Bobby Findley on Trp

[EBjazz]

Sorry to barge in, but I do read this group and have done some of the studies and enjoy the group.
I've been doing the first two exercises from Bob Findley which are similar to Caruso.
My q regards the differences and how to approach them and the groups thoughts on his stuff.
Bob says to always strive for a vibrant tone that uses the whole instrument. He doesn't really care if you tap your foot or not. He doesn't really advocate breathing through the nose during the exercises.
I only ask this because I saw Bob Findley's name on the list of Caruso teachers. I really like his book and might go down for a lesson sometime.

Thanks!

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

[TWEAK]

what's his book called?

[_bugleboy]

[terpfan0512]

What kinds of exercises are included in Bob Findley's method book? Are the exercises just variants of the Caruso exercises, or has he included any original exercises, as well? I understand that the text is a good read.

Thanks for your time,
Scott

[maynard-46]

FWIW...I studied directly with Carmine from '67=71 and, at least with me and all the other students I heard, ALWAYS advocated using your foot. That's what tied together all of his principles regarding muscle movement and synching everything together, etc.I teach the Caruso Method and everyone of my private students, from 6th graders on, do Caruso exercises as part of their weekly lesson. Haven't found one yet that it didn't help!!! Thank God I had the opportunity to study with Carmine himself. What a pleasure and what a nice gentleman!!!

Butch
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[Blue Trane]

[terpfan0512]

Thanks for the outline. Are Exercises 1-9 Caruso exercises or are they different?

Thanks,
Scott

[pepperdean]

Hi Eric,

I'm not familiar with BF's book but here is my take on the Caruso exercises.

I studied with Carmine in the late 60s and foot tapping was always required on Carmine's exercises. However, tapping was not part of playing clarinet and flute studies like Jeanjean, Cavallini, and Baermann.

As I recall, the first lesson, Carmine explained the seven muscular actions required to produce a note. He wanted to perfect the timing of those actions (I sometimes substitute words like "synchronize" and "balance"). He said the foot tap was to provide the autonomic nervous system with a timing device for establishing these correct reflexes. Carmine was emphatic about subdividing ("1-and-2-and") to create a clear beat.

Later, we were instructed to mentally subdivide the last beat before changing notes into 16ths to dictate a more-defined timing target for those muscular actions.

Carmine spoke of developing automatic responses (reflexes) to musical demands. He used the example of touching something hot. Pulling your hand away before being burned is not a thinking action, it happens automatically and correctly. We were making trumpet playing (intervals, dynamic changes, attacks, etc) into this same type of response through programming. To be effective, nose breathing limited the variables.

Nose breathing was discouraged for all other playing. For me, Carmine pointed out that I needed to mouth breathe in performance to assure I "recovered my bottom lip."

As to striving for a good tone throughout the registers, this was a consequence of improved timing. Carmine was critical of teachers who 'teach by result", telling the student what he was to achieve. Carmine was all about doing the work according to the guiding principles and allowing the results to follow. With my students, I use the analogy of a doctor prescribing medication or therapy. Take it according to directions and you will get well. (You'd never go twice to a doctor if he told you to go home and feel better).


Thanks for letting me reminisce.

Alan

[Jerry Freedman]

Interesting...."retrieving the bottom lip" is a phrase you see a lot in Reinhardt postings.

As far as counting, Carmine had me subdividing into 16th notes. Charlie Raymond, moderator of this forum years ago, was started a discussion about "advanced" Caruso exercises. I thought that this would be a great topic.It was but, instead describing super intricate, two octave triple tongued jump style exercises, Charlie recommended subdividing into 32nd notes.

[Blue Trane]