really enjoying bai lin flexibilities

[chuck in ny]

first thing i had no idea there was a well developed chinese trumpet scene. if there is any other worthwhile studies or literature please advise.
i was working from bai lin some and alternating it with irons. then there was a real curve ball when i upsized mouthpieces from a curry 3C to a flip oakes 3-O. the specs on these pieces are not widely divergent which doesn't mean a whole lot as the FO piece feels a lot bigger. i did, and do, want to play this piece and size, it feels great on the lips and is fundamentally a sound thing to do, and on the other hand i was stuck with my range having crashed.
faced with rebuilding and climbing the wall once more i figured some low impact slurring work along with a number of months would do the trick and bai lin was the medicine. after a bit of time i am getting back to where i was. my daily routine is 100% bai lin.
it is a somewhat magical book. master lin is just wonderful.

[dstdenis]

+1. And for rebuilding, you might like to mix in a few other things like Shuebruk Tongue Trainers, Daniels Special Studies and Franquin sound production/long tones.
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[chuck in ny]

stdenis

i see qpress has the franquin book available in print no doubt spurred by discussions here. it's a few dollars but one of those things that would be cheap at twice the price. thanks for the tip looks like a fine place to start.

[cheiden]

What I like about Bai Lin versus Irons is that many of the later exercises skip over partials and for me that makes it much harder to cheat. My only caveat is that there's a bit of a leap when it transitions to above the staff. I've recently started modifying some of the earlier exercises to extend above the staff more gradually.
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[chuck in ny]

charles

going along to exercise 17 gets your first high C, 5 half steps higher than top of the staff G, the previous exercises' highest note. until this exercise the entire thought was slow progression. after this exercise master lin takes a long time to go beyond high C as if to cement the student's progress and instead challenges with octave and double octave changes in pitch.
i play 17 from the bottom of the page up starting with the lower pitch phrases.
you can only speculate why the work is organized like this. it seems to be a challenge to step up the register, right here, right now, and find a way to deal with it that is not in the written music.
neither here nor there, it seems more of a taoist challenge than a zen one.