For those of you who have the Dave Belknap Schlossberg routi

[ljazztrm]

Before I left the house this morning I decided to record myself doing the Dave Belknap routine. I did this for some students as a demonstration, and a couple of other players I know who were interested in seeing it done. Before I left it looked like the YouTube was put up, but I wanted to make sure that you guys could see it and, then, I will forward it to my students at this Jazz Camp I'm teaching at right now. Just let me know if you guys can access it. Thanks! All the very best, Lex https://youtu.be/94Vjoprhk-s
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Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

[superviking805]

Yes, I can watch the routine. I started this one myself last week so thanks for putting this up. I am following the instructions and it seems pretty easy but, after finishing, I can feel my chops are tired, deceiving.

[ljazztrm]

Sweet, thanks for the feedback SV. Yes you are definitely right this routine has a much more powerful effect on the chops then one might think! Best, Lex
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Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

[superviking805]

Hi Lex,
Tonight I played through the exercise along with you so now have more feedback and a few questions, hope you don't mind.

I wanted to hear you play to see if I was on the right track. Mostly I was, so I am happy with the routine. Its not too hard for me but different from the Systematic Approach I have been working with.

Following your mp suggestion, I am using an X-Piece.
Love it so don't need much coaxing.

Right off I was surprised you are in a mute. Can't model your tone as I want to practice open.
And the headset, hearing protection or listening to something?

I'm playing along with you so I don't have to watch the rest time in till #18. This one I am less than half your tempo, plenty of room to improve here. Added the tonguing not in the original instructions.

#25 I am resting before repeating but you don't rest till the end. I'll try each way to see what's best for me.

#26 Hard for me to slur the octave jump without clipping an extra note on the way up. Should I tolerate this in hope it will improve in time, or force myself to play it clean?

#28 You added a repeat. The instructions read to rest after the second line which doesn't make total sense as the exercise is only two lines long.

When I say instructions, I am referencing a photo of a typewritten page for Reconstructive Embouchure Therapy.

#30 I thought the triplet line meant to slur. Much easier for me to tongue the whole thing.

#32 Another where I have a speed limit like #18

I play every exercise trying to use the same size hole varying the airspeed and tongue level to change notes. I want to ask if this is correct but it just feels right.
Is this what the exercise is trying to teach me?

#26 Again. You suggest carrying this up. I can only go another step before I need Lots of tension to continue so will add more if I can get more relaxed.

Now it gets personal. I couple years ago I found that letting an air pocket develop above my upper lip seriously improved my sound. Now however, it feels like the whole of my face is pressurized. I need to hold in my cheeks to keep from looking like Dizzy and the flesh above my lip gets sore after practice. I notice expansion in your face while you play, any comments?

[ljazztrm]

Hey sv...good questions!

Cool deal about using the Xpiece to do this routine, as long as your other mouthpieces are around the same diameter. I don't use the Xpiece for this routine since it is a longer routine, and my chops get used to playing that diameter which messes me up when I go to my somewhat bigger diameters..I am pretty sure the Jim New Manley pieces are a copy of MF's Calicchio rim..which, according to Pickett, is .623..and the Xpiece is smaller at maybe .600? So I get much better results using the Xpiece in the shorter 3-5 min intervals. Right now I have 3 Manley pieces, the Lead3..very shallow straight V with a 30 throat. The Jazz1..somewhat deeper straight V with a 28 throat..and a Jazz4..my main non-lead piece which is a medium-deep straight V cup.. I also just ordered the Jazz2 from Jim New which is the same cup as the Lead3 but with a 28 throat..Jim also said the backbore is the same for the Lead3, Jazz1, and Jazz2 but, on the Jazz1 and Jazz2, the backbore is placed 1/8" deeper than on the Lead3. I'm not sure what this means..I should probably ask him! I guess when I get the Jazz2 I'll ask him after trying it out for a little bit. I assume the backbore is bigger on the Jazz4, since it is a deeper cup mouthpiece and that usually is the 'rule'..deeper cup = bigger backbore. Like with Warburtons..on the deeper cups, I will always plug in a 7, 8, or 9 backbore...while, with the shallower cups I'll use a 3*, NY, J30, 5 or 6.

Ok, well the mute thing..lol. To be honest, I've been using this routine for quite awhile now so, probably 75% of the time, I use a mute while watching something on the internet! This morning, it was before 9am as I had to leave early to teach at the jazz camp today and I also didn't want to wake my landlady. I rent the 2nd floor of a house and my landlady lives in the basement..with 16 or so cats on the first floor..since she is a cat rescuer...so I guess you could say I didn't want to wake the cats either!

