John Howell wrote:
At 10:58 AM -0400 3/15/10, dhbailey wrote:
timothy.price wrote:
As radical an idea as actual experimentation may be, I tried it on my
trumpet, and by gosh, you get a much louder sound
using the reversed mouthpiece. Imagine that !
But you also get a different timbre, so it's a trade off and which you
prefer would depend on the sound you want.
Gee, do you get a different sound on C trumpet than you do on Bb
trumpet? How about Flügelhorn?
(Sorry; tongue very definitely in cheek--and it's hard to triple-tongue
that way! But this is almost starting to sound like a P.D.Q. Bach
routine!)
John
I know you're joking around, but when I remove my mouthpiece
and blow through my trumpet I get one sound. When I leave
the mouthpiece in place as normal and blow through the
mouthpiece (not vibrating my lips) I get a different sound,
and when I invert the mouthpiece and blow, as Robert
Patterson has suggested, I get a third sound. The inverted
mouthpiece gives the tone a harder, brighter timbre.
As a composer, I might want to take advantage of those
differences in timbre. Just another instance where a
composer should actually have physical experience (either
through doing or through listening to someone else do it)
with what he/she is asking in the score and not blindly
working off of an untested concept.
--
David H. Bailey
[email protected]
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