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Jonny Boy Veteran Member
Joined: 23 Oct 2002 Posts: 177 Location: London, England
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Posted: Thu Oct 24, 2002 4:10 am Post subject: |
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Hi Pat
I've been interested in the Bill Adam approach for some time now and hopefully I'll get a chance to see him in spring next year. In the mean time I have his video set to work with.
One thing that frequently causes me problems is my breathing and blowing the leadpipe. On so called "good days" I can blow a concert Eb and get a really resonant sound (even though my leadpipe is slightly longer than the standard Bach) and I can really feel the air moving. But on the "bad days" I struggle to get the Eb and the breath isn't free and relaxed. Consequently this is reflected in my sound on the trumpet. I'm concerned not to make a big deal out of this but it's really holding me back.
I want to be able to practice all day (with breaks of course) and I'm more than prepared to put the work in, but on these bad days (more often) I'm lucky if I can manage 1-2 hours without my chops feeling shot and then swollen the next day.
I'm trying to do what Bill Adam says on the videos but it's just like my chops aren't responding to the air, or my breath is a lot more tense than I realise.
I'm fairly sure it's nothing to do with my embouchure although when the air's not moving freely I find it doesn't seem to set right but on a good day I don't even notice it (think about it).
Hope you can help
Jonathan Radford U.K
[ This Message was edited by: jonny boy on 2002-10-25 19:05 ] |
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PH Bill Adam/Carmine Caruso Forum Moderator
Joined: 26 Nov 2001 Posts: 5865 Location: New Albany, Indiana
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Posted: Tue Oct 29, 2002 2:12 pm Post subject: |
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Hi, Jonny Boy-
It is difficult to get into specifics without seeing and hearing you play. Therefore, I must necessarily speak in generalities. The things I say are very likely to be applicable.
1) With the leadpipe pitch it is less important to get the "right" pitch than it is to get a resonant quality of sound, get the breath flowing in a free but energized manner, and establish the position and resilience of the embouchure by blowing the chops into position. If you think of moving the air through the leadpipe with energy (but not force or muscle) this will likely help. Imagine that the air keeps the sound "to the front" by thinking that the moving air is turned into sound somewhere out in front of your face (or inside the pipe). Also, sing the Eb loudly in your imagination as you play.
2) Rest as much as you play. At first (especially given that endurance is a challenge right now) you want to play for shorter periods and rest proportianately. I do not just mean that you beat yourself up for 20 minutes relentlessly and then take a 20 minute break. After every scale, longtone, line from Arban or Clarke, etc. you should rest just as long as you play. I like to sing the next thing I am playing (in the same tempo) before I play it. This attunes my ears to the pitch and sound and forces me to rest as much as I am playing during each practice session. If you practice for 2 hours the horn should be on your face for 55-60 minutes max. As you develop you should (very gradually) increase the length of time you play and also the length of time you rest.
3) Always keep your sound as your primary focus.
4) Keep your air constantly energized & in motion through the sound.
5) Keep your physical and mental energy high regardless of what register or volume you are playing. Do not back off of your energy when you play soft or low. "When you play loud you shout a shout and when you play soft you shout a whisper!"
[ This Message was edited by: PH on 2002-10-29 17:14 ] |
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