Long Tones

[Xenoman]

I'm curious - when doing long tones it is suggested that you "spider" out in both directions (high and low). Why is that? For me, it is easier to play in half steps either up or down... it's easier to "hear" the next note and hit it... When I spider out I have to remember the sound of the note before I actually play it... perhaps that is the idea?

Hope I'm making sense here...

Eric M. Brewington

[ This Message was edited by: Xenoman on 2004-06-11 08:32 ]

[MPWall1]

Playing long tones out from G rather than in a scalar fashion forces us to really hear the next note before we play it. Also, as the intervals get larger between notes, we have to remember to blow them in the same manner as we did on the leadpipe. There is no up or down on the trumpet.

When we get to where we can hear EVERYTHING before we play it and blow everything just like we blow the leadpipe, then we sound like Pat Harbison, or Charley Davis, or Adolf Herseth.

I hope this makes sense. Prof. Harbison, am I on the right track here?
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Michael Patrick Wall, Ed.D.
Independent Researcher in Music Education

[PH]

Good answer, Michael!

I love your signature, too

A couple of points:

For most people it works better to start in the middle register, where it is easy to play with a great sound and easy to find the center of each note. Then we carry that sound and that energy into higher and lower registers, trying to avoid fluctuation in the delivery of that sound.

When I start the day in the low register I find that I am set up too flabby. My energy is very low, like I am slouching back on my heels. Then it is hard to ascend into other registers without tightening and working too hard, producing unwanted tension.

When I start the day in too high a register I find that this stresses my body too much too soon. Then I create physical tension, a certain stridency in my tone, and emotional anxiety.

Everyone has a different "middle" to their register. Both Adam and Caruso found that the G in the staff is an excellent first note of the day for most people. Both of those teachers made adjustments in this for their most advanced students. However, I would not make this kind of change without the advice of a knowledgable person.

Similarly, most people should start their day at a full, but moderate, volume...one where you can get a great, ringing, resonant tone and where there is a feeling of freely flowing energized air through the tone. Louder and softer volumes can gradually introduced after you find your center for that day.

Most of the time I still (after about 3 decades) play the leadpipe on the concert Eb only, start my long tones around G and Clarke #1 on the F# in the staff. There is plenty of time in the rest of my day to get into the other registers.

[Xenoman]

Phil (& Michael),

As always - I learned something new! Thanks for you help.

Eric M. Brewington

[razeontherock]

Good stuff here. I've overlooked this for years. Personally, there was a time when starting on A instead of G worked for me. Don't know why I ever stopped. Had I progressed gradually up to C (just as a random for instance, not a goal) as my first note it might've helped further.

I know that I used to start too loud. I'd love to be able to apply Rafael Mendez's way of warming up at ppp, barely getting the lips to vibrate at all, and very gradually work my way up to a mp. He says starting too loud too fast cuts endurance by half. I think both of these merit more experimentation!
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"And this is life: that you know the Son, and the One who sent Him." The rest is just details