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InsIde the Orchestra sectIOn

MIchael sachs, cOluMn edItOr

usIng dIfferent Keyed InstruMents In the

Orchestra: When, hOW, and Why
By MIchael sachs
June 2011 Page 84
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InsIde the Orchestra sectIOn

MIchael sachs, cOluMn edItOr

Inside the Orchestra Section seeks topics of interest to the orchestral musician. Ideas and suggestions should be directed to Michael Sachs,
c/o The Cleveland Orchestra, Severance Hall, 11001 Euclid Ave, Cleveland, OH 44106; orchestra@trumpetguild.org

usIng dIfferent Keyed InstruMents In the

Orchestra: When, hOW, and Why
By MIchael sachs

Below are some solutions, other than using my standard C

s trumpet players, we are faced with a wealth of
trumpet, that Ive found work particularly well for me, and
choices when it comes to equipment. There are
why. All parts that I am referring to are the 1st trumpet part
many possible combinations of instruments
unless otherwise noted:
and mouthpieces available for performing any given piece or
particular passage in the symphonic repertoire. Because of
these multiple options, its easy to fall into a vortex and
Pieces Where I Use B-flat Trumpet
become overwhelmed by these choices, leading to feelings of
Copland: Outdoor Overture (entire piece), Billy The Kid (reh.
indecision and instability. All of us at one time or another have
#30 33)
ventured down that path, and many times the results are not
The B-flat trumpet provides a particular warmth and
what we hoped for. Everyone is different, from their physical
smoothness that I like for both of the lyrical solos in these
make-up and stylistic needs to their acoustical setting. If done
two works by Copland. I enjoy playing my B-flat a lot and
thoughtfully, using different equipment judiciously can be
am always looking for chances to use it in the orchestra.
extremely beneficial.
Shostakovich: Symphony #5
Although this article is about possible uses of different perIve gone back and forth on this one, between switching to
formance options, I am not an advocate of wholesale switchmy B-flat only for the low passage in the first movement
ing of equipment, either for different
(reh. #18 20), and using the B-flat for the
pieces or within a given piece. I actually using different equip- entire piece. It all goes back to one rehearsal a
feel quite the opposite. While below are
few summers ago when I finished the low passome solutions that Ive found useful, ment judiciously can be sage on the first page and wondered how it
Im a big fan of stability, and typically extremely beneficial.
would work to just keep using my B-flat for the
use my primary C trumpet and mouthrest of the piece. It wasnt a music director
piece combination for at least 95% (if not more) of the playing
week so I thought what the heck, why not try it. By the end
that I do for my job in the Cleveland Orchestra.
of the piece I was extremely happy with the results, and since
When dealing with a challenging passage, its easy to react
the section here uses B-flats for this, the all B-flat section
and immediately look to jump to another horn or mouthpiece
sound really had a body and power to it that worked well.
for a quick fix and to make things easier to play. Whenever that
Even though I had toyed with the idea of using B-flat on the
thought crosses my mind, the first question I always ask is
entire piece for a while, I still had to do some extra practicCan this equipment give me the appropriate sound for this
ing that week to make sure that in the moment, in performpiece? If the answer is no, then I dont continue down that
ance, I would push down the right valves after playing it
path. I need to have two important elements going in the right
mostly on C for the twenty years prior. I still go back and
directionthe balanced combination of the sound and the
forth on which horn to use on this, and each time end up
way things lay on the instrument for it to be a viable option.
using whatever feels the best that week, along with what best
If I do decide to switch equipment, especially in the middle of
fits the conductors interpretive wishes.
a piece, I try to make sure that I give myself enough time to be
Bizet: Prelude to Act I of Carmen
able to blow warm air through the horn before my first
Chabrier: Espaa (1st Trumpet part)
entrance. I dont ever want to play on a cold instrument if I can
Elgar: Falstaff
avoid it. This also gives me some time to think about what
Nielsen: Symphony #4
horn I am about to play and the general properties of using it
Shostakovich: Piano Concerto
successfully: response, air movement, where the slots will be
Sibelius: Symphony #5
for the notes that I see (and hear), the tone quality and color
Strauss: Ein Heldenleben (E-flat Trumpet part: Complete or
that I will want from it, etc. I try to do this all very deliberatereh. #65 66 / ending)
ly, if possible, which only helps me to focus and dial things
Wagner: Overture to Tannhauser
properly into place.
For the rest of these pieces, and others that I use a B-flat
84 ITG Journal / June 2011

