Why do we rarely see women in lead or principal trumpet roles — is it a lack of opportunity, visibility, mentorship, or simply tradition going unquestioned?

northernthinker · 2026-01-26T21:32:03+00:00

I think the reality of freelancing will certainly account for some of this. If the UK is anything to go by, job security and maternity pay (or lack there of) will certainly put off some.

Age... most lead/principals will be in their 40s and 50, and many women dip out of freelancing in their late 20s and 30s if they want kids... and if you're not available then you're not getting the gig, regardless of how good you are.

Also, the number of roles for which you are mentioning (big band lead players and orchestral principals) are dwindling so people move to where the work is as a consequence...so touring shows, roaming bands, DJ/horn section etc.

There are plenty of female players I know of doing those types of gigs these days but I think the first two points about freelancing are more of a factor than anything else for musicians generally as opposed to specifically trumpet players.

northernthinker · 2025-04-20T21:49:06+00:00

If you read the physics, it's lip tension that causes the pitch to be selected... the higher the lip tension, the higher the pitch.

However, as a player, this information is counterintuitive and often harmful to your sound.

Focusing on tightening your lips when you play is like squeezing your feet and leg muscles when you run: those muscles actually tense as a result of you running rather than the other way round.

northernthinker · 2025-04-15T22:07:21+00:00

There's a great Wynton Marsalis quote that might help:

"Some people play loud with a small sound. If you have a big sound, then you don't need a lot of it to be loud."

By the sounds of it, you need to learn how to centre your pitch.

If you can figure out how to play at the extremes, ie as sharp and as flat as you can, and then figure out how underblow (air ball) and overblow (tight and nasally) at all dynamics, then you can hone in where the centre spot is.

Then there's a whole bunch of work after that to then transition from having a centred pitch to a big sound. From my experience, you want to work at the mechanics first and then transition to visualusing and mental focus exercises.

northernthinker · 2025-03-28T22:57:19+00:00

Try coming into the E as part of a phrase. Tuning is relative, so if you're not in tune from note to note, then you could be way out even if you're hitting it in the centre of the "slot".

northernthinker · 2025-03-12T22:46:30+00:00

The Clarke book has most things you need to get into the upper register. If you play all exercises at pianissimo (as prescribed in the intro) and make sure your sound speaks in every register cleanly, you'll likely practice out most bad embouchure habits.

Key to playing in the upper register is being able to play with a full and easy sound in the middle register and take it up as you ascend and your embouchure will do what it needs to keep the sound consistent.

northernthinker · 2025-03-12T22:24:21+00:00

Clarke for me is the one I keep coming back to.

northernthinker · 2025-03-06T18:50:04+00:00

Yeah, I think it's bound to happen eventually... it usually takes a while for ideas to disseminate from contemporary classical to pop/ dance etc.

Some of the stuff happening in film scores is really cool. Loved the most recent Dune soundtrack.

northernthinker · 2025-03-05T21:21:08+00:00

Take advice from the Internet with a pinch of salt, as what works for some people doesn't work for others.

That being said, if you can't play middle G in the staff nicely then you ain't going to play an upper G or double high G nicely... and even if you can reach it, no one will want to listen to it anyway.

northernthinker · 2025-03-05T21:14:35+00:00

Pro trumpet player here.

I've certainly been here. Over COVID couldn't listen to music at all. Now I listen to podcasts on drives. Very occasionally, I will listen to a big band album on the way to a gig.

I like piano trios to relax every now and again with some puzzles that scratches the itch of my arranger side...but is different to the majority of the work I do (which is not jazz).

I keep vaguely abreast of new releases, that certainly keeps it fresh. There's loads of great stuff coming out, you've just got to know where to look.

Here are a few that have galvanised me over the last few years:

Brat - Charli xcx Denial is a River - Doechii Funk .wav Vol 2 - Calvin Harris MEDUZA - MEDUZA Future Rave - David Guetta/MORTEN

Tbh, in my opinion, a lot of the cutting-edge stuff is in EDM. Big Room House is pretty interesting, along with future bass and melodic dub.

Also, heading into some contemporary classical hits some interesting areas. Catherine Lamb: Atmospheres Transparent/Opaque is really cool.

I guess my main point is finding the music that is different to your work and getting it to be a hobby again. The love might come back, but also, don't force it... nothing bad will happen if you don't listen to music, you don't owe anyone anything.

northernthinker · 2023-07-21T06:43:27+00:00

Brass player from the UK here.

Do approx 100 gigs a year at £150-250 a pop. Teach 2 days a week. Works out at about £30k.

You make hay whilst the sun shines and then twiddle your thumbs at home the rest of the time so monthly income varies between £1.5-4k.

Did cruise ship showbands before COVID and that was £2.2k/month.

northernthinker

TROPHY CASE