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kramergfy
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Joined: 13 Apr 2004
Posts: 992
Location: Los Angeles, CA
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 Posted: Thu Jul 02, 2009 8:45 pm Post subject: |
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| dr_trumpet wrote: |
It sounds like a couple of the things I posted gave you one of those moments, which makes me very happy. |
It did indeed; it was EXACTLY what I needed actually. I was approaching the pipe completely backwards before. Thanks for the advice!
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Steve A
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Joined: 26 May 2006
Posts: 1807
Location: Toronto, Canada
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| Posted: Sat Jan 31, 2015 2:34 pm Post subject: |
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| dr_trumpet wrote: | Take the main tuning slide out. Pull out the mouthpiece and blow through the mouthpiece with the lips close together, but not so close so as to "buzz". Slowly insert the end of the mouthpiece into the receiver while blowing. The resistance of the leadpipe should create a buzz to occur. In this way, your embouchure should be set but relaxed, and the buzz should come as a product of the added resistance, not as a product of "buzzing" into a mouthpiece. After you get the buzz going on concert Eb, there are several additional things to do, once you put the tuning slide back into the horn. Those including chromatic long tones, chromatic expanding scales, Schlossberg Studies, and a great deal more. Mr. Adam would assign for use depending upon each student's individual needs.
You are working for a full air stream, a relaxed embouchure, and a big tone. Rest as much as you play, which can easily be achieved if you do it with another player, and play the exercises back and forth at one another from across the room. It is a great "buddy" exercise.
Hope this helps, |
Resurrecting a zombie thread :
I tried this, and had a full air stream, a relaxed embouchure, a big sound ... and was about a fifth too low in pitch. I know this issue has come up before, but how would you tell a student who was new to this technique to keep the relaxed embouchure, but get the target pitch, or close to? |
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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: Sat Jan 31, 2015 2:43 pm Post subject: |
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The relaxed embouchure is not to enter your mind. Focus on putting the air in motion through the pipe and keep your mind on tone and pitch.
Also, don't tell them anything. Show them. Model. Call and response.
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trumpet56
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Joined: 16 Jun 2010
Posts: 623
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| Posted: Sat Jan 31, 2015 3:55 pm Post subject: |
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| This is how I start everyday. If I want a higher pitch I just increase the velocity of the air depending on the note. I play expanding notes starting on middle G and working both sides in semi tones tasting each note separately by balancing the resistance with the velocity of the air. |
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Billy B
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Joined: 12 Feb 2004
Posts: 6130
Location: Des Moines
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| Posted: Sun Feb 01, 2015 11:15 am Post subject: |
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The formation of the embouchure is a result of creating the sound. Release the air as though you are yelling.
Trumpet playing is 90% mental (imagining the sound), 9% air (take a full breath), 1% physical (lips, fingers, tongue, etc.) Getting these mixed up can have disastrous results.
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oliver king
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Joined: 07 Aug 2008
Posts: 1742
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| Posted: Mon Feb 02, 2015 8:41 am Post subject: |
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| PH wrote: | | JazzmanGIANT wrote: | | This is not to make Adam sound not important, but wouldn't there be a commonality without his teachings anyway? Or really any single teachers. Isn't the commonality resulting from a real control of the instrument and oneness with music/trumpet (which Adam is one of the many good ways to get there)?.... |
Not necessarily. There are lots of players that are one with the music and the trumpet that do not have this quality to their sound. The sound we aspire to is rich in overtones and the full harmonic spectrum is balanced. It stems from playing in a way that is "in phase" with the physics of the trumpet.
It is easy to confuse the tone connected with a certain style of playing and a tone that is acoustically complete. Some of my favorite artists (with great style and creativity) do not have these acoustical qualities in their sound.
People who do have these qualities are not necessarily Adam students, but
Adam students do have this quality. Arturo, Doc, Thomas Hooten, Freddie (who took a few lessons with Adam but mostly studied with Herb Mueller) and Herseth didn't study with Adam but they have it. Botti, Hey, Brecker, Charlie Davis, and the rest of Adam's students (note apostrophe) have this quality regardless of musical style.
Lots of players I admire do not have these timbral qualities-including some of my favorites. Miles, Chet, Wynton (to cite just a few fine players) are one with the music and the instrument but do not have this timbral signature in their sounds. |
Is this comparable to 'Singer's Formant'? |
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EricM224
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Joined: 29 Dec 2005
Posts: 274
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| Posted: Wed Aug 26, 2015 7:30 am Post subject: |
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Here's a great link that I use from time to time of Matt Anklan. Great trumpet sound is great sound, so if you're modeling a beautiful sound things should fall into place. I think Matt has one of the best sounds I've ever heard and I constantly find myself trying to play up to his level. This IS NOT necessarily how Matt may teach a student, he would most likely alter his sound as Mr. Adam did, however, this IMO is an excellent starting place for someone who is trying to introduce themselves to "that sound" and doesn't have the option of visiting a dedicated Adam teacher in their area. Hope this link helps you as much as it helps me 
http://www.matthewanklan.com/#!practice-with-a-pro/c1htd
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