Question re six-note exercise

[Rob Rothman]

During the late 60s/early 70s, I studied with Nick Lamitola (AKA Sonny Land). Although he had studied with Carmine Caruso, Caruso exercises did not figure prominently in his own teaching. He did, however, teach me a variant of the six-note exercise which I now realize is somewhat different--in some ways, perhaps fundamentally different-- than that set forth as exercise 1 in Musical Calisthenics.

As it was taught to me, each of the six notes is played three times in sucession, first ppp then mf then fff. However, the notes are not played in strict time; instead, each is sustained for as long as possible. Thus, depending on one's lung capacity, the entire exercise (18 notes) could take 15 minutes to 1/2 hour or more, with the mouthpiece never leaving the lips the whole time.

I'm just curious as to whether any of the Caruso experts are familiar with this variant. Thanks.

Rob Rothman

[PH]

That's new to me.
_________________
Bach trumpet artist-clinician
Clinical Professor of Jazz Trumpet, University of Illinois
Professor Emeritus of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops 1976-2019
JazzRetreats.com

[Jerry Freedman]

Does this variant include breathing through the nose(long setting)? Time is a key component of all Caruso etudes, including the 6 notes. If you remove the timing aspect and the nosebreathing, there isn't a lot left that could be called Caruso

A more important question, however, is did it work for you?

[Rob Rothman]

I don't recall any particular emphasis on breathing through the nose, although that may have been somewhat implicit in the mandate to keep the mouthpiece in position throughout the exercise.

As far as whether it worked, looking back I didn't really have the discipline to keep with it on a regular basis, so I can't really say. I do recall it being extraordinarily tiring; if I did the exercise, my chops were pretty much wiped for the day after that.

Thanks.

Rob Rothman

[pepperdean]

I never heard of that but it migt have been a variant that Carmine prescribed for a particular student. Eventually, I was assigned to hold each of the six notes (one note for each pitch) for as long as possible and as softly as possible. I foot-tapped but didn't count except on the four-beat rests. Nose breathing was required.

There were probably many variations of the Six Notes.

Alan

[connicalman]

Here here. Raise a bell, or a glass, to poor ol' Gb.

Caruso's Set of Six don't suffer for the absence of the seventh bugle, and I don't recall with certianty but I think Schlossberg skipped F# as well on the first pages of his thin green book.

One day I'll write an exercise dedicated to intonation and to alternate fingerings, to oxo / xxx , with the related permutations as one climbs and descends that family's overtone tree.
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[trumpetdiva1]

I have studied with Laurie Frink for two years and had a lesson (now as a comeback player) ten days ago. I am not aware of this variation. The only variations that I know are the changes in the actual notes such as G-C, C-G, low G-C and other variations of the notes. The last note variation that I had played years ago was E-C (above the staff).

Janell
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Janell Carter

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Listen to this sample: Michael Haydn Concerto for Trumpet - II (Allegro) -
http://tinyurl.com/hgzhq23
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[PH]

Carmine did other variations with people I knew. All whole notes, rather than half/half/whole was one. Tonguing the first note and breath attack on the second and third was another. Each of these was prescribed for a specific reason. I don't know of any CC variation on 6 notes that didn't involve foot tapping and timing.
_________________
Bach trumpet artist-clinician
Clinical Professor of Jazz Trumpet, University of Illinois
Professor Emeritus of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops 1976-2019
JazzRetreats.com

[Jerry Freedman]