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Bill Adam's Warm Up Routine


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trumpity
Regular Member


Joined: 17 Jun 2002
Posts: 91
Location: Los Angles, CA area

PostPosted: Tue Jun 18, 2002 3:29 pm    Post subject: Reply with quote

That's "out front"..sorry about the typo
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
Posts: 5520
Location: Bloomington Indiana

PostPosted: Fri Jun 21, 2002 3:47 pm    Post subject: Reply with quote

Hi Kim, and welcome to TH! Feel free to chime in wherever you like.

Kim Peterson is a former Adam student who was in Bloomington in the good ole days with Chris Botti, Bob Slack, Bob Baca, John Harbaugh, myself, and a cast of thousands. It will be nice to have yet another first hand account of working with Mr. Adam.
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Atomlinson
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Joined: 21 May 2002
Posts: 327
Location: Somerset England

PostPosted: Sun Sep 21, 2003 11:07 pm    Post subject: Reply with quote

Thank you Pat for your very instructive and thought provoking posts - and it's completely free! Fantastic! Perhaps one day you could put all this in a book (You,ve probably virtually almost written one over the years on TH anyway.) I believe that Adam (like Cichowicz) taught so individually that some things can't be written down, yet as you have so ably demonstrated there are many concepts and principles which are applicable to the art of trumpet playing.

I think the suggestion above that the Adam philosophy and the Chicago School are close cousins is right. Don Herman has also pointed this out. (Song & Wind concepts especially)

There seems to be a tendency to divide everything up into different schools of trumpet playing based around a famous player or teacher (or both). But this also breeds a certain amount of hostility of the sort we've seen too often in other forums where people argue and insult each other with an almost religious fanaticism. They believe they possess the ultimate "truth" as handed down by their teacher, and everybody else is wrong. And woe betide any person who dares challenge any of their sacred truths! I do wonder sometimes if this is only confined to the trumpet playing fraternity. Do horn, trombone and tuba players indulge in this internecine warfare?

[I should just say that because I bring this subject up on the Adam Forum, I am in no way suggesting that PH is as described above.]

My philosophy is fairly simple - if something like using the lead-pipe helps - then use it. If it doesn't do anything for you after a reasonable trial - bin it!

Just my thoughts on a wet Monday morning. (Thankfully no hurricanes over here)

Andrew Tomlinson





[ This Message was edited by: Atomlinson on 2003-09-22 02:37 ]

[ This Message was edited by: Atomlinson on 2003-09-22 02:40 ]

[ This Message was edited by: Atomlinson on 2003-09-22 09:03 ]
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_Handballsteve
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Joined: 15 Feb 2003
Posts: 123
Location: Illinois

PostPosted: Mon Feb 09, 2004 1:11 pm    Post subject: Reply with quote

Hi all,
A quick question for those that know and would be kind enough to answer; When blowing the mouthpiece/leadpipe shoud I be using the tongue or using the breath alone? Same question in regards to the long tones.
Thanks alot , I really enjopy this forum.
Steve
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Nonsense Eliminator
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Joined: 03 Feb 2003
Posts: 5179
Location: Toronto

PostPosted: Mon Feb 09, 2004 1:36 pm    Post subject: Reply with quote

hbs --

Mr. Adam never had me start with a breath attack.
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
Posts: 5520
Location: Bloomington Indiana

PostPosted: Mon Feb 09, 2004 2:58 pm    Post subject: Reply with quote

Through most of my time in his studio Mr. Adam had me start everything including pipe with the tongue.

He personalizes everything for each individual student. Any good teacher does. Sometimes he would change HOW he wanted me to play the routine in terms of volume, kind of attack, tempo, etc. without changing what studies I practiced. There was even a brief period when he had me start all my long tones with a breath attack. This was to work on a problem that he perceived in my development at that stage.

It isn't wrong to start leadpipe with a breath attack, but in asking several people today informally it seems that in general he had people pronounce the beginning of the leadpipe notes.
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_Handballsteve
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Joined: 15 Feb 2003
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Location: Illinois

PostPosted: Mon Feb 09, 2004 4:14 pm    Post subject: Reply with quote

Thanks PH and others,
I appreciate your quick responses. Now what sound or syllable do you use to pronounce the sound? What does your tongue do?
Thank you,
Steve
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screamer
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Joined: 26 Aug 2002
Posts: 191

PostPosted: Mon Feb 09, 2004 4:32 pm    Post subject: Reply with quote

I dunno if there is really a right syllable for a certain exercise, I think you should just pronounce everything like you would if you were playing any other time.

