Lso Masterclass - Trumpet

Cobb: Hello there, and welcome to the trumpet master class for the YouTube Symphony Orchestra. My name's Philip Cobb, and I'm the principal trumpet player for the London Symphony Orchestra. And on my right here is Nigel Gomm. Gomm: Two years ago, when we did the YouTube thing, we had the old players of trumpet with the LSO, which is Maurice Murphy, who's now retired. Very famous man. Maurice is 50 years older than you. Cobb: [chuckles] Gomm: So that's quite a big, big jump. What does it feel like? Cobb: A massive privilege to be honest. And I always, you know, growing up-- and to work with people like Rod and yourself. Grew up listening to the orchestra. And because of the background and the heritage of the section, it's a massive, massive privilege. It really is. Gomm: You do the Mahler 5 and give us your version. [Mahler's Symphony No. 5] Fantastic. How do you approach doing something like that? Cobb: Well, I think, to start with, a lot of people know that Mahler 5 is one of the most trumpet excerpts and also that the whole symphony starts with just the trumpet on its own. And I guess you have to approach it with a certain amount of confidence. And it's not the sort of-- apart from maybe you could argue the first three bars-- it's not the sort of entry that you can back off. So for me, personally-- I know it's maybe an arrogant viewpoint to take, but it's just about laying it down and starting it off as you mean to go on really. For me. That's what I... Gomm: And what about dynamics and all of-- you know, you're taking massive breaths very quickly. When you start it, what are your thoughts? When you sit on the stage and you start this from nothing. Obviously it's a big nerve-racking moment. But are you thinking of the music or are you thinking, "Oh, God"? Cobb: Well, I thought, the first time I did it, I thought I'd feel exactly that. I thought I'd feel, "Oh, God, you know what, "what am I gonna do? Am I gonna get nervous, what? But I think-- it's funny actually. I didn't. And maybe part of that was because I was excited at the first performance or first couple of performances. But I think it's-- it's, for me also, being quite young and just starting out, you know, LSO, Mahler 5-- it's an exciting thing. It's a trumpet opening. It's a fantastic opening. It's dramatic. Play it like you mean it really. Gomm: So when people have a go at this, kids or students or whoever, what would you-- what would you be listening for? Cobb: I'd be looking for character... bringing out every little detail, making sure that the phrases head to the right points. But also that the sound doesn't become too-- I talk about confidence, but also that, when you go for it, the sound doesn't become too aggressive and forcing the sound too much. Well, you can have-- you can have a great technique on the trumpet as a brass player. And I'm sure-- I mean, I don't know anything about it, but I'm sure on the string instruments as well, but if you don't have the sound to match up with that, I wouldn't have said many people would want to listen to you. Gomm: That's true. Cobb: Or a selected few. Gomm: That's absolutely true. So for the people that are recording this, you know, these excerpts, you can look at them as technical exercises, but they're not. We're listening for more. And, you know, the thing with any musical instrument is that you're trying to draw somebody's ear to the sound, and it's often-- subconsciously, it's not how brilliant and flashy or whatever they're playing. It's actually the sound of the instrument, so--so when you're doing stuff like this, there's a technical side to it, but there's an equal side to it, which is there's a musical side and making the beautiful sound on the instrument, even when it's loud. It still has to be beautiful. Okay, so this is the long middle section solo in Don Juan. It's in E. [laughs] [Strauss's Don Juan] That's fantastic, Phil. You did that in two breaths. Why did you choose it there? Is that just-- is that purely breath or is it chops or is it... Cobb: Well, the final breath that I took just helps you when you're climbing up, upstairs in the register. But there are, I feel, there are various opportunities to, if you're nervous or if you desperately need it on the chops, to grab a breath elsewhere. I mean, for example, figure 138-- well, bar 138. Second beat. Gomm: After the--yeah. Cobb: It's just a quick opportunity to take a breath there and then four bars later, and then another one. Gomm: 'Cause it's a very long phrase, isn't it? Especially the first section. Cobb: And you are, at that point, if I'm not mistaken, riding the entire orchestra. Gomm: Yeah. Cobb: In which case, again not in an aggressive nature, but you need to be riding the band with an appropriate-- Gomm: But you managed to play that, and it sounds beautiful, but you're actually playing quite loud as you go. As you say, you've got to ride the orchestra. How do you keep that sound