caruso after 4 months

[rosin]

i ve started caruso since 4 mothns now,but i am still on 5th week because its not always easy to find time for practise and i want to take the best from the excersizes.
i can observe that my chops changed.i almost have a secure high c and i have played mf up to high g.the bigger change is that while accending i am gradually turning the trumpet right!i dont know how that happend but it came naturally.by this i feel i can compress air and retain the correct aperture somewhere in the right side of the mouthpiece.i think i start to get how high range works.have you experience something like this?

[Pete]

rosin,

Players like to rush progress no matter what they are working on. Working on the six note excercise and one, or two interval studies may be enough for you. It was good for me for a long time. I found benefits by using a 20 minute Caruso Routine. I still do a limited routine which benefits me.

When I played trumpet in college I used a routine like tihs:
Six Note
Interval study
Harmonic excercise
Interval study
REST 15 minutes
Colin's Lip Flexibilities 20 minutes or Clarke's Study One and Study Five
REST at least half an hour
Then whatever else I chose to work on.

I was playing lead in the Jazz Ensemble, Lead in a TOP cover band, and first trumpet in the Wind Ensemble at the time. I learned that keeping your chops fresh by not overworking them really helped a great deal.
I also studied with two different players that studied with Mr. Caruso privately.

If you have a group of excercises that work for you, then use them. You really don't need to do more than you need.

I'm sure I'll get some disagreement from some, but it works for me.

Pete

[trumpetdiva1]

I studied with Laurie Frink for once a month (and sometimes not even that) for at least two years. I would play the same lesson almost every day for that month (with the exception of heavy rehearsals and performances, which she established another routine for me). So, it is okay to go slow with Caruso. Just think of the rules and follow them and let the rest flow. Your current range will be strengthened as you develop a higher range with Caruso. All aspects of your playing will improve over time and will happen naturally in following Caruso. Maybe 15-20 minutes a day is all that you need.

When I had more time to practice, this was my routine that was designed for me by Laurie Frink:

• Bai Lin Lip Flexibilities/Irons Twenty-Seven (27) Groups of Exercises (switch on alternating days). Variants of these exercises are included.
• Lip Buzzing to Mouthpiece to Horn Exercises

Carmine Caruso's Musical Calisthenics for Brass:
• Bendy Study
• 6 Notes (variants)
• Intervals
• Recovery (low F#)
• Harmonics
• Chord Pedals
• Chromatic Scale
• Developed Scale

Laurie Frink designed this routine specifically for me to be played before a rehearsal or a performance.
• 6 Notes
• Clarke Technical Studies - Second Study - Circle of Fourths
• Harmonics
• Bending Pedals
• Chromatic Scale

Do what works for you! They are different variations, as Pete said.

Janell
_________________
Janell Carter

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Jim Snidero's Jazz Conception: Autumn (Track 15), recorded around 2003-2004 - http://static4.mathcs.wilkes.edu/Gems/trumpet/01Autumn.mp3
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[CRJAZZMAN]

First of all, I am no Caruso expert though I do like to employ it.

Since no one addressed your question about turning the trumpet as you ascend, I will give a go.
Turning the horn, (I've also heard some call it twisting the mpc) is a way to compensate for an embouchure that is not strong enough to do what you want it to. In the same way that using arm strength squishes the aperture smaller and helps resist the increased air pressure, twisting the mpc on the lips helps crank the aperture smaller (think of it like a camera shutter) and resist the higher compression air stream being used for the high range.

If you have an instructor, I'd run it buy them for sure. My own take on it is that you should probably avoid it. There again I guess it depends on how
much twisting is going on!
Good luck!
_________________
Matt Canfield
please email me at crjazzman@yahoo.com
I do not check the email address listed in my profile.
King Legend .462 in silver
Bobby Shew Lead and Flugel mpcs

[CRJAZZMAN]

OK....I got out my MCFB book.
Under the 1st page on pedals, at the bottom of page 31 it says,

"The purpose of pedals is not only to increase range, but to release tension. The pedals do not allow the left hand to come into play. Consequently, there can't be and twisting or pressing. Automatically the lips become free - free to move, climb and sound. By playing the pedals and freeing the lips from the left arm, you will then release tension."

I'm Just confirming my previous post (for myself) and letting you know that twisting the mpc is something avoid per Carmine himself.
_________________
Matt Canfield
please email me at crjazzman@yahoo.com
I do not check the email address listed in my profile.
King Legend .462 in silver
Bobby Shew Lead and Flugel mpcs

[PH]

Carmine would never tell you to avoid doing anything. His philosophy was that through doing the calisthenics religiously and following the Four Rules carefully that all of the various strategies that one might use to change notes-things such as twisting, pivot, pressure, jaw jutting, etc. (there is a complete list in MCFB somewhere) would eventually find a balance.

By focusing on timing and subdividing the beat all muscular activity becomes synchronized. Synchronization is the central concept behind Caruso's teaching. When timing and rhythm is perfected all body activity is coordinated. When these things are perfectly coordinated it becomes impossible to exaggerate any aspect of playing. Then balance is achieved.

This might be the biggest focus of Caruso's teaching: achieving physical balance by perfecting rhythm.
_________________
Bach trumpet artist-clinician
Professor of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops since 1976

[Jerry Freedman]

[TrpPro]

Carmine would say that one goal of his exercises is to get the muscles to do the job of playing the horn and reduce to a minimum other elements that can enter into playing, such as pressure, twisting, pivoting, twisting, etc. This means that the non muscle elements will probably not be eliminated, but become so minimal that they don’t interfere with your playing well.

You strive for high percentages, not perfection. A little twisting, sliding, pressure, etc., are fine when reduced to a minimum and don’t interfere with good execution on the horn. Don’t obsess.

Get your lips in the mouthpiece and focus on your foot (timing). Use your muscles to change notes (Carmine would often say, “work the muscles”) and be sure to use all the pressure you want. Playing the Caruso exercises this way will bring amazing results in a short period of time.

Pedals (following the Caruso approach) are great for reducing pressure and getting the muscles energized.

When playing non Caruso things do what ever you need to do to play in the most musical way.

[CRJAZZMAN]

You all made such excellent points I'm almost glad I made the mistake I did is using the word "avoid"
It is a great lesson for me personally to be keenly aware of the words used in presenting ideas.
I have a new student and am striving to present materials in such a way that some day he will be able to focus on the music, conceive the musical idea he wants to present, and have the body will naturally do what is necessary to produce the sound envisioned.

Thanks guys!
_________________
Matt Canfield
please email me at crjazzman@yahoo.com
I do not check the email address listed in my profile.
King Legend .462 in silver
Bobby Shew Lead and Flugel mpcs

[JoeCool]

[JoeCool]