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Six Notes soft LOUD soft



 
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Max Reverb
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Joined: 19 Nov 2001
Posts: 115
Location: Phoenix AZ

PostPosted: Tue Feb 19, 2002 9:23 am    Post subject: Reply with quote

Well, I'm to lesson III. I haven't been following the order in the book as much as the schedule Charly Raymond layed out earlier in this forum. I'm doing the six-notes, seconds, fourths, harmonic slurs and six notes s<L>s. On page fourteen in the explanation, Caruso talks of blowing the air faster for the volume. When I started doing the s<L>s notes, as I got louder on the G, the very first note, the note immediately jumped to a C and then up to the E. I had to really concentrate on my aperture to control the pitch to get the volume to work as the exercise says. I thought that was something interesting that happened. Anyhow, my playing continues to improve. I'm finding the sweet spot on every note and my range is continuing to improve. I had solid F's over high C yesterday at the end of a 90 minute session as well as a couple respectable G's. I've found other hints from other places on this forum to help also, tho Caruso didn't say this in his book(at least not yet)like thinking of the high notes as further instead of higher, ie-blowing thru the horn instead of into it. Backing off the blow seems to help to hit the high notes too.

[ This Message was edited by: Max Reverb on 2002-02-19 12:24 ]

[ This Message was edited by: Max Reverb on 2002-02-19 12:25 ]
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_Don Herman
'Chicago School' Forum Moderator


Joined: 11 Nov 2001
Posts: 3344
Location: Monument, CO, USA

PostPosted: Tue Feb 19, 2002 12:30 pm    Post subject: Reply with quote

While Charly may slap me down, it sounds to me (no pun intended!) like you're doing and discovering exactly what you should. Controlling the airstream without jumping notes will force a nice, big area of chop flappin' resulting in a nice, big sound. If you tense up, at least in the wrong way, you'll pop up to the next step in the harmonic series. By getting louder, not higher, as you control the air and thus the volume, you'll be learning to control dynamics while maintaining a rich, full sound with a (relatively) relaxed embouchure.

I suspect by now, or more likely long before, Mr. Caruso would be saying to quit thinking and start tapping and playing!

As for the air analogies, I don't recall any specific ones from the text, but Charly will know. My opinion is that anything which helps you play better would be OK, qualified by the need to ensure you're going in the right direction musically and physically (i.e., not doing something which will cause problems later). Thinking "out" instead of "up" gets our minds off the "highness of notes" and more on a focused airstream, should help keep the tongue from overarching, should help us relax (rather than tense up) as we ascend, and helps us think of playing to an audience instead of our music stands.

FWIW, not an expert, usual disclaimers - Don
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Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
Posts: 2865

PostPosted: Tue Feb 19, 2002 7:31 pm    Post subject: Reply with quote

Max Reverb,

It sounds like you're doing well with the calisthenic exercises. Keep reviewing the Four Rules as you continue to add new material to your daily practice. As far as the Six Note < > are concerned, my first reaction is for you stay with it for several days or weeks. Make it work. There's no rush. SLS's require a combination of controlling your lip tension AND changing the speed of the air. Up to this point you have been only working on contolling your lip tension. If the notes still won't stay put as you increase air speed, we'll have to take a closer look at solutions. Maybe you will solve this on your own.

I don't recall Carmine (in my lessons anyway) ever thinking of high notes other than .......... high notes. But "high" is a relative term that will mean different things to different people and will mean different things to the same person at different times. For example, to me high C is not "high." To a middle schooler it probably is. Usually Eb above high C is no cause for concern, BUT if you're going to double tongue it cleanly on the "Penny Lane" solo on a regular Bb trumpet, that Eb becomes HIGH. For me it absolutely defines that solo. Just one example that comes to mind. On the other hand, I currently end Ciribiribin on a double C fermata, after having the horn on for three minutes, and have little concern about making it. It's all relative! As your range continues to improve, the notes up stairs will become more and more familiar to you and more friendly than they may be at this time.

If mental images are helpful to you, of course, by all means employ them! The real mechanical basis for your success, however, will come from synchronizing all the muscles of the face and respiratory system to act as ONE. This is what you are trying to accomplish with the Caruso calisthenics. Keep up the good work!

Keep me posted on your progress.

Regards,

Charly
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_bugleboy
Carmine Caruso Forum Moderator


Joined: 11 Nov 2001
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PostPosted: Tue Feb 19, 2002 7:35 pm    Post subject: Reply with quote

Don,

Thanks for contrubuting to this thread. Your wit and wisdom are always welcome at my camp fire.

Regards,

Charly
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_Don Herman
'Chicago School' Forum Moderator


Joined: 11 Nov 2001
Posts: 3344
Location: Monument, CO, USA

PostPosted: Wed Feb 20, 2002 9:37 pm    Post subject: Reply with quote

Thanks, Charly -- I always get nervous adding to somebody else's fire! Don't mean I don't do it -- just makes me nervous! As for wit and wisdom, well, maybe "half" the former and my own self quote is applicable to the latter:

"Experience is making lots of mistakes. Wisdom is learning from them. So far, I've lots of experience!"

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