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GETTING STARTED 1


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dales
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Joined: 13 Nov 2001
Posts: 521
Location: Cambridge, MA

PostPosted: Tue Apr 09, 2002 7:43 am    Post subject: Reply with quote

I'd reached the fifth week before hernia surgery. Now, five days later, I've dropped back to the third week to begin a recovery routine.
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
Posts: 2865

PostPosted: Tue Apr 09, 2002 10:28 am    Post subject: Reply with quote

Dales,

I think you can continue with the Caruso stuff but, perhaps, for the time being do not go as high as possible on the interval studies. You be the judge, but only go as high as is clearly comfortable for your respiratory muscles. This should keep the embouchure exposed to the approproate demands without taxing the gut too much.

I would definitely stay out of the upper register in all of your practice. And take breaths before you need to.
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dales
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Joined: 13 Nov 2001
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Location: Cambridge, MA

PostPosted: Thu Apr 11, 2002 8:33 pm    Post subject: Reply with quote

Charles,

Thanks for the counsel. So far I think I've maintained the appropriate feel and my other practice has been normal.

Previously, I completed week five. Then I laid off four days entirely and five days from Caruso. Since then I've spent three days on week three again. I'm thinking maybe three days on week four, three days on week five and then back on schedule.
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Pedro
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Joined: 26 Nov 2001
Posts: 539

PostPosted: Mon Apr 15, 2002 9:19 am    Post subject: Reply with quote

Charles,

I recently began working from some downloaded pages of Caruso as I await my copy of the book. I just need a bit of clarification. You previously addressed a question with regards to limited practice time. I myself have 1-2 hours during weekdays that I am able to devote to practice. I've been doing the Six-Note study for about 2 weeks, prior to my normal practice (prior to reading your reccomended practice schedule). I am about to incorperate the "Seconds" to this practice and need advice. Is this the correct approach...Play Six-notes with repeat...Rest 15 seconds...play "Seconds"...repeat(?) then rest 20 minutes before going on with your normal practice routine/schedule?
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
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PostPosted: Mon Apr 15, 2002 12:39 pm    Post subject: Reply with quote

Pedro,

Instead of addressing your questions directly, let me offer you a suggested practice schedule.

1. Six Notes with repeat (first thing of the day)
wait 15 - 20 seconds or so and do
2. Seconds. Go as high as you can until only air comes out or you can't make the note. Take the horn off, rest 15 seconds and pick up where you left off (the interval that wouldn't play). Again, go as high as you can until just air comes out or you can't make the note. This now is the end of the Seconds exercise. If you have no other Caruso exercises to do, go into your normal practice routine for the remainder of a complete 20 minute segment.

From the time you start the Six Notes play for 20 minutes. After 20 minutes of playing, rest for 20 minutes. After 20 minutes of resting do another 20 minutes of regular practice. Continue this schedule for as many hours as you can allot for practice. I don't think it is necessary to repeat the Caruso exercises during the day. If you took a several hour break between practice sessions, then you might repeat the Seconds before continuing on with normal practice.

Keep the Qs coming!

Charly
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Pedro
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PostPosted: Mon Apr 15, 2002 1:16 pm    Post subject: Reply with quote

Thanks for clearing things up for me Charly! As usual, you're a wealth of help and info!!!

[ This Message was edited by: Pedro on 2002-04-15 16:23 ]
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
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PostPosted: Mon Apr 15, 2002 1:37 pm    Post subject: Reply with quote

be sure that you are following the Four Rules exactly as written. As you add Caruso exercises, do them in the first 20 minute segments of the practice schedule.
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Pedro
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PostPosted: Mon Apr 15, 2002 1:42 pm    Post subject: Reply with quote

...Following them "religiously" Charly and thanks for keeping me aware of the 20 minute session(s)!
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Tim80
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Joined: 11 Nov 2001
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PostPosted: Sat May 25, 2002 2:36 pm    Post subject: Reply with quote

ttt
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Murray
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Joined: 18 Nov 2001
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PostPosted: Mon May 27, 2002 2:13 pm    Post subject: Reply with quote

Charly, Just a quick question about wk 10 of your lesson plan. Should one be playing the 2nds every day in addition to going through the week changing the interval studies every day, or should one just play the 3rds on Monday for example, and ignore the 2nds? Thanks.
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_bugleboy
Carmine Caruso Forum Moderator