2011 International Trumpet Guild

trumpet for, the B-flats qualities fit them idiomatically along

with the range requirements needed for various parts of some
of them.
Pieces Where I Use D Trumpet
Ravel: Piano Concerto in G, Alborada del Gracioso
I have found that the D trumpet works wonderfully for the
Ravel Piano Concerto in G. This piece, using only one trumpet, is much more of a chamber orchestra setting, requiring
a lighter touch and sound blend for this part. A nice byproduct of using a D for this part is that it also puts things
into a nice key. For Alborada del Gracioso, the same properties that make the D work for the piano concerto also apply
here, especially when looking at the fast triple tonguing passages.
Beethoven: Symphony #2, #7, #9
For Beethoven symphonies #7 and #9 in particular, Ive
found that using a D trumpet is very helpful. I am very fortunate to have a Monke Rotary D trumpet that has a big
beefy sound very akin to a C trumpet. Because my D can
achieve an appropriate sound for these pieces I can use that
horn, and it also puts these parts into a better key for blend
and intonation.
Britten: Sea Interludes from Peter Grimes (3rd Trumpet part)
This part can be played either entirely on D trumpet, or the
2nd movement on piccolo trumpet and the remainder of the
piece on the D.
Miscellaneous Haydn and Mozart symphonies
Stravinsky: Pulcinella
Pieces Where I Use E-flat Trumpet
Bartok: Concerto for Orchestra (5th movement, reh. #211
254)
Again, this is a case where I am extremely fortunate to have
an E-flat trumpet that has flexibility in the tone to be able to
play in a manner that can virtually replicate a C trumpet
sound. I switch from my C to the E-flat in the 5th movement at bar #113. This gives me some time to play a few
tutti notes (concert Gs, bar #137) in order to get acclimated
to the horn so Im not starting at #211 cold. On E-flat this
passage lays great for me, allowing me to play strongly at
#211 and then ride on top of the group along with the piccolo at #234 and not have to push.
Wagner: Prelude to Parsifal
For the opening two lyrical passages, my goal is to create the
most beautiful, ethereal, pure tone quality while blending
evenly in unison with the violins. Ive found that my E-flat
trumpet, with the slightly lighter sound that I can get, allows
me to achieve this desired sound along with a warm espressivo that works very well for this moment.
Stravinsky: Petroushka (Ballerinas Dance and Waltz)
Over the years, Ive gone back and forth many times deciding which instrument to use for this passage. My choice has
been between using my C trumpet, E-flat trumpet, or C cornet. For a long time, including my auditions and when I
recorded this piece, I used an E-flat trumpet for this. I found
that my E-flat gave me a leggiero ease for the ballerinas
dance and also blended well with the flute in the waltz section. Now when I have this coming up, Ill prepare this on
all three and see which is giving me the right color and feel
leading up to the start of that week. Ill then make my choice
2011 International Trumpet Guild

two weeks prior and go with that in order to keep things stable and consistent leading into the week of the rehearsals
and concerts.
Beethoven: Leonore Overture #2 (Off-stage fanfare)
Mozart: Symphony #39
Varse: Ameriques
Pieces Where I Use G Trumpet
Stravinsky: Pulcinella
The G trumpet comes in very handy for a couple of the passages in the Finale movement (reh. #102 104 and #116
end). With the chamber music setting for this, I use my D
trumpet for most of this piece then switch over to the G for
these passages (I switch to the G at the end of the eighth
movement after the downbeat at reh. #99, back to the D at
#104, then back to the G three bars after #114). I have also
performed this using the D trumpet for the entire piece.
While either solution works well, I find that using the G
trumpet for these spots allows me to glide more and keep a
very leggiero sparkling feel and lift to these passages, rather
than them potentially feeling and sounding too heavy or
pushed.
Bach: Cantata #51
Pieces Where I Use Piccolo Trumpet
The piccolo trumpet in the orchestra can be a very useful
tool. I have three that I use for different purposes: a Benge
from 1978 (this instrument has the broadest and heaviest
sound yet not quite as agile as the other two), a Schilke P5-4
from 1984 (this is the lightest of these three and gives me the
best ability to play in extreme high ranges and soft dynamics),
and a new Schilke P-7 (this is a hybrid of the other two). As
mentioned earlier, the key to whether or not I use one of these
piccolos is whether or not the sound quality is appropriate for
the piece or passage Im looking at. If my piccolos sound too
much like a toy then they are not useful in virtually all settings.
A while back I sought out the best mouthpieces I could find
that would give me control and body of sound without sacrificing the agility of the piccolo and ability to play very high,
and in some cases either very loudly or very softly. You may
also want to experiment with both the A and the B-flat crook
to see which works better for sound, intonation, and how a
certain passage lays on the horn. Each of my three instruments
has a very particular sound that can be useful for one or more
of the following works:
Mahler: Symphony #7 (5th Movement reh. #275 277, auf
eine kleinen piston)
This needs an almost cornet-like tone with agility, yet with
a touch of body, so I use the Benge in A for this.
Mahler: Symphony #8 (Part I, reh. #17 bars 3 5)
I use the Benge in B-flat for this. I can really crank up the
volume on this horn and get a big sound on it. If I do things
right, this doesnt sound like a piccolo trumpet in this context.
Mussorgsky/Ravel: Pictures at an Exhibition (Samuel Goldenberg and Schmuyle)
I go back and forth between all three of these piccolos for
this. Lately, Ive been using the Schilke P-7 in A, which gives
me the best combination of agility and bite with the copper
straight mute that I use.
Ravel: Bolero (D Trumpet part)
June 2011 / ITG Journal 85

