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The Carmine Caruso Method with Julie Landsman on Youtube


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TrpPro
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PostPosted: Mon Dec 01, 2014 11:56 am    Post subject: Reply with quote

The most important aspect of any Caruso exercise, that didn't involve playing the trumpet in the normal way or range, e.g., pedals and lip/mp buzzing, was to play the trumpet following the particular exercise. This was why he assigned a 2 octave (or more) chromatic scale following the pedals. With the buzzing exercises the last thing to play was the exercise on the trumpet as played during the lip or mp buzzing part. So, if the assignment was to mp buzz #5 in Schlossberg, then, he would have the student play each line on the trumpet following mp buzzing it.

He didn't always assign both lip and mp buzzing, but if he did then the order would have been for each line in #5: lip buzz, mp buzz and finally play it on the horn without using a valve to make the half step down and back. IOW, the intervals were to be lipped down and back.

With #5 CC expanded it the second week by slurring up and back 1/2 step, etc. The third week was to slur up 1/2 step then back to the original note then down 1/2 step and finally back to the original note with this all being done approx. quarter note = 60 following the 4 Rules,
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tmarshall
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PostPosted: Thu Feb 05, 2015 5:33 am    Post subject: Reply with quote

So on one hand you have the school of thought that you play with abandon until no sound comes out vs only play when not straining (Julie's) there just so many views on how it's to be done. Some are like 'don't do this you'll blow your lip out' or you hurt your self'.......etc. Does one know which style to use? Does anyone know of a CC teacher in Denver metro area? Thanks
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tmarshall
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PostPosted: Thu Feb 05, 2015 5:34 am    Post subject: Reply with quote

So on one hand you have the school of thought that you play with abandon until no sound comes out vs only play when not straining (Julie's) there just so many views on how it's to be done. Some are like 'don't do this you'll blow your lip out' or you hurt your self'.......etc. Does one know which style to use? Does anyone know of a CC teacher in Denver metro area? Thanks
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tmarshall
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bagmangood
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PostPosted: Thu Feb 05, 2015 6:35 am    Post subject: Reply with quote

Caruso's rules should not be applied directly outside of his exercises, and you should build gradually. During the exercises you may feel a strain and you SHOULD play with abandon.

Done correctly, you shouldn't blow your lip out. I don't know of any teachers in the Denver area, but maybe one of the other posters will.
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deleted_user_02066fd
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PostPosted: Thu Feb 05, 2015 1:27 pm    Post subject: Reply with quote

I began studying with a former student of Carmine's, he plays French Horn. He later sent me down to Carmine, I was with Carmine for about 2 years on a monthly basis. I never recall doing any buzzing or mouthpiece playing. My guess is that Carmine gave the buzzing and mouthpiece routines to players he felt would benefit from it.
No one could pinpoint a problem quite like Carmine. I loved to get there early to watch others taking a lesson. Once I walked in and everyone in the room was from my town.
I don't play at all at this moment due to not having enough time to devote to practicing. I retire in June 2016 and if I decide to get back to playing again the first thing I'll do is go to my Caruso routines.
My original Caruso teacher is still in my area and still uses many of Carmine's routines in his daily practice. If I need help, I would not hesitate to call on him.
Long live the 6 notes!!!!!!!
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StupidBrassObsession
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PostPosted: Sat Apr 11, 2015 9:48 pm    Post subject: Reply with quote

I notice in a couple of the videos she mentions the tongue. In particular, in the harmonic series one.

It sounds like she advocates tongue arch, but I seem to remember in MCFB that it says the tongue is a valve only. I'm not sure if I'm mis-remembering.

Could anyone clarify Caruso's ideas about the tongue?
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bagmangood
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PostPosted: Sun Apr 12, 2015 5:54 am    Post subject: Reply with quote

StupidBrassObsession wrote:
I notice in a couple of the videos she mentions the tongue. In particular, in the harmonic series one.

It sounds like she advocates tongue arch, but I seem to remember in MCFB that it says the tongue is a valve only. I'm not sure if I'm mis-remembering.

Could anyone clarify Caruso's ideas about the tongue?


The direct quote I think you're referring to:

"The tongue works on the airstream like a valve to interrupt that airstream. As a valve, it can only work on whatever airstream power that it is supposed to control." (MCFB p. 29)

I don't think he would be either an advocate for or against tongue arch as he was more concerned with developing towards an unconscious mastery of the muscles needed for playing.
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gstump
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PostPosted: Sun Apr 12, 2015 2:42 pm    Post subject: Reply with quote

bagmangood wrote:
StupidBrassObsession wrote:
I notice in a couple of the videos she mentions the tongue. In particular, in the harmonic series one.

It sounds like she advocates tongue arch, but I seem to remember in MCFB that it says the tongue is a valve only. I'm not sure if I'm mis-remembering.

Could anyone clarify Caruso's ideas about the tongue?


The direct quote I think you're referring to:

"The tongue works on the airstream like a valve to interrupt that airstream. As a valve, it can only work on whatever airstream power that it is supposed to control." (MCFB p. 29)

I don't think he would be either an advocate for or against tongue arch as he was more concerned with developing towards an unconscious mastery of the muscles needed for playing.


YUP
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StupidBrassObsession
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PostPosted: Wed Apr 15, 2015 3:53 am    Post subject: Reply with quote

bagmangood wrote:
StupidBrassObsession wrote:
I notice in a couple of the videos she mentions the tongue. In particular, in the harmonic series one.

It sounds like she advocates tongue arch, but I seem to remember in MCFB that it says the tongue is a valve only. I'm not sure if I'm mis-remembering.

Could anyone clarify Caruso's ideas about the tongue?


The direct quote I think you're referring to:

"The tongue works on the airstream like a valve to interrupt that airstream. As a valve, it can only work on whatever airstream power that it is supposed to control." (MCFB p. 29)

I don't think he would be either an advocate for or against tongue arch as he was more concerned with developing towards an unconscious mastery of the muscles needed for playing.


That was indeed the exact quote I remember reading!
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