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PostPosted: Mon May 27, 2002 9:04 pm    Post subject: Reply with quote

Murray,

This is a little unclear, I know. My personal experience studying with Carmine differed in some ways from the book, which was published after I studied with him. As the schedule is spelled out in MCFB you would play 2nds on the first day (say Monday), 3rds on 2nd day, etc., to the 7th day, on which you would play Maj 7ths and 8ths. This would be fine. However, Carmine had me play The Six Notes and 2nds to start every day. So I played the 2nds every day for ten years or so, along with alternating the other intervals daily, per the schedule. The thing about the 2nds is that it is easier to deal with first thing of the day, rather than 6ths, 7ths and 8ths on days like 5, 6 and 7.

After ten years, I felt comfortable going right into larger intervals after the six notes. Maybe I could have done it sooner. I don't know. It didn't matter to me. I had many hours alloted for practice every day and practice time was not a factor. I worked (playing) nights and practiced all day, 20/20.

Charly
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
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PostPosted: Tue May 28, 2002 11:31 am    Post subject: Reply with quote

Carmine had me do six notes and seconds first thing every day, too. Even though the schedule in MCFB for review of all the intervals (which was virtually identical in the earlier "Caruso On Breath Control" book) has seconds on Monday (or whatever), I always did six notes, seconds, then one regular interval du jour (3rds on Monday, 4ths on Tuesdacy, etc.). this kept me from having to double up on major 7ths and octaves at week's end.
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Terry
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Joined: 10 Jun 2002
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PostPosted: Mon Jun 24, 2002 8:54 pm    Post subject: Reply with quote

Charles,

In your reply from 2002-4-15 15:39, you said,

"Seconds. Go as high as you can until only air comes out or you can't make the note. Take the horn off, rest 15 seconds and pick up where you left off (the interval that wouldn't play). Again, go as high as you can until just air comes out or you can't make the note. This now is the end of the Seconds exercise...I don't think it is necessary to repeat the Caruso exercises during the day."

But the book says play the whole exercise again after at least 15 minutes of rest. Does this part of the text count as a "repeat," and therefore not necessary? IOW, what is my routine if I play the exercise "once." Sorry if this isn't worded very well.
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_bugleboy
Carmine Caruso Forum Moderator


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PostPosted: Tue Jun 25, 2002 6:17 am    Post subject: Reply with quote

Terry,

You're right. The book says to repeat the study after 15 minutes. This should be read as, "If you choose to repeat the exercise, wait 15 minutes before doing so." In other words, it is your call whether you repeat the exercise. The only stipulation being that you wait for a little while before doing so, like about 15 minutes. The book sounds like Mr. Caruso is instructing you to repeat the study every 15 minutes, and that isn't the case at all. I don't believe there has ever been an edit done on the original publication, but this would be a sentence that I think should be restated. I would recommend repeating no more than once or twice each day (especially in the beginning), and then with several hours between repeats. Other non-Caruso type playing should be done during the hours between repeats. What is important to appreciate is that embouchure development will start to come over a period of several months.

What you do each day has to be predicated on a long term commitment. If you do one hour of Caruso practice each day you will have 365 hours completed in on year and your embouchure development will be reflected in the higher level of playing that you will achieve in that time. That higher level of playing ability cannot be achieved by practicing Caruso 24~7 for fifteen days (15 X 24 = 360 hours). I know that this is obvious, but it is always important to be conscious of the fact that resting is as important (maybe more important) than working out. Too much working out can be more harmful than too much rest. If you rest too much your progress may be slower. If you work out too much your progress can be slowed down or actually derailed. Basic rule is you can't teach tired muscles. If the muscles are tired, let them rest. And even if they're not tired, be sure to give them ample rest time during your practice routine.

Charly
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Terry
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PostPosted: Wed Jun 26, 2002 6:45 am    Post subject: Reply with quote

Charles,

Thank you very much! I understand much better now.

One more question: Why do the Caruso interval exercises ascend diatonically rather than chromatically? It seems to me that it might make more sense to do the latter because then, all the intervals would be equal and thus teaching the muscles to travel the same distance throughout.

