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How to Use Stamp



 
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TupeloCOTA
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Joined: 20 Oct 2009
Posts: 305
Location: Mississippi

PostPosted: Wed Oct 27, 2010 8:16 pm    Post subject: How to Use Stamp Reply with quote

I am a comeback player and am interested in the Stamp books. I bought the Stamp book and the Roy Poper book as well. The discussion in both books do an excellent job describing the concepts and method for using the actual exercises, but I'm not sure howto put the exercises together. It describes doing a progression of buzzing without the MP, buzzing on the MP then going to exericse 3. So how do you use/incorporate the lip bend exercises and others in the book? I find the concepts for developing your sound and centering pitch to be really logical. Any help would be appreciated. I have been through a lot of the posts on this forum and there is a lot of great discussion here, but I am not sure how to use all of the exercises together.

PS. I know that these books are best used with a competant teacher who is well versed in the Stamp method, but I am just a hobby player doing this DIY. THanks in advance.
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npulsipher
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Joined: 05 Nov 2008
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Location: Greeley

PostPosted: Thu Oct 28, 2010 7:27 am    Post subject: Reply with quote

TupeloCOTA, The stamp books are spectacular! I warm-up with them every day. Good choice!

Basically, the point of doing the lip bends is to find out where the center of you horn is in any given partial so you don't have to lip the pitch around all day to make things sound in tune. I normally only do a few quick bends on a g in the staff to ensure that I know where that center is so I can play right down the middle of the horn for the rest of the exercise.

If you feel like you're working to hard to keep the pitch, you can stop, do another bend to remind yourself where the center of your horn is, and continue.

Is there any exercise in particular that you were curious about? I write a blog disscussing trumpet methods etc and did a demo of stamp 3 a while back. (http://trumpetmethodtested.blogspot.com/2010/09/stamp-3-demonstration.html) if there is another exercise that you are interested in, I would be more than happy to give another demo

Hope this helps!
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Testing, evaluating, and demonstrating trumpet methods and etudes.
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cheiden
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Joined: 28 Sep 2004
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Location: Orange County, CA

PostPosted: Thu Oct 28, 2010 8:13 am    Post subject: Reply with quote

I study with a notable Stamp student for many years now and here's how I approach the method.
1) For a time I did both the free buzzing and mouthpiece buzzing as described in the first few exercises. Approach these with caution. In my case they were not beneficial so my teacher advised me not to continue.
2) After breathing exercises, I start with the first exercise on the horn (3rd space C, up a step, back to C, down to G, up a step, back to G, down to C). Repeat in every key down to pedal C. Follow the instructions TO THE LETTER or the entire effort will be lost. Every few weeks I advance to one of the subsequent extensions of this exercise.
3) Rest
4) Stamp scales starting on G below the staff. Continue up, resting often, as high as is comfortable without straining or blasting. To keep it interesting play this exercise in a different key each day.
5) Rest

That's it for Stamp portion of my routine (I've played many of the other Stamp exercises but not often). Then I move on to selected studies from Schlossberg, Clarke, Harris,...ending each day with Irons.

Best of luck.
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swthiel
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PostPosted: Thu Oct 28, 2010 8:48 am    Post subject: Reply with quote

I use Stamp as part of my fundamentals routine. I cycle through 3/4/4a/5, 3a, and 3b and pull in other bits (like the lip bends) to address specific issues.

Regarding the free buzzing and mouthpiece buzzing -- I strongly suggest you do this only if you have a knowledgeable teacher. When I tried it on my own, I (somewhat ironically) ended up adding a lot of tension to my playing. With a teacher, it helped me a lot, but I only use the free buzzing and mouthpiece buzzing to address specific problems.

I suggest the op get comfortable with 3/4/4a/5 and the modifications of 3, and the Stamp scale exercises as a starting point ... making sure that all the scales are easy and resonant through your entire playing range. Later on, spend some time in the rest of the book and think through how the other exercises address specific issues.
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TupeloCOTA
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Joined: 20 Oct 2009
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PostPosted: Fri Oct 29, 2010 5:30 am    Post subject: Reply with quote

Thanks all, this is what I was looking for. The descriptions here and in the Poper book do an excellent job of explaining the method on terms of the exercises, just not real clear on how to put them together. I haven't used the books much yet, but I have applied the ideas on some of the flexibility and interval work that I was already doing and it really helps me focus the pitch and sound.

Thanks again.
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swthiel
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PostPosted: Fri Oct 29, 2010 6:59 am    Post subject: Reply with quote

One of the biggest things the Stamp exercises did for me was to get me to relax more when I play -- between Stamp and some lip bend exercises, my sound really opened up, and my tuning slide came in about 1/2". I'm not where I'd like to be in terms of relaxed playing, but I've made great progress and the Stamp approach has been a major factor in that.
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cheiden
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Joined: 28 Sep 2004
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Location: Orange County, CA

PostPosted: Fri Oct 29, 2010 7:53 am    Post subject: Reply with quote

TupeloCOTA wrote:
Thanks all, this is what I was looking for. The descriptions here and in the Poper book do an excellent job of explaining the method on terms of the exercises, just not real clear on how to put them together. I haven't used the books much yet, but I have applied the ideas on some of the flexibility and interval work that I was already doing and it really helps me focus the pitch and sound.
Thanks again.

The ideas in the book are solid but the real benefit will only come if you're religeous about doing this routine thoughtfully the first time you pick up the horn each day. By thoughtfully I mean that you take your time and always focus on getting a full resonant sound with modest effort. These same exercises played too hard, too fast or without focus won't help you in the slightest.
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"I'm an engineer, which means I think I know a whole bunch of stuff I really don't."
Charles J Heiden/So Cal
Bach Strad 180ML43*/43 Bb/Yamaha 731 Flugel/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart
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tpter1
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PostPosted: Fri Oct 29, 2010 7:55 am    Post subject: Reply with quote

http://www.livmusic.com/tag/stamp/

That should cover it.
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TupeloCOTA
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PostPosted: Fri Oct 29, 2010 9:35 am    Post subject: Reply with quote

Quote:
Posted: Fri Oct 29, 2010 7:55 am Post subject:

--------------------------------------------------------------------------------

http://www.livmusic.com/tag/stamp/

That should cover it.


Wow, thanks. Great article.
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