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Accuracy!



 
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dbacon
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Joined: 11 Nov 2001
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PostPosted: Fri Mar 15, 2002 11:44 am    Post subject: Reply with quote

One of the positives from working in the Stamp Book is an increase in accuracy. I'm not sure if it's all the mouthpiece work or what, I just find my accuracy is better after about three weeks of Stamp routines.


Dave Bacon

[ This Message was edited by: dbacon on 2002-03-15 14:44 ]
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big brian
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PostPosted: Fri Mar 15, 2002 2:10 pm    Post subject: Reply with quote

...

Last edited by big brian on Mon Apr 30, 2018 3:13 pm; edited 1 time in total
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screamertrumpet
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Joined: 10 Nov 2001
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PostPosted: Fri Mar 15, 2002 5:18 pm    Post subject: Reply with quote

Yeah,
The main things about Stamp's way of playing is the accuracy and the intonation as well.
Think up when descending and down when ascending to hold the notes in their proper place.
Works like a charm everytime!
Trevor
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JoeCool
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PostPosted: Fri Mar 15, 2002 5:23 pm    Post subject: Reply with quote

EEWWW! I think I would hurt my brain to think that hard.
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Jim
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PostPosted: Sat Mar 16, 2002 6:11 am    Post subject: Reply with quote

What exactly does it mean to "think down to go up"? What is one supposed to be thinking about to do either? How does this "compress the range"? I read an interview with Hakan Harkenberger wherein he stated the same thing. Could someone please clarify this for me? Thanks, Jim
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dbacon
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PostPosted: Sat Mar 16, 2002 7:37 am    Post subject: Reply with quote

For me the concept helps eliminate the center of the note changing to meet up with the next note. As you slur down, often the pitch will bend down a bit to meet the next note. Same going up, note shapensup (new word! Invented right here!!) or bends up a bit to meet up the next pitch. The concept "Think up going down" and "Down going up" for me can help keep the center together. Also, overdoing the physical funtion in moving from note to note. We often do more than is neccessary to move between notes making things more inefficient. That's just my take on it, I don't claim any great insight and would love to hear someone who studied with Stamp tell us what they know. It helped me thinking this way, that's a good thing!

Dave Bacon
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1B
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PostPosted: Sat Mar 16, 2002 4:20 pm    Post subject: Reply with quote

I think your very accurate in your thinking up -thought Dave. I did not study with Jimmy, but I did study with Boyde, Mario, and Roy. One of the main thing that I have taken from the Stamp method is to "move as little as possible". This allows me to never be to open to open in the low register, or to closed in the upper register. The mouthpiece buzzing as a warm up is essential. Not only does this improve pitch, but it allows one to focus on air at the beginning of the day without blowing it through 30 feet of tubing. Your ego tends to be less invloved when you are buzzing. Also, you can really concentrate on moving the air and not moving the embouchure. Another impotant thing that I use of Stamp's are the breath attacks. I always use breath attacks on the mp so as to keep the tongue from getting in the way. This opens the throat and forces you increase the air speed as you begin the buzz. If you are interested in improving your pitch, may I suggest purchasing a B.E.R.P.(Buzz Extension and Resistance Piece). Mario Guarneri developed this in order to allow the player to adjust the resistence while buzzing to that of the trumpet. It is also great because it allows you to move your valves while buzzing, while greatly improves relative pitch. I have all of my private students and brass players in my high school band use the B.E.R.P. while warming up. It is amazing how warm the sound is after buzzing for a few minutes. Mario also has a great tape of exercises and demos to go with the B.E.R.P. I am so happy that there is an interest in the work of Stamp, as I can safely say that his method has corrected many of my personal playing problems. I hope that others will be able to experience the success that I have via Jimmy's method and those great teachers I was fortunate enough to study with.
1B
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trumpetherald
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PostPosted: Sun Mar 17, 2002 8:10 am    Post subject: Reply with quote

Quote:

On 2002-03-16 09:11, Jim wrote:
What exactly does it mean to "think down to go up"? What is one supposed to be thinking about to do either? How does this "compress the range"? I read an interview with Hakan Harkenberger wherein he stated the same thing. Could someone please clarify this for me? Thanks, Jim


Basically, the idea is to avoid over-correction in either direction. This helps the performer avoid a flabby sound on descending intervals and a tight sound on ascending intervals.

