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Balancing SA and Other Responsibilities



 
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Pallady
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PostPosted: Mon May 18, 2020 3:53 pm    Post subject: Balancing SA and Other Responsibilities Reply with quote

I recently started looking into the Systematic Approach and began a daily routine to improve on the trumpet, which I think has been working so far. However, I just finished my college marching band application and will soon be receiving music to start working on.

My question is to how I should properly take on this new responsibility while still being able to properly do the Systematic Approach, as this is the first time I actually put a decent commitment into practicing.

Thank you in advance!
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JayKosta
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PostPosted: Mon May 18, 2020 4:20 pm    Post subject: Reply with quote

There's no need to make a decision NOW. But start thinking about the process of how you'll make the decisions and trade-offs.
e.g.
1) Examine the marching music regarding what you need to do to play it, and also how long to memorize (if that's necessary).
2) There are probably some 'key elements' of SA that are most beneficial to you, identify them and perhaps develop your own condensed routine.
3) Learn your limits about the amount of daily practice, and when it's most effective.

Jay
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mafields627
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PostPosted: Mon May 18, 2020 5:53 pm    Post subject: Reply with quote

Are you going to be a music major or are you just doing band for fun?
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gwood66
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PostPosted: Mon May 18, 2020 6:16 pm    Post subject: Reply with quote

If you are going it alone (no instructor) and performing the material as laid out in the book, then you may do more harm than good unless you are careful. Look though the forum threads and you can find several posts on how to implement SA. Depending where you live, I would take a lesson or two from a previous Claude Gordon student to ensure that you are playing the exercises correctly and not trying to work through too much material at one time. Some of the more prominent names post here frequently:

John Mohan - Chicago Area (can only be reached through this website)
Eric Bolvin - San Fransico Bay Area (contact through personal website)
Bruce Haag - Cincinnati Area (contact through personal website)
Jeff Purtle - Greenville SC (contact through personal website/this website)
Matt Graves - New York Area

A lesson will probably cost you $75 for an hour but it will be worth it to learn how to play the exercises correctly. I studied with John for awhile and SA can really help your playing.
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kehaulani
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PostPosted: Mon May 18, 2020 6:27 pm    Post subject: Reply with quote

Question asked seriously.

These are standard materials that SA uses and Gordon's own exercises are based on, what I would also call standard, although not as widely used but certainly used on the Wet Coast (i.e Maggio etc.).

How does doing it without a teacher do any harm beyond any bad habits one may pick up without a good teacher, in the first place?
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Last edited by kehaulani on Mon May 18, 2020 8:23 pm; edited 1 time in total
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Pallady
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PostPosted: Mon May 18, 2020 8:03 pm    Post subject: Reply with quote

Thank you for the responses, I will keep them in mind as I go about my practice, and I may take a lesson with a proper teacher.

mafields627 wrote:
Are you going to be a music major or are you just doing band for fun?


I'm not a music major, but I loved playing the trumpet through high school so I decided to keep going with it for fun.
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mafields627
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PostPosted: Tue May 19, 2020 5:31 am    Post subject: Reply with quote

Pallady wrote:


I'm not a music major, but I loved playing the trumpet through high school so I decided to keep going with it for fun.


Gotcha. At this point who knows exactly what the fall will look like? You will have responsibility for your academic classes and for your marching band practice. Perhaps SA is something that you only practice certain parts from during marching season and then pick back up in the winter (ie, do the Gordon parts but leave out the Arban & Clarke). You can always spend multiple weeks on one lesson. If your marching band doesn't meet every day (at my first college we met T, Th, Fr and my second college was daily from 4:00-5:30) you could do SA on non-band days.

One other thing is that in college band is split into different ensembles, which you may already be aware of, so if you're only in marching band then you will only be going to marching band rehearsals (and maybe one sectional a week) - there is no band "class" other than rehearsal.
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MrOlds
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PostPosted: Tue May 19, 2020 8:26 am    Post subject: Reply with quote

Another way to condense SA (or any method) is to not do every key and/or every repetition every day.

Monday & Thursday play the keys of C, Eb, F#, A
Tuesday & Friday play the keys of B, D, F Ab
Wednesday & Saturday Play keys of C#, E, G, Bb

I’d do this scheme for all parts of SA. Arpeggios down in just those keys. Arpeggios up in just those keys, Clarke in just those keys, etc.

You could also think about whether the recommended repetitions are necessary for you. Are 6 repeats materially less beneficial than 8? How many are enough for you to get the benefits of the exercise efficiently?

Food for thought.
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Pallady
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PostPosted: Tue May 19, 2020 11:54 am    Post subject: Reply with quote

I decided to stick to the third part this year, nothing above a G on top of the staff. I suppose the adjustments that will be made during the marching season will be decided based on what practices are actually like.
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solo soprano
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PostPosted: Tue May 19, 2020 11:56 am    Post subject: Reply with quote

You do not have to practice your routines in the order they are listed. Rather, you can rearrange them to fit your needs. For instance, if double tonguing is the weakest item in your playing, and you happen to have all the range you need, practice the double tonguing exercises first, and the upper register studies last.

As an example,

Claude Gordon / Systematic Approach
*if needed stay on each lesson for 2 weeks*

1. Play Part 1, then rest 15 minutes

2. Play Part II, and the Lip Relaxer, then rest one hour.

3. Play Part III, then rest 15 minutes.

4. Play Part IV, then rest one hour.

5. Play Part V, then rest 15 minutes.

6. Play Part VI, and you are finished.

If time does not allow you to practice in this manner, practice Parts I, II, and III one day, and Parts IV, V, and VI the next, and take two (four) weeks to complete each lesson.
While practicing a particular routine, rest as much as you play. Between routines, rest long enough for the muscles to rebuild themselves, and then some.
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gwood66
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PostPosted: Tue May 19, 2020 1:40 pm    Post subject: Reply with quote

kehaulani wrote:
Question asked seriously.

How does doing it without a teacher do any harm beyond any bad habits one may pick up without a good teacher, in the first place?


After the first few lessons the material starts to add up quick and could lead to overuse/over-practicing. I also believe the natural tendency is to strain for high notes after one should have already called it quits. That is the harm I was referring to.
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kehaulani
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PostPosted: Tue May 19, 2020 2:31 pm    Post subject: Reply with quote

Thanks, but isn't that universal?
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Trumpetingbynurture
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PostPosted: Tue May 19, 2020 3:15 pm    Post subject: Reply with quote

Having a teacher will mean that you do different exercises in a slightly different order. The up and down routines are done in order, but the other stuff tends to get adapted for the level of student in question.

The only word of caution is to not approach the book with a meat-head attitude and force yourself to the end of the routine. If you're feeling beaten up at the end or are really feeling it the next day, then you will want to cut back significantly. It's a lot of work.

You'd be better off most likely taking an alternating-days approach I reckon. For the up study, just do that every other day. For the other studies like clarke etc. do 1,3,5,7,9 etc on one day, and 2,4,6,8, etc on the other days. That way you're covering the material but not abusing your lip. You can do the same thing with the range study as well if you like.

You'll know it's okay to add a little more, because you'll get to the end of the routine and feel like you still have an hour or two of juice left to work on repertoire. You shouldn't get to the end of the routine and be totally worn out.
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