Jumping in

trumpetplanet · Posted: Tue Mar 01, 2016 9:53 am Post subject:

Hi Rod,
Thank you for sharing this experience.

_________________
UK-based professional trumpeter.
Proponent of the Superchops/TCE.

https://neotericbrass.com/
https://trumpetpla.net/
https://tonguecontrolled.info/

tptguy · Posted: Tue Mar 01, 2016 10:41 am Post subject:

It was a pleasure meeting you, Rod, and chatting about your very interesting journey. So glad you are getting back to your passion! It's always a special pleasure, especially in that din, to meet someone narrowing down their horn choices according to the sound out front. Sorry to sound sarcastic, but to most it seems a truly novel idea. Rod, enjoy that new horn! Best, Kyle

trumanjazzguy · Posted: Tue Mar 01, 2016 8:10 pm Post subject:

I've tried this method for the first time tonight. If I start at middle C and go up chromatically, I can usually get up to an airy sounding high E-dubba G. How do you remove the ugly crass airy sound with this method? Also, I don't have the control to just "nail" notes above high C.

I have a friend who has made the comment that he knows only a couple people who use this method and have professional level sounds. I will admit, I have no idea how to refine my sound using this technique.

Any tips would be appreciated.
_________________
TPT: Nova LA
CRN: Getzen 1950’s W/5.5in bell
FL: Jupiter 1100R
‘Pieces:
TPT: 34-throat shallow double-cup, Chet Baker’s Custom Schilke, Bach Corp 3, Bach Mt. Vernon 6C, Ken Titmus BF Custom(s).
CRN: NY Giardinelli 7SV.
FL: Yamaha Bobby Shew

trumpetplanet · Posted: Wed Mar 02, 2016 2:26 am Post subject:

There are many causes of a bad sound - but there are few points I'd like to share.

First of all - when you begin playing with a very different technique from that which you are used to you are a beginner again and you will sound like a beginner until you learn to control your playing - nothing more than practise time will solve this. Having said that, a clear sound with good articulation and intonation are the signs that you're doing it right. Without these you probably haven't nailed it yet.

If your sound is airy then you are overblowing. Forget the idea of "using air", you just have to spit. The higher you play - the less air you need.

Also if you want power in the high range then it's probably not going to be sweet like a flute. How big was the room you were playing in? Most people are shocked and put off by hearing themselves light up for the first time. It's not crass, that's power.
_________________
UK-based professional trumpeter.
Proponent of the Superchops/TCE.

https://neotericbrass.com/
https://trumpetpla.net/
https://tonguecontrolled.info/

tptguy · Posted: Thu Mar 03, 2016 11:22 pm Post subject:

Some people, particularly self taught, find they've developed an embouchure near MSC so they merely need some fine tuning to take it over the top. But if you aren't part of that lucky/astute group then it will take more than an evening to undo bad habits. However, part of the allure of trumpet for many of us, is figuring it out.

#1 point - If a note, regardless of register, doesn't sound distinctly focused, centered, powerful, and intune then the chops are off. You can, like most all trumpeters, slowly work (excessively hard) to develop the bad notes so they become ever so slightly stronger, higher, and somewhat less out of tune. Or, you can figure out MSC in the mid register and ascend note-by-note, but only when the EARS agree. This is, by far, the fastest and most successful route. But everyone selects their own path (and penance).

Also, re-read tplanet's last post. Good stuff.

Best to all, Kyle

epoustoufle · Posted: Wed Mar 09, 2016 9:34 am Post subject: Jumping out

This is the OP.

After not making much progress for the last 2 weeks, I decided this isn't for me after all. I just couldn't get the hang of it, I guess, especially long notes. The short stacattos were fine but left me very limited and it didn't seem to be improving enough for me to keep at it (for me).

Sorry to disappoint

It's been fun - you guys are a friendly bunch, thanks for the tips and info via PMs too! Also, it's got me into playing and finding mouthpieces again... for better or worse lol. Catch ya elsewhere on the forums

trumpetplanet · Posted: Sat Mar 12, 2016 6:40 am Post subject:

Epoustoufle, there is no disappointment - everyone has to walk their own path.

Something that may help you - regardless of your choice of methodology moving forwards - is to take a look at the way that Arban describes the use of the tongue in his Grande Methode. I have found that the American English translation of the text most closely matches the original French so it's up to you which of those you look at

For further explanation of the reason I am telling you this, and to save the forum from a 2000 word rant, take a look at this blog post: http://trumpetpla.net/2016/03/arban-solid-foundation/

If you think about using the tongue like a tap (faucet), only allowing the escape of the air required for any given note, then this will go a long way towards preventing bad playing in the future.
_________________
UK-based professional trumpeter.
Proponent of the Superchops/TCE.

https://neotericbrass.com/
https://trumpetpla.net/
https://tonguecontrolled.info/

Rod Haney · Heavyweight Member Joined: 22 Aug 2015 Posts: 937

Rod Haney · Heavyweight Member Joined: 22 Aug 2015 Posts: 937

Sorry you will have to look for my post imbedded in the quote - brain fart!

trumpetplanet · Posted: Sun Mar 13, 2016 1:34 am Post subject:

Hi Rod,

There's a lot of validity in what you say about people's pronunciation of the word 'tu'. Considering that Arban was French it makes some difference compared to someone English (British). Later today I will be meeting with a friend who knows somebody that wrote a paper on the subject of how someone's native language affects their use of the tongue when playing wind instruments. I'll report back anything interesting I find.

Touching your lip when you articulate means that you probably have quite a solid attack, and the fact that you can hear the intonation problems caused by doing it behind the teeth means that your awareness is better than most. It's probably why you responded so well when Jerry showed you the spit buzz.

Rod Haney · Heavyweight Member Joined: 22 Aug 2015 Posts: 937

I see what you mean with that. What I meant to convey is that I was trying to maintain an even blow thru the interruption, kind of maintaining an even air pressure so the next not is even in volume and intonation and you are right that on staccato it is almost impossible not to cut the air completely. Anything less and I think some of the air comes thru, with quite a bit coming thru on legato. Maybe I should have said my problem was in starting the note at same vol./intonation as the previous note.

I am very much learning the trumpet again after a 45 year layoff, and I was never any type of accomplished musician, but was a fair trumpet player. Are 4 quarter note marked with staccato to be played with separation as with a rest behind or as 4 full quarter notes with a tongue attack beginning each (excuse my clumsy language)? I was taught to play full notes with varied attacks and only play a rest if written?
Thanks for any clarification
Rod[/i]

tptguy · Posted: Thu Mar 17, 2016 12:23 am Post subject:

<<my biggest issue right now is a steady blow thru the interruption of air during staccato parts>>

Be careful. I know you have the ears to work in a more successful direction than most. Nonetheless, carefully resist the ready temptation to spread the sound when sustaining the tone. Not saying (yet) that you are doing it. But the temptation is great because it can sound fuller behind the horn, while killing the sound out front. I believe Jerry is correct - 90%+ of players have too much spread and too little core to their sound.