use

Of

cOrnets

When composers write for cornet they are looking for a particular color and blend with these instruments. Because of this,
whenever it is specified cornet in a part we use cornets in the section here. The formula is for me, as principal, to play the
more prominent of the two first parts (Cornet 1 or Trumpet 1), with Lyle Steelman, the assistant principal here, playing the
other first part. Below is a list of how these parts are typically cast in the Cleveland section:
MS: Michael Sachs, Principal
LS: Lyle Steelman, Third/Assistant Principal
JS: Jack Sutte, Second
MM: Michael Miller, Fourth/Utility, Second Cornet
Composer
Berlioz

Bizet
Chabrier
Debussy
Dukas
Elgar
Elgar
Enesco
Franck
Ives
Kodaly
Martinu
Messiaen

Piece
Benvenuto Cellini Overture
Corsair Overture
Damnation of Faust
Harold in Italy
Hungarian March
Requiem
Roman Carnival Overture
Romeo and Juliet
Symphonie Fantastique
Te Deum
LArlesienne Suite
Carmen (original)
Espaa
La Mer
Sorcerers Apprentice
Cockaine Overture
Pomp and Circumstance March #1
Rumanian Rhapsody #1
Symphony in d minor
Symphony #4
Fourth of July
Hary Janos Suite
Half-Time (Rondo)
Turangalila Symphony

Cornet 1
MS
MS
MS
MS
MS
MS
MS
MS
MS
MS
MS
MS
MS
LS
LS
MS
MS
LS
LS
LS
LS
LS
MS
MS
Picc

Cornet 2
MM
MM
MM
MM
MM
MM
MM
MM
MM
MM
MM
MM
MM
extra
MM
MM
MM
MM
MM
extra

extra
MM
LS
1st C

Trumpet 1
LS
LS
LS
LS
LS
LS
LS
LS
LS
LS
LS.

LS
MS
MS
LS
LS.
MS
MS
MS
MS
MS
LS
JS
2nd C

Trumpet 2
JS
JS
JS
JS
JS
JS
JS
JS
JS
JS
JS

JS
JS/MM
JS
JS
JS
JS
JS
JS/MM
JS/MM
JS/MM
JS
Extra
3rd C
MM cornet

Mussorgsky
(original version)
Prokofieff

Night on Bald Mountain

MS
MM
LS
JS
Lt. Kije
MS

LS
JS
Romeo and Juliet
MS

LS
JS
Shostakovich
Lady McBeth of Mtensk
MM
extra
MS
JS/LS
Stravinsky
Petroushka (1911)
MS
JS
LS
MM
(not usually played on cornets unless requested by conductor)
Tchaikovsky
Capriccio Italien
MS
MM
LS
JS
Coronation March
MS
MM
LS
JS
1812 Overture
MS
MM
LS
JS
Francesca da Rimini
MS
MM
LS
JS
Manfred Symphony
LS
MM
MS
JS
Marche Slave
MS
MM
LS
JS
Swan Lake
MS
MM
LS
JS
Sleeping Beauty
LS
MM
MS
JS
Vaughn-Williams
Symphony #2 (London)
LS
MM
MS
JS
Verdi
Don Carlo
MS
MM
LS
JS
Othello
MS
MM
LS
JS
Weber/Berlioz
Invitation to a Dance
MS
MM
LS
JS
In the case of Carmen, it should be noted that the original opera part asks for pistons (cornet). The suites, published by Brietkopf and Hartel in Germany, specify trumpet. Because the suites include different versions of the music and use of the trumpet, we use trumpets for this, but when we performed the complete opera, we used cornets. Given this information, you can
make a case for using either instrument in both of these circumstances.
86 ITG Journal / June 2011

