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comebackcornet Regular Member
Joined: 30 Jan 2017 Posts: 55
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Posted: Mon Feb 05, 2018 11:17 am Post subject: |
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dstdenis wrote: | Franquin method:
He designed these exercises as a way for trumpeters to practice starting first notes consistently well, which he observed is more difficult on trumpet than other instruments like cornet or flugelhorn, especially when trying to start a first note very softly. |
Interesting, I find my articulations infinitely easier on trumpet than on cornet ... |
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Seymor B Fudd Heavyweight Member
Joined: 17 Oct 2015 Posts: 1472 Location: Sweden
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Posted: Tue Feb 06, 2018 3:07 am Post subject: |
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comebackcornet wrote: | dstdenis wrote: | Franquin method:
He designed these exercises as a way for trumpeters to practice starting first notes consistently well, which he observed is more difficult on trumpet than other instruments like cornet or flugelhorn, especially when trying to start a first note very softly. |
Interesting, I find my articulations infinitely easier on trumpet than on cornet ... |
Indeed! However for me just the opposite! One part-explanation being my lifelong playing in a brassband, hence concentration on pp cantabile dolce lushinghelgevolmente!
But when same mouthpiece (=equivalent) only a slight advantage for the cornet. Might have something to do with the sound wave spectrum involved?
Differences in mouthpieces, cornet pieces often deeper, cornet tubing different? (=different kinds of sound waves; longer waves easier to generate than shorter??). Or??
Conclusion (for me that is): more shallow mouthpiece more dififcult than deeper.
Or what I seem to have discovered lately: habituation to a horn/mpc is a very very powerful factor. All these minute feedback loops building up as time goes by. Furthermore on a subliminal level literally meaning you do not notice that you´re growing accustomed. _________________ Cornets: mp 143D3/ DW Ultra 1,5 C
Getzen 300 series
Yamaha YCRD2330II
Yamaha YCR6330II
Getzen Eterna Eb
Trumpets:
Yamaha 6335 RC Schilke 14B
King Super 20 Symphony DB (1970)
Selmer Eb/D trumpet (1974) |
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roynj Heavyweight Member
Joined: 19 Oct 2002 Posts: 2065
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Posted: Wed Feb 07, 2018 12:07 pm Post subject: |
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If you will try practicing Clarke study 2, lines 27 (low G) through 32 (low C), with dynamics as marked (p), every day preferably near the start of your warm up, you will regain your confidence and blow much fewer air balls on those low notes. Practice with a metronome on starting the note is also a great thing because you will breath/play in time, which simulates the same thing as when playing music. When practicing these lines, rest as long as it takes to play after each one. |
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Hugh New Member
Joined: 06 May 2017 Posts: 10 Location: Norwich UK
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Posted: Thu Aug 09, 2018 5:28 am Post subject: |
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I've been practising with a metronome for quite a while now. Things have improved but I still get problems with blocked airflow pretty often. I have worked hard on it, maybe too hard. I probably need to move away from the methods and exercises I've been using and just play more freely.
Like many things in playing trumpet it can be a labour of love. _________________ Hugh Stanners |
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Turkle Heavyweight Member
Joined: 29 Apr 2008 Posts: 2450 Location: New York City
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Posted: Thu Aug 09, 2018 10:21 am Post subject: |
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I've heard this on masterclasses/clinics by Doc, Barbara Butler, and others:
You have to make sure that you start the note with the air, not with the tongue. The air should be like a violin bow, you start the air and then articulate from there. By ensuring your air is correct first, you'll be able to place the note more easily. It certainly works for me in the upper and lower registers.
Hope that's helpful. _________________ Yamaha 8310Z trumpet
Yamaha 8310Z flugel
Curry 3. |
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Hugh New Member
Joined: 06 May 2017 Posts: 10 Location: Norwich UK
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Posted: Fri Aug 10, 2018 1:35 am Post subject: |
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Turkle wrote: | I've heard this on masterclasses/clinics by Doc, Barbara Butler, and others:
You have to make sure that you start the note with the air, not with the tongue. The air should be like a violin bow, you start the air and then articulate from there. By ensuring your air is correct first, you'll be able to place the note more easily. It certainly works for me in the upper and lower registers.
