Schlossberg Question

Discussion in 'Trumpet Discussion' started by keigoh, Feb 5, 2016.

  1. keigoh

    keigoh Pianissimo User

    Oct 24, 2012
    I feel like I have been improving myself a lot by practicing out of method books lately--I now have a pretty solid routine that consists of etudes from Arban, Clarke, and Schlossberg.

    Now, about the Schlossberg book--there is a chapter called "Long Note Drills" at the beginning of the book, but they are quite different from the typical long tones that I know. I mean, most of them aren't holding notes that are whole notes or longer; they are rather mostly legato exercises and tonguing exercises that involve quarter notes or eighth notes. In fact, most of these are lip slurs rather than long tones. Is it that the idea behind this section is to play “through” the notes, and keep the air moving as if it was one long note?
  2. Ed Kennedy

    Ed Kennedy Forte User

    Nov 18, 2006
  3. cb5270

    cb5270 Pianissimo User

    Jul 20, 2013
    I'm no expert, just an old comeback player, but I feel that "long" describes the drills rather than the notes, although your last sentence could be correct too. You can make whatever you need to out of Schlossberg. I have read that he very much tailored his exercises to each individual student. Many of these exercises have the fermata over the last note which can be used as a long tone, holding for so many beats or until empty. For example, I start each day with #7, lines 1,4,3,2 using the note with the fermata as a long tone, dynamics as written. Later in the day I sometimes may move to #14 and play several of these exercises thinking of them as lipslurs and range builders.
  4. fels

    fels Piano User

    Jun 8, 2008
    Colorado Springs
    My initial training (1960s) was with Arban, Clark and Charlier.
    Over the years i also returned to these collections.

    I had heard of Schlossberg but never investigated until recently.

    I find working through Schlossberg very rewarding. Still exploring.

    Point is I use it for long tones, technique, range etc.

    Caveat - I have used professional lessons at various times during the past 15 years - so i feel i can approach the Schlossberg (or most others) on my own, at least up to a point - that point usually being a specific issue that i want to pursue.
  5. kehaulani

    kehaulani Fortissimo User

    May 14, 2011
    Hawaian homey
    keigoh, actually "long tone" means exactly what it says. A tone that is held long. That is the traditional way to begin. But since the things we develop from playing long tones (muscular strength, tone quality, pitch recognition, etc.) are actually often played in moving, melodic lines and not static, the next step one can take, after developing a good static long tone, is to apply those qualities (tone, etc), to moving lines and that is what the Schlossberg exercises you mention do. They take the qualities one gains from playing single notes, to using them in moving passages.

    As a sax player, I probably spent a couple of years practicing traditional long tones, but eventually realized that, to put these into action, I had to start using these tone-producing skills in musical lines that moved. The most efficient way that worked for me, was to use tone etudes for vocalists from books like Concone. The Schlossberg exercises are not musical in the sense of the Concone songs, but add a dimension of particularly trumpet-specific technical aspects, for example slurring from one open tone to another, then matching with a fingered tone to a fingered tone.

    In other words, one can look on the Schlossberg exercises as "Long Tones" because they require you to develop good "long tone" technique, while adding another dimension. I like to think of those exercises, and the Concone songs, as "moving long tones". When I play them, I think of the quality of playing a single, sonorous long tone, while the melodic line actually is moving. I hope this helps wit the concept of the Schlossberg (and other) "long tone exercises".

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