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akerber41 New Member
Joined: 14 Jan 2019 Posts: 1 Location: Madison, WI
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Posted: Mon Jan 14, 2019 8:22 pm Post subject: Ensemble Exercises for a bigger sound |
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I am a trumpet player leading a big band, and my trumpet section needs some work. They tend to play too timidly (we play a hybrid of swing and rock 'n' roll, so I need some more oomph), and I'd like to help them develop a more imposing ensemble sound. I'm a fairly accomplished player myself, but I have very little teaching experience, so I'm looking for exercises that we can do as a group that can help ground my continuous advice of "more air". (note: although I am a trumpet player, I do understand the difference between presence and volume, so I'm not trying to just make them play louder) I didn't know enough about music to really grasp the mechanics of what I was learning during my earlier fundamentals phases, so while I have the skills myself, I can't teach them effectively.
I've been doing some low tones with varying dynamics, as poor air support in the low register becomes very apparent (in contrast to the middle register), so that's been helping. We're also working on some listening, I've been using some Maynard Ferguson recordings as examples because even outside of Maynard, his trumpet section has a sound that's similar to what I'm going for. If you have any ideas of great trumpet sections from music history, that would be great as well.
But my main thing is that I need some exercises we can do, as I'm having trouble articulating the specifics of faster/more/high or low pressure air. I would like to work on:
-Moving more air correctly and effectively at multiple volumes
-Playing with a more rounded/fat sound (regardless of volume)
-Tuning to each other
Any advice/ideas would be greatly appreciated, thank you! |
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kalijah Heavyweight Member
Joined: 06 Nov 2003 Posts: 3260 Location: Alabama
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Posted: Mon Jan 14, 2019 8:37 pm Post subject: |
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Usually sound problems are not air problems. If the players don't have tonal development more air pressure will yield little improvement.
Have the players practice low and softly in their individual practice to develop tonal efficiency and clean attacks. Not just long tones but simple exercises such as Clarke studies, Vizzutti book 1, or Pat Harbison's technical studies for modern trumpet. Use varying articulations and slur patterns.
Save the dynamic playing for rehearsals and gigs and you may be surprised at the result. |
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kehaulani Heavyweight Member
Joined: 23 Mar 2003 Posts: 9028 Location: Hawai`i - Texas
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Posted: Mon Jan 14, 2019 9:54 pm Post subject: |
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In addition to the above, keep in mind that good ensemble intonation has a direct effect on balance and carrying presence. _________________ "If you don't live it, it won't come out of your horn." Bird
Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet
Adams F-1 Flghn |
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Seymor B Fudd Heavyweight Member
Joined: 17 Oct 2015 Posts: 1472 Location: Sweden
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Posted: Tue Jan 15, 2019 3:46 am Post subject: Re: Ensemble Exercises for a bigger sound |
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akerber41 wrote: | I am a trumpet player leading a big band, and my trumpet section needs some work. They tend to play too timidly (we play a hybrid of swing and rock 'n' roll, so I need some more oomph), and I'd like to help them develop a more imposing ensemble sound. I'm a fairly accomplished player myself, but I have very little teaching experience, so I'm looking for exercises that we can do as a group that can help ground my continuous advice of "more air". (note: although I am a trumpet player, I do understand the difference between presence and volume, so I'm not trying to just make them play louder) I didn't know enough about music to really grasp the mechanics of what I was learning during my earlier fundamentals phases, so while I have the skills myself, I can't teach them effectively.
I've been doing some low tones with varying dynamics, as poor air support in the low register becomes very apparent (in contrast to the middle register), so that's been helping. We're also working on some listening, I've been using some Maynard Ferguson recordings as examples because even outside of Maynard, his trumpet section has a sound that's similar to what I'm going for. If you have any ideas of great trumpet sections from music history, that would be great as well.
But my main thing is that I need some exercises we can do, as I'm having trouble articulating the specifics of faster/more/high or low pressure air. I would like to work on:
-Moving more air correctly and effectively at multiple volumes
-Playing with a more rounded/fat sound (regardless of volume)
-Tuning to each other
Any advice/ideas would be greatly appreciated, thank you! |
In the trumpet section of my big band we have the same problems, more or less.
1)Getting that fat sound 2)intonation 3)becoming more responsive so as not to step in a fraction of a second too late
One intervention I made was to have the four of us play quartets, mostly chorals - finding these on the net ( www.free-scores.com ). Playing these softly, pp, is very revealing also demanding silent counting - no help from a rhythm section. Also the idea is to have people play beautifully, not blasting away - hence becoming attentive to attacks, holding the notes to their full value etc. Intonation turned out to be a main problem - but was thus highlited. And could be addressed in a "safe atmosphere" - no one had to be stressed by others - as during a gig.
