2 and 1/2 months in "postcards from the edge"

richardwy

been practicing and hour plus daily usu in separate segments and pretty much all back after a 23 year layoff. what isn't back is the musicianship (is that the right word?)that comes from playing in multiple ensembles. also endurance might be lagging but in truth i never felt very "endurable" at any time.

since i never gained a facility with the clarke studies (i wasn't a music major and started playing trumpet when i was 21'ish) no surprise that they are still challenging.

i suppose i'm probably well below the "technical" curve. here's a question for any willing to answer. 1st study metronome times on my end vary between 69 and 92. what are they for you & who rips through the 1st technical study at 112 per measure or better?

happy practicing,

richard oliver
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1972 Selmer Radial

WxJeff · Posted: Tue Mar 28, 2006 2:45 pm Post subject:

Richard:

First off, I'm sorry you didn't get any takers (that posted publicly anyway) on your Arban's/Clarke comparison exercise thread below. I also can't add anything to this thread re: Clarke. Maybe I'll pick up one or the other of those technical books this summer. Too much church playing and lesson warmup stuff (Doc Reinhardt pedagogy) right now.

I will tell you that I started using my metronome (quarter note=74) on the Reinhardt Pivot Stabilizer exercise and when I mentioned doing so my teacher was thrilled (most of his high school students "can't find" their metronomes,) but suggested quarter note=60 would be better.

I'll look forward to comparing "speed work" with you after Easter!

Scooter01 · Posted: Tue Mar 28, 2006 2:55 pm Post subject:

I really wouldn't be too concerned with what others can do speed wise. The biggest limiting factor is how fast your valves move. I like to work on eveness of tone and steady even tempo. These are also great for working on breath control. I always started out slowly on each of the Clarke Studies and gradually sped them up, with a metronome. Bud Herseth said something in an interview that always stuck with me. He said: "Some one will always play higher, faster or louder than you. It's what you do with the notes (musically)
that counts."
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Those who say it cannot be done should stay out of the way of the people doing it.

janet842 · Posted: Wed Mar 29, 2006 7:08 am Post subject:

I'd rather play something slower and have every note sound crystal clear so that each and every note is a masterpiece (not that I can actually do that all the time.

) Doing that is what makes the difference between an excellent player (Winton for instance) and an average one. Speed comes later.

Have you ever watched someone in a race who lets up at the last minute and suddenly gets passed. They lose because they did not focus on each and every step all the way through the very last one. Trumpet playing is like that. You have to focus all the way through.

jfmaulding · Regular Member Joined: 15 Feb 2005 Posts: 53

In my previous trumpet life (20 year layoff) I was a "biggie" on practicing via music method books like Arbans and Clarke. The goal was to practice the method segments over and over until you almost memorized them. They would become "a part" of the trumpet you. When it came to performance music, it all was supposed to be sub-sets of the method material and you should be able to "rip" through them if...you had acquired good command of the method books.

Well...now I do things differently "not that I was wrong in the past" but I spend much more time practicing "performance music." After all....my goal is instead of being a great trumpet player...is to create a "great trumpet performance." I do spend some time in the method books but I have a great deal of difficult trumpet performance music that I am planning to perform, so I spend most of my time on that.

Each one of us has "so much ability" and this seems to be the best way for me to maximize what abilities I have along with the available time to dedicate to it.

John Maulding
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Bflat - Yamaha YTR 431T
C - Bach Model 229
D & Eflat - YTR 761
D is my main horn
Trombone- King 3B with F
Holton TR150 with F

richardwy · Posted: Thu Mar 30, 2006 12:20 pm Post subject:

thanks for the input!! i agree with what everyone said. entirely.

also . . . got a chance to hear the old selmer un-whisper-muted FINALLY!!. wow, she's a beast.

rehersed with organsit and choir director yesterday. both very good musicians. Easter vigil and Mass contains some hymns with a descant or two, 2 prologues . . . baroque sounding piece but not one i know, wonderful alleluia's, and accompaning on various parts of the Mass.

the church has wonderful acoustics and from my perch in loft behind congregation in the nave, sounds good . . . play soft and stuff works and open up especially above d or e-flat in the staff going right up the ladder and this horn has the best sound (i.e. one that i'm thrilled with beyond words). nice edge if needed, great center, heck it's all but perfect. sorry i'm going on, but i can't stop.

good news: i've not played in 23 years and what do i know . . . horn and i prob sound like a goat whose tail is being tromped upon by a feral pig.

hope all the playing we try, do, and pull off this Easter proves a blessing to all.

richard
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1972 Selmer Radial

WxJeff · Posted: Thu Mar 30, 2006 1:21 pm Post subject:

Richard:

Inspiring post... do "go on" all you want! It's such a blessing to hear others' accounts of successes and ephiphanal experiences. We're getting ready for our Protestant Easter drama (actuallly to be performed next Sunday.) This year, for the first time in the three years I've been playing with this church, I actually have another trumpet player with me... we've been splitting the 1st/2nd parts and she has been great for giving pointers and soliciting feedback.

I'm sure your public playing will go very, very well. (...and how does the goat know whether or not it's tail is being trod upon by a feral or a domesticated pig?)

tommy t.