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punctualpete New Member
Joined: 27 Mar 2015 Posts: 9
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Posted: Mon Apr 27, 2015 10:41 am Post subject: 2 Questions |
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Hi everyone, I have a couple questions about some pretty basic concepts.
1) I have always struggled most with basic tone production, the single most fundamental aspect of trumpet playing. I am been working on long tones and Earl Irons groups 1-4 lately, and I still struggle to hold a note or phrase for longer than about 15 seconds with a good sound. Is there some way to go at fixing this? I feel like just taking care of this one thing will make a huge difference in all aspects of my playing. I also have a feeling that Mr. Adam's answer would be something like "Just hear it longer". Is it that simple?
2) This one is mostly for PH, just a curiosity I have. Could Schlossberg 6 be used as a long setting exercise? I'm not familiar with Caruso's approach to trumpet, but my understanding is that he used long set drills to develop strength and evenness? I know PH studied with both Mr. Adam and Mr. Caruso, any thoughts on this?
Thanks everyone! |
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PH Bill Adam/Carmine Caruso Forum Moderator
Joined: 26 Nov 2001 Posts: 5860 Location: New Albany, Indiana
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Posted: Mon Apr 27, 2015 12:11 pm Post subject: |
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1) I think you are in part correct. Just hear it longer is certainly part of it. However, there are two other things that immediately come to mind.
You must hear it in your imagination with exactly the right kind of tone and exactly on pitch. This will set your physical approach up in a way that playing a longer line will grow over time. The sound is the most important thing, both as a cause of our physical approach and as the best way to evaluate the success of our approach.
Physically, the first important thing is to take in a big relaxed breath. Are you REALLY filling up? Take that air in. Change the direction without tension. Breathe in right up until the point in time when you begin to move the air forward through the sound.
2) You certainly could do this. You could, but it is fraught with peril and should only be undertaken with guidance from a knowledgeable teacher. Neither Adam nor Caruso were big advocates of developing excessive strength in the facial muscles (or anywhere else). The key was balance, and many times when people strive for a "strong embouchure" they create a problem by imbalancing the system. I would not consider it a good thing to try and create strength unless this is the proper diagnosis for what is wrong with your particular playing at this particular point on your journey.
Adam did do a form of long setting exercises with many of his students. He said these long setting exercises were based on things he had been assigned when studying with Louis Maggio. The approach wasn't exactly the same as Carmine but they were long setting exercises. But definitely beware. _________________ 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 |
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punctualpete New Member
Joined: 27 Mar 2015 Posts: 9
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Posted: Mon Apr 27, 2015 12:32 pm Post subject: |
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Good stuff, thanks Pat! |
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MisterE Veteran Member
Joined: 25 May 2004 Posts: 154 Location: Mexico City
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Posted: Mon Apr 27, 2015 9:37 pm Post subject: |
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I continue to be amazed at how similar the core concepts that Mr. Adam taught are to those of Jacobs. I'm sorry I never had the opportunity to study with the man. |
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Billy B Heavyweight Member
Joined: 12 Feb 2004 Posts: 6130 Location: Des Moines
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Posted: Wed Apr 29, 2015 6:34 am Post subject: |
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Hearing that sound can be deceiving if you are modeling recorded examples or even live playing. The sound from behind the horn is quite different than it is out front and you really need to get together with a qualified teacher of the Bill Adam concept to fully understand this. _________________ Bill Bergren |
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