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Yoinks Veteran Member
Joined: 10 Nov 2001 Posts: 258
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Posted: Fri Jan 11, 2002 8:03 pm Post subject: |
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Okay, so the Adam way of playing is fine when I am teaching older players(high school age) because they can grasp more complex subjects. However, I have a question. Obviously the Adam approach has to be altered a little for younger players, especially beginners, as I'm sure Mr. Adam himself says different things to young-uns' to achieve the same result.
What things from the Adam approach have you found are good to work with on younger players, what works, what doesn't, etc.
I have found forcing young kids to sing everything that I assign them causes them to get DRAMATICALLY better really fast. |
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gb1 Regular Member
Joined: 16 Dec 2001 Posts: 35
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Posted: Fri Jan 18, 2002 4:47 pm Post subject: |
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Also, "trading off" is a big help. Illustrating good sound to a young player is invaluable.
I like to give my young students a "condensed version" of long tones, that moves out to middle and low C. I will say, though, that most of my seventh and eighth graders are developed enough to play the first series of long tones with good sound. Also the first lines of the Schlossberg stuff are often effective with young players. |
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Pat Veteran Member
Joined: 18 Nov 2001 Posts: 396
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Posted: Wed Jan 23, 2002 7:47 am Post subject: |
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From what I understand of the Adams and the other methods, it seems to me that the Adams approach is the best one for teaching kids starting on trumpet. Its based on sound and requires the teacher to do alot of playing for the student so he or she can hear the way the music or exercise is supposed to sound. It consciously avoids using technical jargon that could confuse the student--In the second tape of Adam's 3-part series Adam is shown teaching kids from about 5th grade to college and his approach is the same. He plays and then he has the student play.
My 7th grade son responds to this approach. When I play for him, and he tries to match it, his sound is always the best |
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