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applemoor Veteran Member
Joined: 03 Apr 2009 Posts: 103
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Posted: Thu Mar 08, 2012 12:06 pm Post subject: new to Stamp...a basic question... |
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what does the sign mean that looks like?
___
___l
(sorry , can't really type it exactly)
Thanks, in advance ! |
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applemoor Veteran Member
Joined: 03 Apr 2009 Posts: 103
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Posted: Thu Mar 08, 2012 12:11 pm Post subject: sorry...that doesn't look right... |
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it is a horizontal line, then a vertical line, then at the top of that vertical line another horizontal line....what DOES that mean? thx! |
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trumpetrich Regular Member
Joined: 17 Nov 2005 Posts: 28 Location: cleveland
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Posted: Tue Mar 13, 2012 6:04 am Post subject: |
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I this the symbol you are asking about?
bbbbbb______
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If so, it is a reminder to make a "square corner" from note to note. Stay with the note that you are playing and offer no indication of which direction or interval you are headed to next until it is time for the next note to begin.
Thoughtful practice with this concept on gradually expanding intervals both up and down will allow very efficient note to note transitions by avoiding over tightening in the upward direction and over loosening in the lower.
After you get a handle on the concept through simple exercises it should be relatively simple to apply it to whatever music you are working on.
Rich |
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applemoor Veteran Member
Joined: 03 Apr 2009 Posts: 103
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Posted: Sat Mar 17, 2012 12:01 pm Post subject: yep...that's it(couldn't figure out how to type it) |
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I understand what you are suggesting..in an exercise. BUT, how does one apply that concept to playing....ie. how is it relevant?
Thanks! (appreciate your help) |
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cheiden Heavyweight Member
Joined: 28 Sep 2004 Posts: 8914 Location: Orange County, CA
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Posted: Sat Mar 17, 2012 1:08 pm Post subject: |
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Lots more discussion here.
http://www.trumpetherald.com/forum/viewtopic.php?t=113583 _________________ "I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart |
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EdMann Heavyweight Member
Joined: 31 Mar 2007 Posts: 2481 Location: The Big Valley
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Posted: Sat Mar 17, 2012 1:39 pm Post subject: |
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It's the same guy asking the same questions. And after a dozen concise answers, he's still asking the same question. I've been doing Stamp exercises for over a year. I needed some direction in person, and it looks like you may need that as well. Good luck in your quest.
ed |
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cheiden Heavyweight Member
Joined: 28 Sep 2004 Posts: 8914 Location: Orange County, CA
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Posted: Sat Mar 17, 2012 10:51 pm Post subject: Re: yep...that's it(couldn't figure out how to type it) |
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applemoor wrote: | I understand what you are suggesting..in an exercise. BUT, how does one apply that concept to playing....ie. how is it relevant?
Thanks! (appreciate your help) |
When you observe this concept there are many benefits most obviously much more precise and reliable intervals and an eveness of tone when executing intervals that's much better than your average player. _________________ "I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart |
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oldblow Heavyweight Member
Joined: 19 Apr 2004 Posts: 676 Location: Mitchell, Georgia
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Posted: Fri Mar 30, 2012 1:20 pm Post subject: |
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The Stamp exercises do not embody concepts that you would "apply" while playing other music. With repetition, the benefit of exercises correctly practiced, becomes part of the muscle memory you use to play correctly.
At some point, if you stay aware while you practice, you will find that you can go between the intervals of different octaves, and into the pedal tones or above the staff without resetting your embouchure. The pedals will begin to be on pitch, as well as the higher notes.
Just blowing notes repeatedly is not practicing. Making excellence automatic is the point of practice. _________________ Felton (Butch) Bohannon |
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MrOlds Heavyweight Member
Joined: 25 Apr 2003 Posts: 726 Location: California
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Posted: Fri Mar 30, 2012 2:03 pm Post subject: |
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An additional benefit of this technique is that it trains you stay "in the note" for the maximum amount of time.
If you listen closely to your average trumpet player, on any given note it takes some period of time to get to maximum resonance or maximum richness of sound and then at some point before the change to the next note that richness or resonance decreases.
If you slowed a recording way down, many players would sound like TWWWWAAAAAAAAAAAAWWWWWW(next note)WWWWAAAAAAAAAAAAWWWWWW(next note, etc) with AAAAAAAA being the most open, free and resonant part of the sound. Over the course of a phrase, the average amount of time where we have maximum resonance is far less than 100%.
If you can train yourself to reach that free and resonant state quickly and stay in the note and maintain resonance until the very end, your performance will have much more presence. |
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