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John Mohan's Daily Practice Routine Journal


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John Mohan
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Joined: 13 Nov 2001
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Location: Chicago, Illinois

PostPosted: Sun Jan 02, 2011 12:04 pm    Post subject: HAPPY NEW YEAR!!! Reply with quote

Happy New Year Everybody!

Time for a long overdue update to this journal.


Too Much Mouthpiece Switching Caused an Overpractice Condition:

I spent much of the fall switching mouthpieces in an attempt to find the perfect one. The Mount Vernon 3C gave me the best sound and I could pretty much do any type of playing with it. My trusted 43C gave me the strongest upper register, but is too bright in the middle and lower registers for most styles of playing. The Curry 3C. (his newer 3C with a dot after the 3C stamp which is the same size as a modern 3C and therefore in between the two fore mentioned mouthpieces) seemed like a nice compromise. So one would think I finally settled on the Curry mouthpiece - but I didn't.

After going around and around, I finally stayed with the Mount Vernon 3C. It had seemed for a while like I just wouldn’t be able to break into the extreme upper register with it. But in the end, I found it wasn't the mouthpiece that was holding back my notes above F# above High C - it was the overpractice condition I had inadvertently gotten myself into.

You see, though I did progressively increase the amount of practice I did during this past year at a nice, slow, steady pace, I did NOT take into account all the mouthpiece switching and testing I was doing. THAT is what held up my high notes and led to tired, sore lips much of the time. I’d been overdoing it.

Around the middle of November, I cut my routine back to basics, and within a week or two, I found myself approaching Double C's again during my Systematic Approach Part 2 exercises each day - no matter which mouthpiece I was playing. And the rest of my playing became easier and more enjoyable as well. Tone, articulation and accuracy rose.

So starting around the second week of December, I've stayed with nothing but the Mount Vernon 3C and a fairly basic routine that only takes about an hour a day. Can I still play a high-note shout chorus with more penetrating sound on the 43C than on the MV3C? Yes. But I think the gap is getting closer, little by little between the two mouthpieces as I get stronger. And I can tell you from my many years of experience playing: I'm never going to get big, full, darker notes on a 43C like I can on a MV3C. With the MV3C I can really seem to shape the sound - and that bigger cup diameter allows for more volume of tone (with the same soft volumes if not even softer volumes available), meaning more overall dynamic range.

I'm still not quite reaching Double C's on the MV3C - but at the end of the Systematic Approach Part 2 exercises I'm consistently getting nice solid G's and G#'s, decent A's, and I usually get to a Bb or a B natural. So I'm heading in the right direction (and when I'm fresh and warmed up, I can usually reach a Double C or even higher). More importantly, I love playing a mouthpiece that I can play the Haydn on, or I can choose to play a big band shout chorus on. So I think it's going to continue to be the MV3C for me.

If I need something darker for certain situations, I can always order a Curry 3BC (Curry's older model 3BC with the Mt Vernon size rim and cup diameter, but a Bach 3B depth), or have one of my deeper underparts matched to a MV3C rim (I’ve got one custom underpart Bob Reeves made me years ago that has a deep V shaped cup, a #22 throat and a HUGE backbore – its inner cup diameter would be a close match to a MV3C rim). And if I need something brighter for certain situations I can order a Curry 3ZM or have a custom mouthpiece made merging a MV3C rim with the cup depth and shape of my old Marcinkiewicz made custom mouthpiece (inner cup diameters are about the same on both of these).

But for now, I’m a one mouthpiece kind o’ guy.

I promise, in the future, this journal will be more about what and how I practice, why I practice it, and the results of that practice, and less about mouthpiece safaris.



The current routine which I’m going to stay on until mid January:



1) Irons Groups 5, 5B, 6, 6B and 6C, 7, 8, 9, 10, 11 and 12 (the groups ending with letters are my own creation - I take the last exercises of Groups 5 and 6 and extend it through all 7 valve positions - in the case of my "6C" I do the 6B exercise, but one harmonic higher so it goes up to High C).

Rest at least 15 minutes (usually at least half an hour).


2) Clarke #2 and Etude #2, KTM with one repeat on each exercise, up to around the one in G that goes to D above High C.

Rest for at least half an hour (usually at least an hour).


3) Systematic Approach Lesson 2 Part 1.

