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SEPTEMBER MAILBAG

From: Ronald P., Leesburg

What is the difference between a bassoon and a contra bassoon? Do you play the contra as well?

First let me say that yes, I do play contrabassoon (I have an Amati that is made in the Czech Republic) and it is so FUN when it’s behaving itself—it can be quite cantankerous at times, because while it’s modeled after the traditional bassoon, the contra has a few design flaws that makes intonation and clarity a bit tricky. Aside of its inherent quirks, the differences between contra and bassoon are mainly due to difference in size. The contrabassoon, when stretched out, is twice as long as the bassoon, and this length enables the contra to ‘sound’ a whole octave lower than the bassoon. In addition, the reed is much larger (which takes some getting used to when I haven’t played the contra in awhile), and the fingerings for notes in the upper octaves are quite different—almost backwards! The case is also larger and it’s a bit ungainly to carry because unlike the bassoon, the contra is generally all one piece (although that is a bit nicer when you’re getting ready to play in a pinch!). A couple of fun ‘add-ons’ to the contra that the bassoon does not have is a ‘spit valve’ (to get rid of condensation) and a tuning slide, very similar to a brass instrument. It is without a doubt an ‘event’ to play the contrabassoon—it demands….and gets…quite a bit of attention! - Lisa Waite, bassoon

Basically the difference is that the contra, which is sometimes called the double bassoon, is pitched one octave lower than the bassoon. The contra is over 16 feet long and is doubled over four times, and the bell points down instead of up, as in the bassoon, but the fingerings for both instruments are similar. Of course the double reed is larger on the contra. As professor of music at Indiana University of PA. I taught students to play the contra. - David Borst, bassoon

From: Sarah T., Kissimmee

I love the bassoon! My favorite bassoon solo is from The Firebird. What is yours?

My favorite my bassoon solo is one that doesn’t last more than 8 bars….ha-ha, just kidding! I love the Firebird solo as well, but the solo that is near and dear to my heart is actually from Beethoven Symphony #9 (Ode to Joy). Not too far into the 4th movement, the bassoon takes a solo that is actually a counter-melody over the main melody in the strings. The contrast of that solo with the melody is exceptionally beautiful, and it really a surprise when you realize it is a bassoon…it is so delicate and sweet! What makes it even more special is that after my very first date with my (now) husband we were listening to the 9th Symphony, and when that gorgeous solo was coming up he actually commented on it and hummed along. I’ve known he was the ‘one’ ever since that day. That being said, I’ve never played it myself, but am sure it will bring tears to my eyes when I do. - Lisa Waite, bassoon

Favorite solo is from Rimsky-Korsakov's Scheherezade - David Borst, bassoon

From: Pete, Palm Bay

Is it ok to practice bass with a pick?

Why not? Any way you practice is beneficial. It may not be very practical, however, since Orchestral bass is not played with a pick but instead “arco” which means with a bow or “pizzicato” which means with your fingers. I would save the pick for practicing the Electric bass. - Kevin Gallagher, bass

From: Barbara, Merritt Island

Basses are often overlooked. Are there some orchestra pieces that are showstoppers that highlight the bass section? By the way, the SCSO basses rock!

There are some really great pieces that showcase the Bass. Mahler’s Symphony I has a solo bass that opens the third movement. The second movement of Prokofiev’s Lieutenant Kije Suite also opens with a solo bass playing the melody. Saint-Saens devotes an entire movement in his Carnival Des Animaux to the basses. The entire bass section plays by itself with piano accompaniment in the fifth movement appropriately titled L’elephant. I’ve been told, however, that it sounds more like a hippo. Also, about halfway through Also Sprach Zarathustra by Richard Strauss, he composed a bass quartet with four distinct bass parts that create very interesting and beautiful chords and harmonies. - Kevin Gallagher, bass

From: Chip L., Sebastian

What is the difference in the sound quality between the push valve trumpet generally used by the trumpet section and the rotary valve trumpet used in certain pieces of music, and why is the rotary valve trumpet preferred in those pieces of music?

