My beginner's exercise.

[Raggerty]

(Devised by a beginner, that is.)

I do this exercise and wondered what people thought, whether it is useful/counter-productive/unoriginal.

I think the point is focus (though not analysis) on what is going on as we change pitch by breaking it down into elements. Maybe that focus is unconscious, or muscle memory focus, I don't know.

The exercise is slurring through the partials, but done four different ways. I sometimes go from bottom to as high as I can comfortably go, sometimes just slur between two notes. Do whatever slurring you normally do. Usual mixing it up by keeping valves down to slur different pitch combinations. Mix up tempo as you feel helps.

So here's my twist.

1. Slur using only breath. Try and fix embouchure, and try to fix tongue position. Basically crescendo to push into high notes, diminuendo to fall back. Where you fix lips and tongue is something you might have to experiment with.

2. Slur using only lips. So breath steady and tongue fixed. Where you fix breath and tongue at start as above.

3. Slur using only tongue position. So embouchure fixed and breath steady. Where you fix breath and lips at start as above.

4. (Very important) Do your normal, natural, relaxed slurring without worrying what components are making it all happen.

Obviously avoid excessive mouthpiece pressure at all times. Don't go crazy, stay relaxed, the aim isn't to push things, the aim is just focus.

Appreciate hearing your thoughts. I've been doing it for a few weeks and has helped me feel more relaxed and in control of the higher end of my range. Also have seen a good extension in my range lately, but that may also be down to a minor mouthpiece change, or just down to practice.

[wastoute]

The thing I have noticed is that there are published scores of "Method" books with pages of exercises but almost all with no explanation of just what this particular exercise is supposed to accomplish. I find upon playing them through once you can figure out what aspect is being focused on and play it again with attention to that and then a third time with less exaggeration, incorporating that aspect more confidently. I keep telling myself I should start writing a paragraph for each. "This exercise emphasizes...."
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wastoute

Olds Ambassador Trumpet and Cornet
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Bach 5C mpc for everything

[Craig Swartz]

Well, guys, you might start by piking up an Irons book...

[Arjuna]

Irons.

[Raggerty]

Does Irons do something similar? Or is this just a recommendation?

[roynj]

[cheiden]

I agree that Irons is a great set of exercises but it doesn't directly speak to the OP's desire to isolate all the separate mechanisms involved in note transitions.

I do believe that there is some utility in doing what the OP has indicated with one minor caveat. I never find it useful to use air alone to transition between notes. Seems to me that the foundational skill for developing in this area has to be a with a strong and stable air supply. Isolation or emphasis on the other factors (lip, tongue, pivot, jaw, arm pressure (kidding!),...) certainly can be useful.
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[shermantrumpet]

I use the idea of focusing on separate aspects of slurring regularly with my beginning students. What you describe is remarkably similar to what I teach them.

I do include the "air alone" aspect, although I don't think you can really lip slur well with just air alone (which is probably what cheiden is referring to). Other physical changes will occur in a natural response to the air work you're doing without you consciously thinking about them, allowing the slur to work. My air work with these beginners in this context is mostly the "step on the gas going uphill" concept, so that they don't shy away from higher notes or slack off the air as they focus on other concepts of slurring. (I do demonstrate slurring higher while decrescendoing so they know it's possible, and necessary to learn at some point.)

You can only think really well about one thing at a time, so your idea is right on the mark!

[roynj]

I also agree that isolating specific technical elements can be a great help in advancing a player. As for air-only slurs, I have used them myself but only as a means to get a better feel for what "more" or "less" air feels like. Air only slurs as a general practice is a pretty exhausting way to play. At least to me it is.

[John Mohan]

[Raggerty]

Cheers guys. Did feel like one of those "aha" moments that come to us learning trumpet players. Yeah can slur to G and sometimes that dodgy 7th harmonic above it. Will check out Irons, seems to be a universal recommendation.

[jungledoc]

+1 For Irons, but he's not alone:

Advanced Lip Flexibilities, by Charles Colin
Lip Flexibility on the Trumpet, by Walter M. Smith
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Andy

I'll admit it. It's a TR300, but it wants to be a Strad when it grows up.

[Dbfinn]

[cheiden]

For similar exercises, I'm also a big fan of the book by Bai Lin.
_________________
"I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart

[dstdenis]

Bai Lin, and Arban studies on the slur.
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[kalijah]

[Robert P]

[Raggerty]

One thing I have come to love about being a beginner in trumpet playing, is that people with a great deal more experience than me can disagree categorically.

It kind of frees me up.

[kalijah]

[Raggerty]