Play/Rest Interpretation

[jhatpro]

When you’re practicing how do you apply the well-known “rest as much as you play” advice? Do you just take a break when you tire? Or do you play for X bars and rest for the same?
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

[Stradbrother]

For long tones/flexibility/flow studies I do, but its built in. 8 counts on, 8 counts off, etc.

But for general practice I just use a timer. Typically 7 minutes practicing and then when it goes off, I rest for 7 minutes. I don't get super technical with it, I don't stop the timer when I'm counting rests, etc.
_________________
Getzen 3051 Custom
Kanstul California 101
XO 1624 C
Bach 183 Flugelhorn
Bach LB 229 Eb/D Long Bell
Bach 184 Cornet
Kanstul 920

[JayKosta]

It would also be interesting (and informative) to know if that amount of rest during a practice session is actually being done.

I don't to any timed or structured rest intervals - just by feel for when I'm ready to continue. I'd guess that my play to rest ratio is about 2:1.

'Course with now playing French horn there are longish 'water drainage' intervals ... the thing is basically a distillery - maybe I should eat lots of corn / rye / barley beforehand.
_________________
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'.

[jhatpro]

For a long time I’ve done much the same thing as StradBrother but lately I’ve been experimenting by grabbing some of my binders full of etudes, charts, etc. and playing 4 or 8 bars of something, then quickly finding 4 or 8 bars of something very different and first singing them (which is essentially resting) then playing them and continuing like this as long as my sound holds up.

I’m finding this to be a more interesting approach, one that also allows me to target challenging material while extending both my sight reading and my endurance.
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

[Richard III]

I play until technique starts to slip. Then take a break and repeat. If after a break, the technique is still not working, take an hour or two off. I try to avoid bad habit practice. Or I go on the the big horns where the problem never comes up. I wonder why I keep trying to play trumpet.
_________________
Richard

King 1130 Flugabone
King 12C mouthpiece

[kehaulani]

I play and rest in equal portions during my warm-up. Then play an etude/tune all the way through and take a short break but just to give my chops a break. I play until I'm tired then stop.

I don't think the on-and-off thing for everything gives you a good, practical balance. You can't prepare for a four-hour dance gig by playing and resting in short bursts.
_________________
"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

[stuartissimo]

[GeorgeB]

I go by whatever my lips are telling me. All I know for sure is when at band practice or doing concerts, I take advantage of any moment I can take my lips off the horn. This seems to work for me.
George
_________________
GeorgeB
1960s King Super 20 Silversonic
2016 Manchester Brass Custom
1938-39 Olds Recording
1942 Buescher 400 Bb trumpet
1952 Selmer Paris 21 B
1999 Conn Vintage One B flat trumpet
2020 Getzen 490 Bb
1962 Conn Victor 5A cornet

[jhatpro]

Here’s a link to an old TH thread about Sergei Nakaraiakov’s remarkable ability that includes some interesting observations about resting as much as you play. https://www.trumpetherald.com/forum/viewtopic.php?t=70968&postdays=0&postorder=asc&start=0
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

[Seymor B Fudd]

Since I´ve had two bouts of the over-use syndrom, even posted about me having become very perspicacious with regards to the state of my lips ever since I began with the BE one might think that I have been warned. But - for some reason I keep finding myself practicing too much.

But more or less forcing myself to take breaks, say 10 seconds between particularly demanding runs, or quitting the horn when the aperture seems to loose its focus- and spacing the practice time is beneficial. 3 practice sesions a day (=possible only because of my status as a leisure strategist (a better word than retired).

So what´s making us ignore the obvious advantages of appropriate breaks?
I tend to believe that for me it´s a drive to get better, "kaizen" all the time, and the time isn´t infinite anymore, if it ever was.
Also a clear streak of impatience. Same day service!

What´s driving you?
_________________
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)

[jhatpro]

What drives me is the persistent thought that I'm running out of time.
_________________
Jim Hatfield

"The notes are there - find them.” Mingus

2021 Martinus Geelan Custom
2005 Bach 180-72R
1965 Getzen Eterna Severinsen
1946 Conn Victor
1998 Scodwell flugel
1986 Bach 181 cornet
1954 Conn 80A cornet
2002 Getzen bugle

[stuartissimo]

[Trumpjerele]

[falado]

Hi, I play the exercise then sing it or the next one out loud or in my head, then play. Sometimes I’ll sing and finger the next exercises then play. Or, I’ll briefly listen to some music on line, pause and start the next one. Currently I’m doing the Kennan Trumpet Sonata for my jury exam this week, so I’ll play a little, listen a little, etc. a little.
This breaks up the practice session so that I’m note tired when done.
Dave
_________________
FA LA DO (Ab: V/ii) MUCS, USN (Ret.)
Stomvi VR (Reeves) with VR II Bell
Bach 239 25A C, Blueprinted
Bach 37, Early Elkhart, Blueprinted
Kanstul Flugel
Getzen 4 valve Pic.
Yamaha D/Eb
Besson Cornet

[gwood66]

I use the play for 8 bars (or more depending on the exercise) rest for 8 bars (or approximately the same length as exercise I just played) type approach. I try to take a short (5 min) break at the 20 minute point. If at any point my mechanics start to slip or I feel like I cant play with ease I put the horn down for 20 to 30 minutes or more. I try to never play until I am wiped out.

When I was just starting out with lessons from John Mohan we would trade off when playing exercises and I was always surprise how much endurance I had. I could make it through a 1 hour lesson without feeling overly fatigued. When I was practicing on my own I was disappointed that I would be blown up after 20 or 30 minutes. Then one day the light bulb clicked on. Practicing like we played during lessons made all the difference. Some times I rest, sometimes I sing the phrase.

Another resting technique I use is taking things down an octave when I am practicing big band charts. I will play it down an octave 2 or 3 times to every time I play it as written.

If you have never seen it, the master class by Scott Belck where he discusses the "chop neutral" concept is similar to what we are discussing on this thread.

https://www.youtube.com/watch?v=V48fiVx3iRw&t=1536s
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Gary Wood (comeback player with no street cred)

GR 66M/66MS/66**
Bach Strad 37
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