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Discussion in 'Trumpet Discussion' started by den2042, Jan 3, 2016.
OK. Thank you
Here's some info and tips for the comeback player...
Den2042 and Rowuk, you have inspired me - I've just ordered a copy of 27 Groups of Exercises to get me fired up for 2016.
I like the green Schlossberg flexibility studies book. Follow the dynamic markings in the exercises and you will see good results in a short time. Like long tones, the exercises are sort of boring, but the result is worth it. I try to mix this stuff in with some melodic playing during practice time to keep it interesting.
I know you say a tutor is not an option, but having a teacher can save you from potential frustration and bad habits.
Thank you for giving a suggestion. I do plan to obtain the other book of yours "Advancing player ..." later on, in 3 months or so. From the description I see looks as a good job
... and one can google out a free pdf of this book/ What do you mean by dynamic marking?
life is life...
The old Mitchell on Trumpet series is very systematic and progressive. A little boring maybe, but effective. When I'm on my best behavior, I do 2 practice sessions per day, one on Mitchell and the other playing musically or practicing for a performance. The Mitchell books are organized in "lessons" that combine range, endurance, flexibility, intervals, and key signatures.
I mean you need to observe the loudness markings (pp, p, f, ff, etc.) and the crescendos and decrescendos on all the exercises.
Clark's instructions are good. Follow them.
Arban has everything you need. Pop's McGlaughlin (sp?) has a good Arban routine on his website.
Flexibility studies are essential: I like W. Smith and Schlossberg, Irons is good and the Colin Advanced Flexibilities are good.
Breaks: rest as much as you play (Claude Gordon). Bill Adam had his students practice together trading off on the exercises. I use the time to blow air with articulations through the leadpipe. Try it, you'll like it and the hyperventilation will give you a buzz!
Buzzing: I use a Stamp warmup which includes free buzzing and mouthpiece buzzing, matching pitches with a piano. It really connects your chops to your ears.
Long tones do not have to be boring. I try to use them to explore and center the note and the tone.
Use variety - i first learned long tones by starting at G in the staff and alternate going up and down by half tones -- you end up on low F# and high G.
Alternate the length - 8 beats - longer
use alternative patterns - thirds - fourths - circle of fifths - passing tones -- combine the time with ear training (centering the note) (identifying intervals etc)
Very good for me has been upper register long tones -- very softly. This builds confidence in your core and emphasizes support instead of loudness.