grueling/Arban/pg.42-45

Discussion in 'Trumpet Discussion' started by crowmadic, Nov 22, 2006.

  1. crowmadic

    crowmadic Mezzo Piano User

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    I'm requesting help/tips on how to make those grueling flexibility/sluring exercises in Arban's pgs. 42-45. I'm trying not to put too much pressure to reach the high notes. Should I be punching my breath/diaphram in and out like a belly dancer? What should I be expecting to feel in my lip/embouchure?.........help!
     
  2. wiseone2

    wiseone2 Artitst in Residence Staff Member

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    Play these studies softly, don't play any louder than mf.........and I don't mean Maynard:-)
    These studies should not hurt.
    Wilmer
     
  3. crowmadic

    crowmadic Mezzo Piano User

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    Thanks Wilmer, I will play them mf, but can you explain why that's important to do? My frustration is that it just doesn't feel like I'll ever get those exercises to flow with fast-liquidity (if you know what I mean).
     
  4. tpter1

    tpter1 Forte User

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    There should be no overexertion of stomach muscles, or "belly dancing". Breathe big and full, and connect each pitch. Speed comes later; go for accuracy and smoothness at first.
     
  5. crowmadic

    crowmadic Mezzo Piano User

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    Oct 3, 2006
    Thanks Glenn, I'll do what you say and be more patient. But, can you tell me what to expect (anatomically-lip, embochure, breath/belly, etc.) when the exercise is played with speed?
     
  6. wiseone2

    wiseone2 Artitst in Residence Staff Member

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    Try this........sing the study, #16 on pg.42, using the word tow. Feel how connected the intervals are. What is the tongue doing while you are singing?
    Next, the mouthpiece. Play that same study mf. How dow it feel? Try for the same ease as when you sang.
    Now add the trumpet. Play only mf. Do you get a similar feel. You should:-)
    These studies should be approached in a vocal manner. Sing them, then play them. Make playing vocal. This is the intention of these studies.
    Wilmer
     
  7. tpter1

    tpter1 Forte User

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    Exactly what Wilmer said. (He's a much better player than I am...I concede to him).
     
  8. trumpethack

    trumpethack Pianissimo User

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    one "trick" is to play them first with valve changes. So for example the first one is G to B using 1 and 3. Try playing the G open and the b 1 and 3 and play otherwise as written... for Ab to C, play the C open first and play as written. the act of moving your fingers when the notes change seems to help one get the coordination of changing notes at the right time. Practice like that a little then try it just using one valve combination. It should feel a bit easier. So go back and forth between the two.

    Another thing that I find quite helpful is to start on the higher note. So for the G to B slur start on the B. You could just add a whole note B a bar before the written exercise and then the rest would be the same.

    Hope this helps.

    Matt
     
  9. tpter1

    tpter1 Forte User

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    I gave this a bit more thought.

    You are asking for how it feels when you play these correctly, if I interpret your question correctly; the physiology of what is taking place.

    I've been trying to move away from the "how it feels" to "how it sounds" thought. Listen critically to yourself, and imagine the sound you want the horn to make. That's why Wilmer says it's so important to sing them. If you can sing it, then you're hearing it. If you hear it, you can make it happen. It will not happen overnight; it may not happen for weeks or even months, but it will happen.
     
  10. crowmadic

    crowmadic Mezzo Piano User

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    Oct 3, 2006
    Thank you all, I will encorporate all the advice given. I feel like the results will lead me to new and important discoveries!
     

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