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WHY PRACTICE LIP SLURS?


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BlueDevil
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PostPosted: Thu Sep 09, 2004 10:12 pm    Post subject: Reply with quote

Thanks for that Matt.
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dave belknap
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PostPosted: Thu Sep 09, 2004 10:36 pm    Post subject: lip slurs Reply with quote

Employing the Max Schlossberg Daily Drills and Technical Studies For Trumpet, I play (every day, without fail) the following lip slur numbers for warmup and cool down:
14, 15, 18, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 32, and 35. The rest period beween each exercise should approximate the time that was required to play the preceeding exercise. They are boring, time consuming and VERY EFFECTIVE!! They should be played in numerical order, exactly as written. I have been playing these same exercises in this exact order, for 60+ years. If I could find anything that is more interesting or more "fun" to play, that worked as well for me, I would have changed years ago. I have had "iron chops" since the age of nine, which I credit to the Schlossberg Studies, which I first received in hand written form, from Harry Freistadt, Mr. Schlossberg's son in law

Dave Belknap
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SPITTY
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PostPosted: Fri Sep 10, 2004 7:19 am    Post subject: Reply with quote

How can you NOT practice lip slurs! They are absolutely essential to playing the instrument. You cannot play a fast ascending A minor 7 chord without having great flexibility, you also cannot play a fast ascending E major 7 or E minor 7 chord with proper lip slurring technique, unless you tongue every note, just for two examples, there are many others.

Also they buidl your chops up like nothing else can.

Cheers,
Spitty
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breden
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PostPosted: Mon Feb 12, 2018 5:43 pm    Post subject: Reply with quote

Sorry for bumping an old thread however really pleased to say that I've been following the Dave Belknap routine for Schlossberg daily with great results. Before then I utilized Frink's daily routine and have now switched to the Belknap series of exercises. Really does a great job of building the embouchure. I usually throw in a couple of Frink exercises at the end and add some Clark tonguing and am ready for the day. For the Schlossberg set - I have all 15 exercises copied (also in order so to avoid page turns). We will see how this goes but its tough to argue with a guy who made his living as a trumpet player in LA. Really great that he posted his routine at Trumpet Herald years ago.
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Rod Haney
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PostPosted: Mon Feb 12, 2018 7:13 pm    Post subject: Reply with quote

breden wrote:
Sorry for bumping an old thread however really pleased to say that I've been following the Dave Belknap routine for Schlossberg daily with great results. Before then I utilized Frink's daily routine and have now switched to the Belknap series of exercises. Really does a great job of building the embouchure. I usually throw in a couple of Frink exercises at the end and add some Clark tonguing and am ready for the day. For the Schlossberg set - I have all 15 exercises copied (also in order so to avoid page turns). We will see how this goes but its tough to argue with a guy who made his living as a trumpet player in LA. Really great that he posted his routine at Trumpet Herald years ago.


There is another current thread where a player is also using this as a routine with good result. I started doing it a little over a week or so ago and as long as I try to pay attention to things I notice the next day gets better.

In his explanation he says he does it for warm up and cool down. I cannot manage that if I get a few hours of other work in too. I just play as far as I can and try to get farther next day. I figure if it's a cool down I shouldnt sweat it too much. The guy must have had chops of steel to warm up on it play gigs and use it to cool down. I sure got a way to go to get that down comfortably.

How long did it take you to get there using this? I don't want to start a day with sore chops if it's not necessary.
Rod
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EricV
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PostPosted: Mon Feb 12, 2018 8:21 pm    Post subject: Reply with quote

Rod,

I have been doing the Sclossberg daily for just on a month now and it seems to be making a difference in my use of air and tongue level and my endurance, i also make sure i rest plenty when doing it.

I do it first thing in the day then rest for an hour or so (i only go to number 29)

The rest of my routine i spread through the day, Colin flexibilities, Clarke Technical, Gordon Systematic approach etc, you get the idea

Regards
EricV
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1jazzyalex
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PostPosted: Mon Feb 12, 2018 9:07 pm    Post subject: Reply with quote

Capt. Z wrote:
I always compare lip slurs to the iron pumping of an bobybuilder.

Builds stregth and flexibility.


I'd consider long tones the "iron pumping" and lip slurs doing the neat stuff you can do with your now-muscly body, jumps and backflips and such things.

So for me, the answer is: Because they're fun!
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MrOlds
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PostPosted: Mon Feb 12, 2018 10:00 pm    Post subject: Reply with quote

If the music you perform never requires a slur feel free to not practice them.
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EBjazz
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PostPosted: Mon Feb 12, 2018 10:05 pm    Post subject: Reply with quote

There is a difference between lip slurs and flexibilities. The ones in the first few pages of Schlossburg are slurs and work well for warming up. Irons and Smith are flexibility. Most trumpet players need to practice both types daily in order to play their best. If you don't, then consider yourself lucky.

Eb
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EricV
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PostPosted: Mon Feb 12, 2018 10:16 pm    Post subject: Reply with quote

+1

Thats what i was getting at in my post above, but you said it much better!!



EricV

PS
Check out EBjazz book Flex on the Move on his web site, its a different take on flexibility and fun to play
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GeorgeB
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PostPosted: Tue Feb 13, 2018 4:42 am    Post subject: Reply with quote

I include 2 octave lip slurs in my daily practice for all the reasons mentioned by the other posters above.
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dstpt
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PostPosted: Tue Feb 13, 2018 6:49 am    Post subject: Reply with quote

I gave them up for Lent.

Wait. That starts tomorrow. Well, do I get extra credit for starting early?!
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BobD
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PostPosted: Mon Feb 19, 2018 2:56 pm    Post subject: Reply with quote

I like doing lips slurs cause they sound and feel good.
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