If it helps any, I have TOO TOO written on most everything I own. :smile:

[ This Message was edited by: screamer on 2004-02-09 19:33 ]
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dbacon
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Joined: 11 Nov 2001
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Location: North Scottsdale, AZ.

PostPosted: Mon Feb 09, 2004 7:29 pm    Post subject: Reply with quote

The Leadpipe is such a great way to activate and relax the breath. And it always works, no matter how abused your chops are.
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_Don Herman
'Chicago School' Forum Moderator


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

PostPosted: Mon Feb 09, 2004 7:43 pm    Post subject: Reply with quote

A thought... A tongued attack will get the music (buzz) going easier, especially when just the leadpipe is used. Without the extra resistance of the horn, there may be tendency to overblow and spread the chops more. At least, I seem to blow harder on a breath attack into the leadpipe than a tongued attack, adding a bit more tension to my playing. The (acoustic) resistance is the reason, I think, that the leadpipe seems so much more effective than using an open mpc (or lip buzzing). The resistance is closer to playing the horn, but without the rest of the horn it's easier to get that relaxed flow going and just make that leadpipe sing and resonate where it wants to be. Mentally and physically. At least for me. YMMV - Don

PH -- As usual, delete if way off base!
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Don Herman/Monument, CO
"After silence, that which best expresses the inexpressible, is music." - Aldous Huxley
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senea
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Joined: 19 Mar 2003
Posts: 131

PostPosted: Mon Feb 09, 2004 8:26 pm    Post subject: Reply with quote

Man I feel like a tool - I don't get this leadpipe thing at all. It feels like absolute crap to me. What am I missing?
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
Posts: 5520
Location: Bloomington Indiana

PostPosted: Tue Feb 10, 2004 3:42 am    Post subject: Reply with quote

re: Syllables

Mr. Adam has different people pronounce different syllables depending on what he is trying to accomplish with your present stage of development. Different syllables cause your body to form the sound different ways. A "doo" causes your chops, oral cavity, tongue position, etc. to set up in different ways than a "tah" does. Therefore the syllable he assigns you is a prescription.

If you don't have someone knowledgable and objective helping you with a prescribed syllable, I suggest you experiment with both "dah" and "doo" and see which one works for you.

re: Senea and the leadpipe

Tell me as soon as you know your schedule for when you are coming to B-town and we'll do it in person. Some things just can't make sense over the net.

[ This Message was edited by: PH on 2004-02-10 06:44 ]
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GAL
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Joined: 29 Sep 2003
Posts: 15
Location: Pittsburgh

PostPosted: Tue Feb 24, 2004 7:47 am    Post subject: Reply with quote

PH,

I've read where you talk about "KEEPING THE SOUND OUT FRONT". Even Kim Peterson spoke about that in this thread. My question is: Did Mr. Adam want you to hear your sound out in front of your bell or were you supposed to imagine it out front? It seems that this is something very important that is being stressed while intensely concentrating on our sound.

I'd appreciate your insight on this.

Thank you,

Gene
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
Posts: 5520
Location: Bloomington Indiana

PostPosted: Tue Feb 24, 2004 7:14 pm    Post subject: Reply with quote

This is a toughy to talk about. It is something that is hard to describe and obvious AFTER you have experienced it. More later...
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Nonsense Eliminator
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Joined: 03 Feb 2003
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Location: Toronto

PostPosted: Tue Feb 24, 2004 7:50 pm    Post subject: Reply with quote

Fools rush in...

I actually asked Mr. Adam about this point-blank. Unfortunately, I can't recall his answer exactly, because it simply confirmed my impressions about what he meant. It is very difficult to verbalize, but I'll give it a shot and hopefully Pat can refine my demented ramblings...

Sometimes we tend to play the trumpet with a sound that is "dark" (diffuse) and "round" (dull) and "warm" (limp) and doesn't go past the end of the bell. (In case that was too subtle, I don't care for that kind of sound.) When I catch myself generating that kind of sound, it feels as if the sound is in my mouth or throat -- obviously, that's completely psychological, but I think many people can relate to that sensation. That is the kind of sound that would provoke Mr. Adam to say, "Way out front, now!" On the other hand, when I am making a sound that is vibrant and energized and exciting, it seems to start somewhere past the end of the bell and keep going.