Actually I did this routine just after feeding my 2 rescue cats upstairs here Anyway, I have gotten to the point where I can kind of 'feel the sound'.So I have a pretty good idea of the sound I'm getting - even with a mute. The Zinger is very freeblowing too..I put Matt Anklan's silencer in the Zinger if I have to be more quiet..If I am staying in a hotel or over someone's house...or if I have company over still sleeping in the bedroom..I use the Best Brass in the bell whisper mute which is super quiet and still pretty free blowing. (unless I want to encourage her to wake up to go to the Blue Bay diner for some breakfast! Then I'll probably just use the Zinger! )

BTW - the Blue Bay diner is an iconic diner just down the a few blocks from me...been there since the 60's and they are almost always playing straight ahead jazz in there..I kid you not, I've been in there a couple of times where they even where playing more obscure stuff like the Shew/Findley 'Trumpets No End' album!

There is also another consideration about the mute and this routine, I use my shallowest lead mouthpiece when I practice this routine for the reason I explained on the description to the clip, so I don't necessarily want to hear that sound in open bell! Honestly, 95% of the time, I've only heard the sound of this mouthpiece when I am playing lead in a loud big band, or doing gigs with loud electronics (and, then, for electronics gigs, I have earplugs in anyway).

#18 - Yeah, when you're not doing it along with me, which is probably a much better way to practice it, you can establish your own tempo and watch the rests. Dave told me he did that one as fast as he could while still playing clean..Makes sense to me because you are working out that type of slurring and single/triple tonguing. When I first started this routine, I did it slower too. For rests, I just glance at the digital computer clock (that I can see the seconds with) and make a mental note of how long each exercise is and rest the same amount of seconds/minutes.

#25 - The way I interpret it from the instruction sheet you are referring to, is to do it all at once..This is the longest exercise without stopping in the routine...about 2 minutes..and 2 min break after.

#26 - I wouldn't say to force yourself to play it clean..but try to do it without the breaks...I think it will improve in time..I had worked on this slurring in college with Ray Mase (an amazing classical trumpet soloist) and I think this type of slurring just got better over time..I just wouldn't use such a strong word as 'force'..but just attempt to play it clean without breaks..and, if you are practicing other etudes/pieces there are plenty of other opportunities to practice this..like I did in college.

#28 (and #22 for that matter) - Ok, see those long legato lines on #22 + #28? I think I may have remembered this when I used to use the Schlossberg book and practice other exercises. In a couple of instructions that usually had that * marking where you would go to the bottom of the page, or wherever, to read how to do that specific exercise, the description was to do it once slurred and once legato (in these cases legato) tongued.

#30 - I think the triplet line was just written with that mark that looks a little like a slur more to designate the fact that it was a triplet. The staccato markings under each triplet note, make me feel like this is to be done tongued though. Also, look at the 'bravura' description which, to me, implies to tongue it..as it just has that more 'orchestral excerpt' type feel to it..but I still only do this exercise 'mf' as that's how Dave says to do it on the sheet.

#32 - Yeah, you can work up the speed on this one over time too. I remember talking with Dave a few years back and he was saying how he tries to do #18 in one breath, and I think #32 is like this too..I seem to remember him saying Gozzo could do #18 triple tongued in one breath.

[ljazztrm]

Wow! Found these old posts from Dave Belknap

[cbtj51]

Thanks for posting the Dave Belknap quotes Lex.

I was a Conrad Gozzo fan from the moment I first heard him on recordings when I was a kid in the 50s and 60s. Harry James was a household name back then as well. Everyone, young and old knew who he was! Never got to see either live. I did, however get to see Pete Candoli perform with Edie Adams back in the early 70s. That was a great show! When I was a teen, we would hang around the front door to Al Hirt's club on Bourbon Street to catch a glimpse and sometimes hear him play. The doormen took a little pity on us and let us listen sometimes before running us away.


Kindest Regards,

Mike
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[ljazztrm]

Great stories Mike! When I was a kid, I would go with my grandparents and mom a lot to Atlantic City. I always took my trumpet everywhere I travelled to practice. They found out Al was going to be doing a concert there at the Showboat. They got word to him, and he agreed to see me that afternoon before the show. When I met him he gave me a big hug and we talked. Now, you gotta remember, Al was my boyhood idol here.. And, he had me in the front row for the performance that night and was talking to me throughout the show.. I remember him playing Carnival of Venice and smoke coming out of his bell....He stopped to ask me if he was doing it right during the last variation..

When I got back home to NY, in a couple of weeks this came to me in the mail.. Talk about a 'Class Act'! Will never forget this experience with Al..truly a great cat - even without playing the horn!

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Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

[kehaulani]

Class act! Thanks for sharing that experience.
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[Irving]

I studied with another Schossberg student. William Vacchiano. He would basically not allow the Schlossberg book in his studio, and refused to teach out of it. He confirmed that the complilation was done By Schlossberg's son in law. While the drills were written by Schlossberg, they were grouped together which made no sense to Vacchiano, which in his mind, invalidated the book. Thomas Stevens (RIP) goes into more details in his videos about Vacchiano and Schlossberg.

