SA - One Year Later

[Blue Devil]

I just recently completed one full year of playing out of Claude Gordon's Systematic Approach book (spending two weeks on each lesson, as was recommended here on TH - yes I'm on Lesson 27), and I thought I would share some of my thoughts and experiences with others who have gone through the book themselves, others who are thinking about starting the program, or others who can offer any type of feedback at all to me. I realize that this post is going to be fairly long, but let me have this opportunity - I have just completed my first year of practicing three to four hours a day for a year straight, and I feel I deserve for myself time to type a little. Besides, if you're not interested, you can always just simply stop reading.

Here's my story...about seven years ago, I was what is considered a comeback player. I had done pretty well playing in high school (all-state from the Chicago area), but then I went to college (Univ. of Il. at Champaign/Urbana), and knew that I was going to pursue an engineering major. I really didn't give playing again much of a second thought, thinking that was high school, and now it's time to move on. In retrospect, what a shame, since U of I has such a large music program, even for non-majors. I still played the once a year Christmas gig that I had, but that was about it.

Every year that I played the Christmas gig, my friends tried to get me back into playing consistently by joining the local community band, which was conducted by our old high school band director. A few years after college, while I was attending graduate school back at home in Chicago, my friends had let me know that the community band was thinking about doing the piece "Pines of Rome" - that was a piece that I always wanted to do in high school (we had a pretty advanced high school music program), and almost tried it, but never got past sight-reading some of the movements. When I heard the community band was going to try it, I thought that this was an opportunity that I might never get again, so I decided to get back into playing again consistently.

Shortly after I picked the horn back up, I realized that I had no idea what I had been missing all of those years! I realized that I really, really loved playing trumpet, and wished I hadn't laid off for as long as I did. Little by little, I started getting more and more gigs - I got asked to play in a brass ensemble, I got asked to play for weddings, I got asked to play for a number of community theater musicals, etc. I have developed all of these side gigs into a part-time job. While my day job is a computer programmer, I am now doing quite a few gigs, with an 18-piece big band, a brass quintet, numerous community theater pit orchestras, two fairly frequently gigging rock bands, two concert bands, and as a wedding soloist. The jobs that I have been getting have provided quite a nice supplemental income, while doing something that I really love.

Somewhere along the line, I saw Claude Gordon's SA book in a local music store and decided to but it. I knew nothing about the background of Claude and how great of a performer/teacher he was or that this was a pretty well-known trumpet method book like I know now. I bought it purely because I liked the idea that he laid out a year's worth of lessons for you, each of which kept building on the previous lesson - it "made sense" to me. I also bought "Brass Playing Is No Harder Than Deep Breathing", because the title caught my eye, and I liked the fact that it was all text. After I bought the SA book, I "dabbled" with it, never really being able to find the discipline enough to stay with the program. On several occasions, I decided to start up the book, and never really got past Lesson 3 or 4.

As I got more and more gigs, I realized that I (barely) was maintaining the level of playing that I was at, which wasn't that high after the long layoff that I had. Finally, after I played a musical last fall ("Into the Woods" - for anyone who has played the show, they know - only one solo trumpet book - not that easy of a book either), I realized that the only thing that was stopping me from doing the SA book consistently was a mindset - it was discipline only. I also realized that by me playing some of my "hap-hazardly" thrown together home-grown exercises, I wasn't going to progress, only maintain, and that was only if I was consistent about that type of practice, which I not always was. I decided to plunge into the SA book, this time being consistent about it, all the while doing Claude's breathing exercises out of "Brass Playing is No Harder...".

After sticking with SA (and the breathing exercises) for a year now (two weeks on each lesson so you won't develop too rapidly), here are some of the things that I have noticed:

1.) There is no "quick fix" for getting better at playing trumpet. If there was, someone would have developed the idea a long time ago, sold it to music stores, and we all would have bought it and would be virtuosos right now. It doesn't work like that - there is no substitute for good old-fashioned hard work in getting better at playing trumpet. That is why we admire great players so much, because we all know how tough it is to get to that level.

2.) The SA book takes a lot more effort than I thought initially (which ties into 1. above). While it is a lot of hard work, if you're serious about becoming a better player, it is well worth it. I can totally understand why it would be hard to find enough discipline to do SA consistently.

3.) Absolutely spend two weeks on each lesson instead of one. In my past "dabbles" with SA, I spent only one week on each lesson (of course wanting instant success), and things did start progressing too rapidly - I started to not be able to keep up with the successive lessons. That wasn't the case now, when I have been spending two weeks on each one.

4.) My pedal range expanded quite a bit more rapidly than my upper register. When I started SA, I had a weak high C, and pretty solid pedal notes down to the first pedal C#. Once I "broke through" the first pedal C barrier and got the note to sound, more than another octave "fell out" almost instantly. Now I can play down to just about the third pedal C consistently, and on a good day, below that.