when you're pushing without it getting harsh? Is it just a constant thing that you--you listen? Cobb: Yeah. Gomm: 'Cause we talked to Maurice about this, and I said, "Maurice, "you know, you just play tunes. "No, you're renowned for playing tunes, the simplest tunes. How do you think it out?" And he said, well, he, you know-- I think he said that-- being in the bands when they played hymns, and he always thought to put words to things. So he'd think it was singing. So he'd phrase like a singer. But you do the same thing. You naturally play the phrase. Cobb: Well, I've always loved tunes. You know, for me, personally, some of the contemporary music and stuff, and it's all very technically challenging, and it's all very effective. But, for me, I get more of a kick out of playing a tune than anything else. And it's also listening, you know-- since I was a little kid, I was listening-- Gomm: You come from a cornet background. Cobb: Yeah, I come from a Salvation Army cornet background, yeah. And, you know, listening to people-- it's possibly similarly to Maurice, the hymns background and word association. I mean, I certainly don't think about that necessarily. But there is this constant thing in the army bands, and I'm sure in outside banding as well, about phrasing and about looking at-- and I think you just work it out. Gomm: Yeah, so for those of you doing this, it's one thing, you know, to play the notes, but you need to work out things like where you're gonna breathe, how many times, and, as Phil says, still try to make the big phrase out of the-- out of the excerpt, which is a tough one, 'cause it ends on the high concert beat. Cobb: Shall I do it again, taking the breath? Gomm: Yeah, do-- do--do another one. Take the extra breath. [Strauss' Don Juan] Okay, this is the trumpet call from Leonore. D-flat one. And this is offstage, and... the eight bars before it, there's a big long one in the strings, very loud crescendo ending on the first note of this offstage call. So it needs to be-- well, it's offstage. It needs to be quite grand and present. And the second call even more so. [Beethoven's Leonore Overture No. 2] Good. Great. Cobb: Second one? Gomm: Do the next one. Yeah, now do the second one. Let's see if you can make it slightly different. [Beethoven's Leonore Overture No. 2] Right. Very good. Technically, that's not difficult until you start playing it faster. I guess-- when you play this, do both-- do both calls, and... we're really trying to-- although they're the same call, the second one needs to be more urgent in a musical way, so-- so it can be-- the semiquavers can push on a bit, and the triplets can push on a bit more if you can towards the long A. And, yeah, this is the one to concentrate on the accuracy of the arpeggios. Any tips on that? Apart from practice slowly? Cobb: Practice slowly and really ***-- hammer the valves down. Gomm: Yeah. Cobb: Try and just psychologically drill it in. Gomm: Okay, and as a general for all-- all these three excerpts, that's probably technically the easier of the three to do. But don't be discouraged. We have a fantastic principal trumpet player sitting here, you know, and we don't expect people to be able to play like that. Don't be put off. Have a go. By all means, have a go at it. And the things we're looking for, it's not just technique. We're looking for music. You know, we're looking for tunes and phrasing, beautiful sound. It's not all to do with just technique and the accuracy of hitting notes on a brass instrument. Cobb: One thing... I think we should touch upon is just the fact that probably a lot of you have not played a lot of these pieces and excerpts in orchestras or with orchestras before. And, personally, something I love doing-- not necessarily just trumpet players, but is just listening to different types and styles of music. And I think it's a really, really good idea to have a listen to these excerpts and listen to where the trumpet comes in and what different trumpet players do just so you get some sort of idea as to what you're dealing with when you're doing the audition. Personally. Gomm: Yeah. Not to copy. Cobb: Not to copy, no. Decide what you want to do. Gomm: If you listen to six different recordings, you'll hear completely different versions. Cobb: Well, that's in general, not just with these excerpts. It's completely-- not copying other soloists as Nigel said, but just listening to other players do different things. And it's always-- I think it's always a plus. Gomm: So have fun doing it. Don't be afraid of it. If you do play it at quite a loud volume, make sure you get away from the mic a bit, because distorted recordings are quiet easily done on a trumpet. And have fun. It's all supposed to be enjoyment, and if you're not enjoying it, then the listener won't enjoy. Cobb: Well, that's the end of our mini master class. It's good-bye from Nigel and myself. Gomm: Good luck, go for it, and enjoy. Cobb: I concur. [laughter]