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Max Reverb
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Joined: 19 Nov 2001
Posts: 115
Location: Phoenix AZ
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 Posted: Tue Mar 12, 2002 8:56 pm Post subject: |
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| Well, I have so many method books and I was surfin' around the net trying in someway to pull it all together, or at least put a routine together. Something to supplement the Caruso stuff I've been workin' on. I ran across the Clyde Hunt site. Man, that guy is good. But in perusing I came across some aperture issues and darn, if it didn't ring true for me. My aperture is TOO #@$%^*& OPEN!!! So now what the heck do I do? I have all these books and I'll be dad burned if I'm gonna shell out another $30 for sail the 7 C's!!!!! Anyway, Clyde's got some sound clips on there and they were very helpful. I was amazed at how softly he played while above C3. He played pedals, lows, mids and highs effortlessly, fluidly and softly. I was amazed how he did the Clarke Tech. #1. So I've been working on playing softly like Clyde. It's helping to close the aperture, but boy it's making my embouchure different. Like learning all over again. I seem to respond very well to listening. Are there any similiar recordings I can get my hands on? Are there recordings out there from the other methods like Clarke, Jacome, Gordon, Arbans etc........Or just point me to some good recordings that will help me emulate a great player in the area of closing up the aperture and becoming more efficient. Mucho Gracias! |
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dbacon
Heavyweight Member
Joined: 11 Nov 2001
Posts: 8592
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| Posted: Tue Mar 12, 2002 9:33 pm Post subject: |
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DB
Last edited by dbacon on Mon Jun 20, 2022 1:23 pm; edited 1 time in total |
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trickg
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Joined: 02 Jan 2002
Posts: 5698
Location: Glen Burnie, Maryland
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| Posted: Wed Mar 13, 2002 5:07 am Post subject: |
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Ok, am I getting this correctly that one of the things that you have to do to close the embouchure is to play and practice softly?
This, now that I think about it, makes a lot of sense. At a time in my life when I was never playing better, I was doing a lot a brass quintet which required me to play quite softly a lot of the time, and then a time in my life when I was playing my worst, as a bugler for the Old Guard Fife and Drum Corps, when I was primarily playing bugle calls on the field.
Once again, the forum has given me great food for thought and ideas that I will try to apply to my own daily practice. Thanks guys!! 
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Patrick Gleason
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"95% of the average 'weekend warrior's' problems will be solved by an additional 30 minutes of insightful practice." - PLP |
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_Don Herman
'Chicago School' Forum Moderator
Joined: 11 Nov 2001
Posts: 3344
Location: Monument, CO, USA
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| Posted: Wed Mar 13, 2002 6:44 am Post subject: |
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On 2002-03-13 08:07, trickg wrote:
Ok, am I getting this correctly that one of the things that you have to do to close the embouchure is to play and practice softly?
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"Have to?" No. But, it can certainly help. To get any sound out a'tall the lips must be close when playing softly. Be sure to practice crescendos, too, as eventually you'll want to be able to play loudly! I'd start pushing the volume on the low notes, then gradually work up higher. That is, practice pp<FF>pp over your whole range, but initially really push just the lower notes, where it should be easier to maintain the closed setting. I'd also suggest mixing things up a bit to ensure you're keeping the chop set you want, e.g. play a pp<FF>pp long tone, then take the horn away briefly, and play a pppp tone again. The idea is to keep reinforcing the closed setting you're trying to achieve. CC (oops -- Carmine Caruso, not Current Callet) can really help.
I don't know if you'll have my problems (Hey! I heard that -- knock it off! Just the couple I'm about to discuss, no need to address the rest!  ) but I still struggle with (1) getting a rich, full tone on low notes, and (2) attacks. Changing to a slightly more closed setting changed my tonguing for no particular reason, it just "feels different". I've had to really work to get it back, and it ain't all there yet (yeah, story of my life). The good news, for me, is that the "new" tonguing style I'm learning gives much nicer attacks (smoother, cleaner) and facilitates faster single tonguing. Getting the low notes requires relaxing more than I did before. With an open aperture, low notes come easy; once you try to close it down, getting them out can be harder. Jeff Smiley's book (I know, another book, but it can really help to tackle things from several angles, and it's cheaper than a trip to TX, for me anyway) offers some very good exercises and (more importantly) advice and instruction on how to make them sing. Pedal tones done incorrectly (imho) at best don't help much and at worst result in two embouchures (bad! bad! bad! trust me on this -- I'm still struggling to connect my multiple-embouchure personalities all together as one happy pedal C to tripple C family).
Clyde has recorded a number of the standard method books, as you probably saw on his site. As to the cost, I tend to think it's minor compared with the cost of most other things, and if you think he's going to help why stiff him the money for his book? It's one of the ones I tend to suggest, as it covers a lot of good material and includes a graduated series of exercises which incorporate pedal tones (one of the few). Clyde is also very approachable, and helpful. He's a former (retired) band director as well as freelance player and arranger/composer.
HTH - Don
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Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley |
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screamertrumpet
Veteran Member
Joined: 10 Nov 2001
Posts: 170
Location: Washington State
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| Posted: Wed Mar 13, 2002 7:10 pm Post subject: |
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Hey,
my teacher told me to play a descending g major scale but no tonguing it. Say "pu" on each note. Play it nice and quiet. That always helps me get my aperture closed. James Stamp taught this regularly to his students.
If listen to other people and respond well, listen to both sides of Wynton. He may seem extremely overrated at first. Listen to him for a while and his tone starts to become a part of you. If you respond well by listening to the greats, you've got almost half the battle covered! Achieving a great sound is one of the hardest battles for students.
Oh, and by the way. It's not Mucho Gracias.
You gotta put mucho in feminine form (mucha) and make it plural (muchas) since gracias is a feminine and plural noun.
Tú dices: ¡Muchas Gracias!
Yo digo: No problema.
¡Tocas bien!
Trevor
[ This Message was edited by: screamertrumpet on 2002-03-13 22:16 ] |
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Quadruple C
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Joined: 28 Nov 2001
Posts: 1448
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| Posted: Wed Mar 13, 2002 7:33 pm Post subject: |
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| [ This Message was edited by: Quadruple C on 2003-12-18 14:03 ] |
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