• FAQ  • Search  • Memberlist  • Usergroups   • Register   • Profile  • Log in to check your private messages  • Log in 

Ideas about how to practice during tough gigs...



 
Post new topic   Reply to topic    trumpetherald.com Forum Index -> High Range Development
View previous topic :: View next topic  
Author Message
NickD
Heavyweight Member


Joined: 19 Jun 2005
Posts: 679
Location: Chicago (northern suburbs)

PostPosted: Mon Jul 02, 2018 8:04 am    Post subject: Ideas about how to practice during tough gigs... Reply with quote

This short blog isn't about how to HIT high notes. It is about practicing on days off during a really change gig situation. I hope it is ok to put here in this forum.

https://www.nickdrozdoff.com/single-post/2018/07/02/Flugelhorn-is-Your-Friend

ND
_________________
Nick Drozdoff - Getzen Endorsing Artist
http://www.nickdrozdoff.com
http://www.getzen.com/
http://www.youtube.com/nickdrozdoff
https://www.facebook.com/nickdrozdoffandthevariabledpostulateensemble
https://soundcloud.com/nick-drozdoff
Back to top
View user's profile Send private message Visit poster's website
INTJ
Heavyweight Member


Joined: 25 Dec 2002
Posts: 1986
Location: Northern Idaho

PostPosted: Mon Jul 02, 2018 6:54 pm    Post subject: Reply with quote

Great advice!! I find that once I developed the muscle memory for the upper range that backing off ocassionally didn’t hurt at all and in many cases it helped.
_________________
Harrels VPS Summit
Wild Thing
Flip Oakes C
Flip Oakes Flugel

Harrelson 5mm MP
Back to top
View user's profile Send private message
trtrtr1
New Member


Joined: 21 Oct 2015
Posts: 7

PostPosted: Wed Jul 04, 2018 9:47 am    Post subject: Reply with quote

In the old days it was warm up/practice soft for loud gigs. Carmine Caruso always worked for me.
Back to top
View user's profile Send private message
NickD
Heavyweight Member


Joined: 19 Jun 2005
Posts: 679
Location: Chicago (northern suburbs)

PostPosted: Fri Jul 06, 2018 7:13 pm    Post subject: Today, too... Reply with quote

In the blog, I address soft playing, as well. It is in the fifth paragraph.

https://www.nickdrozdoff.com/single-post/2018/07/02/Flugelhorn-is-Your-Friend

"On your flugel light days, keep as much of your practice as possible very quiet. I often practice on the threshold of break up - so quiet the notes are on the verge of dropping out. I bring the volume up only enough to stay on top of that threshold. "
_________________
Nick Drozdoff - Getzen Endorsing Artist
http://www.nickdrozdoff.com
http://www.getzen.com/
http://www.youtube.com/nickdrozdoff
https://www.facebook.com/nickdrozdoffandthevariabledpostulateensemble
https://soundcloud.com/nick-drozdoff
Back to top
View user's profile Send private message Visit poster's website
NickD
Heavyweight Member


Joined: 19 Jun 2005
Posts: 679
Location: Chicago (northern suburbs)

PostPosted: Fri Jul 06, 2018 7:14 pm    Post subject: oops... Reply with quote

Well, I misspelled "friend" ion the blasted link! Sorry about that folks!

I'll try to be more careful in the future.

ND
_________________
Nick Drozdoff - Getzen Endorsing Artist
http://www.nickdrozdoff.com
http://www.getzen.com/
http://www.youtube.com/nickdrozdoff
https://www.facebook.com/nickdrozdoffandthevariabledpostulateensemble
https://soundcloud.com/nick-drozdoff
Back to top
View user's profile Send private message Visit poster's website
Lionel
Heavyweight Member


Joined: 25 Jul 2016
Posts: 783

PostPosted: Tue Jul 10, 2018 2:49 pm    Post subject: Reply with quote

Nick's advice has merit. I just kinda wanted to see him go into some of the hazards of developing an over-trained embouchure. As playing what he calls a "brutal" set of gigs is most likely to induce those common symptoms of over-trained chops. Specifically,

A. Swollen lips. An embouchure which is hard to get a good tone out of. Esp early in the practice session. So I can see why Nick likes the size and depth of his flugel horn piece on "the morning after" lol. As when my own chops have become swollen from abuse? A larger diameter, deeper and more free blowing piece helps.

B. "Charlie horse" lip(s). Sort of like a "sprained ankle" but in the chops. Although I haven't had this self-inflicted wound since my college days? I wouldn't recommend any practicing under these conditions at all.

Lastly, one advantage that I've discovered in only recent years is how to get a good tone on absolutely the shallowest of mouthpiece equipment as I can work with. This usually involves customizing thle mouthpiece. Opening the throat/back-bore is probably a must. Perhaps making a "second cup" a la Parduba is helpful. Ditto the "convex" or funnel entrance to the throat Maynard popularized. Something he borrowed from French horn mouthpiece design. L

My "graduation" into really shallow pieces wasnt an overnight discovery. As sometimes it takes a whole year to work into a mouthpiece. And I had to make several changes. Each requiring a year or so to work down into these customized, special pieces. However I've finally started to near a certain plateau in my performance where I do not need to practice in order to maintain my range and endurance. Now that's a relief!

Lynn Nicholson advises this kind of idea. And granted I'm certainly not the great player he is. However I have continually improved. Even after having long since past "my prime" physically. I'm on my mid sixties now but as we age we "work smarter". I only wish that I vould have learned more about moutpiieces fufty years ago. Way back then I could have been able to market myself easier. Back when I actually had the incentive to play professional gigs.

If I can produce the same results in sound and control on a very shallow mouthpiece? Sure! Why not?? Only makes sense. And while others may struggle to maintain a consistent range on their larger mouthpieces? I'm guessing that they do so only at the risk of developing over-trained chops.

Thank you Nick for stopping by.
_________________
"Check me if I'm wrong Sandy but if I kill all the golfers they're gonna lock me up & throw away the key"!

Carl Spackler (aka Bill Murray, 1980).
Back to top
View user's profile Send private message
NickD
Heavyweight Member


Joined: 19 Jun 2005
Posts: 679
Location: Chicago (northern suburbs)

PostPosted: Sun Jul 15, 2018 4:07 am    Post subject: good points, IMHO Reply with quote

I like your thinking, Lionel!

The shallow mouthpiece thing can be controversial, but I am totally on the same page with you on this. However, apparently, Arturo does his altissimo gymnastics on a Bach 1&1/4 C! I can HIT a lot of those notes on one (well up to DHD, maybe, not the pyrotechnics Arturo unleashes in the neighborhood of G over DHC!), I can't last for long on one and I can make them sizzle like that. I suppose I could train myself do that sort of thing on a big deep legit setup, but I PERSONALLY prefer not to.

Also, my embouchure is not the same, so my approach has to suit my physical structure.

My scream mouthpiece has about a Bach E cup - very shallow. This direction in the discussion has just triggered the subject for a forthcoming blog post!!


N
_________________
Nick Drozdoff - Getzen Endorsing Artist
http://www.nickdrozdoff.com
http://www.getzen.com/
http://www.youtube.com/nickdrozdoff
https://www.facebook.com/nickdrozdoffandthevariabledpostulateensemble
https://soundcloud.com/nick-drozdoff
Back to top
View user's profile Send private message Visit poster's website
Display posts from previous:   
Post new topic   Reply to topic    trumpetherald.com Forum Index -> High Range Development All times are GMT - 8 Hours
Page 1 of 1

 
Jump to:  
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot vote in polls in this forum


Powered by phpBB © 2001, 2005 phpBB Group