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Mr. Benge Veteran Member
Joined: 09 Sep 2007 Posts: 231
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Posted: Wed Apr 06, 2011 3:14 pm Post subject: Note Bending |
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This is a pretty basic question, but are the note bending exercises beneficial in any way other than getting you set up and playing efficiently for the day? In other words, do they contribute any kind of long term benefit to your playing or is it more of just a warmup? |
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trumpetrich Regular Member
Joined: 17 Nov 2005 Posts: 28 Location: cleveland
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Posted: Fri Apr 08, 2011 4:56 am Post subject: Note Bending |
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I find that the note bending exercises in the book are a great way to develop the Stamp principles of "staying up as you go down" and "playing from center to center".
The bend should be executed in strict time and without any backing-off of the airflow. Use Stamp's suggestion of mock fingering on the leadpipe for the bent note - it really helps. When you change the buttons to play the half note after the bend, maintain the same embouchure and airspeed that was established by the bend. It takes some concentration to dis-allow extra movement as you change to the half note, but with practice all of the intervals will begin to feel as though you are playing them with the same setting and just changing the buttons in strict time to get to the next note. I equate the 'feeling' of doing it right to the accuracy of changing notes on a piano.
After working the concept in exercise form, apply it in your music by placing bends before wide leaps or places where you suspect that you are playing 'out of center'.
Rich |
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aadak18 Regular Member
Joined: 30 Nov 2007 Posts: 80
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Posted: Mon Apr 11, 2011 9:22 am Post subject: |
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I agree with everything TrumpetRich said. Just make sure that you bend the note while keeping everything supported, not by letting the note "sag." When you bend down then back up, the resulting note should sound fuller and more centered. |
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swthiel Heavyweight Member
Joined: 02 Apr 2005 Posts: 3967 Location: Cincinnati, OH
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Posted: Mon Apr 11, 2011 8:41 pm Post subject: |
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I also concur with the comments above. I also find that I have better control when I can bend notes on the higher partials.
I haven't tried the application Rich mentioned in his last sentence, I'll have to give that a try tomorrow. _________________ Steve Thiel |
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Mr. Benge Veteran Member
Joined: 09 Sep 2007 Posts: 231
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Posted: Tue Apr 12, 2011 8:37 am Post subject: |
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I'm confused. Fingering on the leadpipe?? Are you saying to pretend like I'm actually playing a different note as I go down? Also, how high up do you guys go with these? I've been doing them everyday from second line G and descending down chromatically to about C. Thanks for the tips!! |
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trumpetrich Regular Member
Joined: 17 Nov 2005 Posts: 28 Location: cleveland
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Posted: Wed Apr 13, 2011 5:03 am Post subject: Note Bending |
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Mr. Benge,
"Fingering on the leadpipe" is a trick that Stamp suggested to synchronize the note bend in strict time with the beat so that there is no indication of the original note changing pitch or intensity until the next note starts (bend or valve). Using the metronome is key to coordinating the bend in time. Try playing G-F#-G using the valve as normal in strict time with the beat, then repeat substituting the bent F# and mock fingering it on the leadpipe in strict time with the beat.
The bending exercise in the BIM book goes up to top of the staff G and can take a good bit of practice to execute properly. I presume that Stamp had students "continue as high as possible" as in other exercises. Any actual Stamp students care to chime in?
Rich |
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Scorpion Heavyweight Member
Joined: 29 Sep 2007 Posts: 1960 Location: hell
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Posted: Wed Apr 13, 2011 6:11 pm Post subject: Re: Note Bending |
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trumpetrich wrote: | I find that... fingering on the leadpipe... will begin to feel as though you are.... doing it
Rich |
That's just dirty.... _________________ -GET OVER HERE!
-1964 Olds Super Balanced Depleted Uranium single flue Harpoon (w/custom coprion hand guard i got from a 1925 Conn Erradicator.) Akright converted handle w/calfskin grip (143xx) |
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Mr. Benge Veteran Member
Joined: 09 Sep 2007 Posts: 231
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Posted: Sat Apr 16, 2011 2:44 pm Post subject: |
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Yeah, I was getting pretty good at them then I took it up to the third space C, totally different story. I can't bend near as far on that note and I'm sure the E and G would be even harder. Hmmmm, gives me something to work towards. Do you guys think this is an example of one of those exercises that you do regularly, and it sort of subconsciously changes things that improve your playing? |
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trevor_d Regular Member
Joined: 14 Jan 2008 Posts: 27 Location: Denton, TX
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Posted: Sat Apr 16, 2011 4:43 pm Post subject: |
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You should check out David Hickman's 15 Advanced Embouchure Studied. It relies almost exclusively on tone bending and pedal tones. I have played through the book twice with great results! Mr. Hickman also includes very thorough instructions. It's pretty interesting to get his take on the subject too. |
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swthiel Heavyweight Member
Joined: 02 Apr 2005 Posts: 3967 Location: Cincinnati, OH
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Posted: Sat Apr 16, 2011 7:48 pm Post subject: |
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Mr. Benge wrote: | Yeah, I was getting pretty good at them then I took it up to the third space C, totally different story. I can't bend near as far on that note and I'm sure the E and G would be even harder. Hmmmm, gives me something to work towards. Do you guys think this is an example of one of those exercises that you do regularly, and it sort of subconsciously changes things that improve your playing? |
Yes.
The first time I worked on these, I could bend the C but not the E. With a little attention, I was able to bend the G above that. When I'm able to do that, I think I have better control of my playing. _________________ Steve Thiel |
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