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JoseLindE4 Heavyweight Member
Joined: 18 Apr 2003 Posts: 791
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Posted: Thu Oct 28, 2021 8:54 am Post subject: |
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To add another wrinkle, there are at least two broad versions of playing the leadpipe. There's the Adam way that most are familiar with -- playing in the resonance of the pipe.
There's also another way that I first saw attributed to Ghitalla. More recently Javier Gonzales has described something similar in an interview with Bill Bing. This approach involves playing the leadpipe outside of its resonance with scales, arpeggios, tunes, etc. |
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Andy Del Heavyweight Member
Joined: 30 Jun 2005 Posts: 2660 Location: sunny Sydney, Australia
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Posted: Fri Oct 29, 2021 1:27 pm Post subject: Re: Why do you practice these things? |
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thesplitmeister wrote: | I look forward to reading people’s thoughts, everyone’s experience is welcome
1-mouthpiece buzzing
2-leadpipe buzzing
3-free buzzing
4-pedals
5-lip bending
6-flutter tonguing. |
I think you hit the nail on the head when you said waffle… all the points you wish discussed are not seperate one stop fix XXX exercises, but to me are part of a wholistic approach to a skills-based activity, which is playing notes on the trumpet.
This is NOT musicality, or phrasing, although playing these various types of exercises and routines need to be approached musically… which is a digression.
First comes free buzzing, although you neglected to mention ‘horse flaps’ as you cousins tend to call it. I (we, possibly) call it a floppy buzz. Floppy buzz just stimulates blood flow, gets tissue supple and generally ready to work. It also stimulates nerve endings in non practicers.
Free buzzing - lip buzzing down under - is to create a reaction to air flow in your lips, and to develop a setting which is as natural as can be. Less strain and contortions the better.
Mouthpiece buzzing - y’all (sorry, can’t help it) got this one right - is what I use and teach to start on a clear attack, steady tone and resonant sound. And this is both breath and tongue attacks. Go to pitch matching, scales work, melodic work, as you advance and need to unknot things.
Leadpipe buzzing I rarely do, but is great to develop a sense of air speed when flicking up a harmonic, and for advanced students to remain relaxed while creating rather high pitches.
Pitch bending - without bending my lips, so may need to rethink that terminology over there - I use to focus the centre of a note, and to also build strength, holding a harmonic, but moving from the pitch centre and letting it snap back into focus. I use it with more advanced kids as they need to develop their sound more.
Flutter tonguing requires great air flow. So many have issues with a passage due to insufficient air flow, playing it as a flutter tongued passage MAKES one blow better, and this then transfers over to normal playing as the sensation becomes acclimatised…
While I play these as musically as I can, they are skills, cross training, and tricks to get us producing sound well. If you don’t need it, good on you. As a player, teacher, and currently adjudicator this week, I suspect this type of playing is staggeringly rare!
Cheers
Andy _________________ so many horns, so few good notes... |
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nowave Veteran Member
Joined: 01 Oct 2003 Posts: 453 Location: brooklyn
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Posted: Sat Oct 30, 2021 5:58 am Post subject: |
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JoseLindE4 wrote: | More recently Javier Gonzales has described something similar in an interview with Bill Bing. This approach involves playing the leadpipe outside of its resonance with scales, arpeggios, tunes, etc. |
If you haven’t heard Javier Gonzalez play all over the leadpipe with incredible ease and control, you should check out some videos — it’s really astonishing. |
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steve0930 Veteran Member
Joined: 07 May 2018 Posts: 186
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Posted: Mon Nov 08, 2021 7:31 am Post subject: |
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Hello Trumpet Players
OP wrote why?
Quote: |
1-mouthpiece buzzing
2-leadpipe buzzing
3-free buzzing
4-pedals
5-lip bending
6-flutter tonguing. |
Does Whisper tones warrent an inclusion?
I was watching a You Tube on Whisper tones and then went to try out. One reason why I was watching not playing was my lips did not feel great. After some whisper tones on top of staff I then went into the staff to play music and my lips were starting to get their "sparkle" back. Enthused I did some more whisper tones and then above the staff notes also sounding fuller/easier. Can whisper tones help recovery and embouchure or was this just my imagination? Any contributions welcome.
thanks Steve
PS Today my 5 year old birthday as a Trumpet Player, 1826 days. Gosh where did it all go?
You Tube Link:
https://www.youtube.com/watch?v=mrUZj3d3FUU&ab_channel=TrumpetMasterClasseswithDr.BrianShook[/quote] _________________ My Number 1 supporter
http://langdons.com/images/langdon-image.jpg |
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Dayton Heavyweight Member
Joined: 24 Mar 2013 Posts: 1990 Location: USA
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Posted: Mon Nov 08, 2021 8:29 am Post subject: |
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Quote: | Can whisper tones help recovery and embouchure or was this just my imagination? |
In my experience, playing very softly/quietly can help get the lips (back) into their ideal alignment. That makes it useful -- physically and psychologically -- for warm down and recovery.
Also, you'll probably find that it is difficult to play very softly while using a lot of mouthpiece pressure (i.e., the pressure you apply when pushing the mouthpiece against the lips). That makes very soft playing quite useful when working on range development. |
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