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Articulation on the leadpipe...



 
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kevin_soda
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PostPosted: Wed Mar 22, 2017 3:53 pm    Post subject: Articulation on the leadpipe... Reply with quote

In my exploration, I've tried to incorporate double and triple tonguing into my leadpipe warmup after I do a few longtones. It sounded reasonable at the time I thought of it but I soon found it to be incredibly challenging to achieve the same resonance as when I single tongue. My K syllable sounds considerably more dull. Does anyone have experience with this issue?
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PH
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PostPosted: Wed Mar 22, 2017 4:32 pm    Post subject: Reply with quote

I won't say that he never did it. But, I will say that WITH ME Mr. Adam never did any type of articulation on the leadpipe. He had me do long notes. Period.

Also, I think people make much too big of a deal about the role of blowing leadpipe in Adam's pedagogy. Most of his first generation students never played the leadpipe during their primary years of study. The first stretch of time I studied with him (early to mid 1970s) he didn't have anyone play the pipe. When I came back to study with him for my second extended period (beginning in 1982) he did have most everyone starting the day on the leadpipe. However, it was never a big thing. We would play leadpipe long tones (rest as much as you play) for 2 or 3 minutes at most. Then we would start playing the trumpet. Many students never played any note other than the fundamental concert Eb. A limited number of advanced students would play a one or two of the higher partials a few times, but most people did not. He would vary it for each person, however. Sometimes it was a breath attack. Sometimes it was a legato attack. Sometimes it was a very firm attack. He would model different timbres according to what each player needed...even on the leadpipe. Different people played different volumes. Some people held the leadpipe notes out quite a long time. For other people the long tones were not very long at all.

It was never one size fits all, even though most of us played many of the same exercises, we played then in very different customized ways.
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kevin_soda
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PostPosted: Wed Mar 22, 2017 5:34 pm    Post subject: Reply with quote

Yeah, I'm not going crazy with it, just a couple minutes but my question came about because I usually follow a brief leadpipe warmup with some brief articulation on middle G just to check in. Attack varies based on the needs of the day but I'm usually legato tonguing 16th notes around 100bpm. Again, nothing crazy, just checking in. If there's no perceived benefit to articulating after long tones but before I put the slide back, I'll just proceed as I have done.
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PostPosted: Wed Mar 22, 2017 5:40 pm    Post subject: Reply with quote

kevin_soda wrote:
Yeah, I'm not going crazy with it, just a couple minutes but my question came about because I usually follow a brief leadpipe warmup with some brief articulation on middle G just to check in. Attack varies based on the needs of the day but I'm usually legato tonguing 16th notes around 100bpm. Again, nothing crazy, just checking in. If there's no perceived benefit to articulating after long tones but before I put the slide back, I'll just proceed as I have done.


Generally, I wouldn't get a lot going on with articulation until the sound, airflow, etc. has settled in. My daily routine is set up in such a way that I don't do much with pronunciation until I've played 45 minutes or more of long tones, slurred chromatics, flow type studies, slurred scales, etc.
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Billy B
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PostPosted: Thu Mar 23, 2017 5:48 am    Post subject: Reply with quote

Leave the tongue relaxed in the bottom of the mouth like "melted butter".
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tpter1
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PostPosted: Thu Mar 23, 2017 7:07 am    Post subject: Reply with quote

PH wrote:
I won't say that he never did it. But, I will say that WITH ME Mr. Adam never did any type of articulation on the leadpipe. He had me do long notes. Period.

Also, I think people make much too big of a deal about the role of blowing leadpipe in Adam's pedagogy. Most of his first generation students never played the leadpipe during their primary years of study. The first stretch of time I studied with him (early to mid 1970s) he didn't have anyone play the pipe. When I came back to study with him for my second extended period (beginning in 1982) he did have most everyone starting the day on the leadpipe. However, it was never a big thing. We would play leadpipe long tones (rest as much as you play) for 2 or 3 minutes at most. Then we would start playing the trumpet. Many students never played any note other than the fundamental concert Eb. A limited number of advanced students would play a one or two of the higher partials a few times, but most people did not. He would vary it for each person, however. Sometimes it was a breath attack. Sometimes it was a legato attack. Sometimes it was a very firm attack. He would model different timbres according to what each player needed...even on the leadpipe. Different people played different volumes. Some people held the leadpipe notes out quite a long time. For other people the long tones were not very long at all.

It was never one size fits all, even though most of us played many of the same exercises, we played then in very different customized ways.


This makes me think of that Thomas Stevens video that was posted several weeks ago where he talks about Schlossberg's approach as "first do no harm": where he leaves alone what the student CAN do and focuses instead on what they CAN"T. Is there a correlation or am I reading more into it than exists?
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PH
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PostPosted: Thu Mar 23, 2017 11:16 am    Post subject: Reply with quote

I think there is always the need to start from the place of comfort and push gently outward from there. Always retaining inner quiet, the beautiful sound, the feeling of focus and flow.
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Billy B
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PostPosted: Thu Mar 23, 2017 11:42 am    Post subject: Reply with quote

Sometimes it is necessary to go to where the student is and lead them out of the dark.
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Derek Reaban
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PostPosted: Thu Mar 23, 2017 2:38 pm    Post subject: Reply with quote

Kevin,

I wrote about this very issue of K tongue on the leadpipe many years ago in this post. Maybe my description will help you to move the dull K sound to a more vibrant K sound using the leadpipe. Good luck!
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kevin_soda
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PostPosted: Thu Mar 23, 2017 7:21 pm    Post subject: Reply with quote

PH wrote:
Sometimes it was a breath attack. Sometimes it was a legato attack. Sometimes it was a very firm attack.


I talked to a friend who did his undergrad with John Harbaugh at Central Washington and he said the same thing. "Breath attack. Focus on easy, relaxed breath. Don't get distracted by other things." He did say my issue was symptomatic of some kind of inefficiency but that, if I keep following the sound, I'll find it.

I do like how naked the attack is on the pipe but I can understand how it may not necessarily be relevant. I guess I just get curious and think about this stuff when I could just keep practicing. I've been more conscious of my "pronunciation" lately and I like learning about Mr. Adam's approach.
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razeontherock
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PostPosted: Thu Mar 23, 2017 8:31 pm    Post subject: Reply with quote

kevin_soda wrote:


I talked to a friend who did his undergrad with John Harbaugh


HA! I studied with him, back in '84. Brings back memories
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Billy B
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PostPosted: Thu Mar 23, 2017 8:49 pm    Post subject: Reply with quote

Derek Reaban wrote:
Kevin,

I wrote about this very issue of K tongue on the leadpipe many years ago in this post. Maybe my description will help you to move the dull K sound to a more vibrant K sound using the leadpipe. Good luck!


No. To my knowledge Adam never had his students do this. We never separated multiple tonguing. It is one motion.
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kevin_soda
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PostPosted: Fri Mar 24, 2017 1:56 pm    Post subject: Reply with quote

I can understand how it could be valuable to isolate the k but I also understand that it doesn't fit the Adam approach. I like the idea of the multisyllabic pronunciation. Thanks for clarifying.
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