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Dissecting Stamp - Part 3



 
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janet842
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PostPosted: Tue Jan 16, 2007 3:03 pm    Post subject: Dissecting Stamp - Part 3 Reply with quote

Although this exercise looks so simple that it may seem like a waste of time, it does accomplish an important purpose -- it is designed to teach efficiency in playing close notes. Many players overplay note to note transitions and doing this will contribute to poor intonation. Exercise 4a focuses on making players aware that moving a valve is often all that is needed to move from one close note to another. As with Exercise 3 (see Dissecting Stamp 1 and 2), Exercise 4a is every bit as much about your mental focus as it is about the physical side of trumpet playing.

EXERCISE 4a

Play the C (as always, making sure that the note is full and resonant), then repeat the note and focus your attention on moving only your valves to slur to the B and Bb. Do not move your embouchure at all, only move your valves! Then, drop the octave and repeat: do not move your embouchure, only your valves. (Be very careful to make sure your intonation on octave drops is perfect.) In the measures where notes transition from below-staff notes to pedals (F# to F, for example), you will find that you need to make a minor embouchure adjustment to go from a below-staff note to a pedal note. However, when you move from one pedal note to another you must go back to moving only your valves, not your embouchure. (The transition from pedal C# to C will take some embouchure adjustment.)

Let your valves do the work for you. That's all there is to it, but please take this exercise seriously, especially if you have just discovered that you have been overplaying your close note transitions.

4a Variation: The easily accessible range of 4a makes it an excellent place to practice (or start learning) breath attacks instead of tongue attacks.
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Atomlinson
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PostPosted: Tue Jan 16, 2007 11:26 pm    Post subject: Reply with quote

Thanks again Janet.

Andrew
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swthiel
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PostPosted: Sat Feb 03, 2007 12:04 pm    Post subject: Reply with quote

Interestingly, I was assigned #4 and #5 just last week, so this advice is very timely.

I think I get how to do #4 correctly until it starts moving into the pedal register. I find it interesting that I don't have too much trouble with going in and out of the pedal range in, for example, 3a ... but I find the G-F#-F and F#-F-E segments tricky. Looks like I have a little work to do!

Janet, thanks for yet another illuminating post!
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Roy
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PostPosted: Sat Feb 03, 2007 2:43 pm    Post subject: Reply with quote

Janet,

Thanks! You have a real talent for describing these concepts!

Sincerely,
Roy Griffin
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jaysville
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PostPosted: Tue Feb 27, 2007 4:36 am    Post subject: Reply with quote

Your posts on this subject are excellent. Clear and concise. I only wish more method books could be as defined and not so annoyingly vague on what they are trying to achieve. Thankyou very much. I've only just realised i was overplaying these.
Jay
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janet842
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PostPosted: Tue Feb 27, 2007 6:40 am    Post subject: Reply with quote

Thank you for your kind words.

I still have a few more to write. I want to cover at least 4b and also write about transitioning Stamp from a warmup to method -- that's where the real difference in playing is made.

Janet
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jaysville
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PostPosted: Tue Feb 27, 2007 1:43 pm    Post subject: Reply with quote

Yes that would be great and very helpfull. Also anything you might know about the buzzing and playing the mouthpiece ( though that is well covered in Roy Popers book ) which is also a very vague area. I find too much buzzing makes my lips swell. So i have to rest for too long bettween exercises which is not helpfull.
Thanks,
Jay
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gennaro
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PostPosted: Tue Feb 27, 2007 11:37 pm    Post subject: Reply with quote

perhaps these threads can be put as sticky....

gennaro
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janet842
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PostPosted: Fri Mar 02, 2007 10:04 pm    Post subject: Reply with quote

jaysville wrote:
Yes that would be great and very helpfull. Also anything you might know about the buzzing and playing the mouthpiece ( though that is well covered in Roy Popers book ) which is also a very vague area.


Noted. I'll get Roy's book and Jimmy's book out and see what I can do to clarify areas.

jaysville wrote:
I find too much buzzing makes my lips swell. So i have to rest for too long bettween exercises which is not helpfull.


Ouch. How much time are you devoting to buzzing (please break down lip and mouthpiece buzzing times separately).

Janet
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janet842
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PostPosted: Sat Mar 03, 2007 9:12 am    Post subject: Reply with quote

I did read through Roy's book and I honestly don't know what I could add to it. Roy did an absolutely great job with his book. I did find, for me, that it was easy to rush through what Roy wrote and not really devote enough attention to what is there. I slowed down how I was reading his book and took the time to break it out sentence by sentence. When I did that, I was able to better focus and meditate on what Roy was saying. A lot of Roy's book needs to be read sentence by sentence, taking some time to really think about what he wrote.

If you were actually studying with Stamp, it would be as if you dealt with one sentence, or paragraph, of what is contained in Roy's book over and over and over again until Jimmy was sure you understood it completely and were applying it correctly. Writing a book that way, with the same sentence or paragraph written 20 times in a row, wouldn't add anything to how effective the book is.

If there are points that don't seem clear, let me know through a new TH topic or by PM and I can do my best to explain the same thing in a different way. Sometimes that's all it takes since we all seem to perceive things in a slightly different way.

Janet
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baltotpt
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Joined: 26 Aug 2006
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PostPosted: Sat Mar 10, 2007 7:24 am    Post subject: Reply with quote

If you are looking for real insights into Jimmy stamp's method of teaching, please read all of Janet's posts "dissecting" Stamp. The man was the method, and although I think his book is terrific, I have understandings about his method from my sessions with him that I would not have otherwise. So read Janet's posts. Roy Poper's book is also great, and Janet also has a real sense of what the exercises are aboutl. One comment only: Stamp kept a tuned grand piano in his studio, and that was such a big part of playing through his exercises. One might want to practice the Stamp exercises along with a piano.....and I assure you that it is humbling to do so.
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RandyTX
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PostPosted: Fri Jul 01, 2011 10:03 pm    Post subject: Reply with quote

bump...

I'm finding this whole series very enlightening to helping me with my Stamp book, as I never had the opportunity to study with him.
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