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Do you practice the entire Clarke's Technical Studies, Study 7 in one practice session? |
Yes |
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No |
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Total Votes : 14 |
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Grits Burgh Heavyweight Member
Joined: 04 Oct 2015 Posts: 805 Location: South Carolina
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Posted: Wed Aug 16, 2017 7:16 pm Post subject: H.L. Clarke's Technical Studies, Study 7 |
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I'm just now tackling this lesson for the first time and I cannot play through all of the exercises (37 of 'em) in one sitting. I presume that the pros can, but I'm no pro. I was just wondering how other people approach this particular study.
Warm regards,
Grits _________________ Bach Stradivarius 37 (1971)
Schilke HC 1
Getzen 3810 C Cornet
King Master Bb Cornet (1945)
B&S 3145 Challenger I Series Flugelhorn
Life is short; buy every horn you want and die happy. |
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Dayton Heavyweight Member
Joined: 24 Mar 2013 Posts: 2047 Location: USA
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Posted: Thu Aug 17, 2017 12:19 am Post subject: |
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I usually play 133-150 in one session and then 151-170 in a second session.
Another approach is to play just the odd exercises the first session and then the even exercises in the second session.
It could also be done in four sessions (two per day) if that is too challenging or time consuming. (1) 133-150, odd exercises only; (2) 133-150, even exercises only; (3) 151-169, odd exercises only; (4) 151-169, even exercises only. The etude could be added to any of the sessions.
Last edited by Dayton on Mon Aug 28, 2017 1:47 am; edited 1 time in total |
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Trumpetingbynurture Heavyweight Member
Joined: 18 Nov 2015 Posts: 898
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Posted: Thu Aug 17, 2017 3:48 am Post subject: |
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Grits,
Isn't Jeff Purtle in South Carolina? Why don't you get lessons? |
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dstdenis Heavyweight Member
Joined: 25 May 2013 Posts: 2123 Location: Atlanta GA
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Posted: Thu Aug 17, 2017 4:55 am Post subject: |
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Just my 2, but I very rarely practice one kind of thing for an entire practice session. I like to spend maybe 10-15 minutes on each thing, then rest a bit and move on to something else that needs work. _________________ Bb Yamaha Xeno 8335IIS
Cornet Getzen Custom 3850S
Flugelhorn Courtois 155R
Piccolo Stomvi |
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MrOlds Heavyweight Member
Joined: 25 Apr 2003 Posts: 726 Location: California
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Posted: Thu Aug 17, 2017 5:43 am Post subject: |
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Good question.
You could break them up. Odd numbers one day, even numbers the next. G, Bb, Db, E one day, Ab, B, D, F the next, etc. Or a couple in the low register, a couple in the middle and a couple in the upper register.. Or just work on the ones that give you problems. I think Clarke recommend spending less time on the ones you could do well and more time on the problematic ones.
But you're looking to put all this material into practical perspective. Do you ever need to play them all? If you're training to become a Belle poque cornet virtuoso or a do-it-all studio musician or if you need to learn hundreds if jazz standards in every key then you'll probably need them all.
But you could do as well finding exercises that help you play the music you really want to play. Artists in other mediums do this. Painters for example develop their own techniques to express their vision. Kandinsky didn't spend years learning to faithfully recreate Rembrandt.
It's hard enough just to learn to do what we are called to do really well without having to learn what everyone else was called to do. |
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kehaulani Heavyweight Member
Joined: 23 Mar 2003 Posts: 9038 Location: Hawai`i - Texas
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Posted: Thu Aug 17, 2017 8:23 am Post subject: |
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In other words, just use common sense.
Use them, don't let them use you. You can only do what you can do. Don't take that "do 'em all" rule literally. _________________ "If you don't live it, it won't come out of your horn." Bird
Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet
Adams F-1 Flghn |
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RandyTX Heavyweight Member
Joined: 25 Mar 2010 Posts: 5299 Location: Central Texas
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Posted: Thu Aug 17, 2017 9:19 am Post subject: |
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For things like this, with a lot of individually numbered exercises, if it's an odd day of the month, I do the odd ones, even day, etc. I rarely do the same exact same exercises for months on end, other than my regular warmup, so it might only go for a week or perhaps a month that way before I change it up with another exercise that works on the same things, but in a different way. _________________ "Music is like candy, you throw the (w)rappers away." |
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Grits Burgh Heavyweight Member
Joined: 04 Oct 2015 Posts: 805 Location: South Carolina
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Posted: Thu Aug 17, 2017 12:44 pm Post subject: |
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Quote: | Dayton posted:
I usually play 133-151 in one session and then 151-169 in a second session. |
Ive done that as well. I rest quite a bit between exercises. When I do it this way, I take 90 minutes to go through the first section and about an hour to do the second session. I do the sessions on two separate days.
Warm regards,
Grits
Quote: | Trumpetingbynurture posted:
Isn't Jeff Purtle in South Carolina? Why don't you get lessons? |
Excellent question. In fact, Jeff just asked me the same thing. I will tell you what I told him: it is going to happen, I just need to get through a couple of ongoing life issues. I expect to take my first lesson before Christmas. I am really looking forward to it, but I would like to be able to at least play the exercises in Clarkes Technical Studies first. Maybe its a pride thing; Im not sure. I just dont want to show up a complete hack. Id like to at least have something positive to show.
