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The Carmine Caruso Method with Julie Landsman on Youtube


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Tal Katz
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PostPosted: Wed Oct 22, 2014 12:42 pm    Post subject: The Carmine Caruso Method with Julie Landsman on Youtube Reply with quote

I think you guys will find this interesting and resourceful. Should definitely be a sticky!

https://www.youtube.com/watch?v=xdSShjFHqDk&list=PLV1EZqzK8-OM7CZmKW9NFAauYZJTl5FXZ
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Last edited by Tal Katz on Wed Oct 22, 2014 12:57 pm; edited 1 time in total
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PH
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PostPosted: Wed Oct 22, 2014 12:51 pm    Post subject: Reply with quote

Thanks!
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gstump
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PostPosted: Thu Oct 23, 2014 3:57 am    Post subject: Reply with quote

WOW
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Tal Katz
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PostPosted: Thu Oct 23, 2014 5:59 am    Post subject: Reply with quote

WOW Indeed JL is great, isn't she?
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gstump
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PostPosted: Thu Oct 23, 2014 7:10 am    Post subject: Reply with quote

Julie gives Caruso such validation. Overdue around here.
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Jerry Freedman
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PostPosted: Thu Oct 23, 2014 10:00 am    Post subject: Reply with quote

gstump wrote:
Julie gives Caruso such validation. Overdue around here.


Gotta wonder. Since Charly Raymond left this forum has been rather inactive. Why?
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trumpetdiva1
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PostPosted: Thu Oct 23, 2014 4:55 pm    Post subject: Reply with quote

Thanks for the clip! I loved Laurie so much and continue to do so.

It was inspiring. Great job, Julie!

Janell
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razeontherock
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PostPosted: Thu Oct 23, 2014 6:42 pm    Post subject: Reply with quote

Wow! While she's no Dave Sheetz, who (free) buzzes a double high C so effortlessly all I could do was laugh when I first saw him demonstrate it, Julie has not only an effortless buzz, but it sounds so ... efficient? Like no air is just passing through her lips, but every drop is converted into vibration. A very distinctive sound to it, well worth emulating.
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Gate
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PostPosted: Fri Oct 24, 2014 12:15 pm    Post subject: Reply with quote

Can anybody speak to what modifications or things we'd need to keep in mind as trumpet players, seeing as these are two horn players?
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gstump
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PostPosted: Fri Oct 24, 2014 1:59 pm    Post subject: Reply with quote

I am thinking about adjusting the snakes and noodle studies. French Horn has an extend low range. I do not think these studies should go beyond low F# and into petals.

Other than that maybe a little more "play with abandon" regarding the interval studies.
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Tal Katz
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PostPosted: Sun Oct 26, 2014 12:56 pm    Post subject: Reply with quote

If you want all these exercises adjusted for trumpet you should buy Laurie Frink's Flexus book. It's all there and it's a wonderful book! Also comes with a CD with Laurie demonstrating the exercises.
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gstump
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PostPosted: Mon Oct 27, 2014 4:40 am    Post subject: Reply with quote

I ordered Laurie's book. 47 years of doing MCFB. It is about time to try something else!
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gstump
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PostPosted: Wed Oct 29, 2014 11:31 am    Post subject: Reply with quote

I am on day 3 of Flexus. At first blush I thought it looked pretty tame compared to Musical Calisthenics for Brass or my book. I was wrong. Following the instructions for each section results in a very taxing workout.

The flexibility exercises extend to high G. It is not pretty but is great fun: Click Here


Maybe an old dog can learn new tricks. So far, I really like this book. Time will tell.
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vialvest
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PostPosted: Sun Nov 30, 2014 3:01 pm    Post subject: Reply with quote

When doing the Lips - Mouthpiece - Horn exercise on trumpet. What pitches do you start at?
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PH
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PostPosted: Sun Nov 30, 2014 4:08 pm    Post subject: Reply with quote

vialvest wrote:
When doing the Lips - Mouthpiece - Horn exercise on trumpet. What pitches do you start at?


I'm sure this varied according to each student's needs. For me, he assigned Schlossberg page 2, #8, one line per lesson starting with the lower notes. After we did this, he had me do Schlossberg page 2, #7 in it's entirety for about a month.

After about 2 months of including this sort of work in my routine he told me that it had accomplished what he hoped it would and that I should remove it from my routine. He even said that if I continued to do it after that point it might have a negative impact on my playing.
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vialvest
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PostPosted: Mon Dec 01, 2014 1:09 am    Post subject: Reply with quote

PH wrote:
vialvest wrote:
When doing the Lips - Mouthpiece - Horn exercise on trumpet. What pitches do you start at?


I'm sure this varied according to each student's needs. For me, he assigned Schlossberg page 2, #8, one line per lesson starting with the lower notes. After we did this, he had me do Schlossberg page 2, #7 in it's entirety for about a month.

After about 2 months of including this sort of work in my routine he told me that it had accomplished what he hoped it would and that I should remove it from my routine. He even said that if I continued to do it after that point it might have a negative impact on my playing.


Thanks for the detailed reply!

In both MCFB and Flexus there isn't any lip or mouthpiece buzzing exercises. Was it uncommon that Caruso assigned these?
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PH
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PostPosted: Mon Dec 01, 2014 5:50 am    Post subject: Reply with quote

vialvest wrote:
PH wrote:
vialvest wrote:
When doing the Lips - Mouthpiece - Horn exercise on trumpet. What pitches do you start at?


I'm sure this varied according to each student's needs. For me, he assigned Schlossberg page 2, #8, one line per lesson starting with the lower notes. After we did this, he had me do Schlossberg page 2, #7 in it's entirety for about a month.

After about 2 months of including this sort of work in my routine he told me that it had accomplished what he hoped it would and that I should remove it from my routine. He even said that if I continued to do it after that point it might have a negative impact on my playing.


Thanks for the detailed reply!

In both MCFB and Flexus there isn't any lip or mouthpiece buzzing exercises. Was it uncommon that Caruso assigned these?


I got the impression that buzzing was something he didn't do with everyone. At that time I was pretty much a basket case, so I think his prescription for me was remedial/therapeutic.
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pepperdean
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PostPosted: Mon Dec 01, 2014 10:36 am    Post subject: Reply with quote

My experience with lip-buzz-mouthpiece is similar to Pat's and dates back to around 1971. Schlossberg #7. As I remember, I was to lip-buzz-play chromatically from one written note to the next. In the "play" phase, I was not allowed to change valves but had to attempt the chromatic changes with just my lips.

That sounds pretty scary to me now. I might just revisit those exercises.


Alan
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pepperdean
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PostPosted: Mon Dec 01, 2014 10:39 am    Post subject: Reply with quote

Another thing occured to me. Carmine advised always doing the buzz on fresh lips.

Allan
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gstump
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PostPosted: Mon Dec 01, 2014 10:53 am    Post subject: Reply with quote

Mr. Caruso never asked to free buzz or buzz on the mouthpiece. I did buzz the interval studies in the car once while traveling out of town.

Never again!! Not good!! Blew out my aperture!!!!
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