As a general rule, rotary valve trumpets have a smaller bore and tighter turns in the tubing. This gives them a darker, more mellow sound than a horn with piston valves. They are far more prevalent in European bands and orchestras than they are in the U.S. Personally, I have never played in a trumpet section where rotary valves were preferred. - John Pendenza, trumpet

From: Fred L., Orlando

What does it take to prepare for a performance of a new work, or a world premiere? Also, what are some trumpet players you would recommend to listen to?

There is no specific method of preparing for a new piece of music. The best way to prepare for any situation is to regularly work on lip flexibility, range and endurance. A good practice routine also includes sight reading music you have never played, or at least have not played in several years, as well as sight transposing various pieces. This way, you are prepared to play anything you may encounter.

In the classical realm, I prefer listening to Timofei Dokschizer for solo playing, Adolph Herseth (Chicago Symphony Orchestra) and William Vacchianno (New York Philharmonic) and for orchestral playing, and Maruice Andre for Baroque and other piccolo trumpet music - or pretty much any other solo for that matter. There are other great players, of course, but these are my favorites. - John Pendenza, trumpet

From: Kerry J., Port St. John

Hello, i was wondering if you could recommended an electric violin? My budget is about $800. Are there any groups who play with these?

Purchasing an electric violin is much like purchasing an acoustic instrument - you find the one that works for you and matches your style of playing. There are many different brands and styles of violins: acoustic-electric where the pickups are built into the violin, silent electric where the body is more of a skeleton that has little to no reverberation when played, and hard body electric where the body may also vibrate. There are also brands that have 4 or 5 string models where the instrument can be a violin and viola as it contains the strings C, G, D, A and E. With all of these electric versions, you WILL need a pre-amp to adjust your levels and sounds for the music.

For metal rock, one usually has special pedal effects. For this, you do NOT want an acoustic instrument as there are so many overtones that will be picked up. A solid body is best for this as it allows some vibration, with little to no overtones. A skeleton body is also good for this, but everything must be run through effects as there is no "natural" sound coming from the instrument. One will need a pre-amp as well as special effects to create the desired heavy metal and distorted sounds.

For most country music, an acoustic-electric is best as it allows for natural sounds of the instrument and easier string crossings. Plus it has the "sweet sound" most want in this style of music.

For more classical music, I recommend a fully acoustic instrument with a microphone pickup located UNDER the instrument (not a piezo one). This will capture the sweetest and most mellow sound possible as it does not capture every bow change, every little crunch, etc.

For most other types of music (jazz, smooth rock, etc.), it really depends on the sounds you want to create. See above for more sound descriptions.

As for brands and prices, the internet is the best research tool one can use. Look for recommendations under each manufacturer. Find a band whose music you want to imitate and find out which brand instruments they use. Go to local music stores and see if they carry any of those brands. Spend several hours in a practice room and try them all out. Don't forget that the BOW is equally as important as the violin you select, so match them together.

Regarding bands that use electric instruments, I am in a few different ones. One that uses acoustic-electrics is Violectric (violectric.net). It is a string quintet plus keys and drums. Another is Classic Albums Live (classicalbumslive.com) where we re-create albums note for note, cut for cut. When the parts call for strings, we use acoustic electrics. I also have performed with Mannheim Steamroller and Trans Siberian Orchestra. We mainly use the silent electrics through pre-amps and special effects.

Feel free to contact me with any additional questions or concerns! - Michelle Jones, aka the "vinylinist" | vinylinist.com

From: Mason, Melbourne

I have been using a Bach 11C mouthpiece for several years. Are there any others I should consider for playing trombone one in my high school orchestra?

Thanks so much for sending us a question! A lot of trombonists, including us, are always wondering if we should look for a different mouthpiece. If you're playing a large bore trombone, then you can't go wrong with a Bach 5G mouthpiece. It is without a doubt the most widely used mouthpiece: from high school player to the professional level, it's impossible to be in a room of trombonists and not see a 5G! If you play a small bore trombone (student trombone), then I'd suggest the Bach 6.5 AL. With that said, it is most important to play on a mouthpiece that feels good and sounds good. Keep on playing and come say hi to us sometime! - Will Connell, trombone

From: Charlie, Port St. Lucie

This is for the trombones. You're the most powerful trombone section I have heard in Florida. Does your mouth hurt after each concert? Also, why is their such a difference in power and sound from orchestra to orchestra?

