I think I'm ready for lesson 2

[EBjazz]

I have seriously started using the Caruso exercises and now I have questions.
Having studied with Claude, I like the similarites to the approach. I care not to discuss lip tension or tongue level. I'm simply interested in how to do it right.
I've been doing the six notes twice everyday for two weeks now. I don't start my day with it, and there is nothing in the rules that says you should.
I am now ready to add Intervals in 2nds to my routine. Claude also said "Play with abandon"!
My questions are about stoping and resting.
He says "Stop for fifteen minutes or more and then repeat the study". Great. But then he says "During the rest period, if you wish to practice other exercises or music, feel free to do so." This seems to be somewhat contradictory. I think I'm supposed to rest and common sense tells me to rest. But Carmine says I can play during the resting period.
I also would like to hear a bit more about "Play as high as you can until no sound comes out of the horn"
I'm totally into the concept that there are no goals with these exercises. Charly explained that quite well.
So I'm into it and I'm doing it. I just need the right guidence.
Thanks!
Eb
_________________
Eric Bolvin
http://bolvinmusic.com/product/the-modern-jazz-trumpet-method/
www.bolvinmusic.com

[_bugleboy]

Welcome to the Caruso calisthenics, Eric; I hope you will find some benefit in your playing from them.

EB: I've been doing the six notes twice everyday for two weeks now. I don't start my day with it, and there is nothing in the rules that says you should.

CR: This is correct. When I studied with Carmine he told me that if I wanted to, I could just go ahead and start the day right off with the Six Notes and Seconds. So naturally that's what I did, and still do. Nothing written in stone on that.

EB: He says "Stop for fifteen minutes or more and then repeat the study". ..... "During the rest period, if you wish to practice other exercises or music, feel free to do so." This seems to be somewhat contradictory. I think I'm supposed to rest and common sense tells me to rest. But Carmine says I can play during the resting period.

CR: You're right. This is ambiguous. "Resting " has a double meaning here. There are two issues being addressed.

1. Absolute resting
2. Resting between repeating the same calisthenic exercise.

Carmine didn't want me to sit there all day playing nothing but calisthenics, one after the other, even with 20 minute total rest periods every 20 minutes. Carmine suggested that I practice 20 minutes hard and then put the horn down for 20 minutes and then repeat the cycle. During the 20 minutes (or 15 minutes, or 25 minutes, whatever you choose as your own schedule) he didn't want, for example, the Six Notes to be repeated for 20 minutes. If you played the Six Notes (which has a built in repeat) and then wanted to do it again, he wanted you to wait (rest) at least 15 minutes before doing it again. My suggestion is once or twice a day is enough with any of the calisthenics.

Following Carmine's advice, I used to practice 20/20: 20 on and 20 off, all day. During this schedule, I would often repeat calistheinic exercises; but never back to back.

EB: I also would like to hear a bit more about "Play as high as you can until no sound comes out of the horn"

CR: For example, when you play the Seconds exercise, follow the Four Rules procedure. While maintaining the same setting on your lips that you started with, at some point as the notes go higher your lips just aren't going to stay together. This is expected, anticipated and desired. You will have, at that point, exhausted the capability of your embouchure, with that setting, at that time, for that day. When the lips are unable to stay together there will be no vibration and you'll just get air through the horn. Finsh off the air, as if you actually were getting a tone; rest 15 seconds (continue the foot tapping) and pick it up at the note that didn't play and go again as high as you can until just air comes out. This will now be a whole new (second) setting, different from the first one you started with back on the second line G. When the new setting is wasted, the exercise is over. While doing the calisthenics, disregard tone quality, intonation and all things musical. Disregard all attention to anything muscular in the respiratory system. Your attention should be focused on, in this order,

1. timing (foot tapping), subdivide 16ths
2. keep the blow constant, the air should not be interrupted except for nose breathing (Blow right through mistakes). This should require no real thought process. You just do it.
3. If you can buzz then that is the activity that the lips should feel like they're doing

EB: I'm totally into the concept that there are no goals with these exercises.

CR: Exactly. The results of the calisthenics themselves are irrelevant. Doing them is the goal.
_________________
Charles Raymond





[ This Message was edited by: bugleboy on 2002-09-08 13:42 ]

[JohnnyChemo]

[_bugleboy]

"I believe that changing embouchure slightly as I play is so automatic, the idea of not doing it is terribly difficult to grasp."

Try to not allow any changes to occur while you are breathing through the nose. The goal is to keep the embouchure as still as possible during this time. When you are playing it is OK to work the lips to get the higher notes, but this activity of working the lips only spans the time interval of a 32nd note while moving between notes of the interval you are practicing.

[JohnnyChemo]

Ok, that makes a lot more sense. I think I'm overthinking it a bit. Typical trumpet player, I guess!