Most trumpet players tend to 'oversteer' when playing an ascending or descending interval. So, if one slurs from 3rd-space C to G above, the G tends to be on the high side with the sound pinched down a bit. By 'thinking down' when moving up the interval, you're able to maintain a neutral embouchure setting and negotiate the interval with the air column and not the lips. It stands to reason that the sound will be more consistent this way, with the embouchure changing shape as little as possible. So, for example, when executing the slur described above, you think about moving down while actually slurring up.

'Compressing the range' then is bringing all of the notes on the horn closer together by stabilizing the embouchure and learning to execute intervals more with the air column, which is infinitely more flexible than the lips. If you 'think down' while moving to a high C, and 'think up' while moving to a low C, then the range is 'compressed' in the sense that all three octaves feel like the middle C.

I hope this makes some sense. Let me know if it doesn't!

Editor
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tcutrpt
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PostPosted: Sun Mar 17, 2002 10:22 am    Post subject: Reply with quote

Will the "thinking down/up" process become second nature then? I imagine it will, but it seems like outside of certain exercises, it wouldn't have a place. Especially in solos when making music is most important.

Matt
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dbacon
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PostPosted: Sun Mar 17, 2002 11:26 am    Post subject: Reply with quote

Quote:

On 2002-03-17 13:22, tcutrpt wrote:
Will the "thinking down/up" process become second nature then? I imagine it will, but it seems like outside of certain exercises, it wouldn't have a place. Especially in solos when making music is most important.

Matt


I use exercises to invlove muscle memory so as I play music that's all I think of. Never think of mechanics when you make music, think of the music. Progam the mechanical responses you want through studies and exercises. Hear the sound you want, listen to the horn in your hand, make them sound the same. The think up think down for me just means play the center of the note and flow from the center of one note to the center of the next. It's amazing how un-centered we can play when we get sloppy and bend stuff up and down. You should not be able to tell where the next note is by listening pitch wise to the note before it. In other words, it should not change pitch or sound to bend up or down. Like the piano. Each sound is a center.



Dave Bacon


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tcutrpt
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PostPosted: Sun Mar 17, 2002 1:54 pm    Post subject: Reply with quote

Thanks Dave, that makes sense.

Matt
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screamertrumpet
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PostPosted: Sun Mar 17, 2002 7:54 pm    Post subject: Reply with quote

Matt and Dave,
When my teacher plays with me, on occasion (this is very rare), he will accidentally forget to hold down/up and crack a note and his intonation and tone suffers (especially whenever he's moving really fast, like Charlier #7). He tells me that most of the time, he just forgets about all the holding up/down and it happens anyways. But when he does mess up, he asks himself, "Okay, what didn't I do that Stamp would have told me to do?"
Trevor

[ This Message was edited by: screamertrumpet on 2002-03-17 22:56 ]
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dbacon
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PostPosted: Sun Mar 17, 2002 8:52 pm    Post subject: Reply with quote

Quote:

On 2002-03-17 22:54, screamertrumpet wrote:
Matt and Dave,
When my teacher plays with me, on occasion (this is very rare), he will accidentally forget to hold down/up and crack a note and his intonation and tone suffers (especially whenever he's moving really fast, like Charlier #7). He tells me that most of the time, he just forgets about all the holding up/down and it happens anyways. But when he does mess up, he asks himself, "Okay, what didn't I do that Stamp would have told me to do?"
Trevor

<font size=-2>[ This Message was edited by: screamertrumpet on 2002-03-17 22:56 ]</font>





Sounds like a good teacher! I like to ask, how would Bud sound on this. The closer I get the better I play. Not that close. But I can dream!


Dave Bacon
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trumpetherald
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PostPosted: Mon Mar 18, 2002 3:47 pm    Post subject: Reply with quote

With practice of these concepts, they simply become habit and will infuse themselves into all phases of your playing. A couple points, though.

1: Don't expect just doing Stamp drills, or any drills for that matter, to make you a great player. You have to practice applying the concepts to performance of music. This is something that, again, is not covered terribly well in the Stamp 'Warm-ups and Studies.' Roy Poper's book touches on it along with Rob Roy McGregor's orchestral excerpt series, which have some excellent examples of how you 'Stamp' out problems in executing certain passages.

2: The fact that you are practicing a concept like 'staying down when moving up' does not change the fact that, in my view at least, the sound that you are producing must always be foremost in your mind and the sound must be the final criterion of whether or not you're succeeding in improving your playing.

Peace





[ This Message was edited by: trumpetherald on 2002-03-18 18:49 ]
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