Practice today?

Discussion in 'Trumpet Discussion' started by trumpethack, Jan 8, 2007.

  1. trpt2345

    trpt2345 Mezzo Forte User

    May 21, 2006
    Morelia, Mexico
    Funny, I have never felt it possible to overdo Goldman. I have about half of it committed to memory so whenever I'm somewhere and need something to fall back on to keep in shape, like on vacation, Goldman is always there.
    A great thing about practicing in Mexico when I'm visiting family-everyone LOVES the trumpet, and no one is bothered by the sound. I've practiced on hotel balconies and gotten applause from the street below just for doing etudes and the odd excerot or tune. It's a wonderful atmosphere.

    Michael Mclaughlin

    I was married by a judge. I should have asked for a jury.
    Groucho Marx
  2. B15M

    B15M Forte User

    Dec 30, 2003
    Monroe Ct.
    Hi Alex,

    Practicing is really building muscle, just like lifting weights.

    Resting gives the muscles time to recover. To build you tear down the muscle and it comes back bigger and stronger. If you don't rest you just tear it down.

    When lifting, if you want to build big muscles you lift as much weight as you can about eight to ten times. (Football lineman)
    If you want more endurance and flexibility you would lessen the weight and do more reps. fifteen to twenty times. (Baseball player)
    You need to rest a little in-between each set to let the muscle recover.

    OK so lets equate this to the trumpet:
    Building muscle lifting a lot of weight little times = keep playing high C or play your picc a lot with no B flat stuff.
    You will build a lot of muscle but not have much endurance or flexibility. Just like the muscle guy that can't touch his/her back.

    Building endurance and flexibility, a lot of reps not as much weight. = warm up on the trumpet and pace your self gives you a lot of endurance and flexibility.

    I hope I made some sense,
  3. tpter1

    tpter1 Forte User

    Jan 12, 2005
    Northern New York
    Alex- Your question caused me to experiment a bit this weekend. I am one of those people who rests quite frequently during practice sessions. I was brought up on rest and playing should be roughly equal. (Or, maybe it's just that I get thinking and staring out the window at the birds and squirrels on the branch outside...) Anyway, I rested less. Much less. I find today that I have better endurance and a bit more zip in my sound, but did feel a bit swollen this am as I covered my missing second trumpeter's part in jazz band. A few Clarkes later on in the day and I was essentially ready to go, though. It is an interesting point; quite a contradiction, really.
  4. Bugleboy21

    Bugleboy21 Pianissimo User

    Feb 23, 2005
    Fort Eustis, VA
    I can usually practice for a long period of time for several hours a day. My key is that I solfege most exercises in my fundamentals practice. I get a chance to rest enough to keep fresh and get my mind in gear to play (which helps raise my accuracy on studies I've played a million times). This also means I'm not having to play these exercises any more that twice to nail them, again saving chops and allowing me to focus on what I am doing: sharpening my tools.

    When it comes to etudes, this approach changes a little. I usually go straight through once, evaluating trouble spots as I go. Then, I practice like I do my fundamentals: singing then playing. I use the same approach with orchestral literature as well, unless I were preparing an audition. We all know you can't sing Parsifal at an audition before you play and even if it were allowed:

    You'd have a better shot at nailing the high C on your horn!
  5. Manny Laureano

    Manny Laureano Utimate User

    Sep 29, 2004
    Today was one of those nice days off where I got to practice what I wanted when I wanted.

    I had to teach a lesson so I baked a corn bread and warmed up with about a minute's worth of long tones and then the usual scales, chromatic and otherwise. I taught and went back to it with some tonguing from Goldman and Arban. Then I played quite a bit out of Clarke's Characteristic studies and the Pietzsch book I wrote about on another thread. I finished up with "Southern Cross" for fun and I feel as though I can quit for the day or just pick it up periodically throughout the day as the spirit moves me to do. I should probably pick up the "Little Raja" and blow some C trumpet.

    I love days like this. Of course you realize it's all geared towards being able to watch "24" tonight guilt-free!

  6. KJaeger

    KJaeger Pianissimo User

    Oct 27, 2004
    Colorado Springs, CO
    LOL - that was my thought today as well...

