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the Stamp-theme with halftones?



 
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MonkeRules
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PostPosted: Mon Feb 13, 2006 12:12 pm    Post subject: the Stamp-theme with halftones? Reply with quote

Hello!
Well, one week ago I decided to take again a big dive in the Stamp thing. I experimented a bit and I came to a question:
why did Stamp write c-d-c-g-a-g-c instead of c-c#-c-g-g#-g-c? Since "halftones are for free" this variation seems to make lot more sens. It's easier to keep the airflow steady (like in the famed Chicago pattern g-f#-g-a-g-e-c)
Comments?

Thanks,
Michael
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NMex
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PostPosted: Mon Feb 13, 2006 12:33 pm    Post subject: Reply with quote

This exercise comes directly from Schlossberg and is modified, by Stamp, to correct a tendency that trumpet players might have to "gliss", or telegraph the direction, higher or lower as we move between the notes. The Schlossberg exercise would be a simple arpeggio from C,G,E,C. Stamp's modification make it more likely that a player will play each note, on center, over it's duration. This is explained in both Poper's book on the Stamp exercises and in "How to Play arm-ups" by Jean-Christophe Wiener. If you're studying Stamp, without a teacher especially, these are good resources.
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NMex
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MonkeRules
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PostPosted: Tue Feb 14, 2006 2:05 am    Post subject: Reply with quote

Well, I know that it is a modified Schlossberg exercise and I know all the Stamp related books. Stamp is absolutly nothing new to my and I can play them fore and backwards (I worked thru it the 1st semester at the University -now I'm gratuated). But at least to me it seems to make more sense to play only a halftone to correct the "telegraph" tendency, since it is easier to let the valves do the work and keep the flow steady.
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NMex
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PostPosted: Tue Feb 14, 2006 8:11 am    Post subject: Reply with quote

You asked and I tried to explain it as I understand it. Part of what we all have to do as we mature as players is to figure out what works for us as individuals and then mold our practice routines to include those things. But, I'm sure your already knew that - back and forward.
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NMex
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MonkeRules
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PostPosted: Thu Feb 16, 2006 4:36 am    Post subject: Reply with quote

I'm sorry, if I offended you. You said nothing wrong in your answer and you don't know me, so I would probably have answered the same as you did. I was just interested which other individual experiences with some changes in the Stamp stuff other people made.

Regards,
Michael
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swthiel
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PostPosted: Sat Feb 18, 2006 6:35 pm    Post subject: Reply with quote

I've been thinking about this since this thread was originally started. I can't speak for why Stamp chose whole steps in preference to half-steps, but I've played with it both ways. It might be that the half-steps are too easy to play smoothly; I find that I need to focus a lot more to get the whole steps to sound as relaxed and "un-telegraphed" as the half steps.

I do sort of like the tonality with the half-steps ...
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