Comeback Consistency??????

[INTJ]

I am almost three years into my comeback after a 20+ year layoff.

Overall, I am pleased with my progress--I have been taking lessons form Pops for a little over a year, and I am at the verge of another breakthrough.

Here is the frustrating part. I have very little consistency in performances. Some times I play at college level, sometimes at Junior High level. I expect this and understand it, but it is still frustrating!

Anyone other comebackers experiencing inconsistency?

[rebelatheart]

I am about 9+ months into my comeback after a 30 year layoff, and the one thing that surprises me is how consistent practice must be. I MUST practice just about every day (5-6 days per week. Even missing one day, I notice. I'm a long time weight trainer/bodybuilder, and I thought THAT took persistence. I had no idea this would require such a time commitment. Doing it "half-ass" is an un-rewarding waste of time. It is more rewarding, and more enjoyable to work harder and sound better. Those moments when I hear myself play and I can honestly say to myself, "man, that sounded good!" are what make it worthwhile.

[_swthiel]

I have a lot of trouble playing consistently, especially public performances. I'm finding that this is becoming less of a problem as I find more places to play, which suggests to me that part of the inconsistency is psychological.

I also find, however, that my first sound of the day varies considerably. Sometimes the first notes of my warm-up up are rich and clear, sometimes they're strained and breathy. On the "bad" days, I spend longer warming up ... I'll extend the exercises and long tones until I get my sound to be where I want it to be.

Every once in a while, I won't be able to get the sound I want with even 15-20 minutes of work. On those days, the horn goes back in the case and I waste even more time on the TH. I think these "really bad" days are due to some mix of (a) too much playing the day before, (b) too little sleep (lack of sleep really seems to hurt my playing!), and (c) distraction.

Here are the strategies I've used with some success to improve consistency in performance:

• If possible, get a good night's sleep the night before the performance.
• On days before I play out, I will usually do a light warm-up, maybe go over a couple to tricky spots (if any) and warm down. No range exercises or anything too strenuous, just enough to remind myself (mind and body) that I do play the trumpet.
• I try to get a good, careful warm up a couple of hours before I have to play. This way I can resolve any sound problems I may have well in advance of the performance.
• I do a brief warm-up right before the "ensemble" warm-up and run through (if any).

Hope this helps ... I'm curious if other people have some additional strategies.

Steve


_________________
Steve Thiel



[ This Message was edited by: swthiel on 2004-04-15 16:17 ]

[INTJ]

Steve,

My biggest strategy is to lay off a day or two, but inconsistency is from using too much embochure muscle to play. I need to get my tongue working better.

BTW, the "Panda's Thumb" icon in your signature is GROSSS!!! I gagged when I saw it!!

Additionally, next Sunday (and the one after) I am explaining evolution, creationism, and intelligent design to the church youth. I will first point out that you can be a committed Christian and hold to any of those views, but then I will lay out the full theory of evolution with all it's flaws and inconsistencies..................."NO FAIR!!" you may say, but realize these kids are constsantly being indoctrinated about the "truth" of evolution, but probably haven't even been told Darwin proposed two distinct theories and how NO ONE has even been able to propose in detail how things like bacterial flagelum could have devolped in a step-by-step process. I do not care which view they choose to hold to, but I will make sure they hear "the rest of the story......................."

[_swthiel]

[INTJ]

Steve,

I'm not trying to bring you into another debate, just poking a little fun at 'ya, seein' ya saw fit to include the evolutionary link in your signature..............

Blaine

[scarface]

"Anyone other comebackers experiencing inconsistency?"

I've been at it since late January, started Caruso in February (a modified version of Charly Raymond's Getting Started plan), and have found the exercises to bring a fair amount of consistency to my playing at this point. The help build a good "foundation" and add some "leather" and cushion to the lip amount other benefits.

I'm a long way from being able to perform but those are the results I'm having. The 6-notes alone might be of some help.

[DaveH]

Yes, I have some ups and downs, so to speak, but for me, the keys to minimizing all that are:

1. Not thinking that some other mouthpiece is going to solve anything - I always stay with my 3C...

2. Not doing anything to extremes...too long, too loud, etc.

3. Being sure I do a decent warm up and get the lips well warmed up, but not overdoing that either...

4. As long as my embouchure/lips aren't stiff for some reason - and often I don't know why - I will do OK.

5. Being sure that I try to keep my embouchure from doing improper things - such as allowing the lips to open up too much, or not keeping close watch on the focus and center of my tone. I have found that ever since I have played with a more lips together embouchure, and avoiding equipment extremes like trying to play a mouthpiece that is too large or too small - staying with the 3C - my consistency has improved.

6. Remembering that tone is my greatest asset. Other aspects are much less important than tone.

Once the overall system is working well, I am usually content with the mechanics and sound.

IMO, performing ability only comes from performing experience. I don't think you get good at performing by ordinary practice routines. I don't perform any more and I realize that this is a limiting factor in what I can expect from my overall playing progress. I'm only going to reach a certain level - then I must have the challenge of performing to rise to the next level, so to speak. If I want to be a good performer, I'd need to find opportunities to perform, and then, those opportunities would need to be the kinds of things that I want to be able to do. In other words, if I want to be a soloist, I won't develop that skill by playing sectional parts in orchestras or bands, and hoping that solo performance will somehow happen from other kinds of playing circumstances...

[ This Message was edited by: DaveH on 2004-04-17 19:06 ]

[Bruce Lee]

I couldn't agree with DaveH more....

[plp]

Man, I am the poster child for inconsistency, but not without reason. I may get a chance to practice daily for several days, then miss 2, then practice 1, then off 3, etc. due to work. When I get the chance, usually on the weekends, I try to make up for lost time and may play 3 hours on and off Saturday, then am so swollen Sunday it takes me 45 minutes just to loosen up. It seems like I get right on the verge of that breakthrough, then have to start all over. Right now I am taking a small break from work, 10:00 at night and still have an hour of paperwork before I can get to bed.

[_swthiel]

plp,

Dang job! A couple of suggestions:

On the days you can't practice, can you at least find 15 minutes to warm up and maybe do some long tones or Stamp exercises or Clarke exercises? I find that if I can get even a little bit of playing in, it makes a huge difference. This is true even if I have to use a practice mute on a cornet when I'm on the road.

It sounds like you're over-working on Saturdays. You might get more benefit from practicing a little less on Saturdays and getting more "productive" playing in on Sunday (as opposed to spending 45 minutes getting loosened up).

Hang in there!
_________________
Steve Thiel

Matthew 25:31-46

[LeeC]

Performing = Risk taking.

Playing trumpet in performance is all about dealing with risks be they real or imaginary. The single most important way for a Comeback Player to get stronger in performance is to play aggressively. You can substitute the word "louder" if you want.

At least two things happen when you play louder:

1. The air is supporting your chops so you play more accurately. This will also help the inconsistent, day to day playing mentioned in several posts above.

2. You sell yourself through your sound. The audience gets reved up from the excitement. You are a part of the party now!

Do this long enough and your playing goes through a "personality" change. Instead of being the timid follower you are now the supreme leader that turns everyone on.

There are exceptions to this rule. Fortunately rare, certain extremely vain, tone deaf types exist who never seem to get the message that they play TOO LOUD and sound poorly.

If you do make a mistake or two while playing aggressively leave it behind you. I know this is easier said than done. Again, continued performances will help this situation too. By playing aggressively you'll immediately start sounding better and hitting fewer clams. As you get experienced you'll be able to shrug off whatever mistakes you do make more easily.

Try not to judge yourself from the wrong notes, but from the ones you hit right.