lost it!

Discussion in 'Trumpet Discussion' started by oldgit, Jun 27, 2010.

  1. hup_d_dup

    hup_d_dup Piano User

    339
    27
    May 28, 2009
    Tewksbury, NJ, USA
    Oldgit, I believe that the best way to recover from overplaying is NOT to take a day off, but to alter your routine for a day or as long as you need to get back to where you want to be. Long tones, low register, play softly, concentrate on breathing. This is all important stuff anyway, and will hasten the recovery. Everything easy, easy, easy. This is how elite athletes recover from tough workouts; they don't take a day off, they alter the routine so that the body recovers faster.

    The only time someone should take time off altogether is if there is mental burnout. That's a different issue, although sometimes the physical and mental issues are intertwined which makes things complicated. I don't think you need to worry about that. As you said you're a beginner and are still finding your limits. So take it easy, keep playing, you'll be fine.
     
  2. trickg

    trickg Utimate User

    6,793
    3,560
    Oct 26, 2003
    Baltimore/DC
    I think that it depends on the beginner. Some beginners use a ton of pressure, don't rest long enough in between exericises and do other things that can actually be detrimental to their development. If the chops are getting really beat up, taking time off might not be a bad thing.

    But, I also think that changing things up and altering the approach to practice and NOT taking a day off might be a better way to go. There was a time in my life where I hated to take a day off, and even on my days off from my regular duties as an Army Bandsman I would play, even if it was only an extended warm-up routine. Otherwise I'd come back from that day or two off and have to re-hone some of my technique because it had dulled just slightly. It would take me two days to get it all back.

    OldGit, something you might try would be to do some soft long tones - nothing higher than tuning C or even second line G - and do it with the lights off in a dark room. That way you can start to find the connection between what's happening physically to the sound you are producing. Sometimes that helps to re-focus the chops.
     
  3. oldgit

    oldgit Pianissimo User

    172
    1
    Jun 16, 2010
    Basingstoke, England
    Some really good advice, took a step back and slowed down practicing for 15/20 mins at a time and keeping it smooth. Think as well as overdoing one day i was focused on getting higher notes.
    Essentially i am a slow moving guy. always have been, swimmer slow long stroke, golf slow long swing, slow deep voice. slow suits me, really like slow melodic jazz. so why do i need to get high notes and at my age 51 and only just starting am happy to be playing.
    i love the sound of my trumpet, to me it sounds mellow when i blow well, even though i mostly play scales and exercises.
    Really liked playing in the dark. and also played in a disused garage nice ecoey feel.
    still have not found the stuff on mouthpiece pressure and the circle of breathing is on the site or web?
    thanks again
     
  4. hup_d_dup

    hup_d_dup Piano User

    339
    27
    May 28, 2009
    Tewksbury, NJ, USA
    The Circle of Breath is hard to find ... the Search feature is near useless when looking for it. Here is one version of it copied from another thread:


    "My concept of playing the horn starts with posture and breathing. I have often posted on the "Circle of Breath", where we visualize the breathing process as a circle, left side inhale, right exhale. The transition between the two is NOT with high pressure abs, rather with a simple exhale. The top of the circle is sooth and round, as should be our body when moving from in- to exhale. The first exercizes that I teach are inhale, exhale until the circle of breath works, then inhale, exhale through the horn with NO tonguing. Our sound must be able to develop WITHOUT that initial attack. The circle of breath for playing long tones. After 10 minutes or so of this type of long tone, we should have a pretty relaxed embouchure and body with a clean sound.

    I then teach using the circle to get lipslurs started - NO TONGUING, inhale, exhale into the lipslur.

    We then add the tongue at the top of the circle using a very clear Tooooh. Because we no longer need the tongue to kick start our sound (I think that this is your problem), We can use very little tongue motion to get a much clearer and cleaner initial attack. It takes time to synchronize the circle and articulatio. I have often needed 3-4 weeks for students with previous playing experience. The bad habit of hammer blow tonguing is bad for every aspect of playing. Many of these players resorted to Da/DaGa to compensate for this less desirable behaviour.

    The next step is using the circle and our newly discovered approach in tunes. I use easy tunes like those found in the hymnbook. This gives us time to implement positive articulation when playing. When we have text underneath the notes, we realize how "articulate" we should be when we make music."
     

Share This Page