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stiff chops



 
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RJ
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Joined: 27 Nov 2001
Posts: 121

PostPosted: Mon Jun 03, 2002 2:46 pm    Post subject: Reply with quote

I'm in the 3rd week of "Getting Started" and my chops a getting pretty stiff. I'm doing the Caruso first thing everyday and then breaking for 20min and then doing the Adam's routine (I guess it's the basic one most people are familiar with- longtones, clark, schlosberg, expanding scales). I've been resting a lot but I'm gradually getting more stiff and losing range instead of gaining. Could this be a normal adjustment period to a new routine or is there something else I should add or subtract? Any suggestions would be helpful, thanks guys.
RJ

ps- I've been focusing on air and sound, trying to play everything (dynamicly, articulation, etc.) from a space that makes a good flowing sound and then expand that area as it gets more consistent. I'm really not sure what the deal is. thanks again in advance for any suggestions

ppss- excpet the caruso, that stuff i just listen to my foot and blow.

[ This Message was edited by: RJ on 2002-06-03 17:50 ]

[ This Message was edited by: RJ on 2002-06-03 17:51 ]
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
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PostPosted: Mon Jun 03, 2002 4:14 pm    Post subject: Reply with quote

RJ,

It sounds like your chops are getting a good dose of things they've never seen before. As in any other muscular activity that is new, you should expect a period of acclimation to occur. How long? Probably a month or so. Maybe more. Just don't over do it, but it doesn't sound like you're doing that. So that's good!

There are a couple of things you can do to relax your chops and bring them into balance.

1. Play the low F# 5 times. Play it as soft as you can and hold it as long as you can. Do this employing the Four Rules. This exercise should be done at the end of the day as the last thing that you play. You can also do it any time during the day that you feel especially stiff or out of synch.

2. Play the leadpipe. With the mouthpiece inserted and the tuning slide removed, gently blow into the mouthpiece and hold the tone for a full breath. You don't need to set your embouchure in any particular way or think about anything like corners, abs, etc. Just put your lips in the mouthpiece in a very natural way (I like to have my lips slightly parted) and just gently blow. The lips should vibrate automatically, almost like magic. The pitch should be somewhere around a concert D. That doesn't matter. Play several of these. I would recommend doing this first thing of the day, before Caruso, and then 2..3..4... times again throughout the day.

Let me know how it works out for you.

Charly

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Charles Raymond

[ This Message was edited by: bugleboy on 2002-06-03 19:20 ]
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RJ
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PostPosted: Mon Jun 03, 2002 7:22 pm    Post subject: Reply with quote

Thanks, I'll give a go and keep on track.
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_PhilPicc
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Joined: 15 Jan 2002
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PostPosted: Mon Jun 03, 2002 8:13 pm    Post subject: Reply with quote

RJ,

Charles has some very good points. I would just add one thing. Taking a day off now and then doesn't hurt either. We are dealing with muscles, and even athletes take time off for a recovery process. Everyone is different but all my instructors have advocated a rest now and then. You want to build up, not break down.

I know it has helped me because I tend to over extend my work outs, ie. practices at times.

Best of luck,
Phil
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Philip Satterthwaite

We cannot expect you to be with us all the time, but perhaps you could be good enough to keep in touch now and again."
- Sir Thomas Beecham to a musician during a rehearsal
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
Posts: 5859
Location: New Albany, Indiana

PostPosted: Mon Jun 03, 2002 8:30 pm    Post subject: Reply with quote

RJ-

When I was studying with Carmine I had a stretch of 3 or 4 weeks when my chops were pretty stiff and it seemed to take me a couple of hours to warm up. I wasn't brand new to his approach at that time. For me this reaction hit when we first started to work on LSL intervals. Here are the things he had me do to counteract the stiffness (in addition to encouraging calm and patient perseverance). Most of them are just a refresher course on the four rules plus the low F# exercise Charly described above.

1) Really focus on subdividing the beat. Think in 16th notes...even when you're resting or playing whole notes and half notes.

2) Be sure you are blowing steady. If you have to, you can imagine a very slight crescendo on all of the calisthenics that do not include prescribed dynamics.

3) Be sure you are getting a full nose breath. You may need to begin to inhale sooner in the rest measure, or you may need to add beats to that measure in order to be full of air when you start the next sound.

4) Carmine had me play 3 or 4 of the low F#s between each & every calisthenic exercise. Play them ppp and start each one with the breath attack. Hold them for as long as possible.

