Importance of Fundamental Skills

Discussion in 'Trumpet Discussion' started by SteveMinion, Jun 22, 2013.

  1. VetPsychWars

    VetPsychWars Fortissimo User

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    It's an interesting question. If our trumpet tone doesn't sound like a trumpet, we're not doing it right. When we're playing properly, the tone is resonant and pleasing, at least at a volume sufficient to "light it up". We can make the tone change to fit the mood, etc, based on what we're playing.

    But, I say that tone color doesn't matter if the (other) basics can't be taken care of.

    Tom
     
  2. tobylou8

    tobylou8 Utimate User

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    I'll send you my address and you can send me a monthly excess check. :thumbsup::thumbsup::thumbsup::thumbsup: Then I can get a Super Recording!!
     
  3. gmonady

    gmonady Utimate User

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    Don't think you can handle the beauty and passion in his interpretation?:dontknow:
     
  4. Vulgano Brother

    Vulgano Brother Moderator Staff Member

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    For all his remarkable qualities, Maynard did lack a certain amount of delicacy in his playing.
     
  5. gmonady

    gmonady Utimate User

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    He could play pretty if you asked him nicely.
     
  6. Juarez-MA

    Juarez-MA Pianissimo User

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    This sounds an awful lot like the old refrain "You're either born with it or not". Intonation is taught.
     
  7. Juarez-MA

    Juarez-MA Pianissimo User

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    1. Tone Quality: I think band directors stress their kids out with this one...mainly because they don't always care until it's coming close to present their brass students. If you teach your students to use their AIR (I think air can be its own category...and I would rank it first) correctly, they are probably well on their way to producing tone well and aesthetically. Vibrato is something I hold till much later.
    2 & 3. Technique and Intonation: Once my students can comfortably play Cs or Gs, I teach them the notes up to the next partial. Always slurred, mind you, I have them develop a concept that their fingers and valves are connected. Just like pushing down valves is part of fingering, the act of a valve coming up is just as important. Finger movements must be very smooth thus produce smooth slurred note changes. I put intonation down too because I'll have my students kick out Ds, Fs, and As right from the first time they play them. We do a lot of sight singing so that they understand how the intonation on trumpet works and to continue development of tonal concept.
    4. Articulation: Once my students have acceptable technique, I teach them tonguing. It is very easy for the band director to completely skip development of good tonguing concepts and that can be very tricky for a student that is in higher grade levels.
    5. Flexibility: I always stress that range isn't important, but you should be able to play your normal playing range technically well. The biggest hinderance of that is not being able to slur between partials with facility, not being able to play with different articulations, or memorizing music to the point where you cannot play something if it appears just a bit different. Flexibility to me is just as much technical as musical.
    6 & 7. Endurance and Range: As we develop flexibility, it is soon apparent that we can play longer than when we began, but endurance is still getting better. Here is where I start introducing better warm-ups that tend to be chromatically ascending in nature. Again, this continues reinforcing flexibility but it is also the beginnings of endurance. Look anyone working on lifting, we must slowly work up to the maximum amount we can lift and rest when we can go no longer. Soon, we notice we can go higher- our previous limit is now stronger. These are the beginnings of developing range. But, good tonal and intonation habits are already going strong.
     

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