I'm not trying to diss the routine. I think it's a good one. Perhaps it isn't a Schlossberg routine, but the excercises are his.

[cbtj51]

[ljazztrm]

[ljazztrm]

[JVL]

hello Lex
good initiative and thanks for sharing infos, details and stories !
have a great summer my friend

[ljazztrm]

Thanks JVL Have a great summer as well! All the very best, Lex
_________________
Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

[EricV]

I am sure i remember reading somewhere that the great Uan Rasey used the Schlossberg as his warm up and was actually practicing it one morning at MGM and Andre Previn was in the next studio listening. He actaually wrote some of what Uan was practicing into the film score he was doing, which was Elmer Gantry with Burt Lancaster.

Maybe Uan was one of the Hollywood mates that Dave refers to near the end of the instruction sheet?

Cheers

EricV
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[ljazztrm]

Yeah Eric, he was. I remember Dave telling me Uan used this routine and that, on an average day on the recording lot, he would do it once in the morning, and once later in the day. Best, Lex
_________________
Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

[Irving]

My Schlossberg book is old. Maybe 45 years old. It is green, and has an intro written by the infamous Harry Freistadt, Schlossberg's then son in law who has been dissed by everybody for having done a terrible job of compiling the book. Now, everybody mentions the fact that the book was compiled by his son in law. What people fail to mention, and what was written into the intro of my book, was that before becoming his son in law, he actually studied with Schlossberg! So why was it that Harry Freistadt was so despised by the other Schlossberg students, after having been one himself? Thomas Stevens stated that it was because he just grabbed all of the drills that he found in his studio, and grouped them together in his book according to the type of drill that it was. He could of, or maybe he did, group them according to how he was instructed by Schlossberg. The intrigue continues...

[ljazztrm]

I made a recent discovery with the Belknap Routine. I’ve been doing all the sections he instructions to do Andante at what most people agree is Andante’s slowest tempo on the metronome. This tempo is quarter note = 76. So, nowadays, I usually put the metronome on when doing the Andante sections at quarter note = 76.

One other change I made is when I do exercise #28 on pg.7. I do it once slurred, then rest as long as it took to play it. Then I do it again legato tongued, rest as long as it took me to play it, and go on to #29.

I still do exercise #22 on pg.6, and #25 on the same page, all in one shot. I’m just going by how my chops feel with all of this. I’m not focused on ‘building my chops’, but total relaxation and airflow…so I’m not doing anything where I feel I’m really ‘pushing’ the chops muscles, as I feel that is counterproductive to the goals of this exercise.

Also, if you decide to do it this way and haven’t been doing the Andante sections so slowly already, it is a more taxing way to do this exercise. Even on non-gig days, I would do this routine only 1x a day for a couple of weeks as you get used to it. All the best, Lex
_________________
Mpcs: Jim New-Manley Jazz1/Jazz2/Jazz4/Lead3. Legends MF1. Reeves 39EX/HV. Frost 39MVD. Flugel: Jim NewMF3. Jim New-Manley F1+F2. Pickett MF. Reeves HF.
Trumpets: THE LYNNZHORN!!/Stomvi Forte pocket
Flugel: Manchester Brass Pro Model
Www.LexSamu.com

[Turkle]

Lex, as someone that's been doing this routine for a whole lotta years, building on what you say about different tempos for this routine -

Normally, I just park my metronome at 84 and get after it. This tempo for me is the best midpoint between a long-tone workout and a flexibility exercise. I get the best value here.

If, as you recommend Lex, we reduce the tempo down to 76, then I think it takes on more the character of a long-tone workout (what I think of as Caruso style) and really burns the corners. For me, this is valuable once in a while, but if I do it too often at a slow tempo my chops get too "locked up" and tense and I don't like the effects. This is a great "power" workout, really focusing on locking into each note solidly. I recommend very soft volume for this!

If you go the other direction - put the metronome at 88 or higher, even something like 88 or even 96 if you're adventurous - then it takes on the qualities of a flexibility exercise, like a Bai Lin or something. At this tempo, I tend not to focus on "locking" in the pitches at all, rather just "gliding through" the pitches without really parking anywhere, treating it as a pure flexibility exercise.

So all of the above is to say that 84 FOR ME is the perfect midpoint between a corners-burning long-tone workout and a gliding flexibility workout. It's at that 84 midpoint that I get my chops set up with both strength and maximum flexibility - Bruce Lee style chops. But altering the tempos in one direction or the other on occasion can work on different aspects of our chops, often very profitably if not overdone, I think.

Anyway, those are my thoughts, YMMV!
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