessary to take into account the different degree of hearing of sounds of different heights. If the first of us plays a high sound not very loud, then the next one, to balance a lower sound with it, should play louder. The third is even louder, and the fourth even more so. And if the first one plays loudly? Even after this, you feel that your insides are left somewhere in the pipe, on the recording, everything is listened to nicely and calmly.
This concludes a short essay about our trubotuda. Next time I want to highlight my instrument directly: its device, ways of picking up, history of occurrence and various gadgets that are necessary for work; what kind of beast is this - “transposition” to which one is written, it plays another, and the third sounds.
Part 2
“Hi, * username *! My name is Sergey, and I'm a trumpeter! ”
I was inspired to write this article by the comments to the published article that we were taught the music literacy wrong before. Here I want to tell you in detail about the complexities and share some specific features of our work. There is a lot of material, so I will divide it into several separate articles.
A little bit about yourself. Now I am an artist of the orchestra of the headquarters of the Pacific Fleet in the city of Vladivostok and the pop symphonic orchestra of the Primorsky Philharmonic Society. Also in parallel get higher education.
')
Since the work in the army is associated with some degree of secrecy, I can not show all the photos that I would like.
Tube weekdays
Each orchestra and conductor has its own specifics. The military brass band, as is commonly believed, plays marching music, provides various ceremonies, including funerals. This is a generally accepted stereotype, and in part it is true. Our exemplary orchestra should be able to do all this, and does it as needed. Various city events, military exercises, the arrival and departure of ships - everywhere they call us. I would like to say a separate word about the classic “Cannon” at 12 o'clock in the afternoon. Before her shot, our trumpet fraternity plays ceremonial signals, anticipating the most powerful shot, in the immediate vicinity of which are shaking at home. The people even joke that on the background of the wall where the musician stands, you can see the half-witted silhouettes of his comrades.
Cannon eyes trumpeter
Source: primamedia.ru/news/508357
In the main working time we are engaged in playing music. Completely different: from popular and easy pieces to the most complex classical works. The headquarters building has a special studio with an orchestra, where rehearsals take place.
I was not allowed to shoot the rehearsal itself, but after the end - please.
Standard rehearsal goes like this: picking up, adjusting for a general tone and several sets of rehearsals for 45 minutes with breaks for tea and rest. The work process is strictly regulated by the time of labor law and is violated only in consultation with the musicians. The directors in the musical theater in which I worked before often tried to break it. For some reason, they had the impression that we were just sitting and doing nothing. And working for an extra hour is not difficult for us.
In fact, working in an orchestra is a physically and mentally complex process. Imagine that your lungs should work like a compressor, giving an outrageous pressure for the average person that hits the head. Add to this a constant auditory control, so as not to fly out of the group and rhythm. And visual, where one of your eyes looks at the notes, and the other at the conductor. All this must be done at the same time, while pressing the right buttons. Yes, and it is advisable not to overstrain, but the sound suffers. Another hour?
Opening of the competition. Source www.newsvl.ru/sport/2016/05/22/147654
I would also like to draw your attention to the word “tool” in a general sense. In my understanding, it is a kind of device for performing a highly specialized task. And the next time you look at any musical instrument, remember this definition. Get at least a guitar, flute, piano - they are all sharpened for a specific range of tasks that often overlap. Why am I doing this?
Pause. Oh, I have them! I spend almost half of my working time counting pauses. The picture is this: part of the work, I am silent. Then at a strictly allotted time I play a piece of music. I am silent again. I play again. And so to the end, just observing the temporary vertical. This is probably the whole art - to be able to count huge pauses in the background, without being distracted from the book or phone.
Fragment of the concert. The black rectangles on the stave are pauses, where the number is the number of bars of my silence.
This situation is why.
The pipe is a tool with a wide range of technical, dynamic and sound capabilities. But all this is necessary in solo practice, and in the orchestra it is rarely used in full, since it requires tremendous skill and experience from the performer. Mainly used harmonic support, classic trumpet signals, melody, counterpoint. Small runners are not as common as they could be. And in almost every major work there are huge fragments, where you just need to keep silent.
In addition to the ability to count pauses as a background, you need to be able to read and write what is between the lines. These are a kind of comments on the music code, which warn about the stops, the behavior of the conductor, the change of tempo, the inconvenient coups of the notes and much more.
Already formed a certain sign system, which is understood almost throughout the world.
See the “glasses” - look at the conductor. And the bigger they are, the more attentive you should be. This means that now there may be a change of pace, an abrupt stop or something else that you need to pay attention to. With gratitude, I would like to recall my mentor in the theater on this difficult matter. “You have to write so that any person who sits in your place understands you the first time and plays it right, and not put all the flourishes that only you can understand.” It’s a pity that not everyone had such people who explained.
Fragment from the play “Sevastopol Waltz”. And yes, every pencil addition has a crucial meaning.
* Decryption. Size 2 \ 4, “Con Sord” - play with the mute. “>” - select a note. The crossed circle - “lantern”, means the transition to the same after the second time. “Points. More points! ”Extreme attentiveness! “Vi → de” is a straightforward transition with no other options. “2 times” - execute the given fragment twice. Between vi-de strikethrough fragment, which was previously performed. *
Without proper experience to read this from a sheet is very difficult. And it is still very well written, believe me.
A completely different feeling develops when you come to the rehearsal of the pop orchestra. It’s as if you start speaking another language. All the classic concepts that you have learned better than “Our Father” here acquire a completely different meaning. Here the conductor asks us: “Pee so that the pack sounds!”.
Our conductor Dmitry Butenko. Source www.newsvl.ru/vlad/2016/11/13/153477
A pack is in this case an ensemble chord game. Those. we in 4 pipes perform a chord sequence of 4 sounds, where everyone plays his part as a melody. And so that it sounds bright, juicy and beautiful, we have to give everything to the fullest.
It is necessary to take into account the different degree of hearing of sounds of different heights. If the first of us plays a high sound not very loud, then the next one, to balance a lower sound with it, should play louder. The third is even louder, and the fourth even more so. And if the first one plays loudly? Even after this, you feel that your insides are left somewhere in the pipe, on the recording, everything is listened to nicely and calmly.
This concludes a short essay about our trubotuda. Next time I want to highlight my instrument directly: its device, ways of picking up, history of occurrence and various gadgets that are necessary for work; what kind of beast is this - “transposition” to which one is written, it plays another, and the third sounds.
Part 2
Source: https://habr.com/ru/post/374179/
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