Rest at least 5 minutes (usually about 15 minutes).


4) Systematic Approach Lesson 2 Part 2, followed by Part 3 of Lesson 3 to relax my lips.



That’s it - a fairly short, simple routine. In a few weeks I’ll probably add the Claude Gordon KTM exercises and multiple tonguing exercises (from Arbans) back into the routine, and move on to the next Systematic Approach lesson. And then a month or so after that, I might add the Clarke #1 Study, slurred and four times in one breath each back into the routine. It all depends how I feel at that time.

Best wishes,

John Mohan
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Jetrang
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PostPosted: Sun Jan 02, 2011 1:34 pm    Post subject: Reply with quote

Some nice analyzing there !
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John Mohan
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PostPosted: Sun Jan 02, 2011 1:58 pm    Post subject: Reply with quote

Jetrang wrote:
Some nice analyzing there !


Yes, but very, very wordy...
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asndy1982
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PostPosted: Tue Jan 04, 2011 9:39 am    Post subject: Re: HAPPY NEW YEAR!!! Reply with quote

John Mohan wrote:

The current routine which I’m going to stay on until mid January:[/i][/b]


1) Irons Groups 5, 5B, 6, 6B and 6C, 7, 8, 9, 10, 11 and 12 (the groups ending with letters are my own creation - I take the last exercises of Groups 5 and 6 and extend it through all 7 valve positions - in the case of my "6C" I do the 6B exercise, but one harmonic higher so it goes up to High C).

Rest at least 15 minutes (usually at least half an hour).


2) Clarke #2 and Etude #2, KTM with one repeat on each exercise, up to around the one in G that goes to D above High C.

Rest for at least half an hour (usually at least an hour).


3) Systematic Approach Lesson 2 Part 1.

Rest at least 5 minutes (usually about 15 minutes).


4) Systematic Approach Lesson 2 Part 2, followed by Part 3 of Lesson 3 to relax my lips.



That’s it - a fairly short, simple routine. In a few weeks I’ll probably add the Claude Gordon KTM exercises and multiple tonguing exercises (from Arbans) back into the routine, and move on to the next Systematic Approach lesson. And then a month or so after that, I might add the Clarke #1 Study, slurred and four times in one breath each back into the routine. It all depends how I feel at that time.

Best wishes,

John Mohan


I'm curious about your resting schedule after each group of exercises, How long does it take you complete each group of exercises.
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John Mohan
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PostPosted: Thu Jan 06, 2011 10:27 pm    Post subject: Re: HAPPY NEW YEAR!!! Reply with quote

asndy1982 wrote:
I'm curious about your resting schedule after each group of exercises, How long does it take you complete each group of exercises.


Good question - glad you asked!

I always rest between each individual exercise as long as it took me to play the previous one, throughout the Irons exercises, Clarke exercises and Systematic Approach exercises. In the case of the Irons, that means resting between each fingering position as long as it took to play the previous one, and in the case of the Clarkes, it means resting as long as it took to play the previous exercise before going on to the next one in the half-step progressions through the Study. And it's the same with the Systematic Approach exercises. This is how Claude always had us practice ("You rest as much as you play.").

The Irons takes me about 18 to 20 minutes to play, and then I try to rest at least 15 minutes (sometimes even several hours if time permits).

The Clarkes take me about 12 minutes (including the Etude #2) and then I try to rest at least half an hour afterward (again, several hours if I can space it out through the day).

After the Systematic Approach Part 1 exercise, I rest at least 5 minutes, and try to rest about 15 minutes.

Then, after the Systematic Approach Part 2 exercises I go right into Part 3 of Lesson 3 to relax my lips, then I'm done until the next day.

Best wishes,

John
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BPL
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PostPosted: Wed Jan 12, 2011 12:43 pm    Post subject: Reply with quote

I was going to ask the same thing.

It has occurred to me that this is part of what Claude meant when he talked about being patient. Patient enough to rest sufficiently before proceeding.

The question then becomes, how do we discipline ourselves to do this? Count out the beats between exercises? Sing the exercises between playing them? Other non-playing playings of the exercise.. clapping routines, etc.? Or counting breaths? Or reciting a mantra? Or mindfulness... focusing the mind on the continuing release of tension in the muscles.. perhaps with coordinated breathing? Or breathing exercises? Or just standing there gazing in to space?

