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Caruso Method



 
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jthompson28
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PostPosted: Thu May 17, 2012 3:11 pm    Post subject: Caruso Method Reply with quote

I have trouble with consistent technique, mostly attacks and double and triple tonguing. Is the Caruso method a good way to gain more consistency in those areas? Just wondering I have the book but I haven't started it yet. Wanted to get some feedback before I started something I wasn't too sure about. Thanks!
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Jerry Freedman
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PostPosted: Mon May 21, 2012 1:11 pm    Post subject: Reply with quote

The different aspects of playing are not separate. If your embouchure is working well, articulation will work well too. The excercises in Musical Calisthenics for Brass,if I remember correctly don't have tonguing in them although it could be introduced later on. If you already have MCFB then give it a shot. Pick up the Frink book whose name escapes me right now too.
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tomba51
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PostPosted: Mon May 21, 2012 4:30 pm    Post subject: Reply with quote

Jerry Freedman wrote:
The different aspects of playing are not separate. If your embouchure is working well, articulation will work well too. The excercises in Musical Calisthenics for Brass,if I remember correctly don't have tonguing in them although it could be introduced later on. If you already have MCFB then give it a shot. Pick up the Frink book whose name escapes me right now too.


"Flexus" by Laurie Frink and John McNeil.
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larzanth
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PostPosted: Tue Dec 18, 2012 3:25 am    Post subject: Reply with quote

Arban's Method is better for the technical stuff. But don't discount Caruso's exercises. They will give you incredible endurance and a solid sound.
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pepperdean
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PostPosted: Tue Dec 18, 2012 12:07 pm    Post subject: Reply with quote

To add to what Jerry said, Carmine's method works to get the embouchure in balance, all parts working in synchronization. That is the basis of all good technique. Arban's and Clarke are good to practice but having the foundation of a balanced embouchure makes them much more effective.

Do both.

Alan
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bagmangood
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PostPosted: Tue Dec 18, 2012 12:45 pm    Post subject: Reply with quote

What they said
Also it can help to have someone who learned from Carmine or one of his students to help you along (even one lesson can be very helpful).

I've found that the Caruso exercises free me to work on what I want to work on technically, rather than worry about embouchure (or power for that matter) in the slightest
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heodoregrzaa
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PostPosted: Thu Dec 27, 2012 2:32 am    Post subject: Reply with quote

If You have no teacher in front teaching You up, it would be difficult to play on Your own and be better. It would be good to find someone who knows it well.
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pepperdean
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PostPosted: Thu Dec 27, 2012 6:30 am    Post subject: Reply with quote

Quote:
If You have no teacher in front teaching You up, it would be difficult to play on Your own and be better.


I have to disagree with this statement. I feel it's a little bit like saying you can't improve your fitness with exercise unless you have a personal trainer.

Arguably, Carmine was the greatest prescriptive teacher. He tailored the basic exercises and designed additional drills based on each student's needs. That was my personal experience with him.

Nevertheless, the basic regime as explained by Charly in this forum can be very beneficial to most, if not all, trumpet players.

Alan
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Nowling
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PostPosted: Thu Dec 27, 2012 8:04 am    Post subject: Reply with quote

Jerry Freedman wrote:
The different aspects of playing are not separate. If your embouchure is working well, articulation will work well too. The excercises in Musical Calisthenics for Brass,if I remember correctly don't have tonguing in them although it could be introduced later on. If you already have MCFB then give it a shot. Pick up the Frink book whose name escapes me right now too.


+1

All methods are good and will be of benefit if done with the most efficient tone and the best embouchure. I work out of a variety of methods, for a variety of reasons. Always through, the focus is on the best sound I can make that is centered in note and in me, with an embouchure that is working with the air and not against it. I think that's what we are doing by warming up -- finding that sweet spot. The rest is easy .

It's like lifting weights, we start with just the bar so we can develop an efficient technique that will isolate the muscles for development. Only then do we add weight. Trumpet playing is the same: good tone and proper embouchure pave the way for the acrobatics.

My $0.02.
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TrpPro
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PostPosted: Thu Dec 27, 2012 11:05 am    Post subject: Reply with quote

Nowling wrote:
Trumpet playing is the same: good tone and proper embouchure pave the way for the acrobatics.

Except that Caruso never required the student to have good tone and proper embouchure when practicing his exercises.
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Nowling
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PostPosted: Thu Dec 27, 2012 11:09 am    Post subject: Reply with quote

TrpPro wrote:
Nowling wrote:
Trumpet playing is the same: good tone and proper embouchure pave the way for the acrobatics.

Except that Caruso never required the student to have good tone and proper embouchure when practicing his exercises.


Interesting. Never have studied with the man, I can't say. Still, my instincts tell tell me good tone is preferrable to bad tone. Set off as you mean to go, I say.
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TWEAK
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PostPosted: Thu Dec 27, 2012 11:37 am    Post subject: Re: Caruso Method Reply with quote

jthompson28 wrote:
I have trouble with consistent technique, mostly attacks and double and triple tonguing. Is the Caruso method a good way to gain more consistency in those areas? Just wondering I have the book but I haven't started it yet. Wanted to get some feedback before I started something I wasn't too sure about. Thanks!


I'm gonna say just start and see where it takes you. I did this with no teacher present and used the "Getting Started" threads to take me from beginning to end with the book. Back then, it was 2004-2005 and youtube was big but not huge, and so I didn't even think to record myself with a camera while doing the exercises. If you record yourself, you can post the links so the experts can see what you are doing with it.

But to reiterate my first statement, just START. There is no perfect time to do it, only now.
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TrpPro
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PostPosted: Thu Dec 27, 2012 12:52 pm    Post subject: Reply with quote

Nowling wrote:
Interesting. Never have studied with the man, I can't say. Still, my instincts tell tell me good tone is preferrable to bad tone. Set off as you mean to go, I say.

I would say that your instincts are right for a musical approach to playing the trumpet. Caruso's approach was purely calisthenic. What he called "pre-music" as opposed to "non-music." What you do to get the muscles trained and ready to play music, which is a different kind of practice. His position was that the good tones come from the bad ones.
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John Mohan
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PostPosted: Thu Dec 27, 2012 2:42 pm    Post subject: Reply with quote

The multiple tonguing exercises in Arbans are a good place to start working on Double and Triple tonguing. The Clarke Technical Studies book, used properly as Clarke actually used it, is of tremendous help. The instructions in the book to slur everything very quietly with many repeats on each exercise is just one of the ways Clarke had students go through the book (and in fact, was the last, most advanced way of doing the book).

Start with the First Study in the book and practice it single tongued for at least a week, then K-Tongued for at least a week, then Double Tongued for at least a week, Triple Tongued for at least a week and finally, Slurred as written for at least a week. Only do one repeat on each exercise. Then, move on to the second Study in the book and practice it in a similar way (no way to Triple Tongue this one, though). Then so on through the rest of the book. In about a year, you'll have gone through the whole book and your articulations and all other aspects of your playing will big markedly improved.

Best wishes,

John Mohan
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