Charlie, that is quite a statement, and while it is a great compliment (hopefully), we really cannot take all the credit for that power--the real secret is Aaron! Most conductors keep their trombonists on a short leash. Aaron however, lets us loose, and is known to scream "More, trombones!" quite often--even when we are at our limit. One of the things that we (the trombones) really love about playing in the SCSO is that when we give it everything we've got, Aaron is still wanting more. The low brass often joke to each other that in the SCSO, we regularly get to do something that would get us removed from the building in another orchestra! As for the difference in power and sound from orchestra to orchestra, there are many factors. Every trombonist plays with a different sound, which is one factor. Another factor is that an orchestra develops its own sound after playing together for a while, as the musicians get a feel for playing with each other. One last, major factor, is the conductor. We simply play the way that Aaron wants us to. That was fairly longwinded, but I hope it answered your question. Oh, and while they don't hurt, sometimes our faces are very, very tired at the end of a concert. Think of playing a brass instrument like running. Playing soft is like walking, playing at a medium dynamic is like jogging, and playing very loud is like sprinting. The longer we play and the louder we play, the more tired we are at the end. Thanks for your questions, Charlie. - Will Connell, trombone

From: Lori

Would you say the horn is the most difficult instrument in the orchestra to control, where errors have the most audible and disastorous consequences? Do you have to be cocky to play the horn?

The horn can be a very humbling instrument. Yes, it helps to have courage and confidence while playing the horn. - Maria Harrold, horn

I would say the horn is one of the more difficult instruments to play because the harmonics are so close together. You really have to have a good ear to hear what note you want to play before you play it. As far as being cocky, I would have to say no, that is not a requirement. I would say trumpet players and percussionist are more cocky than horn players. But that doesn't mean that we don't have alot of fun. - Mary Seal, horn

From: Jessie

I am a horn player in high school. I wanted to ask the horns what their favorite composer is to play in an orchestral setting?

I have always loved playing the works of Richard Strauss. He really understood how to write for the horn and his orchestral horn parts are fun to play. - Maria Harrold, horn

As far as composers go, it's hard to say. I enjoy all the music the SCSO plays. But I must admit that anything we play with loud brass parts is especially enjoyable. - Mary Seal, horn

From: Renny J., Mt. Dora

What advice do you have for any of us musicians who would like to one day audition for an orchestra?

Auditioning for orchestras gets more and more competitive every year since music schools keep bringing more graduates on the scene and the health and financial support of American orchestras is the weakest it's ever been, which means fewer sustainable job openings. Everybody needs to have a realistic understanding of this going in.

My biggest advice to aspiring orchestral auditionees is to prepare for the psychological challenges of performing under pressure as much as you would your orchestral excerpts. There's a lot of great resources that we now have to help us. Treat yourself like an athlete, and make sure to take everything in stride. Stay focused and do NOT dwell on the results. - Sandra Del Cid, flute

From: Belinda

Is the piccolo more difficult than the flute? Also, what are some good piccolo solos in symphony's and orchestral works?

It would be easy to just say that the piccolo is harder, but if I'm being really honest I'd have to say that each instrument presents challenges and advantages of their own. The key is putting in enough time with the piccolo so that you develop the muscles and familiarity you need in order to play with a good focused sound (and being in tune doesn't hurt either...).

There are WAY too many good piccolo solos to list here... Tchaikovsky 4, Beethoven 9, Rossini's Semiramide and La Gazza Ladra overtures, and Shostakovich Symphony 6 are just a few of the pieces that have the most famous piccolo solos.

Some of my personal favorites to play are from the following orchestral works: Mahler Symphony 2, Rimsky-Korsakov Scheherazade, Shostakovich Symphony 8, and Kodaly Hary Janos Suite.

There's always something - I'm not even including operatic and balletic repertoire. I just performed Bartok's Romanian Folk Dances and the piccolo solo is just breathtaking! - Sandra Del Cid, flute