5.) My upper range didn't expand anywhere near as much as quickly. My weak high C got stronger pretty quickly, then the C# started appearing and getting stronger, as did D. Then crawled at a snail's pace to Eb, and then - wham, brick wall. Finally, about 9 months or so into SA, an E appeared. I'm just now getting E's, F's, and F#s (got a G today while practicing) with some consistency - not squeaks, playing the notes. Sure they need to be fattened up, but I'm finally starting to play in a register that I never have before.

6.) SA is a great way to become a better all-around player. My tone, flexibility, power, and endurance have also made great strides in the last year - just as advertised in the book.

7.) My endurance has improved, but still isn't where I'd like it to be (still room for growth here). What has improved a lot is "recovery time". When I am fatigued, I now need only a few counts with the horn off of my face while playing to recover and continue playing (big difference that while practicing - here you want to rest as much as you play, however in an enseble, that's not exactly always possible). A few counts off, and I'm good to go again, whereas before, if I got fatigued enough, I might be done for the night.

8.) There have been other "side" benefits that have come with being consistent with SA, ones that weren't so obvious initially. My intonation has gotten much better. My accuaracy has improved tremedously - I still miss, but nohwere near as much as I used to. My confidence in my playing has increased. My knowledge and ability to play in every single key has gotten much better. My sight-reading skills have increased greatly. I think a lot of this is due to the fact that everything that I play on a daily basis in SA is so much more difficult than everything that is put in front of me in an ensemble setting, making the ensemble music seem that much easier. Not that the ensemble music that I play is easy - a lot of it is very difficult, but the difficulty of the SA exercises makes it seem easy.

9.) I thought it was amzing to see some of the lesson material in the beginning of the year and think, "No Way!", and then by the time you actually get to it in the rotation, it is actually easy! Case in point - Clarke Tech. 1. Chromatics with 16 repeats in one breath. By the time I got to doing it that way, it actually was pretty easy!

10.) The breathing exercises have been a tremendous asset - I went from barely being able to play a four bar phrase at a moderate tempo in one breath (I'm also fairly athletic, so you would think that would have helped before), to now easily being able to do four, eight, and probably twelve bar phrases in one breath (at a moderate tempo). By doing these exercises every day, you can literally feel your wind power increase daily.

11.) I have had to become "creative" with how I plan my day to fit in the multiple parts to each lesson. My biggest hurdle in the past was how to fit in 3-4 hours of practice with an ensemble reahearsal or a show's dress rehearsal or a performance on the same day. You first have to build up to that level to be able to play that much in one day. The lessons in SA are structured so that you do gradually build this up - in the beginning, they get a little longer each lesson. Probably the most I had done in one day was my normal SA lesson for the day, along with a three or four hour rehearsal with one band, and then a three hour gig later that night with another band - that was a lot of playing, which was about six months into the SA program, but I still was able to do it by that point. Once I figured out how to fit everything into my (already) busy schedule, I stuck to it, including through all of the regular rehearsals and performances I had throughout the year. Where there's a will, there's a way.

12.) One hurdle to overcome was what to do while I traveled, whether for work or pleasure. One of the suggestions I got on TH here was to simply bring my horn with. I first thought that I would be too embarrassed to bring my horn with and practice on a trip. I soon realized that this was the only real way to continue to be consistent about the SA lessons, and not "lose ground". Turns out that I have a real understanding and supportive group of friends and girlfriend (at the time), that understand my desire to improve. That's not to say that some of them don't probably think it's a little strange to bring a horn on a trip and practice, but they in the least are supportive. I try to use a practice mute as little as possible - totally different resistance. I never use one at home, and only in an emergency on a trip. Playing open into pillows with the radio and tv turned up hides a lot - haven't gotten yelled at by a hotel staff member yet!

13.) These SA lessons (and practicing in general) has become a part of my everyday life. I don't even think anymore about having to do the lessons (just like you really don't think anymore about brushing your teeth), I just do them, and totally plan on having to do them every day.


A good way to sum everything up is that if you want something bad enough, you'll figure out a way to get there.

If you have made it reading this far, I thank you for letting me "vent" in a good way and share. I would love any type of feedback that anyone (not just Claude Gordon people) might have about my journey. While I understand that SA is not the answer for everybody, I have chosen to pursue it because it "made sense" to me. I believe there are a lot of benefits that can be gained by choosing to follow any well-planned program and sticking to it. Putting in this much effort really starts to pay off when you notice the improvement yourself and also when others around you notice and start asking you "Have you eaten your Wheaties today or something??" (actual quote from a rehearsal).

Incidentally, many thanks to everyone who contributes to TH and the administrator. This has been an invaluable resource to me in getting information about SA and lots of other stuff as well. Thanks especially to John Mohan and Eric Bolvin and everyone who contributes a lot to the Claude Gordon forum. Their personal answers to questions of mine have helped a great deal in the SA lessons. Thanks also Eric for all of the R and B charts!

