Section Orchestral Excerpts for Trumpet
Back in the early 2000s, when our professional schedules would allow, Manny Laureano (Principal Trumpet, Minnesota Orchestra) and I would visit David Monette’s shop in Portland, Oregon. We would test out the latest trumpets and mouthpieces, give Dave feedback, and generally just have a good time. I started to bring excerpt books to these visits, and we’d play back and forth and together—not a bad way to spend an afternoon! Soon, Matt Sonneborn (Principal Trumpet, Naples Philharmonic) joined these impromptu sessions, and the available repertoire grew from two to three-trumpet excerpts. Although we worked in different orchestras located from coast to coast, the group sound concept, articulation, and intonation gelled from the start. At no point did we ever use (or need) a conductor. In 2006 our unnamed, ad hoc trio performed a series of excerpts in a masterclass at the annual International Trumpet Guild conference…and with that, this project was born.
Fast forward a few years, and Manny, Matt, and I were still visiting the Monette shop from time to time—still testing instruments and getting Dave’s latest upgrades, and still enjoying the seemingly effortless group resonance. Dave had been organizing workshops and shop concerts since the 1990s where world famous trumpet players would fly in to perform and give informal master classes. We joined in a few of these performances (the evidence of which is still on YouTube!). Then, in 2009, Dave organized a trip to a favorite local recording studio to see how our group effort would sound when recorded in a high-end studio setting. We added our friend Jeff Work (Principal Trumpet, Oregon Symphony) when the section stretched past three parts.
After a day and a half of meticulous microphone selection and placement tests, we were set. We ended up with mics at 5 feet, 16 feet (elevated to 12 feet in a Blumlein pair), and a final pair at 25 feet away elevated up at about 18 feet. With this setup, we were ready to play excerpts! We were right next to each other as we recorded—as we would be in a real performance setting—with all of us playing at the same time. There was no separation between us… we shared the mics and mixed ourselves for balance as we played. We did not use a conductor or a click track. Two very long days later we had over 24 combined hours of recording!
A Project Realized
With the primary goal accomplished, the question became: Now what do we do with the tapes? The raw material was there, but it was unedited, not mastered, and not ready for public consumption. The recordings sat in a file for over 7 years, almost forgotten, until I had the thought of producing something that could be a valuable tool for students of the trumpet. I applied for, and received, a grant from Portland State University to create a CD of orchestra excerpts as performed by an entire trumpet section. Solo excerpt recordings had been produced in the past, but a section excerpt CD would be something novel, and useful to developing players.
We went back to the studio in 2019 to record a few more excerpts, and we thought that our work was about done. Then COVID-19 happened! We still needed to pick which takes we liked, and have the engineer do his magic to tie up loose ends. Just this year (2023) we dove back in to finish up final details. The natural sound and mix between us worked great just as we were recorded, so no extra EQ mixing was needed.
So, here we are in 2023, releasing an album based on an idea from nearly 20 years ago. We hope that this CD provides insight into orchestral performance practice, musicality, and cohesive section work. All too often students can be overly focused on their single line, forgetting that the beauty and impact of this music is in the collaborative force of playing together with colleagues and friends.
Resultant Tones
There are often more audible pitches heard in these excerpts than the number of musicians playing at any given time. These pitches, known as “resultant tones,” are an acoustic phenomenon that are produced as the “result” of the mathematical sum and difference of the frequencies of the notes the musicians are playing. Resultant tones are most prominent when intonation among the performers aligns perfectly. They add depth and vibrancy to the sound the audience hears, which helps listeners feel and well as hear the harmonic content of the music.
Resultant tones often sound as loud—and occasionally even louder—than some of the actual notes the musicians are playing. The strength of resultant tones can be enhanced by the degree of resonance inherent in the instruments being played, and in the ability of the musicians to optimize their own personal resonance by breathing freely and using their full bodies more effectively as resonance chambers. There is an excellent Wikipedia entry on resultant tones that includes streaming audio clip examples.
Note: Here is an easy resultant tone test that anyone can do! Play a tuning C on your Bb trumpet, and have a friend play the E a third higher. An obvious low C will be produced as a resultant tone! Making small adjustments in the pitches of the notes generating the resultant tone(s) will produce larger shifts in the pitch of the resultant tone.
All instruments and mouthpieces used on this recording were manufactured by Dave Monette and his co-workers.
All of us involved in this project hope you enjoy these excerpts. Happy practicing!
