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Rob Rothman Veteran Member
Joined: 28 Aug 2012 Posts: 308 Location: New York, NY
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Posted: Tue Oct 16, 2012 5:42 pm Post subject: Question re six-note exercise |
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During the late 60s/early 70s, I studied with Nick Lamitola (AKA Sonny Land). Although he had studied with Carmine Caruso, Caruso exercises did not figure prominently in his own teaching. He did, however, teach me a variant of the six-note exercise which I now realize is somewhat different--in some ways, perhaps fundamentally different-- than that set forth as exercise 1 in Musical Calisthenics.
As it was taught to me, each of the six notes is played three times in sucession, first ppp then mf then fff. However, the notes are not played in strict time; instead, each is sustained for as long as possible. Thus, depending on one's lung capacity, the entire exercise (18 notes) could take 15 minutes to 1/2 hour or more, with the mouthpiece never leaving the lips the whole time.
I'm just curious as to whether any of the Caruso experts are familiar with this variant. Thanks.
Rob Rothman |
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PH Bill Adam/Carmine Caruso Forum Moderator
Joined: 26 Nov 2001 Posts: 5860 Location: New Albany, Indiana
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Posted: Tue Oct 16, 2012 6:15 pm Post subject: |
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That's new to me. _________________ Bach trumpet artist-clinician
Clinical Professor of Jazz Trumpet, University of Illinois
Professor Emeritus of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops 1976-2019
JazzRetreats.com |
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Jerry Freedman Heavyweight Member
Joined: 29 Jan 2002 Posts: 2476 Location: Burlington, Massachusetts
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Posted: Tue Oct 16, 2012 6:22 pm Post subject: |
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Does this variant include breathing through the nose(long setting)? Time is a key component of all Caruso etudes, including the 6 notes. If you remove the timing aspect and the nosebreathing, there isn't a lot left that could be called Caruso
A more important question, however, is did it work for you? |
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Rob Rothman Veteran Member
Joined: 28 Aug 2012 Posts: 308 Location: New York, NY
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Posted: Wed Oct 17, 2012 3:58 am Post subject: |
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I don't recall any particular emphasis on breathing through the nose, although that may have been somewhat implicit in the mandate to keep the mouthpiece in position throughout the exercise.
As far as whether it worked, looking back I didn't really have the discipline to keep with it on a regular basis, so I can't really say. I do recall it being extraordinarily tiring; if I did the exercise, my chops were pretty much wiped for the day after that.
Thanks.
Rob Rothman |
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pepperdean Heavyweight Member
Joined: 10 Mar 2004 Posts: 650 Location: Johnson City, Texas
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Posted: Thu Oct 25, 2012 7:05 am Post subject: |
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I never heard of that but it migt have been a variant that Carmine prescribed for a particular student. Eventually, I was assigned to hold each of the six notes (one note for each pitch) for as long as possible and as softly as possible. I foot-tapped but didn't count except on the four-beat rests. Nose breathing was required.
There were probably many variations of the Six Notes.
Alan |
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connicalman Heavyweight Member
Joined: 17 Dec 2007 Posts: 1668 Location: West Medford, MA
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Posted: Thu Oct 25, 2012 7:45 am Post subject: |
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Here here. Raise a bell, or a glass, to poor ol' Gb.
Caruso's Set of Six don't suffer for the absence of the seventh bugle, and I don't recall with certianty but I think Schlossberg skipped F# as well on the first pages of his thin green book.
One day I'll write an exercise dedicated to intonation and to alternate fingerings, to oxo / xxx , with the related permutations as one climbs and descends that family's overtone tree. _________________ kochaavim, csillaagkep, αστερρισμός, konnstelacji, connstellation... ...a.k.a. the 28A!
Other Conns: Victor 5A & 38A, New Wonder & 80A; 'stella 38A; 36A; 'quest 76A... |
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trumpetdiva1 Heavyweight Member
Joined: 22 May 2002 Posts: 1423 Location: Indiana
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Posted: Tue Oct 30, 2012 3:41 pm Post subject: |
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I have studied with Laurie Frink for two years and had a lesson (now as a comeback player) ten days ago. I am not aware of this variation. The only variations that I know are the changes in the actual notes such as G-C, C-G, low G-C and other variations of the notes. The last note variation that I had played years ago was E-C (above the staff).
Janell _________________ Janell Carter
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Listen to this sample: Michael Haydn Concerto for Trumpet - II (Allegro) -
http://tinyurl.com/hgzhq23
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PH Bill Adam/Carmine Caruso Forum Moderator
Joined: 26 Nov 2001 Posts: 5860 Location: New Albany, Indiana
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Posted: Tue Oct 30, 2012 6:22 pm Post subject: |
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Carmine did other variations with people I knew. All whole notes, rather than half/half/whole was one. Tonguing the first note and breath attack on the second and third was another. Each of these was prescribed for a specific reason. I don't know of any CC variation on 6 notes that didn't involve foot tapping and timing. _________________ Bach trumpet artist-clinician
Clinical Professor of Jazz Trumpet, University of Illinois
Professor Emeritus of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops 1976-2019
JazzRetreats.com |
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Jerry Freedman Heavyweight Member
Joined: 29 Jan 2002 Posts: 2476 Location: Burlington, Massachusetts
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Posted: Wed Oct 31, 2012 3:46 am Post subject: |
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PH wrote: | Carmine did other variations with people I knew. All whole notes, rather than half/half/whole was one. Tonguing the first note and breath attack on the second and third was another. Each of these was prescribed for a specific reason. I don't know of any CC variation on 6 notes that didn't involve foot tapping and timing. |
This is a soapbox I have been on before, maybe not here. Caruso, Gordon, Reinhardt etc were all brilliant teachers with an insight into what is needed to play we can only dream about. They did what they could to pass on their wisdom to their disciples but the passing on was by nature imperfect and the disciples tend to be much more dogmatic than the original. We all know the six notes, the harmonics, the pedals etc and we assume, naturally, that if they worked for us and if its in the book, it must be gospel but Caruso himself taught with limitless variation and its probably beyond most of us, save for maybe Laurie Frink, to understand what was really going on. This goes for pivot masters, pedal tone gurus etc too. |
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