I'm serious here.. I've experimented with all of these. I'm curious what others do.. or have tried/do.. or have heard of others trying/doing?
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John Mohan
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PostPosted: Wed Jan 12, 2011 1:32 pm    Post subject: Reply with quote

I tend to replay the particular exercise in my head before moving onto the next one. If it's a particularly difficult exercise (perhaps with a finger pattern I'm not familiar with), I'll actually finger through the next exercise before playing it. That way, I'm getting physical rest, but I'm also using the time to develop the neuro-muscular coordination required.

Best wishes,

John Mohan
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asndy1982
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PostPosted: Wed Jan 12, 2011 1:43 pm    Post subject: Reply with quote

I like my trusty stopwatch. I calculate approximately how long I play with a stopwatch and a metronome. I set the metronome to the tempo I'm working on and then I time myself as I hum, sing, or read the line of the exercise to the pulse. Once I know approximately how long it takes to play, I practice resting as much as I play or a little longer on certain exercises. For me watching the stopwatch breaks the monotony and keeps me focused and efficient with my time.
I read music, play guitar, finger trumpet scales, hum the exercise, or sing it with “taw” and “tee”, make a mental check of some of the 7 items, the list is endless of things you can do to preoccupy yourself.

My question to John was to see if how he was resting between the sessions of his daily routine. I remember listening on Jeff's website to Claude Gordon saying something like "the secret of endurance is knowing when to rest..." Personally I try to rest as long as I play or more longer for sessions of playing too. But due to time and noise constraints this is not always possible. There is a fine line between resting as much as you play and resting too long. I have come to learn this now after my teacher Jeff Purtle told me this.
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BPL
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PostPosted: Thu Jan 13, 2011 12:36 pm    Post subject: Reply with quote

thanks.. that's interesting. It's obviously a very important aspect of practicing correctly. One of those things that a student could quite easily overlook or ignore.
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Matt Graves
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PostPosted: Thu Jan 13, 2011 7:21 pm    Post subject: Reply with quote

Experimenting with a stopwatch is an excellent idea. How much resting is too short? How much resting is too long? You must figure it out for yourself. The stopwatch can be a great tool. I use one in my practice every day.
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John Mohan
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PostPosted: Thu Jan 13, 2011 8:01 pm    Post subject: Reply with quote

Sometimes I'll keep track with the second hand of my watch as well.

As far as resting between the different sections of my routine, I try to put at least 15 minutes between them. Sometimes, I only rest a few minutes between the Irons, the Clarkes, and the Systematic Approach sections. Sometimes (when time permits), I rest hours between the different sections. I find that when I rest hours between the sections I am more likely to get to the Double C range on the Systematic Approach Part 2 exercise - when I hardly rest at all, I often don't get much beyond the G above High C.

It's so tempting to go back to my Reeves 43C!!! Back when I developed my range to G above Double C, that's the mouthpiece I was using. With this Mt Vernon 3C I have trouble getting much beyond G above High C... But I have to be patient and let the required strength have time to develop. The sound I get from the MV3C in the normal register (aka the "cash register") is a sound I'd never be able to get with the 43C.

Best wishes,

John
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Jetrang
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PostPosted: Fri Jan 14, 2011 3:49 am    Post subject: Reply with quote

stick with the 3 c ! sound is the first thing that people will remember !
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PieterS
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PostPosted: Fri Jan 14, 2011 10:09 am    Post subject: Reply with quote

John Mohan wrote:

It's so tempting to go back to my Reeves 43C!!! Back when I developed my range to G above Double C, that's the mouthpiece I was using. With this Mt Vernon 3C I have trouble getting much beyond G above High C...


I know what you mean... I switched from a 43C to a Hammond 5ML a while ago because of the tone and the tone flexibility it has. A fantastic mouthpiece, can't say enough good things about it! But I lost a lot of range after a week or so. I was tempted too to go back but I sticked to it. The last few days I get even higher than on the 43C on the part II exercises. Don't know why, but it happened!

Endurance is next. I hope to get the same or better endurance as with the 43C.
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John Mohan
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PostPosted: Thu Jan 20, 2011 2:15 pm    Post subject: Reply with quote

And I've changed mouthpieces AGAIN!!!

