Arban vs. Daily Routine

Discussion in 'Trumpet Discussion' started by trumpettrax, Sep 20, 2006.

  1. trumpettrax

    trumpettrax Piano User

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    I was just thinking (yeah it hurts), I read somewhere that Chris Botti (really any player who uses a daily routine book) uses the Bill Adam's daily routine. Well, my thought is this: when someone uses a daily routine like that do they never play other books such as Arban's, Clarke Technical Studies, Schlossberg etc, etc? Is the Daily Routine so inclusive of all the "stuff" you need that the other books are obsolete or have these performers already gone through these books and no longer require the use of them anymore?

    Trax
     
  2. davidjohnson

    davidjohnson Piano User

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    arban/clarke/chic is most of my daily playing

    dj
     
  3. PH

    PH Mezzo Piano User

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    Last edited: May 21, 2007
  4. Alex Yates

    Alex Yates Forte User

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    I agree PH.

    I have a routine that encompasses mainly flexibility, flow studies and response. My routine prepares me for the day so that I can play anything required when getting to the music or teaching lessons or getting through a rehearsal or concert. I have been through lots of routines and books and tend to keep them on a rotation. Flow studies can be Chicowicz or Stamp or Plog; flexibility can be Colin or Lin or Qinque, etc. To keep things fresh I like to alternate similar methods. Also, I did Maggio for three years and greatly benefited from doing it. Must I continue doing it daily to maintain?......no. Now, I will do it for a week or so if I have had too much time off or too much cold, busy playing. It is good to have several methods in your arsenal. It is almost like a medicine cabinet. The more you know and expose your mind to methods, the more likely you can fix problems expeditiously.
     
  5. tpter1

    tpter1 Forte User

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    My daily routine includes aspects from many, many influences. As any good routine should, I think.

    There are days (more now, because of my teaching schedule) that I ONLY get to my routine. Hence the need for diversity within that setting.

    Included: Schlossberg; Stamp; Adams (aspects of...never studied with him, but use principles); Arban; Colin; Clarke; some excercises from Manny's "games"; things from my college professor; a few things of my own invention based on other studies (I feel that's important to do...keeps me from getting bored and pushes creativity and musical thought). On a "bare bones" day, I'll cover only a few of those, but try to touch on as much as I can.
     
  6. trumpettrax

    trumpettrax Piano User

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    What I'm asking is when someone does the daily routine written by whomever (adam, maggio etc.) do they not need to go back and work out of the actual Arban's, or Clarke, or Schlossberg, Williams etc.????

    You finish your daily routine book which has the articulation, flow studies, finger excercises, lip slurs -all the "stuff" that you need to be a good player in it and then work on getting ready for your lessons, or recital or performance.

    They never need to go back to the other books. Is that right?

    Trax
     
  7. tpter1

    tpter1 Forte User

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    No, I don't believe that's the correct, Trax.

    All of those routines work together. All of them draw from each other. I would forward an opinon that any routine that casues you to forego versatility in your apporach might not be worth investigating.

    You always need to go back to go forward. Music is recursive.
     
  8. noonan

    noonan New Friend

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    It seems that saying Arban vs. a Daily Routine is sort of like Baseball vs. A Chicken Sandwich- not really two things to be opposed to eachother. It's easy to be too concerned with what the "right" books are. An intuitive understanding of your individuality as a player, and a game plan that constantly reinforces strengths and assaults weaknesses is the common feature of good trumpeters. Vince Dimartino said it pretty well in a recent ITG article when he stated,

    "Books are really unimportant in learning to play trumpet. It's how you use them and actually how you figure out how the trumpet works. It's like a puzzle. You know, it's not as if you play these books you'll get good. It's not going to happen that way. The whole purpose of doing it is to improve and to change. So basically any method of teaching that doesn't involve change and just involves repetition is going to be ineffective in the long run."
     
  9. adohanian

    adohanian Pianissimo User

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    trumpettrax, I think you are misunderstanding what the "routine" is. For instance, the "Adam routine" is not a book where he wrote all the exercises himself. While he probably did come up with some things himself, it is mostly exercises taken from other sources, such as Arban, Clarke, Schlossberg etc, and put in an order that makes sense. It covers all aspects of playing and in doing the "routine" you would have already played Arban, Clarke etc. The other point I'd make is that the routine is not set in stone from day to day. While there are some "core" exercises that are done everyday, the routine can change from person to person or from day to day. Also understand that routines associated with specific teachers (Adam, Maggio, Caruso) have everything to do with those specific teachers concepts and the exewrcises themselves are less important. I've played Clarke 1 a million times, but is was totally different playing it in a lesson with Bill Adam, and if you haven't had that experience then just playing the exercises might not benefit you the same as it would me. You have to use your own experiences to set your routine. I hope some of these ramblings help.

    Adam
     
  10. Dave

    Dave Guest

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