The Soundboard

[Brad H]

Hi Dr. S, I currently own an "intermediate level" C trumpet I bought in 1993 for use in community orchestras. I got away from orchestras in the mid 90's (regretably) and stuck with symphonic bands and playing in the pit band of Gilbert & Sullivan productions. I'm looking to getting into orchestral playing again as that really is my real love. I'm looking for a new "C". The only C trumpet stocked by my local music store (I like dealing with them) is a Strad 229H. Obviously this doesn't give me the opportunity to try others. Their reasoning, and I'm sure it's fact based, is that that is the one horn in demand by all the pros that are looking for a good pro C trumpet. I definitely want to stick with Bach as I love my Bach Bb and I know the majority of orchestras use Bach C's. I do feel "blending in" with a section is more important, at least more noticeable if you don't, in an orchestra than in a symphonic band with a dozen trumpets. Would appreciate your input. With all the mouthpiece talk I wanted to let you know that based on some questions I threw at you quite a while ago, you suggested I consider moving over to a 3c from the 1-1/2 C I had played for decades. It took several months but I'm now happy I did. It makes Eb/D playing a bit easier without using different rims for different horns. I use a 3E for picc but might try a 3D. The only time I use a "bucket" is for playing taps. A large mouthpiece suits me better for this.
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Brad Hersch
Bugler-Assistant State Director, PA
Bugles Across America

[ksievers]

my answer has to be somewhat qualified. If someone is really gearing toward winning an orchestral audition, conformity "CAN" be more of an issue, which points to the 229/25H, at least somewhat and in some regions of the country. This is not as true as it used to be, but still can happen. Therefore, all things being equal, I will most usually steer a young wannabe player toward the conventional. This is no cop-out either, as the 229/25H is the "go to" horn for lots of reasons. It sounds fantastic. So for that person, maybe avoid the other bell/pipe options.

Beyond that, anyone should play whatever they like and whatever works for them, what allows them to do what they want to do, depending on context, the gig, etc..

So, beyond the 229/25H the horn I would most seriously consider the Philly Bell Bach C. Incredibly responsive, great tone, subtley different than the 229, well worth the look.

Can that young wannabe win an audition on a Philly? Of course. It still comes down to whoever sounds best.

So play what you can play with ownership, whatever that is, no 2nd guess.
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Karl Sievers, DMA. Professor, School of Music, University of Oklahoma; Principal Trumpet, Oklahoma City Philharmonic; Bach Artist/Clinician; General Manager, National Trumpet Competition

[Billy B]

Although I have been playing for many years, I have relatively little experience with the C trumpet. When put to the task of picking out a C for a student, I tried several Bach 229H horns and picked the one that played most like my Bb, which was hand picked by Bill Adam. Dr. Sievers pronounced it a very good horn. (Amy's C) So don't be afraid to pick a horn that plays the way you like. I think the Bb and C are much more alike than different. Then again, perhaps I just got lucky.
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Bill Bergren

[amtrumpet]

Dr. Sievers,

I was wondering what your approach is to trying out horns. I'm going to Bloomington next week to pick out a C trumpet at Prowinds (and get a lesson from Mr. Adam!) I haven't bought a new trumpet since I was in high school, so I don't have a lot of experience with this. What kind of things to you do when testing horns?

Aaron

[ksievers]

take your time
get YOUR sound going
take your time (did I say that already?)
get your sound going, not high notes for pete's sake...

play things that cover all the keys - so you get all the valve combinations. Scales 1/2 step apart, etc., expand them out but TONE is the goal, not squealing out some meaningless high note.. (gotta keep mentioning that)

it should sing easily, lots of core and resonance, NOT change in different registers (that depends on the player too of course), and be very responsive. choose the one you sound good on. Play a real piece or etude, NOT HIGH NOTES (test them on a scale or few then that's enough of that) and when you play a REAL piece, you'll find it terrific or not.. if you frack and crack don't buy it. If it seems to cooperate with you and the sound is great, that's the one.
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Karl Sievers, DMA. Professor, School of Music, University of Oklahoma; Principal Trumpet, Oklahoma City Philharmonic; Bach Artist/Clinician; General Manager, National Trumpet Competition