Pedal tones

Discussion in 'Trumpet Discussion' started by jim miller, Nov 11, 2008.

  1. jim miller

    jim miller Pianissimo User

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    Sep 25, 2008
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    Is it still felt that there is value in practising pedal tones ala Gordons books? or would that make the appeture too wide???
     
  2. bagmangood

    bagmangood Forte User

    I don't know the gordon books,
    but i've definitely had some success with them, they also really help as a cool down exercise after a long day of playing
     
  3. trumpetnick

    trumpetnick Fortissimo User

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    There is always value in practicing pedal tones
     
  4. derekkress

    derekkress Pianissimo User

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    For sure! I studied with a Claude Gordon student and went through the entire process . Pedal tones were just ONE part of it! Clarke, Arban's, St-Jacombe, playing in orchestra, jazz band, quintet etc.... are part of the learning curve. For me using the Gordon approach of practising was the most beneficial in my university days. Today I use all my knowledge to get things done. Study with a qualified teacher and attend as many live concerts or music camps, conferences etc... and listen to everything. Today is easy since info is readily available.Do check out Claude Gordon on Youtube! Good luck!
     
  5. rowuk

    rowuk Moderator Staff Member

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    I wish people would get this aperature stuff out of their brains - and posts.

    The lips do not function like a water faucet, they function like a switch. The function of the pedal tones is to get the muscles that control lip tension (and ultimately the power of the switch) in shape as well as promoting good circulation of blood through the complete embouchure. In addition, one becomes immediately aware of any pressure issues. The "air" in the sound is not caused by an "open" aperature, the same goes for lacking high range. That is caused by the embouchure switch not being pliable yet strong enough.

    It is amazing how these myths just will not go away. For any of you that have electronics 101, embouchure is AC not DC. Sound vibration (even air in the sound) in the trumpet is a 2 way street. The air particles that we blow into the horn are not the ones that project and bounce of of the back wall. The sound waves travel MUCH faster than we could ever blow. Those waves travel into the room and back into the horn too. That is why we play differently in big and small room, reverberant and dry acoustics. The sound waves even help support the chops and tone.

    Pedal tones in reasonable proportions, in a good daily routine are very helpful for building and maintaining chops.
     
  6. Sofus

    Sofus Forte User

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    Jul 26, 2008
    This is what I think, Jim:

    I think that pedal tones should be considered as "the lower limits that you try to reach without changing anything in your embouchure".
    This means: it´s an ok exercise to try to reach them as long as your embouchure is kept intact, but it´s a worthless exercise if you start changing anything when trying to reach them!
    So, the important thing isn´t to actually reach them but instead to try to extend your range downwards until you can, always with the same embouchure in all registers.
    By going from a higher tone downwards to a pedal AND BACK you can ensure that you haven´t lost the ability to return to the higher tones, and that your embouchure still is the same as when you started.
     

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