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The Mystery of the 6 notes


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gstump
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PostPosted: Sat Feb 16, 2013 12:12 pm    Post subject: The Mystery of the 6 notes Reply with quote



Lesson 1:
I always pondered why I put the breath attack on the whole note. I just found my lesson plan for week one back in 1968. Mr. Caruso said that I did not sound like the studio players in New York that studied with him. He said there is no reason I could not sound like them on a middle G. He assigned 20 minutes of the 6 notes with the rules and breaks. I did them for two (2) weeks only counting playing toward the 20 minutes. It took some self control.

Lesson 2:

Mr. Caruso smiled and said now I sound like his other pro students on a middle G! (I was not a pro).

I asked too damn many questions. He put a stop to that in red ink!!!

Great stuff!!! The best teacher I could have ever dreamed of!!
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Last edited by gstump on Sat Feb 16, 2013 12:14 pm; edited 1 time in total
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bagmangood
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PostPosted: Sat Feb 16, 2013 12:14 pm    Post subject: Reply with quote

Great story and picture!
I've been meaning to do a post (probably thinking too much) on where to put the breath attack in 6 notes.
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connicalman
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PostPosted: Sat Feb 16, 2013 1:12 pm    Post subject: Reply with quote

"Don't Think"

Do show!! And thanks for the share.
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Gregory Gilmore
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PostPosted: Sat Feb 16, 2013 2:12 pm    Post subject: Reply with quote

Excellent! More please!
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trumpetlane
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PostPosted: Sat Feb 16, 2013 2:20 pm    Post subject: Reply with quote

I always thought the breathe attack went on the first half note.....
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oxleyk
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PostPosted: Sat Feb 16, 2013 2:31 pm    Post subject: Reply with quote

trumpetlane wrote:
I always thought the breathe attack went on the first half note.....


That's what my book says but I've heard others who studied with CC say that he told them to do it the other way.

Kent
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gstump
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PostPosted: Sat Feb 16, 2013 2:44 pm    Post subject: Reply with quote

Yes, I believe Musical Calisthenics for Brass has the breath attack on the first half note. I always wondered if I was imprinted to do it different or maybe I just messed it up. That is why it was interesting to find the manuscript.

When I was teaching at the university I gave all the students in the symphonic band the six notes as a warmup. These were very good players. The band director said he did not know what I was doing but the trumpet section was more accurate. I attributed that to the balance and setting gained from the 6 notes.
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trumpetlane
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PostPosted: Sun Feb 17, 2013 4:17 am    Post subject: Reply with quote

I see the on the bottom the harmonic slurs are written in. My teacher studied with CC and he would write in more harmonics above high C. I don't know if this was his idea or if it came from CC. Either way, my teacher (Rick Hammett) had great chops.[/quote]
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gstump
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PostPosted: Sun Feb 17, 2013 5:46 am    Post subject: Reply with quote

Your are right. Mr. Caruso would add another diatonic step when he thought it was time. I used the harmonics as the second part of my warmup to the fifth step (G). I subbed for Rick a few times on Cats. A great player.
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Qnaza
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PostPosted: Sun Feb 17, 2013 7:16 am    Post subject: Reply with quote

I am fascinated by this. Please could you break down the routine (timewise, tempo?)

Also, how were the harmonics applied and played?

Thanks for this, I love to see old scores and such annotated by others, never mind people with Caruso's reputation. I always felt that scores or books with annotation really tell a story.
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drncollazo
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PostPosted: Sun Feb 17, 2013 8:56 am    Post subject: Reply with quote

I am equally fascinated.

Have I been practicing this exercise incorrectly for more that 40 years??
I always had the breadth on the first note, not the last.
Can you share more experiences GStump?

Thanks
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gstump
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PostPosted: Sun Feb 17, 2013 9:41 am    Post subject: Reply with quote

You are not doing it wrong drncollazo. Based on MCFB I would think most players put the breath attach on the first note. Carmine Caruso was not a cookie cutter teacher. That is partly why the book is so mystifying.

I am totally speculating but I feel Mr. Caruso had me do the 6 notes ad naseum for two weeks with a normal attack on the first note because that was familiar to me. I did the math and 20 minutes of the 6 notes at 60 MM with some timing spillage would be around 20 times a day!

In Carusoesque there is no wrong way, just the way.
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gstump
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PostPosted: Sun Feb 17, 2013 9:47 am    Post subject: Reply with quote

Ok here are two pics. The first one is a Caruso manuscript for the intervals. The second is my manuscript for the Warm-up of 6 notes and Harmonics. You choose one hold, e.g. the second one. Hold it for four beats, keep the mouthpiece on the lips, breath through the nose and go though the valve combinations going to the second hold. I hope this makes sense.


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kehaulani
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PostPosted: Sun Feb 17, 2013 5:57 pm    Post subject: Re: The Mystery of the 6 notes Reply with quote

Hah! I love it. "Don't think. Feeeel". Bruce Lee http://www.youtube.com/watch?v=cm0uSVvjsOA
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PostPosted: Sun Feb 17, 2013 6:41 pm    Post subject: Reply with quote

Carmine did customize the exercises for each individual. Carmine had the guy who first showed me the 6 notes tongue the first note of each group and breath attack the 2nd AND the 3rd note. This is also how the exercise was presented in Carmine's early book, "Caruso on Breath Control." I have met others who were first given the exercise as 3 whole notes. To each according to his/her needs...
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TrpPro
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PostPosted: Sun Feb 17, 2013 9:01 pm    Post subject: Re: The Mystery of the 6 notes Reply with quote

kehaulani wrote:
Hah! I love it. "Don't think. Feeeel".

Carmine would often say that you can't go by feel.
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pepperdean
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PostPosted: Mon Feb 18, 2013 8:49 am    Post subject: Reply with quote

The challenge of getting the full benefit from Carmine's method in a book is that he was a very prescriptive teacher. The exercises and their application were often adapted to the individual. During the time I took lessons from him, Samuel French published a band method with Carmine. Here's the six notes from that book:



Last edited by pepperdean on Mon Feb 18, 2013 8:56 am; edited 1 time in total
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pepperdean
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PostPosted: Mon Feb 18, 2013 9:00 am    Post subject: Reply with quote

When the band method was published, I was teaching and bought the set for my band. That saved me from writing out exercises.

I used the six notes and seconds as a warmup for the entire band (middle school). Directions on seconds had to be adapted for the non-brass instruments and restarting after a cut-off was staggered depending on where each individual stopped. This had great results with tone and intonation.

Alan
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gstump
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PostPosted: Mon Feb 18, 2013 9:34 am    Post subject: Reply with quote

I like the little trumpets with the fingerings. Great find.
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pepperdean
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PostPosted: Mon Feb 18, 2013 9:57 am    Post subject: Reply with quote

I treasure the original of my first assignment:

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