It's not about blowing harder or playing louder, but somehow thinking of playing with the sound "way out front" encourages me to get the sound out of the trumpet and into the room where it can do some good. Again, this is strictly a mental image and not a physical one, but playing "way out front" seems to involve blowing through the trumpet (or through the sound) rather than into it.

Hope that makes at least some sense!
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
Posts: 5520
Location: Bloomington Indiana

PostPosted: Tue Feb 24, 2004 7:59 pm    Post subject: Reply with quote

Adam also talked about how the sound was made at the front of the mouth and that the flowing air kept the sound in the front of your mouth, not in the back.

Hmmm...
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da_roadrunner
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Joined: 19 Jan 2003
Posts: 355
Location: University of North Dakota

PostPosted: Tue Feb 24, 2004 8:02 pm    Post subject: Reply with quote

some recent revelations for me on leadpipe buzzing -
during my initial "bill adam" style lesson this past weekend (from Grant Manhart), he explained leadpipe buzzing pretty well. first he had me blow in the mouthpiece like i was going to play, but not "buzz." of course nothing came out. then he had me do the very same thing, but move the leadpipe onto the mouthpiece as i was doing it. the minute it came in contact a buzz started. he then explained how a mouthpiece "naturally" buzzes at about the Eb above double high C, but once you get the pipe attached, it gets lowered to a more comfortable note (f).
It was a very interesting lesson, and i'm looking at the possibility of more lessons and maybe even going to school there (NSU, aberdeen SD) next year. we'll see how the scholorship situation comes out.
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PH
Bill Adam/Carmine Caruso Forum Moderator


Joined: 26 Nov 2001
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Location: Bloomington Indiana

PostPosted: Tue Feb 24, 2004 8:06 pm    Post subject: Reply with quote

You would be in GREAT hands working with Grant. If you speak to him again, please give him my regards.
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Billy B
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Joined: 12 Feb 2004
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PostPosted: Wed Feb 25, 2004 6:16 am    Post subject: Reply with quote

GAL,

Imagine the sound is just behind your eyes. This type of sound is easier to hear in the voice as our concept of trumpet sound tends to be bastardized by listening to too many conductors. More on that later. Jussi Bjorling, Mario Lanza, even Joe Fenney (yes from Lawrence Welk) all have that up front sound. To the singer/player it almost sounds nasal, but get out in the auditorium and it merely sounds like someone with a great deal of presence and clarity in their sound. The sound you hear from the audience is different from what the performer hears on stage. Even the sound of a good fiddle will sound harsh if you are three feet away, but put that sound up on stage and it warms nicely by the time it gets to the audience. Even an electric bass amp that sounds right on stage will sound "muddy" in the auditorium. The equalization must be set a bit on the "bright" side to get the desired effect. Mr. Adam would often stand behind the student to make sure the "on stage" sound was correct. Too many conductors don't get this and often try to balance good brass sound with poor string sound. The strings are often subject to inferior instruments due to the cost factor, while the best trumpet can be purchased for under $1500, thus in school and amatuer orchestras you find a more professional sound in the brass than the strings. Close micing in the studio can also produce a harsh sound. Tape used to warm up the sound but the best sound still comes from micing a good sounding room, not the instrument. Some are even experimenting with wooden mouthpieces to warm up that cold digital sound. Too much technology and too much BS has almost ruined a good thing. Read more about the Bel Canto school of voice. They had it correct.

Billy B
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GAL
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Joined: 29 Sep 2003
Posts: 15
Location: Pittsburgh

PostPosted: Tue Mar 02, 2004 11:46 am    Post subject: Reply with quote

Billy B,

Thanks for your description and response. Was that something that Mr. Adam said to you in a lesson about how you should be keeping your sound out front? I'm concentrating on my sound, but this is still new to me.

I've also read the article by Charley Davis regarding the Bel Canto school and the connection of their teachings to voice and the corrolation to the trumpet. Excellent article! I know that Charley, you, Kevin Kjos, PH and Mr. Adam are all right on the money when you talk about focusing on your sound. I feel by focusing on my sound and thinking (imaginig) the sound "way out front", I'll get to the desired results that I'm looking for. I do know that my sound quality has improved, but I want to make sure that I'm headed in the right direction.

Thanks again and any information is greatly appreciated.

Gene
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