What Would You Have Done Differently?

_Don Herman · Posted: Mon Sep 13, 2004 11:38 am Post subject:

What would I have done? Got myself to a good teacher right off the bat. Instead of feeling that I ought to improve myself to the point that I wasn't too embarrassed to play in front of a teacher and sound like a rank beginner. It was an excellent way to reform and cement all my worst habits back into place.

A couple of things I have learned is to follow the music, not the notes, and to take satisfaction in continually meeting short-term goals.

Don't start too hard, or too long... Don't get annoyed because you can't play like you did. In my case, I doubt I ever played as good as I thought I "used to could" when I started again, and now (a few years later) I am absolutely certain that I'm playing better than I ever did in HS or college, including the pro work that'd I'd probably be embarrassed to take pay for now. (The odd raft oar or baseball in the chops notwithstanding.)

Have I mentioned find a good teacher?

FWIWFM - Don (realizing I will be a comeback player (CP) for the rest of my life!)
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Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley

david johnson · Posted: Mon Sep 13, 2004 11:39 am Post subject:

(original, not comeback)
i would probably spend more time w/a 3c & less w/a bach 1.
i wouldn't wait so long to get my schilke.
i would play more jazz, i'm really bad at that!!!! but i like to hear it.

dj

ComebackMan · Posted: Mon Sep 13, 2004 1:01 pm Post subject:

A good teacher is ideal, but how do you find one? Where I live there are not very many teachers around, but even if there were, how would I know a good teacher from a bad one?

In the absence of a good teacher, I would first get on the TrumpetHerald forums and the TPIN forums and read everything I could, asking questions as I went. I would pay particular attention to those which espouse a particular method (Adamd, Caruso, BE, etc.). While doing this I would not play or lip buzz or anything else. After getting familiar with different approaches, I would pick one that made sense to me and go with it.

A good teacher would still be invaluable, but it was a "good" teacher who was responsible for all those bad habits I picked up years ago.

Larry
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Mid 60's Getzen Severinsen
Marcinkewitz Bobby Shew 1.25
Olds Ambassador
Live in Albuquerque, work in Amarillo

_Don Herman · Posted: Tue Sep 14, 2004 6:09 am Post subject:

Larry's post is worth reading again! Larry, sorry your teacher(s) did not work for you... Though, "good" for some isn't always god for all. Maybe you just didn't have one "good" for you? That aside, it's a good point -- what to do when no teacher is available, or convenient? Asking on TH for teacher references is a good start -- there may be one close you can go to. If you're serious, plenty of folk have saved up to see Pops, or Callet, of Jeff Smiley, Adams, John Mohan, or any number of "good" teachers. It may be worth the trip to get started right, or back on track. I still think finding a good teacher who can assess your sound is the best start. But, I'm biased... I found a couple of good ones who made (and are making) a big difference in my playing, and my attitude towards playing, which is arguably just as important.

There's several good methodologies on TH which can be effectively self-taught by a CP. Not sure I would hand them to a beginner, but a uh... ummm.... "more mature" (ok, that may not work either, but you get the idea

) player should be able to guide him/herself better and more effectively than a middle schooler. In most cases. As for me...

BE, Caruso, Gordon are all represented here and can be self-taught. Callet is too, though in my opinion it's harder to learn without a teacher. Chicago is tougher, since we use sound models, and (imo again) Reinhardt requires a teacher to get you going. Adams and Stamp may be similar (in depending upon sound models), though they can all be integrated into your routines. Pops has a wealth of info in his books and is available via phone and email. Ditto Roddy (anybody heard from him lately?) The Maggio system is still available, last I heard, and Carlton is very helpful. Any system will work better with a good teacher ("good" is important, of course).

Finally, I'd like to second Larry's comment to pick one and stick with it. Any good thing takes time, and you'll more confused by bouncing around than if you simply choose and cruise.

FWIWFM - Don
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Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley

Cheng

Getting a teacher is at the top of my list. I fumbled around for several years without any real progress.

Once I started with a teacher my practice time was more structured and I started getting results.

The second thing is to rest. Don't try to overdo the practice time. I now spend about 2.5 hours each day in my practice session but actually playing about 2/3 of that time.

I quit if I am getting flustered. Being flustered is counter-productive and tends to lead me to bad habits.
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Harry Marks
Yamaha 6345HSII;Yamaha 6445HGSII, Schilke E3L, Flugel Kanstul ZKF-1525;
Cornet Conn Connstellation (1967);
Piccolo Kanstul ZKT 1520
Mouthpieces Various Monette Prana 2's
Santa Rosa Wind Symphony
SRJC Orchestra

_Japle · Posted: Wed Sep 15, 2004 4:17 pm Post subject:

Instead of that long MP safari playing mouthpieces that were too big, I would have gone straight to a Marcinkiewicz 11 or 12 or, better yet, the GR62M.
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John
Cape Canaveral

Pat · Veteran Member Joined: 18 Nov 2001 Posts: 396

I would have been less concerned with equipment and more concerned with proper use of air (and firm corners). Comeback players are usually a little older and have more money, so we can afford to buy multiple mouthpieces horns, etc. (its kind of like a candy store for us) At the same time comeback players seem to be more impatient with the progress being made so there is some tendency to seek out the "right" mouthpiece or "right" horn with the hope of accelerating the process (especially the high notes) Personally I think it would have been better for me to have stuck with a middle of the road horn and mouthpiece for consistency while concentrating on the fundmentals and not wasting any capital, mental or otherwise, on equipment.

cperret · Posted: Tue Sep 21, 2004 6:21 pm Post subject: I wish

...I wish I'd had a copy of The Balanced Embouchure in my hands, oh, say 6 years ago? I would have saved myself a lot of grief through college. One thing I'm glad I HAVE'NT done is accepted what my past teachers have told me, like, "Well, some people just aren't meant to play high." That's BS, ladies and gentlemen. So when someone tells you you can't make a comeback, or a change, or reach a certain level, don't believe them. You make the decision.

...That's enough new-age for me for one night! Thanks!
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Cameron Perret

Horns: Bach 37GH, Marvin Stamm French Besson 92BA, Yamaha 6310Z Flugel

radiobob · Posted: Fri Sep 24, 2004 11:46 pm Post subject:

I'm 9 months in, and I think I would be farther along if I had spent less time looking at, and buying, horns off Ebay, it definitely cut into time I should have been practicing and learning. I have mixed feelings about this though, I learned an awful lot about horns, tried out lots, and found a few good keepers, and it probably helped keep my enthusiasm up. I started getting serious when I started taking lessons, my instructor confirmed some things I suspected were true, and gave me a good example of what I should be trying to sound like. Joining a community band right off the bat was a good experience too. Don't be afraid to get involved with a band, I've found that they are very supportive and non-judgemental, most of the people there will be comebackers just like you, with a couple of old hands that will be more than happy to give you advice. By the way Japle, what the heck are you shooting in that pic, a Desert Eagle .50 cal.?

Bob

Bob