Slur It First!

Discussion in 'Trumpet Discussion' started by xjb0906, May 4, 2012.

  1. fraserhutch

    fraserhutch Mezzo Piano User

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    Another HUGe misconception is that the SA method was ever meant to be the sole part of your routine. Please don't insult us by implying that those of us who studied the SA method didn't work every bit as hard on our musicality or that you are somehow doing something special in doing so. The SA method, as is the case of ANY OTHER method is a means to an end - a mean of making the mechanics of trumpet playing second nature so you can concentrate on the music in other contexts.

    Furthermore, if ALL you do is the SA methods I, II, (and sometimes III and IV), you WILL fail. There is much more to the method than that.

    That said, I agree 100% the the CG is not the be all and end all of trumpet pedagogy. It is up to each and every one of us as perpetual students to determine what works for us when.
     
    Last edited: May 7, 2012
  2. Satchmo Brecker

    Satchmo Brecker Piano User

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    Can you expand on that a little. Do you mean literally press the fingers down real hard and as quickly as possible? And do that regardless of tempo? Is this to strengthen the fingers? One of my recent posts was about how some notes just seem to cut out on me. I'm wondering if my fingering is too lazy!
     
  3. veery715

    veery715 Utimate User

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    This quote should be a STICKY! Bravo!!
     
  4. jtpowell

    jtpowell Pianissimo User

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    I'm a beginning trumpeter (still) and I'm studying with one of Claude's students right now so I thought I'd throw in my two cents. I've been with my teacher weekly and bi weekly lessons for just little over a year. Claudes approach to me seems to be about learning as how he says to "operate the machine" I can make the best music when I operate the machine effortlessly and efficiently. So SA and Physical Approach, at least for me, are about operating the machine. When I can do that then I can make music. My exercises are never slurred first unless the exercise is all slurred as in slur 2, slur 4, slur all. Usually I'm prescribed single tongue, k tongued, slur 2, slur 4 or all. After I'm done with Arbans, Claude PA, Irons, then I get to play some music. Tonight though, just Jazz :)
     
  5. xjb0906

    xjb0906 Piano User

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    Yes, really concentrate on banging the valves down in practice. Another thing Claude Gordon spoke of was students that would come to a lesson bragging of getting a valve alignment performed on their horn.The problem was that the valve alignment did no good because the valves weren't being pushed all the way down. I understand that to cause intonation problems as well as missed notes.
     
    Last edited: May 7, 2012
  6. jladams

    jladams New Friend

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    To demonstrate the purpose of this simply play a note, any note, and very, very slowly press the valve combination for the next note. That doesn't sound very good, does it? By pressing the valves down as quickly as possible, at the correct time, you minimize the time during which the valves are misaligned(half valved if you will) and therby make a cleaner, better sounding, transition from note to note.

    I bet I just made this as clear as mud, didn't I? Someone will correct me if I am wrong.
     
  7. jtpowell

    jtpowell Pianissimo User

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    Almost all my excercises and lesson sheets have stamped or written reminder "Strike Valves Hard".
     
  8. rowuk

    rowuk Moderator Staff Member

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    Actually, with the banging down of the valves I was primarily thinking about timing. Yes, it is true that banging the valves down also improves the quality of the beginning of the note. My comment is that almost all players have much sloppier rhythm when slurring and the concious banging down of the valves "forces" better time.
     
  9. Satchmo Brecker

    Satchmo Brecker Piano User

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    "Bang the valves down". Just the type of nugget of wisdom I love. So simple, so obviously important in so many ways. Thanks all!
     
  10. oldlou

    oldlou Forte User

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    When in high school, I spent two summers at The Intelochen Summer Music Camp. One of our visiting instructors was the incomparable Raphael Mendez, who taught us to use the old style pendulum metronome set slowly at first, then, increasing the speed for just about any difficult passages. I discovered that I could end up playing such as Arbans Carnival of Venice faster than was recomended using this method. Very positive, quick finger articulation was of course a major portion of his method.


    OLDLOU>>
     

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