2011 International Trumpet Guild

Ive used all three of these instruments (all on the B-flat side)
Use of Rotary Valve Trumpets
Over the past thirty years, American orchestra have increasat various times for this part. As with everything, my choice
ingly been using German rotary valve trumpets for much of
depends on the conductor Im performing this with and
the Germanic and Austrian classical and romantic repertoire.
what blend they are looking for.
In Cleveland, we use rotary trumpets for the music
Stravinsky: Petroushka (1911
of Mozart, Haydn, Beethoven, Mendelssohn, Schuversion reh. #132 end;
1947 version, reh. #265 the criteria for any choice bert, Schumann, Brahms, Bruckner, and Strauss
267)
needs to be whether the Waltzes, among others. The rotary instruments
offer a different color, tonal palette, and blend withThe Benge picc in B-flat is
in the brass section, as well as how the trumpets
great for this one. I can play sound fits the piece.
integrate into the rest of the ensemble.
very aggressively and still
hold the muted sound together.
Stravinsky: Rite of Spring (D Trumpet part)
Conclusion
I use the Benge here and switch between the B-flat and A
While I use these options above from time to time to assist
pipe throughout the piece as follows: Beginning 1st bar of
in navigating my job, these are only a few amongst many dif#22 (B-flat pipe), 2 bars before #33 66 (A pipe), #70 83
ferent solutions to playing a variety of symphonic repertoire. I
(B-flat pipe), #83 end of the piece (A pipe). Navigating the
cannot stress enough that the criteria for any choice needs to
piece in this manner, I can gain the best intonation and finbe whether the sound fits the piece. If the answer is yes to this
gering combinations, along with using the Benge, which
question, then you can take care of the composers wishes in an
gives me the ability to play all of this with an appropriate
appropriate stylistic manner, all hopefully culminating in a
intensity, volume, and sound quality.
successful performance.
Britten: Sea Interludes from Peter Grimes (3rd Trumpet part,
2nd movement)
About the author: Michael Sachs joined the Cleveland
As mentioned before, playing the 2nd movement on piccoOrchestra as principal trumpet in 1988. He is frequently fealo can be a nice option for this. If I were to go that route I
tured as soloist with the Cleveland Orchestra including the
would probably opt for using my Benge to get the biggest
world premiere of John Williamss Concerto for Trumpet and
sound for this.
the United States premiere of Hans Werner Henzes Requiem.
Miscellaneous Contemporary Works
Sachs is chairman of the brass division and head of the trumGiven some of the extreme range issues involved with many
pet department at the Cleveland Institute of Music. He regunewer compositions, having an orchestral piccolo set up for
larly presents masterclasses and workshops at conservatories
this repertoire is extremely useful. Ive also seen it at times
and major universities throughout the United States, Europe,
necessary to use a piccolo trumpet for navigating all parts in
and Asia. He is the author of Daily Fundamentals for the Trumthe section, not just for the 1st part.
pet and the three-volume set of Mahler: Symphonic Works,
Messiaen: (Petite Trompette in D parts)
Complete Trumpet Parts, (both published by the International
Turangalila-Symphonie
Music Company), and 14 Duets for Trumpet and Trombone, coChronochromie
authored with Joseph Alessi, principal trombone of the
Et Expecto Resurrectionem Mortuorum
New York Philharmonic (published by Carl Fischer Music).
La Ville den-haut
For more information on Michael Sachs please visit his web
Concert a Quatre
site (http://www.MichaelSachs.com).
Prokofieff: Scythian Suite (3rd Trumpet part)
Stravinsky: Symphony of Psalms (D Trumpet part)
Varse: Ecuatorial, Intgrales
Webern: Six Pieces
Mahler: Symphony #3 (Posthorn Part)
There are so many options to think about when deciding
which instrument to use for the Posthorn solo in Mahlers
Symphony #3, that I put this in a category by itself. Mahler
himself was unsure of which instrument he wanted to hear,
indicating the use of the posthorn, piston, and flugelhorn for
this one part in different versions of this symphony. In most
cases, the acoustical setting in which you are playing will help
dictate the right instrument to use. The solution can be found
among any of the following: B-flat, C, D, or E-flat trumpet
with a flugelhorn mouthpiece and/or a bag over the bell, a cornet, a flugelhorn, a rotary B-flat or C, or a posthorn, all of
which I have heard successfully used in the performance of this
excerpt. A few years back I found a wonderful posthorn in Bflat that I use for this. The posthorn gets a tone that feels like
a hybrid of a flugelhorn and cornet and gives me the supple
color that I want for this passage.
2011 International Trumpet Guild

June 2011 / ITG Journal 87