Hope that's helpful. |
That is helpful thanks. I've been told by teacher to get the air flowing before the tongue. I'll retry that. _________________ Hugh Stanners |
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Jerry Freedman Heavyweight Member
Joined: 29 Jan 2002 Posts: 2476 Location: Burlington, Massachusetts
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lambchop Regular Member
Joined: 19 Apr 2017 Posts: 74
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Posted: Fri Aug 10, 2018 5:14 am Post subject: |
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comebackcornet wrote: | dstdenis wrote: | Franquin method:
He designed these exercises as a way for trumpeters to practice starting first notes consistently well, which he observed is more difficult on trumpet than other instruments like cornet or flugelhorn, especially when trying to start a first note very softly. |
Interesting, I find my articulations infinitely easier on trumpet than on cornet ... |
I found low note response varies with the instrument. The best I've seen being an old professional Reynolds cornet. As far as touguing, KTM is harder to use for low notes and more important for high notes. Pops recommends the tip of the toungue on the tip of the top teeth for the notes under middle C, although CG would have you still use KTM. |
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cbtj51 Heavyweight Member
Joined: 24 Nov 2015 Posts: 725 Location: SE US
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Posted: Fri Aug 10, 2018 10:00 am Post subject: |
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Much great thinking in this thread, especially using a metronome during all practice sessions.
I have been starting my day (seriously, just after breakfast in the early am) with a 20-45 minute Bai Lin Section I and II warm-up session with metronome set at 80bpm for several weeks now. I focus on making every note sound as beautiful as possible by really listening to what I am playing as I play it. I often think of a line from the movie "The Last Samarai", "too many mind" to keep the focus on my sound "in the moment" and not so much on the seemingly myriad aspects of sound production. This practice is working well for me, but I must write the requisite YMMV at this point.
Kindest regards,
Mike _________________ '71 LA Benge 5X Bb
'72 LA Benge D/Eb
'76 Bach CL 229/25A C
‘92 Bach 37 Bb
'98 Getzen 895S Flugelhorn
'00 Bach 184 Cornet
'02 Yamaha 8335RGS
'16 Bach NY 7
'16 XO 1700RS Piccolo
Reeves 41 Rimmed Mouthpieces |
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MF Fan Veteran Member
Joined: 26 Mar 2002 Posts: 397 Location: The Great White North
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Posted: Sun Aug 12, 2018 8:54 am Post subject: |
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This may fly in the face of good technique or other expert advice, but for me I find that executing the inhalation with the tongue already lightly touching behind the front teeth, or in the case of anchor tonguing, lightly in contact with the roof of the mouth, has helped me. It removes one step in the process if you're otherwise inhaling with the tongue "floating" in your mouth. If it is, the initial attack requires you to 1). inhale, 2). move the tongue forward to contact the back of your top teeth or roof of the mouth, followed by 3). simultaneously turning the air around and pulling the tongue it back as you start the airflow to execute the articulation. You shouldn't have to consciously focus on these steps individually, they're supposed to happen in a natural fluid manner, but for me I find it easier to start with the tongue already in place which eliminates step #2, making it easier to turn the air around. Again, this may be poor considered advice by many players, but hey, it works for me. _________________ MF Fan
__________
L.A. Benge 5x
Holton MF3
Lead Trumpet - My Basement Jazz Orchestra |
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Blackquill Regular Member
Joined: 03 May 2018 Posts: 74 Location: Salt Lake City, Utah
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Posted: Wed Aug 15, 2018 8:34 pm Post subject: |
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Nevermind. Doing that makes very little difference, if any, in my embouchure. Perhaps my embouchure is correct after all. _________________ Trumpet is for extroverts only... no, wait... Trumpet is also for introverts who need an avenue for extrovertism! |
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