    My wife is under the weather so I stayed home from work to take of our daughter and let her get some rest. During afternoon naps for both Mommy and Daughter, I got to go down to the basement and get in a good 60-90 minutes of focused practice (we have good sound-proofing in the house).

    Now I can watch 24 and then Heroes (on the TiVo) with a clear conscience and not have to worry about trying to practice before I go to bed :cool:
  7. Manny Laureano

    Manny Laureano Utimate User

    Sep 29, 2004
    I got so completely turned on to "24" that it's now a Monday addiction. I've heard Laura Ingraham touting the show for 5 years and I finally tuned in this season. So, now I'm renting the first five seasons so we can catch up. Before my daughter left for school she turned to me and said "12 and half hours to '24'!"

    So, you can bet I'm getting my practice done during the day on Monday!

  8. MFHorn683

    MFHorn683 New Friend

    Jan 24, 2007
    Mr. Laureano,

    First off, let me express how awesome I think it is that you are willing to take time to post on this website. It is very nice of you and I hope you hear that more often than not!

    Secondly, let me tell you how great you sound on the Monette website. Those clips of you sound amazing and it looks like you're not even trying! They are very inspiring.

    Thirdly, (I apologize for not quoting this) you mentioned in a previous post about orchestral trumpet players typically using larger diameter mouthpieces than chamber and solo trumpet players. I'm curious to find out if you think the sound is different from style to style? I mean, from chamber to orchestral, there certainly can be some subtle differences, but do you feel the bigger mouthpiece is necessary for the sound?

    The reason I'm asking, I started taking lesson's from a "Bill Adam guy" in September and have been coming along decently, depending on how much I practice/play.

    I play at an amusement park over the summer (Hersheypark, in Hershey, PA) and do alot of "commercial" and "lead-style" playing. When I'm in shape and everything's clicking, I have pretty solid lead chops and have been working on soloing over the past few years. I went to a tiny liberal arts school very close to Hershey and played lead in the jazz band there. I also played some principal in the orchestra and in the trumpet ensemble. (I apologize, I'm getting off topic) My old teacher had me playing on a Warburton 5M with a 7* backbore for pretty much solo work and lead playing. He then told me to go to a 5S top for lead and a 5MC* for orchestral. I'm not sure if you're familiar with the Warburton system, the 5-line of Warburton is comparable to a Bach 6. The M top is like a Bach D cup and the MC* is like a Bach C cup with alittle larger backbore.

    Lately, I've been noticing my sound being rather undefined and pretty bright. The brightness is ok for lead, but I'm not getting the overtones I would like in my sound. I got a Curry 5BC in the mail today and I think after some adjustment, I'll be pretty solid on it. Do you think I'm heading in the right direction? I mean, I realize to each, his own and all that. I know if I were to make money some decent money as a player, it would be as a lead player, but I pride myself on being somewhat versatile. I'd like to get that nice, open sound back. Any comments or insight would help.

    Thanks again, Mr. Laureano!
    -Robbie Kerchner
  9. Manny Laureano

    Manny Laureano Utimate User

    Sep 29, 2004

    Thanks for writing. I wish i could be more helpful regarding mouthpieces but I'm woefully unfamiliar with sizes and brands other than what I've been playing. Also, not knowing your playing, irrespective of the curriculum vitae that you left me, all I can give you are the general rule of thumb you're probably familiar with already.

    Typically, we like to use larger mouthpieces in orchestra so that we have maximum blending capability with the many other instruments in the orchestra. In chamber groups, the playing is more constant, so, it's a good idea to have a slightly smaller mouthpiece to help with endurance. The same goes for solo work. Everybody's different and has unique needs, that's why the "rules" are general.

    I can't help you decide what's best for you in your various situations. You are the best judge for what's appropriate with the guidance of your teacher and conductors. Don't be afraid to play a couple of mouthpieces for your conductor and ask what s/he thinks. Play duets with your second player in quintet and both of you listen for what works best.

  10. Tarter_trpt8

    Tarter_trpt8 Pianissimo User

    Jan 17, 2005
    St. Paul, MN

    You should start a thread talking about "24" and what the craziest thing could possibly be that Jack will do next! I'd start it, but it'd be cooler if you did :)


Share This Page