[rzzzzz]

About a year ago or so Joe Giardullo mentioned he was working out on soprano (a Martin?) as if it was a trumpet. This comment has been rolling around the empty confines of my skull for a while. Like I want to believe I know exactly what he was talking about, and how that notion feels rather appealing. So now that we're on kind of a mandatory sabbatical, and as I continue to explore the Bill Evans Omnibook that Steve Neff recommended, it dawned on me there must be something similar in terms of trumpet. And I ended up downloading the Miles Davis Omnibook: For Bb Instruments, this am. This could be interesting.

 

[adamk]

Can't go wrong with Miles.
I strive to play like his phrasing and style.
Sometimes a small part of my improv sort of emulates him.
His soaring lines over chord progressions and not having to change every chord is what I want.

 

[jazzbluescat]

I doubled the lead(cornet) on soprano in a Bavarian Brass Band. It worked quite well, probably because of similar range.

 

[1saxman]

On a recording of The Carpenter's 'Superstar', I was on soprano and doing doing a lick with the trumpet on a background part. On the playback it sounded just like Mariachi trumpets. I really don't know what Joe was talking about unless he meant playing the soprano LIKE a trumpet, louder and more projecting, maybe with no vibrato. But there's no doubt that you can play with a trumpet and play LIKE a trumpet and it will be like two trumpets.

 

[Merlin]

I once played the 2nd trumpet part of the Hallelujah Chorus on soprano sax. The first trumpet player got a kick out of it.

I’ve also played the lead trumpet parts in an all saxophone big band.

 

[rzzzzz]

On the playback it sounded just like Mariachi trumpets... there's no doubt that you can play with a trumpet and play LIKE a trumpet and it will be like two trumpets.

That's interesting. I mean you definitely hear the difference in the typical trumpet/alto pairings. Maybe the soprano being closer in size/weight makes a difference?
I was wondering if the linearity of sax keys encourages more vertical runs, while a trumpet might tend to parry. I don't know. I've never played trumpet. And it's not like most trumpeters exhibit the Miles' brilliant economy any more than every sax player can produce sheets of sound like Coltrane. (But I like hearing familiar phrasing on my horn, regardless.)

 

[hakukani]

I've played second trumpet parts in little big band arrangements. It works surprisingly well.

You can also check out Steely Dan Pretzel Logic.

 

[click]

Maybe they mean like Bechet?

 

[Guest]

Bend it like Bechet........

 

[click]

I was thinking percussive attack rather than his bending ...

but OK!

 

[jazzbluescat]

I once played the 2nd trumpet part of the Hallelujah Chorus on soprano sax. The first trumpet player got a kick out of it.

I've also played the lead trumpet parts in an all saxophone big band.

I did the bassoon part of BRIGADOON on bari sax many moons ago. With strings, most of the score was in sharps, which made playing in double #s pretty interesting....

 

[click]

I did the bassoon part of BRIGADOON on bari sax many moons ago. With strings, most of the score was in sharps, which made playing in double #s pretty interesting....

That happened to me many moons ago, too.
I think it was in the pit for Cabaret.
I had to ask what the funny marks were for.

 

[Keith Ridenhour]

When I used to coach Jazz band if I had an alto I'd play with the lead alto but if I had a soprano I'd demo the balls a lead trpt has to have. He determinces the phrasing for the horns since hes at the top of all the chords. So you need a strong rhythm section and then it goes to the leads . Trpt , bone, and sax. So the sop can be as loud and driving as a trpt. And I copyed the harmon muted miles for sop for years. Love that tone K

 

[Mike T]

This thread reminds me of the story of Bechet standing shoulder-to-shoulder with Wild Bill Davison at the mike during a recording session, because both wanted to play the lead. (This story may or may not be true: when I asked Wild Bill about it, he told me it was just a story.)

 

[click]

This thread reminds me of the story of Bechet standing shoulder-to-shoulder with Wild Bill Davison at the mike during a recording session, because both wanted to play the lead. (This story may or may not be true: when I asked Wild Bill about it, he told me it was just a story.)

I have read the part about Bechet running off trumpeters before now. But, heck, wasn't it a sort of tradition back then to compete on the bandstand? They used to talk about "cutting" sessions, as if it were a knife fight.

 

[rzzzzz]

And I copyed the harmon muted miles for sop for years. Love that tone K

i would love to know what you used.

 

[Grumps]

I play soprano with a New Orleans style brass band and generally work as a section with an alto player. However if we're short on trumpets for a gig, I'll play the trumpet lines instead.

 

[turf3]

I have subbed on soprano for lead trumpet in a big band. Had to play softer than usual because of the power of the soprano.

I have many times played the lead parts (cornet) in trad jazz on soprano, works just fine. In that context I think soprano playing cornet lines is more effective than soprano trying to play the clarinet filigrees, though I have done that too.

 

[Sofiane]

I have many times played the lead parts (cornet) in trad jazz on soprano, works just fine. In that context I think soprano playing cornet lines is more effective than soprano trying to play the clarinet filigrees, though I have done that too.

Yes you're absolutely right.
This what I do in my trad band too.
And there's nothing better than playing the clarinet function with a ... clarinet !

 

[Lambros]

His muted trumpet sound especially; he has this phrase which is something I hear a lot of in his playing, an ascending-descending chromatic turn that he resolves on a whole step above or below and it feels like a pause between parts of a melodic line. I played sopranino along with Autumn Leaves off of Cannonball's Somethin' Else this morning. Miles kills on that whole album.

Can't go wrong with Miles.
I strive to play like his phrasing and style.
Sometimes a small part of my improv sort of emulates him.
His soaring lines over chord progressions and not having to change every chord is what I want.