I've been reading and apparently this book is superb?

[BlessingLFA]

I've been looking for some study books to build endurance, lung capacity and range and I stumbled upon a book called the Carmine Caruso musical calisthenics for brass. I've been reading some reviews and they all agree the book is very helpful. But some people are also saying that despite its helpfulness you need to be careful in how you practice with it. I'm looking for the opinion of anyone who has used the book and can tell me if it helped and tips on getting the most out of it. thanks.

[OscarTrainer]

Carmine Caruso was one of the greatest teachers of the instrument. If you look further down in the forums there is a forum dedicated to his teachings. One of the challenges is to study his system correctly without a teacher.

There is a topic in that forum which is dedicated to youtube videos by Julie Landsman. They are very good! Probably the next best thing to studying with someone.

Stumbling across Carmine Caruso may be one of your best days!
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[OscarTrainer]

Here you go:

http://www.julielandsman.com/pdf/
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[BlessingLFA]

Ahah I didnt even see it below! Thanks for the comment and I will be practicing it soon.

[rich.Graiko]

[mchs3d]

I believe there is a whole sub-forum here dedicated to the man's teachings.

[lakejw]

I have used the book in the past, got into trouble with it, and gave it up. Since that time I have gained a lot of friends that studied with the late Laurie Frink, who was one of Carmine's most renowned disciples. Unfortunately I never got to study with Ms. Frink before she passed.

The problem I ran into with Caruso's method is the constant "mouthpiece on the face" part, combined with SUPER long exercises and practice schedules. Based on the book's foreword, I decided to not pay attention to the sound of the notes (duh, huge mistake), and focus on the "muscular development" aspect. I treated it like lifting weights, and frequently played into pain, which naïvely I thought was a sign that it was working. As a result, I did major damage to my lips' ability to respond at normal volumes, and severely reduced my usable range. A bit like the symptoms of embouchure dystonia.

Years later, after getting back on the right track, I have had many chances to hang and informally study with Laurie's own students. I was taken aback at how casually they approached the exercises, with none of the militaristic severity that I had assumed. When they got tired, they stopped. I don't think anyone ever tried to play a whole page of the the exercises. And they never played without good sound & response.

So, just a little food for thought. If you can study the method with somebody that can guide you through it, go nuts, just take Carmine's foreword with a grain of salt. But I personally feel like Chicowitz, DiMartino, Coling or even Frink's own "Flexus" (with John McNeil) exercises are going to be much easier on any developing trumpeter than Caruso. Higher yield for your time spent, in my opinion.
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[JoseLindE4]

There are some on here who actually studied with the man, so use this resource. For me, with only second hand experience with the approach through the book and here, the most important thing to understand is the general attitude and ethos.

It's very easy to interpret the exercises as having a strength building focus - that the purpose of the long set is like lifting weights. This can lead you into trouble.

The main purpose of the long set is to simplify the machine and find minimal movement. You are finding balance and training a simple approach to the horn, not trying to build giant face muscles.

The most important thing in Caruso is timing and coordination. Improvement in the exercises is measured (in as much as it can be measured) in improved timing and coordination, not playing higher/louder/whatever in the exercises. Over time, you'll see the results in your other playing.

The book is fantastic, but take time here and elsewhere to understand what attitude to take to the book.

I've used these principles to teach other instruments (guitar, piano) as well and the results can be magical. Timing and coordination is a big deal.

Also, the Julie Landsman videos posted here are fantastic.

[PH]

Go to the dedicated forum here on TH. Tons of solid info there.
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[solo soprano]

What does a saxophone player know about teaching trumpet? What's next listening to a trombone player.
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[crose]

The proof is in the pupils.

Careful, you are about to add another prize to your resume.....................

[Craig Swartz]

[Don Herman rev2]

[deleted_user_02066fd]

The Landsman videos are very good. I studied with Caruso in the mid 70's and also studied with one of his former students.
The exercises are very taxing and strict attention should be paid to tapping the foot and timing. Caruso's program teaches the body to play by reflex.
Don't do the full set of exercises on a gig or performance day. A short modified warm up will do.
I don't really play too much any more. If I ever decide to play regularly I would go right back to Carmine's program.
It also helps to have good neighbors, the exercises are not pleasant to listen to. Good luck.

[Jerry Freedman]

The exercises are very strenuous, especially when starting out so you need be very, very careful not to overdo them. The six notes, the harmonics and the seconds are where you should start and stay for a while, maybe a month. Its hard to keep a reign on yourself. We all are impatient by nature. You also need to go slowly. You shouldn't add or jump to new exercises freely. Again, stay on the first two or three for at least a month before moving on and, when yoo do move on, move on slowly. I have seen some of the Landsmann videos but I don't remember her warning students about impatience.

[oj]

Jerry,

Julie Landsman has a plan for how you use the Caruso.

Week 1
Six Notes
Lips Mouthpiece Horn

Week 2
Six Notes
Lips Mouthpiece Horn
Intervals: 2nds, Pedal F#, Chromatic Scale

etc.

More here:
http://www.julielandsman.com/pdf/begintcalendar.pdf

Ole

[kehaulani]

thanks oj, that's a good resource.
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[oj]

The part that Julie Landsman call "Lips Mouthpiece Horn" is not in the book. As can be seen in the Caruso Forum, not all the students were assigned this exercise by Caruso.

Julie says not to go above G in staff on the horn for lip-buzz. That is lower than a G in staff on trumpet, so if you try this exercise on trumpet, you should perhaps start on low C?

I have done Caruso on/off for many years on trumpet. I even have a version on my web that Markus Stockhausen sent me (see link below).

Since I now play more french horn, I have been doing the Landsman version since it was published. It works great! On the third part of the "Lips Mouthpiece Horn", bending notes on the horn, one need to do it gently at first, maybe not a full semitone. (The partials are closer on the horn than on the trumpet from G in staff)

Stockhausen version: http://abel.hive.no/trumpet/exercise/the_basic_caruso.pdf'

Ole

[Jerry Freedman]

[Jerry Freedman]