Flexibilities

Discussion in 'EC Downloading' started by stukvalve, Oct 2, 2005.

  1. stukvalve

    stukvalve New Friend

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    Oct 29, 2004
    Mr.Carroll,

    I had a few small questions about lip flexibilities. Is there anything you try and focus on with these, and what exercises do you suggest?

    Thanks in advance! -Max
     
  2. ecarroll

    ecarroll Artist in Residence Staff Member

    2,212
    8
    Jul 13, 2005
    NY/CA
    Good morning, Max

    My students use the Bai Lin exercises. I ask them to concentrate on the same "balance between glissando & crescendo" principle that Jim suggests in Buzzing Basics.

    It works, as you probably know (and the sky's the limit).

    Cheers,
    EC
     
  3. MalinTrumpet

    MalinTrumpet Pianissimo User

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    Nov 7, 2004
    New York City
    I love the Bai Lin book. I got all the way through it (it took a few years) and started again at the beginning.

    Larry Malin
     
  4. ecarroll

    ecarroll Artist in Residence Staff Member

    2,212
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    Jul 13, 2005
    NY/CA
    Larry,

    The secret isn't the material, obviously. Either one of us can write progressive harmonic series exercises (and, perhaps, should). The secret is found in execution -- balancing crescendo/glissando to gain command of air speed and linking centers of notes. Everything falls into place when that's mastered.

    What a difference practice with a plan makes. . .

    Hope all's well in the city. Jackie's down doing a play and I'm stuck on the wrong coast for the run.

    Best,
    EC
     
  5. JunkyT

    JunkyT Pianissimo User

    133
    1
    Jan 6, 2004
    Seattle, WA
    i wonder if you can explain a bit about what you mean by "balancing". i've been working out of the bai lin book for a couple weeks, and want to make sure i'm getting the most out of it.

    thanks!
    jason
     
  6. ecarroll

    ecarroll Artist in Residence Staff Member

    2,212
    8
    Jul 13, 2005
    NY/CA
    Hi Jason,

    Finding that liquid release between notes in different registers by determining the best relationship (for you) between glissando/crescendo (focus) as you go up and glissando/making the air column wider as you go down.

    Many only learn to blow at one speed and add tension as they ascend and wash their sound out as the descend, resulting in bad sound, bad flexibility, and no range. Yikes (we've heard it a million times, haven't we?)

    Best,
    EC
     
  7. Mzony

    Mzony Pianissimo User

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    Nov 14, 2004
    Honolulu, Hawaii
    Clearly you have been listening in to my recent practicing. OK. Silent Brass from here on out. Damn you and your ears Eddie! :lol: :-o :-P
     
  8. ecarroll

    ecarroll Artist in Residence Staff Member

    2,212
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    Jul 13, 2005
    NY/CA
    Mikey,

    You know far more about this stuff than most, amigo (and I'm delighted that you're ghosting this forum). Keep posting here?

    EC (all ears)
     
  9. CGUM

    CGUM Pianissimo User

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    Aug 5, 2005
    Ed,
    This topic is great! All I can think of is standing on the landing outside of your office CalArts playing bai lin and other things, looking like a trumpeting monk. Goodtimes! Make a plan, execute the plan, evalute the plan...rinse and repeat.

    CG
     
  10. ecarroll

    ecarroll Artist in Residence Staff Member

    2,212
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    Jul 13, 2005
    NY/CA
    Charlie,

    One of the plus points out here is weather, as you know. It's wonderful to be able to play outside in January.

    I'm concentrating on articulation with my current crop of students. As you know, we have a pretty vibrant trumpet culture at CalArts and there are more than a few around here that have worked flexibility studies past double C (Wayne Bergeron is subbing for John Fumo, our regular jazz guy, this term and is amazed :D ). The next step is to apply the same principle while articulating -- hard for some.

    Onward,
    EC
     

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