5) Another study he had me do to counteract stiffness was to tap my foot and set the tempo (mentally subdividing each beat into 16th notes). I would begin to blow air through the horn on beat one, but I would have my lips apart inside the mouthpiece so the note did not speak. I would blow the air for 8 counts and on the 5th count (the first beat of the second measure) he had me bring my lips together until a second line G would speak. Take a nose breath and repeat this 3 or 4 times.

6) Play the Six Notes again at the end of any session before you will have a long break (an hour or more). This is especially important if you end a session on any horn other than your main (Bb) trumpet. Your chops need to reacquaint themselves with the Bb after playing a lot of picc, flugel, or on a gig where you are muted most of the time.
________________________________________

I have also found that many of my students who add Caruso to their practice find it helpful to do a good bit of legato single tonguing and to spend time every day working on double and triple tonguing. Somehow the articulation work (especially legato and multiple tonguing) seems to keep the tongue more relaxed. I find that for me and many of my students the relaxed tongue helps to balance airflow and embouchure and ward off embouchure stiffness.

Good Luck. Let me know if anything in this post is unclear.

[ This Message was edited by: PH on 2002-06-03 23:35 ]
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jgadvert
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Joined: 04 Jan 2002
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Location: Long Island, NY

PostPosted: Tue Jun 04, 2002 8:26 am    Post subject: Reply with quote

Uh Fellas:

Stupid question.

Is low F# you suggest the one in the staff or below the staff(pedal tone like)?
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_bugleboy
Carmine Caruso Forum Moderator


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PostPosted: Tue Jun 04, 2002 9:01 am    Post subject: Reply with quote

It's the 1-2-3 F# three ledgers below the staff. Last note on the horn before traditional beginning of pedal tones.
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jgadvert
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PostPosted: Tue Jun 04, 2002 10:23 am    Post subject: Reply with quote

F# below the staff. Ok. I'll do it everyday. Why F# though? hmmmm.....Did I miss that explanation?
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_bugleboy
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PostPosted: Tue Jun 04, 2002 11:04 am    Post subject: Reply with quote

I don't know why Carmine picked this note. My guess is because it is the lowest note on the horn and therefore least likely to be affected by manipulations and pressure.

He used to say that a lot of players get a tingling feeling in their lips while executing this exercise.
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RJ
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Joined: 27 Nov 2001
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PostPosted: Wed Jun 05, 2002 8:20 pm    Post subject: Reply with quote

a little update so far-

I posted the initial message on monday night. On tuesday I had a brass band rehearsal where I play fluggel so I got to the space, played the low F#'s and then some chromatics to warm up. The rehearsal went great, got a couple of nice compliments on tone and my chops felt good. Then I warmed down with 3 long low F#'s and put the Fluggel away.

Then today, wednesday, I didn't play at all cause I had to work and then I had a compositon lesson. Rather than cram something in I thought I'd take Phil's advice and give them a break.

have a restaurant gig tomorrow night so we'll see how they feel...to be continued....

thanks for the advice guys,
RJ
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RJ
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Joined: 27 Nov 2001
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PostPosted: Sat Jun 15, 2002 7:17 pm    Post subject: Reply with quote

Back again-
Here's what I've been doing for the past week, with great results. I got this routine from the guy I'm studying with now, he got it from Laurie Frink. Plus the stuff you guys suggested.

Buzzing Bend- 2nd line G-F#-G, chromaticly down to C. 1st lips, 2nd mthpce, 3rd horn.

3/4 Bend G-F#-G (bend)- F#(fingered), G-F#-G(bend)-F natural(fingered), continue down to low G

then- 6 Notes
2nds
this week for me- 3rds
harmonics
low F# 5 times

--this with low F#'s, usually 3, played inbetween each part.
This is about 20 min for me
then 20 min off

Then--
leadpipe buzz on D- this is where my horn slots naturally and I've always thought I was messed up and pulled it up to Eb. I think blowing the D might be helping to keep things realxed but firm. I was getting tight forcing up to the Eb.
Irons (mp-mf) -10min
break 5-15min

Haynie- key of the week- I start with the scales first (mp) to expand and open up air flow. 20-30min.

then I'm trying a rotational two day schedual
day 1- clasical
day 2 -jazz
(however much time I can give it with good focus)

this way I dont feel like I'm neglecting one over the other

so far so good, knock on wood- and keep blowin' and tappin my foot.
RJ

[ This Message was edited by: rj on 2002-06-15 22:18 ]
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