But it's a reasonable change. I'm using a Curry 3C. as it seems to be giving me the best of both worlds (and yes, there is a bit of deja vu happening here).

The 3C. makes a lot of sense to me for many reasons - I can pretty much play just as high on it as I can on the 43C, and the notes between G on top the staff and G above High C are very, very close in power to those on the 43C (close enough, and as I get stronger I think I can close the gap).

The tone in the lower and middle register of the 3C. is a bit prettier than the 43C (which sounds a bit too bright for some general playing situations).

I feel like I have a little more control with the 3C. than I did with the MV3C, and I feel like there is still enough room for my lips in the 3C. where sometimes the 43C feels a little cramped.

Another great thing about playing a standard 3C sized mouthpiece is if I ever loose the mouthpiece and need one in a hurry, it's available just about everywhere on the planet. Might even buy one of those Kelly 3C plastic ones just for the fun of it someday. And then there's always the Yamaha Shew Jazz mouthpiece, which is yet another version of the good ol' 3C.

Cheers,

John
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John Mohan
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PostPosted: Sun Mar 13, 2011 1:51 pm    Post subject: Reply with quote

Oh boy. I don't know how to tell you this, so I just will.

I've switched mouthpieces again!!! (Hey, it has been nearly two months since my last switch, so there's improvement in terms of how long I stay on a particular mouthpiece).

Claude would probably chase me around the practice room at this point...

Okay, I'm back on the Kanstul clone of a Mt Vernon 3C with a #24 throat and a copy of Arturo Sandoval's backbore.

Why?

Because of the sound.
Because of how easy articulation is on it (no air attacks during intricate tonguing).
Because of the sound.
Because the truth is, I can play just as high on it as any other mouthpiece (though I can "hit" higher notes on other smaller mouthpieces, I can't "play" higher notes on any other mouthpiece).
And finally, because of the sound.

Claude Gordon, Renold Schilke, and Vincent Bach were pretty much unanimous in their opinions that one should play a fairly large, comfortable mouthpiece and let their strength and endurance grow to where they can comfortably play that mouthpiece. I think they were right (despite my constant attempts to prove them wrong by trying to make smaller mouthpieces sound like bigger mouthpieces). Strength and endurance can be developed. But though other's think differently, I've found that no matter how much I try, I cannot make a small, shallower mouthpiece sound as big and beautiful as a bigger mouthpiece. Every time I think I’ve accomplished this, I pop the bigger mouthpiece in the horn, and the bigger resulting sound proves I’ve only been fooling myself.

The Mt Vernon 3C seems for me to be the ultimate size - any bigger and it'd be too big. Any smaller, and the sound is compromised. I will stick with this thing for at least a month and maybe longer. If I don't feel at the end of that time that I've built the endurance and range I need on it, I'll move back to the Curry 3C. and stay with it. I promise.

Now, on to the routine. The following is what I'm doing now, and though parts of the routine (most of it) seems like a regression, my playing ability is not regressing, but rather, it is progressing very nicely. I've only been on this routine for a few days now. If it gets the best of me (it is a lot of playing), I'll trim it back a bit and let you know I did.

Here's the routine as of March 10th:

1) Irons Groups 5, 5B, 6, 6B and 6C, 7, 8, 9, 10, 11 and 12 (the groups ending with letters are my own creation - I take the last exercises of Groups 5 and 6 and extend it through all 7 valve positions - in the case of my "6C" I do the 6B exercise, but one harmonic higher so it goes up to High C).

Rest at least 15 minutes (usually an hour or so).

2) Clarke #1 and Etude #1 Slurred As Written with 4 repeats on each exercise, up to D above High C.

Rest at least 15 minutes (usually an hour or so).

3) Clarke #2 and Etude #2, KTM with one repeat on each exercise, up to around the one in G that goes to D above High C.

Rest for at least 5 minutes (sometimes an hour or more, time willing).

4a) The KTM exercise from Claude's book "Tongue Level Exercises". This is Exercise 1 appearing on page 8 in the book. You start on middle G and single tongue (using K-Tongue Modified tonguing) 16th notes for about 16 to 20 beats. Then rest as long as it took you to play the 16th note G's for the 16 to 20 beats. Then repeat on G#, then A, etc. up to Middle C, then go back down in the other direction until you get to Low C. I'm doing these now at 120bbm.

