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TCEjazz Regular Member
Joined: 12 Sep 2013 Posts: 41
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Posted: Thu Sep 19, 2013 8:57 pm Post subject: Mixing trumpet methods |
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Some players have a problem with buying too many mouthpieces. I don't have that problem but I seem to buy far to many trumpet books/methods.
Right now I'm making great progress with my practice but I'm wondering if practicing multiple different methods could be harmful in the long run.
I'm currently practicing out of Claude Gordon's daily trumpet routines, Carmine Caruso's MCB, James Stamp's warm up studies, as well as standard material like Arban's, Clarke's, and Colin's Advanced Lip Flexibilities.
Is there anything wrong with mixing dissimilar methods or am I doing fine? |
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EBjazz Heavyweight Member
Joined: 14 Nov 2001 Posts: 2368 Location: SF Bay Area
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rockford Heavyweight Member
Joined: 03 Aug 2007 Posts: 2477 Location: Northern VA
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Posted: Thu Sep 19, 2013 11:19 pm Post subject: |
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Some of the conflicts that come up between methods are lip buzzing vs. non-buzzing, which tonguing syllables to use and pedal tones vs. no pedal tones to mention a few. It could be source of endless debate what concepts work best. But, ultimately, it's a matter of using whatever's working rather than doing something because some book, whose author never met you or heard you play, said to or not. If it ain't broke.... _________________ Bill Siegfried
NY/Mt. Vernon Bach trumpets. Yamaha flugelhorn and piccolo A/Bb, Monette and Hammond mouthpieces. Fender and Peavey Cirrus Bass Guitars. Ampeg and Genz-Benz amps. Embraer 170/175/190. |
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Al Innella Heavyweight Member
Joined: 08 Jul 2008 Posts: 759 Location: Levittown NY
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Posted: Fri Sep 20, 2013 3:35 am Post subject: |
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EBjazz wrote: | There are methods that probably shouldn't be mixed, but you aren't using any of them. And if you're having great progress, keep it up!
Eb |
+1. Most methods have many things in common such as,scales,flexibility,long tones,arpeggio's etc.. The danger is when different methods tell you to use a specific mouthpiece setting and or embouchure.The notes by them self won't hurt,but making multiple physical changes will. |
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BPL Veteran Member
Joined: 04 Mar 2008 Posts: 347
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Posted: Fri Sep 20, 2013 12:18 pm Post subject: |
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CG and CC would seem to be at odds, wouldn't they? |
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LDK-97 Veteran Member
Joined: 17 Sep 2011 Posts: 132
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Posted: Fri Sep 20, 2013 12:45 pm Post subject: |
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You got to find out what works for You.
My basic routine is Cichowizc VC1, VC2 followed by Knut Hovaldts flexibility and than Arban and finally Clark.
But I also do Stamp 2-3 times a week, when needed.
Caruso, maybe during 2-3 weeks once a year.
Schlossberg, when no gig is coming up.
C Gordon, maybe 2-3 times a month.
But You got to find a basic routine that works, I have no trouble mixing but I been practicing this way since 1995.... _________________ Bach Stradivarius Artisan Bb
Bach Stradivarius 43/Blackburn 19 Bb
Bach Stradivarius 229 25A C
Bach Stradivarius Artisan Piccolo
Yamaha 8335GS Neo Bb |
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cheiden Heavyweight Member
Joined: 28 Sep 2004 Posts: 8939 Location: Orange County, CA
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Posted: Fri Sep 20, 2013 1:34 pm Post subject: |
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Not all books are methods and some methods make use of the exercises in many books. I've studied with a notable student of several great masters including Jimmy Stamp and Claude Gordon. For any given week my daily routine consisted of...
Stamp
Schlossberg
Clarke
Harris
Bai Lin
St Jacome
Goldman
Charlier
Irons
It is true that some aspects of other methods (TCE, BE,...) at times were at odds with the approach I was taught. _________________ "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/Benge 1X C/Kanstul 920 Picc/Conn 80A Cornet
Bach 3C rim on 1.5C underpart |
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bagmangood Heavyweight Member
Joined: 26 Feb 2009 Posts: 1359 Location: SF Bay Area
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Posted: Fri Sep 20, 2013 1:39 pm Post subject: |
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BPL wrote: | CG and CC would seem to be at odds, wouldn't they? |
Ish?
CC's principles basically only apply to its session - play normally otherwise. So I don't think it would interfere too much if you separate the two. |
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gstump Heavyweight Member
Joined: 14 Nov 2006 Posts: 934
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Posted: Fri Sep 20, 2013 1:48 pm Post subject: |
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"CG and CC would seem to be at odds, wouldn't they?"
Philosophically, yes. If you immersed yourself in one or the other I could see a problem. But just playing exercises as excerpts, no. _________________ Schilke B5
Couesnon Flug (1967)
Funk Brothers Horn Section/Caruso Student |
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PH Bill Adam/Carmine Caruso Forum Moderator
Joined: 26 Nov 2001 Posts: 5865 Location: New Albany, Indiana
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Posted: Fri Sep 20, 2013 2:42 pm Post subject: |
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BPL wrote: | CG and CC would seem to be at odds, wouldn't they? |
From the Caruso perspective, not at all. CC is complementary and works in tandem with any other approach. _________________ Bach trumpet artist-clinician
Clinical Professor of Jazz Trumpet, University of Illinois
Professor Emeritus of Jazz Studies, Indiana University Jacobs School of Music
Faculty Jamey Aebersold Jazz Workshops 1976-2019
JazzRetreats.com |
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Capt.Kirk Heavyweight Member
Joined: 24 Feb 2009 Posts: 5792
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Posted: Fri Sep 20, 2013 5:54 pm Post subject: |
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No big deal to mix methods as in method books, exercises, etudes etc.....Pedagogy is another matter all together different. I would not mix embouchure techniques at all. You can not serve two master's that is why you do not see marathon runners snatch 800lbs. at the finish line. That said many techniques are come together to make up a family of specific types of embouchure training. Inside of each family they have their own techniques, their own bias and their own approach to structure. They all though are aimed at playing the same music, the same scales, the same instrument. So you have to be clear what you mean by "method". It is unfortunate but true that the language w use in music is about as crude as a cave mans club because it is not specific enough in many cases. The word "method" can mean to one person just a collection of exercises arranged in a given order but to someone else it can mean something music more radical like how you use the "structure" of your body lips,bone,muscle, connective tissue to produce specific vibratory states.
The problem is not English based it is basic to the entire world of music that has failed to clearly define things. So as I understand you you are saying you playing different exercises out of different method books. Is this correct? If so then how could you possible have any issues? On the other hand if you trying to combine different pedagogy styles of embouchure formation or mechanics I would say stop now before you do some serious damage! _________________ The only easy day was yesterday! |
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