How long do YOU practice

Discussion in 'Trumpet Discussion' started by melodictrumpet, Jan 19, 2011.

  1. gmonady

    gmonady Utimate User

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    This technique makes perfect sense. It isn't so much 'rest as much as you play', but do rest when you suddenly start feeling fatigue set in (which is hopefully in advance of any subjective sensation of pain as pain ALWAYS trumps fatigue).

    In playing just at 10-15 minute salvos, fatigue will in all high likelihood be completely prevented (assuming one is not holding out double high Cs for 10 bars at a time with just enough time to breath to do it again, and keep doing it for 10 minutes... and my guess is in this situation fatigue would not be as worrisome as initiating the phrase "Maynard, Maynard [read Annie, Annie] are you alright?.. at which point CPR is started.)

    Maynard's technique as you noted is perfect, and now I understand how he could get demonstrate so much endurance with range out of practicing by never letting his muscle fatigue with this practice ethic.

    Thanks much for sharing this technique.
     
  2. gmonady

    gmonady Utimate User

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    AND while on the topic of muscle physiology, NEVER let more than 2 days pass without practicing, as all the endurance and muscle tone that had been developed for the weeks, months, years will start being lost after this delay as muscle looses it's "tone" memory quickly.

    NOW with that said regarding theory, I feel a decline in control (an perhaps endurance) if I miss just one day of practice.
     
  3. tobylou8

    tobylou8 Utimate User

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    I do the same AND I, 99% of the time, have my mpc with me (just in case I get asked to play :D). Oh yeah, can't forget my pocket trpt in the truck!
     
  4. piccolomaster

    piccolomaster Pianissimo User

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    I rarely take a day off the trumpet. I usually practice 2-3 hours per day on a slow day. When getting ready for a rehearsal or concert I would say at least 1-2 hours no more than that. Sometimes I would break up my practice. Eg. practice 1 hour during the morning then 2 hours in the late afternoon or evening.
     
  5. Slidehammr

    Slidehammr New Friend

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    1.5-2 hours per day. Begin on Bb with about 40 minutes of Clarke w/ some Gekker studies all played softly and slowly (to begin). If I start out feeling flexible I do 40 minutes of Irons and Colin arpeggios softly and slowly (to begin). I then move to C trumpet and do three 10 minute Arban sections of tonguing and/or intervals. Then comes 10-15 minutes of Gekker studies on picc (not every day). I then take a break for 20 minutes or so and come back with some short lip flexibility exercises and then move to some jazz improvisation or etudes/solos. I rarely play loud during a practice session at all. I play mostly wedding ceremonies (lots of picc) and some jazz small group stuff. On gig days I typically warm up ONLY for about 40-45 minutes usually with Clarke #3 or something similar. Staying consistent on tpt. is a BITCH and I get in trouble with "brick chops" occasionally. There's only one remedy that has ever worked for me: back off! If I try to stay strong just with practice it typically doesn't really work out in the long run. You have to get out of the woodshed and get gigs!
     
    Last edited: Feb 25, 2011
  6. gmonady

    gmonady Utimate User

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    I practice 60-90 minutes a day, 7 days a week, that includes 5-10 minutes of long tone warm ups. All of this in the presence of my dog Jazz; and her two adoptive puppy daughters, Hollywood and Layla, the latter two of which sing (OK howl... but in tune... no, really) with me ONLY when bebop lines are played.

    When I travel by plane, I bring my mouth piece, and play into a towel for 45-60 minutes each night I am away. (Sans dogs)
     
  7. EdMann

    EdMann Mezzo Forte User

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    Lately I've been picking up the pace. 2-3 hours periodically throughout the day, and 4 hours of playing on rehearsal/gig days. It's been helping, and the key has been consistency: start with either Maggio or Stamp these days, Clarke, all sorts of exercises from Schlossberg and Arban, then music, or vice versa. Used to be that that kind of practice would kill my chops, but I've been REALLY concentrating on balancing and pressure on the chops with air and a good pucker. Exhaustion only seems to set in during a long brass quintet rehearsal, but everything else is just that much easier.

    Time in the shed = happy Ed
     

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