Take the Thirds for example: played the way it's printed, the first phrase would be a major third (G-B-G), but the second phrase would be a MINOR third (A-D-D). On the other hand, ascending chromatically, all intervals would be exactly the same. Or is this irrelevant to the purpose of the exercise?
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
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Location: Bloomington Indiana

PostPosted: Wed Jun 26, 2002 7:41 am    Post subject: Reply with quote

Terry,

I think you are right in saying that the other intervals are probably irrelevant for these particular exercises. I suspect that CC also might have felt that it was important to learn to hear and execute the diatonic intervals related to a key center first, since this would be similar to the way you encounter the intervals in most musical contexts.

In my later studies with Carmine he had me cover all of the major and minor keys (Baermann book work) and other calisthenic studies to attack the challenges of chromatic intervals (such as the "spider", which Charly threatens to show you in the next installment "Getting Started IV").
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
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PostPosted: Wed Jun 26, 2002 6:17 pm    Post subject: Reply with quote

Terry,

I don't know why carmine chose to present most of the intervals diatonically. Ph makes a good point about tonal center. I guess I always thought it was to keep it simple, as in, as few accidentals as possible. The Minor 7ths, Major 7ths and Octaves being the exceptions, since they were all true intervals of those distances.

I think the Getting Started series of posts may be complete at 3. Any comment? There are many other tips and exercises that will be forth coming, such as and including the Spider. But the basics have been pretty much covered, as I remember them.

There are a few more extensions of some of the basic exercises also.

Besides the Spider I also have,

1. 4 more pedal exercises
2. Nodes
3. slur/tongue
4. mouthpiece drills (but not everyone would need these)
5. soft notes (not the low F# ex.)

and the books,

1. Clark
2. Baermann
3. Bower
4. Laurent 1, 2, 3
5. Schlossberg was only used for mouthpiece drills

Regards,
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tomba51
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Joined: 24 Nov 2001
Posts: 534
Location: Hilton Head, SC

PostPosted: Sun Apr 06, 2003 7:17 am    Post subject: Reply with quote

Charlie Raymond says;

5. Schlossberg was only used for mouthpiece drills

Charlie,

Carmine used the Schlossberg book differently with me. He never used it for mouthpiece drills with me. He did assign exercise 28, page 7. He told me that when I reached the top note (high C), I should do a lip slur in eighth notes between C and D. He also assigned exercise 35, page 9. In a similiar manner, I was to do lip slurs in eighth notes between D and E.

As you know, Carmine was legendary for assigning different exercises for different students, according to their needs. Perhaps this is why my experience with the Schlossberg book is different than yours.

Tom Barreca
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shofar
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Joined: 02 Jun 2003
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Location: SoCal

PostPosted: Wed Jun 04, 2003 12:07 am    Post subject: Reply with quote

Hey Charly:

Thank you for reposting GETTING STARTED 1. I am looking forward to all the great information you and others have shared and for using CC more effeciently in my practice time as well. It may sound unusual, but I have related CC to the type of workout (Weight lifting) I do. It is very high intensity, very slow, with proper form, so as not to cheat and possibly hurt yourself, and to gain the most strength, muscle and flexibility as quickly and efficiently as possible. You have been very helpful to many trumpet players. I hope I can add something positive to the forum at times as well.

Thanks again. Have a great day.

Rog
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4Him
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Joined: 22 Nov 2001
Posts: 277
Location: Tampa Bay Area

PostPosted: Wed Jun 04, 2003 3:52 am    Post subject: Reply with quote

Charly,

Yes-- thanks for reposting this thread. I have "lurked" here for some time without the benefit of seeing the book, MCFT. I just got the book in the mail (btw, if anyone is having a hard time finding it, I got mine from sheetmusicplus.com). So, I am in... time to get started.

The greatest impression on me-- from this thread and others-- is the importance of rest. You've helped me realize that my playing in some ways is couterproductive to improvement in the sense of muscle development. It seems like nearly all of my playing is aggressive and over the top in terms of the demand I place on my chops. I have two rehearsals every week (both on the same evening) and play for two church services on the weekend (both lead, both somewhat demanding in terms of endurance, range, etc.). Then several times a year there are full concerts with lengthy rehearsals for several weeks prior. So, when I practice at home, I follow pretty much the same aggressive pattern. Time is limited, quite a bit to look at--- so off I go. I say all of this to say-- when I am playing, my chops never get a break. I place one demand after another on them until they are worn out, then I put the horn away until next time.

I look forward to developing a new mindset about playing, getting into the MCFB exercises, and touching bases here occasionally.

Thanks for the time you put into this.

Ken

[ This Message was edited by: 4Him on 2003-06-04 06:54 ]
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