Section rehearsals based on the current scores was/is also helpful.
Plus having people practice..... _________________ Cornets: mp 143D3/ DW Ultra 1,5 C
Getzen 300 series
Yamaha YCRD2330II
Yamaha YCR6330II
Getzen Eterna Eb
Trumpets:
Yamaha 6335 RC Schilke 14B
King Super 20 Symphony DB (1970)
Selmer Eb/D trumpet (1974) |
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dstdenis Heavyweight Member
Joined: 25 May 2013 Posts: 2123 Location: Atlanta GA
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Posted: Tue Jan 15, 2019 5:24 am Post subject: |
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Suggestions:
1. Get the bells out of their stands, either above or off to the sides.
2. Make sure the rhythm section isn’t playing too loud.
3. Make sure everyone is playing in tune with a good sound.
4. Encourage everyone to play together with style. It’s a more fun, positive approach than talking about mechanics, and yet it will lead them toward the sound you want. _________________ Bb Yamaha Xeno 8335IIS
Cornet Getzen Custom 3850S
Flugelhorn Courtois 155R
Piccolo Stomvi |
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JayKosta Heavyweight Member
Joined: 24 Dec 2018 Posts: 3306 Location: Endwell NY USA
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Posted: Tue Jan 15, 2019 5:28 am Post subject: Re: Ensemble Exercises for a bigger sound |
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Seymor B Fudd wrote: |
...
3)becoming more responsive so as not to step in a fraction of a second too late ...
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With 'timid players', late & too soft is a problem. It is vital to have the 'air' ready to play, and the confidence (and skill) to release the note at the correct time and with the appropriate loudness.
Many scores are marked with the 'ensemble' loudness, but if the actual notes are part of a melody line they need to be slightly louder.
For timing of articulations, hand clapping the rhythm can help everyone learn to be in sync.
Jay _________________ Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
PLAY the next note 'on time' and 'in rhythm'.
Oh ya, watch the conductor - they set what is 'on time'. |
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mafields627 Heavyweight Member
Joined: 09 Nov 2001 Posts: 3776 Location: AL
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Posted: Tue Jan 15, 2019 5:32 am Post subject: |
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Check out The Breathing Gym. _________________ --Matt--
No representation is made that the quality of this post is greater than the quality of that of any other poster. Oh, and get a teacher! |
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jhahntpt Heavyweight Member
Joined: 19 Apr 2010 Posts: 676 Location: Southington CT
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Posted: Tue Jan 15, 2019 7:53 am Post subject: |
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Long tones, lip bends, lip slurs, and breathing exercises. _________________ Bb: Yamaha 9335NY Gen3
Bb: Yamaha 8310Z
C: Shires 4S/W1B
Piccolo: Yamaha 9830
Flugel: Yamaha 8315G
Cornet: York Eminence |
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JVL Heavyweight Member
Joined: 07 Feb 2016 Posts: 894 Location: Nissa, France
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Posted: Tue Jan 15, 2019 8:06 am Post subject: |
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hello
i agree with posters like kalijah & al. about developping the resonance and cleanness by practicing pp. Teach them do it with a tonic aperture, i mean without pinching/closing the aperture; try, playing pp, to get and keep the tonicity and aperture you'll use while playing ff.
This with the right lip alignment/horn angle, when they add the breath and abdominal support, they'll able to play loud with a rich sound.
Practicing the aperture control with the Bobby Shew "yes-no" exercice will help too.
best |
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gchun01 Veteran Member
Joined: 29 Mar 2013 Posts: 270
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Posted: Tue Jan 15, 2019 11:53 am Post subject: uit |
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Lots of good suggestions here that I agree with especially:
1) bells out of the stands
2) playing in tune
But a more aggressive sound can come from tight ensemble phrasing. You can actually play softer when articulations are exaggerated and the section sound is more compact.
Quite often, when a director as for more aggressive sound, the brass tend to lean toward a loud, often blary sound. While that might work for outdoor pep band playing, it ruins the sound of a jazz ensemble. |
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Brad361 Heavyweight Member
Joined: 16 Dec 2007 Posts: 7080 Location: Houston, TX.
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Posted: Thu Jan 17, 2019 7:33 am Post subject: |
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kehaulani wrote: | In addition to the above, keep in mind that good ensemble intonation has a direct effect on balance and carrying presence. |
You beat me to it, that’s exactly what I was going to mention.
Also, IF part of the problem really is the players being timid, mention that if they are holding back for fear of fracking a note, THAT can make it more likely that they will. I have young students who do this, I have done it myself years ago.
Brad _________________ When asked if he always sounds great:
"I always try, but not always, because the horn is merciless, unpredictable and traitorous." - Arturo Sandoval |
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