Caruso six magic notes VS. long tones

[Jasonlijuesheng]

Is it ok to practice only one of them?
If the answer is no then what are the differences, pros, and cons about these two methods? How much should I practice each of them?

[PH]

Six Notes takes less than 5 minutes per day. do them both!!!! They accomplish VERY different ends.
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[terry horace]

Is "long tones" a method in and of itself? It seems that longs tones are an ingredient in many different methods. Maybe the OP can elaborate on what they mean specifically?

[vwag]

I use Long tones to work on pure, perfect sound, as good and clear and level as I can make it.

I do Caruso for breathing and endurance, and it has helped me a bunch. I’ve had to work hard to build range and stamina.

Generally I alternate days.

[TrpPro]

THE Caruso Six Notes is not a music exercise. It is a long setting, calisthenic exercise meant to train and balance the muscles of the respiratory system and the muscles of the face that are used to play the trumpet. It is a muscular effort that does not seek a musical result.

In my experience, long tones are practiced with a musical result as the goal.

Practicing the Six Notes, with the Caruso format, should help prepare the embouchure to play long tones musically.

[ljazztrm]

Some popular long tone practices used by players today:

1st page of the Schlossberg

Vizzutti - 'Book One' Long tone arpeggios (more of a moving long tone exercise).

Clarke 1! In spiderweb fashion from the middle out (you can slur and tongue each line, but make the tonguing still like 'one long tone' - let the air do all the work). Of course these are 'moving long tones'.

Rusty Russell's 19/30's exercise - Superb exercise for getting tension out of the chops and getting more resonance to the sound. A lot of players have derived great benefit from this exercise since many of us can always play more relaxed/w less tension.

Bill Adam - Start with a few minutes of leadpipe buzzing. If you have a reversed leadpipe, on a concert D. A regular leadpipe, a concert Eb. Then go into his spiderweb long tones.

Freddie Hubbard used to do an hour of long tones from low F# to top space 'G'.

Wynton does 15-20 minutes of long tones from second line G down to Low G softly to start his daily practice routine.
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[gstump]

Sure, and I would recommend doing the 6 notes as a warm-up first.


Best of luck,

Gordon Stump
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Couesnon Flug (1967)
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[PH]

[dstdenis]

I found a great routine for long tones in the Franquin Method.

His routine starts with sound production exercises. He observed that trumpeters often have trouble getting a clean start to the very first note we play in a piece or after a long rest, especially when the first note is soft, we aren't warmed up very much, or we're getting tired. His exercise start with very soft half notes followed by six beats of rest at a slow tempo—really, just practicing "first notes" while being picky about each note starting cleanly, without airballs or an explosive articulation.

After a few minutes of that across a range from low F# to top-of-staff G, do a few more minutes of the same exercise with a full, strong sound (but not harsh or blaring).

After a few minutes of that come the long tones. Start each note as soft as possible, just like the first sound production exercises. Hold the note as steady as possible, in tune and without wavering, and crescendo to a full, strong sound, just like the second sound production exercises, then decrescendo back down to as soft as possible. Notes will range from low F# to top-of-staff G, starting in the middle and expanding outward in spiderweb fashion. Do this for a few minutes, then rest for five minutes before continuing with your daily routine.

These develop control and strength. It's a long road to make them as clean and smooth as possible, but I started seeing improvements in playing first notes cleanly and doing smoother dynamic changes early on. It's been very helpful for the playing I do.

Since the exercise starts with soft low notes, I also use this as warmup in my daily routine. Two birds with one stone. This was difficult at first because my lips aren't very responsive before warming up, but that's improved by following this routine too.

In an interview with Jens Lindemann, Chris Martin said that one of the most beneficial things he did for his playing was to work on long tones with extreme dynamic changes. I can understand why. They aren't easy (for me, at least), but they do develop embouchure responsiveness and control in ways that no other exercise that I've found will.
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[ljazztrm]

Oh yeah right! The Franquin book is wonderful. I think Maurice Andre said it was his main practice method book right? You can get it on qpress.ca too.

Also, another great book like this (much shorter focused on mostly long tones and some lip slurs) is the Goldman Daily Embouchure studies book. https://qpress.ca/product/daily-embouchure-studies-goldman/
_________________
Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

[rusco]