From Rowuk's trumpet pedagogy

Discussion in 'Trumpet Discussion' started by DiaxII, Nov 28, 2012.

  1. DiaxII

    DiaxII Pianissimo User

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    While this is still up I dare elaborate on or better say clarify my original post taking into account Robin's reply #17. Maybe I have better luck this time.
    (Robin, sorry that I talk about you in third person if you read this - I don't want to assume you will reply for sure... meanwhile hoping so :) ). Anyone is welcome to extend the knowledge.

    So, is it correct to say that the procedure outlined in my original post with some corrections by Rowuk (excluding the lead pipe which I assigned by mistake to Rowuk's method while he never teaches it - Sorry!) and which is largely long tones, slurs and some scales played *softly* in the beginning of the practice session is nothing more than a "smart" warm-up?
    With further Rowuk's notes I can see that this in general sense falls into his often suggested first 1/3rd of the paractice session organized as 'warm up - tunes - technique' trinity which is fair enough.

    What I probably was asking about originally is whether the "smart" of the first part in which "soft" is a key word translates directly to the second and third parts. I see in order to play tunes in the second part we need to add a little of "animal" to our blowing approach to make certain notes happen and sound full and lively.

    So, what happens in the second and third parts? Do we become "less smart" or do we use another "smart" method here? In other words does "smart" which is "soft" belongs to the first part only and what "smart" is more applicable to other parts?
     
  2. gmonady

    gmonady Utimate User

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    And that is why God invented the 4 valve flugelhorn. Actually you can pedal tone real easy without the fourth valve, but that fourth valve bridges that gap without the lips having to do strange contortions.

    I, like Rowuk, do not spend time on pedal tones as there are many other performance techniques I devote my time. Put when I need them, I cheet and use my 4-valve flugelhorn. No work, no effort, just rich loud peddel tones.
     
  3. rowuk

    rowuk Moderator Staff Member

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    Actually, a warmup is NOT a daily routine. A warmup generally is there for those that need something physical or psychological to get started. The daily routine is to MAINTAIN a proven base that we can always return to. The second and third parts of daily practice - repertory and technical studies have different demands. Music is why we play - that is why repertory is so important. There we bring all of the facets of our being together. The end of the daily practice is technical studies. Why at the end? Because we should NEVER be wasted when playing music. Technical development is based on intelligent repetitions (hundreds to thousands). That does not mean that they should not sound musical, but it does mean that when we want to perfect a specific pattern of motion, all of the musicality in the world will not replace REPETITION.
     

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