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Zack_Mac Regular Member
Joined: 13 Aug 2014 Posts: 54 Location: United States
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Posted: Sat Mar 14, 2020 11:06 am Post subject: How to - Charles Colin Lip Flexibilities |
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Hello all,
I have had the Charles Colin Lip Flexibilities book for a long time and I have always liked some of the exercises. But it wasn't until the other day that I realized I have no idea how to structure a practice routine out of it. The book is obviously very progressive, but if you were to start at the beginning and then work up to your highest note, you would be dead.
How do you use the book? I'm asking for any of the 3 Vols. Should one start close to the top of their range?
Some one posted some time ago they took a lesson with Allan Colin and he taught them how his father intended the book to be used, but they didn't explain what they learned. I would love to hear about that.
Thanks all |
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kehaulani Heavyweight Member
Joined: 23 Mar 2003 Posts: 9027 Location: Hawai`i - Texas
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Posted: Sat Mar 14, 2020 11:26 am Post subject: |
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…. _________________ "If you don't live it, it won't come out of your horn." Bird
Yamaha 8310Z Bobby Shew trumpet
Benge 3X Trumpet
Benge 3X Cornet
Adams F-1 Flghn
Last edited by kehaulani on Sun Mar 15, 2020 12:47 pm; edited 1 time in total |
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CJceltics33 Veteran Member
Joined: 24 Aug 2017 Posts: 475
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Posted: Sat Mar 14, 2020 11:37 am Post subject: |
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I would approach a section at a time. I usually do one or two full exercises before I put it down, something different every time. |
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bspickler Veteran Member
Joined: 08 Sep 2004 Posts: 272 Location: Denver, CO
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Craig Swartz Heavyweight Member
Joined: 14 Jan 2005 Posts: 7770 Location: Des Moines, IA area
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Posted: Sat Mar 14, 2020 12:26 pm Post subject: |
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So, you have the complete method, correct?
Start at the beginning. I would, however, read the text about the use of the tongue in performing these exercises (actually, in playing the instrument) and be certain to incorporate it into your practice. Very similar text is found in the Irons book as well as many other methods. Without understanding, and using the tongue-level info you'll likely add very little to your skill level at present. You'll really notice it when doing the lip "trilling", which really has little to do with the lips. And read the rest of the text as well to get some idea of what Mr. Colin advocated.
As far as how much to do? When you start feeling fatigue- rest. If you have no problems going between the low F# and the F# above "high C", keep going. I've never thought the reason to practice these exercises was to wear one's self out.
Good luck |
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harryjamesworstnightmare Veteran Member
Joined: 04 Mar 2010 Posts: 167
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Posted: Sun Mar 15, 2020 12:29 pm Post subject: |
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Like any other exercise I would recommend working on those you find difficult but within your playing range. These are flexibility exercises, not specifically range building. Play the exercises and the etude from that section. When it's easy, move onto the next. You could spend a week or a month on one "chapter". In my daily practice I normally just play the etudes as I've accomplished the technique so the underlying studies are redundant. Can I play all the way to the end of Book 3? No. But they are invaluable in keeping my embouchure supple. Where I place these my daily practice depends on the day. _________________ Brian James
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King Super 20 Symphony
Bach Strad 43 Sterling Silver Plus
Getzen Proteus
Yamaha 6335HS
Olds Super
Olds Mendez
Getzen Custom 3850 Cornet
Conn 80A
Getzen Eterna Flugelhorn |
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