Warm regards,
Grits
Quote: | dstdenis posted:
Just my 2, but I very rarely practice one kind of thing for an entire practice session. I like to spend maybe 10-15 minutes on each thing, then rest a bit and move on to something else that needs work. |
Thanks. This is exactly the kind of feedback for which I was looking. Ive heard several people say that they only work on a specific issue for 10 - 15 minutes. I was wondering how common this is. My preference is to spend at least an hour on a specific issue. The trouble with the trumpet is that it is just too physically demanding (at least for me) to work on range or lip slurs for several hours at a stretch. Until last year when I picked up the horn for the first time since college, I just didnt appreciate how difficult it would be to practice as much as Id really like.
Warm regards,
Grits
Quote: | MrOlds posted:
Good question.
You could break them up. Odd numbers one day, even numbers the next. G, Bb, Db, E one day, Ab, B, D, F the next, etc. Or a couple in the low register, a couple in the middle and a couple in the upper register. |
Good idea. I will give this one a go.
Quote: | Or just work on the ones that give you problems. I think Clarke recommend spending less time on the ones you could do well and more time on the problematic ones.
But you're looking to put all this material into practical perspective. Do you ever need to play them all? If you're training to become a Belle poque cornet virtuoso or a do-it-all studio musician or if you need to learn hundreds if jazz standards in every key then you'll probably need them all.
But you could do as well finding exercises that help you play the music you really want to play. Artists in other mediums do this. Painters for example develop their own techniques to express their vision. Kandinsky didn't spend years learning to faithfully recreate Rembrandt.
It's hard enough just to learn to do what we are called to do really well without having to learn what everyone else was called to do.
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Good post. I was pondering this very issue. I guess I need to decide if my goal is to try to master everything, or scale back to exercises that support my repertoire (which is very meager at the moment). On piano, I decided that I would learn to improvise in only two keys, F and G. The up side of that is that it greatly reduced my practice workload. I enjoy practicing more and have become very comfortable doing a few things relatively well. The piano is a solo instrument and I do not require other musicians to play something that sounds okay. So, I only play by myself and everything is fine. The trumpet, on the other hand, requires other musicians or at least backing tracks to get harmony. So, Im not willing to give up working in all key signatures. Still, I think that it is worth asking yourself just how fast do you want your fingers to move, just how many scales do you want to master, how fast do you want to tongue, etc.
Warm regards,
Grits
Quote: | kehaulani posted:
In other words, just use common sense.
Use them, don't let them use you. You can only do what you can do. Don't take that "do 'em all" rule literally. |
If I had any common sense, I wouldnt have decided to learn to play the trumpet.
Warm regards,
Grits
Quote: | RandyTX posted:
For things like this, with a lot of individually numbered exercises, if it's an odd day of the month, I do the odd ones, even day, etc. I rarely do the same exact same exercises for months on end, other than my regular warmup, so it might only go for a week or perhaps a month that way before I change it up with another exercise that works on the same things, but in a different way.
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Another good idea. I think that right now, I am just starting to learn this particular lesson; I have not yet memorized the fingering for the arpeggios. So, I am trying to spend time on all of the exercises to learn them. I think that once I get the study down, your suggestion will work very well for maintenance.
Warm regards,
Grits _________________ Bach Stradivarius 37 (1971)
Schilke HC 1
Getzen 3810 C Cornet
King Master Bb Cornet (1945)
B&S 3145 Challenger I Series Flugelhorn
Life is short; buy every horn you want and die happy. |
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John Mohan Heavyweight Member
Joined: 13 Nov 2001 Posts: 9830 Location: Chicago, Illinois
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Posted: Sun Aug 27, 2017 12:48 pm Post subject: |
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When I studied with Claude he had me play the whole Study and not split it up. But with my own students, if they're not quite ready to do the whole thing as one Study I have them split it into two separate Studies (133-150 and 151-169). When I do this I still have them practice the Etude when practicing either sub-Study.
Best wishes,
John Mohan _________________ Trumpet Player, Clinician & Teacher
1st Trpt for Cats, Phantom of the Opera, West Side Story, Evita, Hunchback of Notre Dame,
Grease, The Producers, Addams Family, In the Heights, etc.
Ex LA Studio Musician
16 Year Claude Gordon Student |
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Grits Burgh Heavyweight Member
Joined: 04 Oct 2015 Posts: 805 Location: South Carolina
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Posted: Sun Aug 27, 2017 3:08 pm Post subject: |
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Quote: | John Mohan posted:
When I do this I still have them practice the Etude when practicing either sub-Study. |
You slave driver, you.
Obviously, I need to work harder. I just took 45 minutes to play through exercises 151-169. That went pretty well, so I decided to play through the lessons, backwards, starting at 150.
I got to 148 and ran out of gas. You know, I should be embarrassed to admit that I'm such a wimp.
I'll say this, the lecture on Jeff Purtle's website given by Claude Gordon, the part about the tongue, was very helpful and Clarke lesson 7 is the perfect vehicle for demonstrating the truth of Claude's teaching. The lesson was a real "AH HA!" moment for me.
Warm regards,
Grits _________________ Bach Stradivarius 37 (1971)
Schilke HC 1
Getzen 3810 C Cornet
King Master Bb Cornet (1945)
B&S 3145 Challenger I Series Flugelhorn
Life is short; buy every horn you want and die happy. |
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Back to top |
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mcstock Veteran Member
Joined: 25 Nov 2001 Posts: 466 Location: Norman, OK
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Posted: Mon Aug 28, 2017 4:38 pm Post subject: |
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I play them around the circle of 5ths so I hit all 12 keys and all registers (usually extending a little beyond where they're written) but I haven't done all of them as written in years.
FWIW,
Matt _________________ “It is impossible for a man to learn what he thinks he already knows.”
Epictetus |
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