Dave Bamonte
Manny Laureano
Principal Trumpet Manny Laureano joined the Minnesota Orchestra in 1981 after four years as principal with the Seattle Symphony Orchestra. He has performed solos in all the Orchestra's concert series and served as an assistant conductor during the 2005-06 season. In 1983 he performed the American premiere of the Wildgans Concerto for Trumpet with Leonard Slatkin conducting. In 2003 he premiered Stephen Paulus' Concerto for Two Trumpets and Orchestra, which was written for him and Doc Severinsen, who was then the Orchestra's principal pops conductor. His other solos with the Orchestra have included Haydn's Trumpet Concerto, Copland's Quiet City, Clarke's Southern Cross, Vizzutti's Compadre, Hertel's Concerto a cinque in D major, Bach's Second Brandenburg Concerto, and concertos by Arutunian and Tomasi. He has commissioned and performed several new pieces for trumpet and orchestra including works by Michael Gilbertson and Reinaldo Moya.
Manny is in great demand as a soloist, clinician and conductor. He has also led several series of Minnesota Orchestra Young People's Concerts. With his wife, Claudette, he served as co-artistic director of the Minnesota Youth Symphonies for 32 years. He is entering his ninth season as music director of the Bloomington Symphony Orchestra. Manny is a graduate of the Juilliard School of Music.
David Bamonte
David Bamonte joined the Oregon Symphony in 1994 as Second Trumpet, and currently serves as Assistant Principal. Before settling in Portland, Mr. Bamonte was named Principal Trumpet of the Israel Philharmonic by Zubin Mehta. He toured and recorded extensively with the orchestra. Additional appointments include Principal of the Syracuse Symphony and Guest Principal of the Malaysian Philharmonic. For several years Mr. Bamonte enjoyed the status of top substitute and extra trumpeter for the Boston Symphony. He also played extra trumpet often with the Boston Pops Orchestra. Other ensembles that Mr. Bamonte has performed with include the New York and Vienna Philharmonics, the Seattle Symphony and Seattle Opera, and the Opera Company of Boston.
In constant demand as an educator and clinician, Mr. Bamonte has taught and coached at regional, national, and international events, from the lower 48 states to Japan and Taiwan. He has presented at two International Trumpet Guild Conferences. Mr. Bamonte currently serves on the faculty of Portland State University as Associate Professor of Music and Brass Area Coordinator. As part of a community outreach program, Mr. Bamonte and the Oregon Symphony Brass Quintet perform regularly at schools in Portland and around the rest of the state.
David Bamonte studied with Charles Schlueter at the New England Conservatory, and Charles Geyer at the Eastman School of Music. He also received coaching from many prominent musicians including Philip Smith, Roger Voisin, Manny Laureano and Wynton Marsalis. David and his wife Wendy, also an active member of Oregon's musical community, have a daughter, Emily and a family pet schnoodle, Bella Jo.
Matthew Sonneborn
Matthew Sonneborn, Principal Trumpet Naples Philharmonic (FL), born in Madison, WI, earned a B.M. degree from the New England Conservatory. Matt is in his 31st year as Principal Trumpet with the Naples Philharmonic. He has been a frequent soloist with the orchestra performing Bach's Brandenburg Concerto No. 2, Hummel's Concerto for Trumpet, Copland's Quiet City, Leopold Mozart Concerto, and the Florida premiere of James Stephenson's Concerto for Trumpet.
During the summers Sonneborn performs at the Grand Teton Music Festival, and on occasion with the Baltimore Symphony and with the Colorado Music Festival. Over his career he has played under the direction of conductors such as Leonard Bernstein, Seiji Ozawa, André Previn, Simon Rattle and Leonard Slatkin. His teachers included Charles Schlueter, John Aley and Mark Gould.
Jeffrey Work
Jeffrey Work joined the Oregon Symphony as Principal Trumpet in the fall of 2006, following 13 years as an active freelance musician in the Boston area. During those years, he performed regularly with the Boston Symphony Orchestra, the Boston Pops, and numerous other ensembles, recording a wide variety of orchestral and solo repertoire. Since 1999, Work has also served during the summer months as Principal Trumpet of the Colorado Music Festival in Boulder. Born in Hastings-on-Hudson, New York, Jeff began trumpet lesson at the age of eight and, following a move to the Washington, D.C. area, studied for many years with Sgt. Major Robert Ferguson, first chair of The United States Army Band. He subsequently earned degrees under Charles Schlueter's and Armando Ghitalla's guidance and in 1995 became the first trumpeter to be awarded the New England Conservatory of Music's prestigious Artist Diploma.
Aaron Olsen, recording engineer for 2019 and editing
Darren Bowles recording engineer for 2009
Graphic Design Jennifer Douglass
Special thanks to:
Dave Monette and the Monette Corporation
Steve Conrow
Bonnie Miksch
Portland State University
Recorded and Edited at
Cross Roads Community Church, Vancouver, WA
1/2009 and 5/2019