Valve Action

[irith]

The act of pressing and releasing the valves is one of the most simple things involved in playing the trumpet. However, it is often the cause of scrutiny, and I have heard multiple, seemingly mutually exclusive thoughts.

Basically, there seem to be two schools of thought on this:

1. Press and release the valve as quickly as possible, leaving no space between completely closed or open. This is done to maintain an absolutely centered sound, allowing one to execute difficult technique and ensure one is always blowing through the core of the note.

2. Have a smoother, more gradual valve action, to connect notes more smoothly. I have heard this is a concept based on the mechanism of the trombone. It is generally used to further one's legato playing.

Is there room for both of these techniques, depending on context? I had always believed #1 to be the only way forward, but a number of very respected players seem to advocate #2 as well, leaving me a bit confused.

My best results seem to have come from the first school, but the respect associated with certain proponents of the second method leads me to believe I might just be doing it incorrectly. What are your thoughts?

[abontrumpet]

I too have thought about this.

I switched to a slower valve action and now its been two years. My fingers have slowed down considerably (just speed...like I can't play clarke as fast as 2 years ago). So that's lame, and my playing didn't get any smoother. Realized its a good "tool" but shouldn't be used exclusively

Keep pressing those valves down and work on the pervasive air (free flowing air). You can be a ball of tension with slow valves...and it isn't going to do anything for your playing.

I switched back to "banging" down the valves. Best decision. My sound is more present and my fingers are flying.

The way you describe the press/release method is perfect.

[Peter Bond]

Who says you have to use one or the other exclusively? Is there room for both piano and forte in the same composition?
Use the technique that compliments or enables the musical effect you are after.
Snapping the valves down as fast as possible as almost a de facto articulation (Freddie Hubbard's rapid lines come to mind), and will make "Flight of the Bumblebee" clear and exciting, but destroy the legato in the second movt of the Haydn.
Moving the valves a little more slowly will indeed enhance the legato or portando, but will blur lines that require clarity and speed.
Slow valve technique has to be practiced; too slow, and you get the well-known nauseating/comical effect. You must also keep the sound going through the change (some old teachers called it playing inbetween the notes). It's another way we can make our playing more vocal and expressive.

[abontrumpet]

Well there you go.

Good point. I will have to incorporate that.

[Addico]

Great point created by you.
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[kalijah]

Abrupt valve movements are an asset to playing. But you DON'T have to "lift the fingers high and strike hard", that introduces extraneous and inefficient movement and reduces timing accuracy..

Slow valve movements WHILE SUSTAINING TONE have an effect if you wish to use that.

[JayKosta]

Try various methods and learn how they affect your playing and the sound.
And then, choose what method applies best to whatever you're playing, and deliberately use it.
Awareness, ability, and control.
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Most Important Note ? - the next one !
KNOW (see) what the next note is BEFORE you have to play it.
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[Billy B]

slam the valves down always.
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[cheiden]

For me, slow-moving valves may be useful as a sound effect. Fast is almost always preferred. The goal is to practice them faster than the music requires so it can be taken for granted and never a concern.
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[superviking805]

For the trombone perspective Jay Friedman has an interesting article where he makes a strong claim for slow valves, "Here is a program I guarantee will give you a sound that will be the envy of your peers."

http://www.jayfriedman.net/trompete/

[Andy Cooper]

I don't see how you could not use both approaches.

Play Zorba's Dance - maybe the Bottle Dance from Fiddler's - some Mariachi music. An American in Paris.

[Crazy Finn]

I'm with the Met Opera guy on this.

Also, there's plenty of room between hammering and light smoothness.
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[Andy Del]

Have to say, Peter nails it.

How you move your fingers - slow, fast, bang, mash(Homer-esque), etc are all, to a degree a skill. This skill set can be something you practice carefully and develop. And talk about a lot.

One day, you will need to stop thinking about it and start playing music. Your brain can take care of the technical details while you sing the music in your head. When I know what I’m after, I can’t tell you what my fingers are doing, they just do it.

Like driving a manual (sorry, stick shift) car / motorcycle. You work on manipulating the clutch, gear selection lever, get it to mesh… think think think. The you are driving/riding smoothy and not thinking about it. Sorry for the analogy, I just got back on the seat after 40 years driving in a ‘cage’…

Or like Rattle conducting. Another analogy.

Cheers

Andy
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