First note of phrase.....attack?

Discussion in 'Trumpet Discussion' started by crowmadic, Jul 24, 2008.

  1. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    Cut and paste here: "As Lin Chi Zen Master once said, 'When walking, just walk. When sitting, just sit. But above all don't wobble!'"

    We can add to this, "when performing, just play."

    I have a wonderful recording of Elgar's Enigma Variations with Solti and Chicago. Besides the wonderful moment in Nimrod where the brass prove they can play louder than anyone else in the world, there is not only a wonderful sense of "hey, this is easy!" but especially an attitude of "hey, this is fun!"

    We tend to be our own worst critics--which is good for personal practice, but it is an attitude we need to shed when we step on stage. At our best, we are ready and eager to go; at our worst we are afraid we are going to sound like someone trying the trumpet for the first time.

    At such moments, my best advice (to myself, too) is simply to fake it. I'll pretend like I really can play the piece that I have practiced, and it usually comes out wonderfully; the inner critic is silenced, and I can have fun!

    Not only weird, but complex is the Vulgano mind.
     
  2. veery715

    veery715 Utimate User

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    But not too complex to know a boss recording when you hear it! That is when listening is "just listening". And of course it IS fun. That's why it is called "playing".
    Oh, and the Zen master doesn't wish to read about your weirdness. You ARE Vulgano Brother, after all, and while there is someone who is more talented, more handsome, more intelligent, more skilled; there is no one who is more you.

    :thumbsup:
    Ommmmmmmmmmmmmmmmmmmmm.................................
     
  3. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    :grouphug:
     
  4. rowuk

    rowuk Moderator Staff Member

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    Exactly what I said! NO ATTACK!
    Ommmmmmmmmmmmmmmmmmmmm.................................

    My theory is when you have a problem, you take a step or two backwards and repair the foundation instead of adding external bracing. It is more work, but offers INTEGRITY. There is NOTHING more important in the physics of playing a wind instrument than getting your wind together!
     
    Last edited: Jul 30, 2008
  5. crowmadic

    crowmadic Mezzo Piano User

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    Well!........I like questions that stir up interest and responses in multitudes. It looks like I hit one here. I've picked up some good ideas from all of you.......thanks. The fact is, that I am a "returning player" who has returned for five years now. There's one tune in the Klezmer band that I play in that requires something of a trumpet fanfare in the first measure. I play alongside a more experienced trumpeter who generally plays harmony to many of my leads. I find myself quietly testing the note before executing it. That in itself is a clue to my insecurity. There have been a few performances where I trusted myself without any pre-prep, and it's gone fine. I'm an ex-professional actor, and I know how to inflame my imagination toward the positive and the negative. As a trumpet player I have employ some of your suggestions, practice-practice-practice, and to learn to trust myself on that first note.............. crow
     
    Last edited: Aug 1, 2008
  6. Churchman

    Churchman Mezzo Piano User

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    Bringing this thread back to life, I was wondering whether the whole matter of putting the horn to lips is also invovled. I read the following and thought it might be a helpful method.

    "Put the mouthpiece on your top lip first and bring it down, this gives you better flexibility, greater range and better sound. First, take the horn and lift the bell so it is pointing slightly toward the ceiling, it can be as little as a half inch above level, just as long as it helps you to bring the horn to your embouchure from above."
     
  7. rowuk

    rowuk Moderator Staff Member

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    Actually, it is bringing the horn up to a prepared body: big and open to inhale, proper posture to not need extra energy just to stand up, little armstrong to stabilize the face, big relaxed breath, lips that have been trained to fire without excessive articulation, a light attack to define the shape of the note.

    We can make an intellectual ritual out of it, I personally prefer good practice hygiene and thousands of repetitiont to stabilize. I have never thought about which lip first. Most important to me personally was keeping the spine straight and my head not pushed forward.

     
  8. Reedman1

    Reedman1 Piano User

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    My teacher suggests this. When I remember to do it, it works quite well.
     
  9. Churchman

    Churchman Mezzo Piano User

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    Thanks. The 'head back' thing is of particular interest. Maybe that is what the chap was trying to get at. I found today that I was playing much better sitting down - head was more back, and body far more relaxed...
     

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