How do you Finish a Note Cleanly?

Discussion in 'Trumpet Discussion' started by Sethoflagos, Mar 23, 2015.

  1. Sethoflagos

    Sethoflagos Utimate User

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    Seems like there's three main methods:

    1. Pinch the aperture shut
    2. Shut off air flow with the tongue
    3. Stop blowing

    For me there's a gradation from 1) which is very abrupt to 3) which rings on a little. I find 3) the most pleasing but only practical in slow phrases and phrase ends. Is there more to it than that?

    Obviously I've omitted kiss offs etc. Not asking about that kind of stuff.
     
  2. kehaulani

    kehaulani Fortissimo User

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    Hawaian homey
    #3
     
  3. Gxman

    Gxman Piano User

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    From everything I am learning, as I just went through that process myself. The close the aperture is not really good as it alters the shape.

    When you do slurring excercises, flow studies etc, the aperture remains open To finish a note, one should keep that open, and be ready (in same position) for the next note. If a very ubrupt cutoff is required, tongue helps as it cuts it completelly.

    However, if you think about all acoustic instruments, they all after having their cut off, have a reminisence of sound still floating after it (very shortly). So if you cut off air with breath (which is what I have been doing), there will be that slight resonance left over just like in any other instrument. With practice though, it seems that can be limited to a much shorter resonance than other instruments.

    So keep aperture open whether you close off with tongue or the better way, with air. It just takes practice and getting used to I found because the body naturally wants to close the aperture off. This is why flow studies are helpful to keep the body reminded to keep things open.
     
  4. BernArt

    BernArt Pianissimo User

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    Hi! I use 2 and 3 and remembering keeping the embouchure exactly on same position, without moving or changing anything (muscles, lips) until the last note stops sounding, until the trumpet stops projecting... Well.... Something like that....hard to explain! Greetings.
    BernArt
     
  5. Dale Proctor

    Dale Proctor Utimate User

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    If it's the end of a phrase or last note before a rest, etc., just stop blowing. If it's in a passage, just start the next note.
     
  6. trickg

    trickg Utimate User

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    Sometimes it depends on the style of music, but typically, at least for classically oriented playing, it's #3.

    With that said, 7 times out of 10 when I'm on the bandstand with the party band, I'm cutting things off with the tongue, ala #2. It just depends on the stylistic situation and what it calls for.
     
  7. kehaulani

    kehaulani Fortissimo User

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    It also has to do with the context of what you're playing. For example, a lot of big swing-era arrangements call for very biting rhythms and articulations.
     
  8. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    Nr. 1 and Nr. 3, working together for most notes, but as for Nr. 2? Sometimes.
     
  9. Sethoflagos

    Sethoflagos Utimate User

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    Not just swing band. This topic came to mind while comparing the trumpet solos of the broad sostenuto opening Promenade with the much more clipped Samuel Goldenberg and Schmu├┐le movement {17:46} from Pictures at an Exhibition.



    It's also something of a spin off from Dr Mark's raised tongue thread. I sometimes quite like pinching the aperture to make a short very clean gap between notes (where it seems appropriate) without raising the tongue early and losing some of the core of the first note. I'm quite intrigued by VB's apparent support of this as I don't believe it's how I was initially taught.
     
  10. flugelgirl

    flugelgirl Forte User

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    Tongue stops are most used in Jazz/commercial playing. Usually the two things you'll notice right away when an orchestrally trained player plays a commercial chart is when and how they attack and release. A lot of classical players will hold a note too long and release too softly. The opposite can be true for a Jazz or commercially trained player in classical music.
     

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