A Bad Thing?

[Pedro]

I was wondering with how my schedule is sometimes. Although its been suggested that we should start are day/session with Caruso, is it a bad thing to end your session with it or would the most important thing be to do it daily, no matter what or when. Of course in ending with Caruso, I'm not suggesting I would do it after a particularly heavy session of playing. Your thoughts?

[_bugleboy]

Pedro,

Here is my attempt to break down trumpet playing into distinctly separate categories. I retain the prerogative to edit freely.

I. SOUND PRODUCTION: tone, articulation, dynamics
a. embouchure: bringing the facial muscles into balance
b. breath support

II. FINGER TECHNIQUE

III. READING

IV. MUSIC
a. phrasing
b. style: learning to play in a specific stlye

My position is that the first and second categories, sound production and fingering, which are the mechanics of playing, amount to 95% of trumpet playing. The remaining 5%, reading and making music, will probably be a life long effort and learning experience, but the essentials should be learnable within 5 - 10 years.

Number 2, finger technique is pretty straight ahead. There are a few tricks, but this is not usually a problem area.

Reading and specifically, sight reading, will be more or less important depending on the type of playing that you do.

This leaves the SOUND PRODUCTION and MUSIC categories.

When you are first starting out, sound production must be your goal. You need to develop the notes, and the control thereof, in order to be able to practice the other categories. Brass playing is all about sound production.

The Caruso calisthenics, more so than any other approach, expose the muscles of the embouchure and respiratory system to the physical demands of trumpet playing, i.e., sound production. Its intent, by repetition, is to develop a conditioned response in these muscles so that sound production becomes an involuntary muscular reflex action. One that is capable of acting totally separate from the willful intentions of the player, but at the same time doing exactly what the players wants. Then, and only then, can the mind be free to apply itself to the task of making music, being set free from the distractions associated with an inefficiently performing embouchure and air column.

When you practice Caruso as the very first thing of the day, you are making the first muscular activity of the day one that is exposing the muscles to the goal of becoming a conditioned response. Now when music oriented practice takes place, the muscles will slowly "remember" some of this exposure and start working it into THAT playing. The more this takes place, the less and less you will feel the need to manipulate by pressing, pivoting, twisting, etc. And thus extending your endurance AND freeing the mind to make music.

Calisthenic exercises are not music; they prepare the muscles to play music. Doing them before music practice is one good way of scheduling them. Also. since calisthenics are very tiring, it is usually better to do them with fresh muscles rather than tired ones. This logic would seem to point in the direction of doing Caruso early in the day.




_________________
Charles Raymond




[ This Message was edited by: bugleboy on 2002-10-02 12:30 ]

[Pedro]

Thanks Charly for the in depth explanation, especially with regards to muscle memory and the training thereof. Although since starting Caruso, its been the first thing that I do, thanks for keeping me on track and not making an illogical mistake!