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Discussion in 'Trumpet Discussion' started by manofjazz, Apr 25, 2006.
Build Consistancy in all playing arenas?
Can you be a little more specific? Do you find that your overall playing is inconsistant? Are you looking for a practice method, or just encouragement. The really simple answer is to practice, but that answer probably won't help you much, so you'll need to be a little more detailed in what you're asking for.
Vulgano Brothers prefer the concept of "rebilability" over "consistency": if your A and C and F are always in the same place pitchwise, that meets the requirements of consistency, but not the requirements of a living, breathing orchestra with hairy-legged violists doing their thing too. If you really own every tone that comes out your insrument you have won the battle.
A very general question indeed.
I'd say practice is your answer. You just need to define what it is your really asking and then tailor a program to acheive it.
Consistent performance demands consistent practice just like perfect practice makes perfect.
But consistent what? You can do something consistently wrong, can't you?
A consistent high register demands a strong foundation and an imagination that hears great sounds to imitate.
Consistent technical facility demands slow unerring practice built up over time to fast unerring performance.
Consistent musicality demands a soul that speaks poetically when needed, brazenly when needed. The rules of phrasing have to become second nature in order to be a consistent part of your expressive side. You need to learn when to fall away from a note, how to find the peak of a phrase not just accented the highest note.
Music is a hugely complex subject to study so that you can make it sound effortless and childlike when you play.
I meant consistent high register... So, do I just build my fundamentals more? Or can I do some sort of soft, high long tones to build it?
What's the best way and why?
I'm not saying that I have the best high register on this site but I can say that I do own the high G and sometimes pop off the occasional double C. I say that to perfect your higher register is to build and perfect your lower one. (this might sound strange) If you look at someone like Arturo Sandoval who has a few methods books out, he is very big on pedal tones (below the low F#). I tried some of his extended studies for a couple years and my range improved because of it. If you focus on having a nice big open sound "down there" then your chops are strengthening and that gives you more muscle. Also playing such low notes require a lot of AIR! Do not skimp out on the air as you go higher use the same amount of air (if not more) the higher you go. But as everyone here will agree, practice is the key. Make sure you own a note before attempting to move on to the next higher one.
FYI - Pedal tones are not for everyone - I myself know that I cannot do them correctly so I stay away from them. When I see them in a book I just pass them by. You have to make sure you do them correctly, otherwise you may run the risk of doing damage to your chops. Sorry I can't tell you how to do them correctly but someone here can I am sure of it.
Another gem for my collection.
Imagination: Vulgango Brothers like and applaud that. If we can get every note out like we imagine it should sound we have won the game. Sometimes we surprise ourselves by gettng better results than we imagined. Don't become one of those "look at my tuner, it was in tune!" kind of guys that Vulgano Brothers mob.
Hopefully Alex can jump in here a bit and clarify, too, as I'm treading in some of her waters on this.
I remember Jim Thompson saying in a workshop that to play well in the upper register requires work in the low register at soft dynamics. Around 2nd line G, as soft as possible. His reasoning is that the embouchre is doing essentially the same thing there is it is up around the C above the staff.