Now it's off to start year two...

Mike Trzesniak

[ This Message was edited by: Blue Devil on 2003-01-06 02:53 ]

[Emb_Enh]

Thanks for a great post Mike...you thouroughly deserve the 'air-time' --WELL DONE!!

PS...my method book is meant to be used with ALL other trumpet methods.

_________________
Questions?
RoddyTpt@aol.com

Regards, Roddy o-iii<O

http://www.R-o-d-d-y-T-r-u-m-p-e-t.cC

"E M B O U C H U R E___E N H A N C E M E N T"
[Self Analysis and Diagnostic Trumpet Method]

[ This Message was edited by: Emb_Enh on 2003-01-06 04:12 ]

[EBjazz]

WTG Mike!!! I'm really happy to be of help to you. I'm glad you're doing so well. It's OK to feel good about yourself, don't let anyone get in your way. And keep it up!!

Eb
_________________
Eric Bolvin
http://bolvinmusic.com/product/the-modern-jazz-trumpet-method/
www.bolvinmusic.com

[Blue Devil]

Roddy and Eric -

Thanks for the well wishes (and the earlier private message from Roddy).

Roddy - I saw the forum on comments/reviews of your book, and it looks great. It sounds like a book that's right up my alley. Once all of the holiday bills die down, I'm sure I'll be ordering a copy!

Mike Trzesniak

[mark936]

Bravo Mike!

Four hours a day all year with a fulltime job etc. Impressive.

I tried to just do SA only in 2002. I managed about 85 days of of 90 the first three months then fell off to only five times a month on SA.

When you say SA, are you saying you did all of the assignments in addition to SA? i.e Clarke,Smith, Irons etc?

mark

lessons with CG for a year in the seventies

[Blue Devil]

Mark -

Thanks for the response and compliments. Yes, I have been doing everything Claude has assigned in the SA lessons, including Clarke Technical (went through the whole rotation - all of the studies slurred, then single tounged, then k-tounged, then for speed and repetition), Walter M. Smith flexibility studies, Colin flexibility studies, and St. Jacome exercises thus far (and counting).

Going through this program has really taught me a lot about discipline and myself. It is a LOT of work, but I found that I got used to it. It took some adjustments with my schedule, but once I figured out how to fit the multiple practice sessions into my normal day, it wasn't so bad, and I totally feel the improvements in my playing have made the effort worth it.

What was your experience like studying with Claude personally?

Mike Trzesniak


[ This Message was edited by: Blue Devil on 2003-01-18 14:08 ]

[trumpet451]

Mike,

I've had several experiences similar to yours as a comeback player (22 years off, then symphony, brass quintet, big band, solos and weddings), but I was struck by your profession as a programmer. How many of us are deeply into computers AND trumpet playing? I've been full-time in the computer industry since 1970, and it's always been my feeling that people who were successful with math and programming were also able to deal with musical ideas. I'd love to hear your ideas on this topic...

Bill B.

[mark936]

re: lessons with Claude Gordon.

He was a classy, professional gentleman with an aire of intelligence, confidence and contentment.

Always making fine adjustments to the exercise routines in the way of where to breath and dynamics.

A role model.

That's what I recall.

mark

[trjeam]

Congrats man. I personally know how hard it is to keep up with those lessons. I only got to lesson 20 and then in a way I was forced to stop and I did allot of dumb stuff looking for a easy way out. I remember hating to have to do those boring clarke exercises hehe maybe I'll start back up again but I need to think about what I'm going to do.

[Blue Devil]

Bill -

Sorry it took so long to respond - it's that rigorous SA schedule mixed with the full-time job thing!!

The connection between music and excelling in school is a very interesting subject. I can think back about high school band and think of the number of students in our band that also were in honors classes, or even in college, where a number of my fellow engineering student friends were also in the music program, even as non-majors. I've always heard that there have been studies done to investigate the connection between music and being good students.

You're right - I can think of plenty of examples of friends/peers that I play in various groups with that are also very much into computer/technical hobbies or professions. Even people who majored in something completely different in college - I know a number of people who were music ed majors and now work as band directors, and are very much into the whole computer scene.

I also think it's interesting to see that this type of connection seems to be between two different sides of the mind - the right brain left brain issue. Apparently there seems to be some connection between someone's artistic side and analytical side, when they seem to be two totally different sides of the brain.

I guess that's my "armchair psychologist" discussion for the day!!

Mike Trzesniak

P.S. How is your job in the computer industry holding up through these tough times in our economy? The company I work for has hit some hard times (including having a number of layoffs), but we still keep plugging along.

[Blue Devil]

George -

Thanks for the compliment. I'm going to respond to your other main post about starting up SA instead of here.

Mike Trzesniak