4b) The first four Triple Tonguing exercises on page 155 of the Arbans book.

4c) The first four Double Tonguing exercises on page 175 in the Arbans book.

I usually try to rest at least an hour at this point.

5) Systematic Approach Lesson 2 Part 1.

Rest at least 5 minutes (as much as 15 minutes).

6) Systematic Approach Lesson 2 Part 2, followed by Part 3 of Lesson 3 to relax my lips.


Will report back in a week or so.

Best wishes,

John Mohan
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trumpet56
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PostPosted: Sun Mar 13, 2011 2:10 pm    Post subject: Reply with quote

I have found it does take discipline to rest inbetween having the horn on the face . Instead of just standing there watching the clock (or the idiot box) I practise several cross fingering drills which I find useful in working on independent finger coordination. Another strategy is to blow air through the trumpet while fingering an exercise. This can be done before during or after playing and helps me coordinate the air with the fingers. Generally speaking I find it particularly useful, especially in my warm up to isolate the various physical aspects of playing the horn.
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Blue Trane
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PostPosted: Sun Mar 13, 2011 2:58 pm    Post subject: Reply with quote

When I was preparing for a solo cornet performance with a very nice wind symphony last year I was shedding quite a lot and found that when I'm putting in those kinds of hours on the instrument that more often than not I lacked the discipline to rest. I solved the issue by taking a page out of Sergei Nakiarakov's book and employed an egg timer. I would play for 15 minutes then rest for 5. Boy did I hate getting interrupted by that timer going off just when I was getting into something but it proved to be a good way to practice and prepare.
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John Mohan
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PostPosted: Mon Mar 14, 2011 7:45 am    Post subject: Reply with quote

Claude always told me to rest as long as I play each individual exercise with "the horn off the mouth". So I don't have the horn near my face when resting, which precludes any blowing air through the horn during rest time. Resting is resting. I usually just think the previous exercise through in my mind and then I know I've rested as long as I played.

Back in the times when I was learning the finger patterns for the Clarkes and other studies and etudes, during the "horn off the mouth" rest times, I would go through the finger patterns of the next exercise before actually playing it.

I try to place at least half an hour for rest time between the various routines in my practice regimen.

I’ve played the full routine outlined above on the 10th, 12th and 13th of March on the MV3C (took Friday off completely because I got involved in other stuff that day). So far, so good.

Best wishes,

John Mohan
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John Mohan
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PostPosted: Tue Mar 22, 2011 2:37 pm    Post subject: Reply with quote

Okay, time for an update. Nothing was really going wrong with my playing, but I didn't feel I was progressing enough. Plus, my back, sides and abdomen have been really sore lately. So I decided to dial back the routine - a lot. Currently:

1) Irons Groups 5, 5B, 6, 6B and 6C, and 7 (the groups ending with letters are my own creation - I take the last exercises of Groups 5 and 6 and extend it through all 7 valve positions - in the case of my "6C" I do the 6B exercise, but one harmonic higher so it goes up to High C).

Rest at least 15 minutes (usually at least half an hour).


2) Clarke #1 and Etude #1, KTM with one repeat on each exercise, up to around the one in G that goes to D above High C, or sometimes to the one that goes up to D# above High C.

Rest for at least half an hour (usually at least an hour).


3) Systematic Approach Lesson 2 Part 1.

Rest at least 5 minutes (usually about 15 minutes).


4) Systematic Approach Lesson 2 Part 2, followed by Part 3 of Lesson 3 to relax my lips.

What a nice, easy routine! Started this on Sunday March 20th and I feel fresher already.

Cheers,

John
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NordicNorm
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PostPosted: Sat Apr 23, 2011 8:20 am    Post subject: Reply with quote

John, I'm curious. I've been following your practice routine and I've noticed you make no mention of playing music (i.e. charts)!?

Are you still playing musical pieces, or are you only practicing your routines?

The reason I ask is that I (as a comeback player) have started to follow CG's SA and I'm struggling to find time to complete lesson 4 AND practice our Big Band charts (where I play lead)!?

I guess everyone struggles to find the right balance, but I do want to give the CG method a decent chance!?

Any pointers/thoughts?

cheers,
Norm
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