Flexibility when performing
Whether you play regularly in an orchestra or a jazz combo, each performing medium has its own playing expectations. If you are playing lead in a big band, you will be expected to play at the upper dynamic levels as well as in the upper range of the instrument. If you perform regularly on a third cornet part in a concert band, you will be required to play low parts at lower dynamic levels. No matter what part you play regularly, you will need to compensate for these narrow playing expectations.
Flash back time again- I distinctly remember my first call for doing a jingle while living in Dallas, Texas. For those of you that might not recognize the term jingle, it refers to a very select, sought after position of extremely high compensation ($). At that time, Dallas was one of the leading areas for recording commercial (jingles) and to get a call to record one, was a great opportunity. Unfortunately for me, I was called the day after I finished playing two weeks on the third cornet part for the Ringling Brothers Barnum and Bailey Circus. My chops were at an all time low and to play a high C was nearly impossible. What a time to get “the” call! Throughout that evening I sat by myself playing soft, long tones until I could get some feeling back into my lip. To make a long story short, I did the session and was called back for later recordings. The point of the story is, “do not limit yourself to one style of playing”. A musician must be flexible in order to survive in the field of music.
More recently I arrived home from a trip to find a message on my recorder. The voice informed me that a trumpet player was needed to play a show in Branson and the voice asked if I would play. The rehearsal was the next morning! Out of shape but not willing to pass up a gig, I said yes and wondered what the parts were like. I found out that there were twenty- seven charts in the show and no intermission. I was looking at two hours of constant playing and I had just got back from a trip where I hadn’t seen my horn for several days. Fortunately the show put in an intermission and a couple of Christmas songs played by the rhythm section. The first couple days went alright and gradually by the second week, I noticed that I was working harder than I was when I started the gig. Then the light went on in my modest brain. Most of the playing was loud and the added volume, which I was not used to, started to stiffen my chops. To compensate for this development, I began playing softer material each evening to loosen the lip. By the next day, the sensitivity was back and the playing became much more comfortable. Another challenge in the same show happened during one of the arrangements. After blowing my head off for ten minutes, the trumpet part droped to a mp dynamic level for thirty-six very, very slow measures without any chance of taking the horn off the lip. When playing the first couple shows I felt that everyone could hear the shakiness in my tone, and then I remember to anchor the lower edge of the rim on my lower teeth and the shaking stopped. Contrasts are expected of musicians and you need to be prepared for them.
If you are primarily performing loud, contrast that with soft playing during your practice time. If you are performing music with fast passages, remember to contrast that with slow moving material. If you are playing only ensemble material, balance your practice with solo work.
Rule #1 To be prepared for any performing situation, you will have to prepare for everything.
