Slurs/no purchase necessary to build range?

Discussion in 'Trumpet Discussion' started by Vstern, May 1, 2011.

  1. RustoleusMaximus

    RustoleusMaximus Pianissimo User

    Feb 1, 2008
    I have never had a teacher in 40 years. I have used the Systematic Approach by Claude Gordon for that reason as you have weekly lesson plans laid out. Claude utilizes Colin Advanced Lip Flexibilities; Clarke Technical Studies etc. etc. along with his method. Just make lip trills a part of your daily practice sessions. I use a metronome to push my speed etc.
  2. kingtrumpet

    kingtrumpet Utimate User

    Sep 20, 2009
    New York State USA
    here is my opinion - although everything builds range (tonguing, scales, time, practice, lip slurs), and strengthens the embouchure -- I find that playing long soft notes ( I am talking like 2nd line g in the staff) for as long as you can, and then repeat until you can get good sound at a pp dynamic for like 5 minutes at least -- then move up and down the scale with the same procedure. -- be sure to rest as long as you play. (AGAIN this may take months to achieve depending on time you spend practicing, etc.)
    long notes help me the best with range --- and lip slurs help me the most with flexibility.
  3. turtlejimmy

    turtlejimmy Utimate User

    Jun 6, 2010
    +1 for getting a teacher. Lip slurring is so basic to trumpet, but so much easier when somebody is sitting there, next to you, watching how you do it. "More like this ...." is magic. Anything CAN be learned without a teacher, but trumpeting isn't one that I would attempt.

  4. gmonady

    gmonady Utimate User

    Jan 28, 2011
    Dayton, Ohio
    I believe that slurs should not be relied on to build range. They are a nice technique in which to develop range, but my point is they should not be relied on toward accomplishing a good upper range. I believe accuracy is the goal to achieve, and just slurring to the note will not test accuracy. Hitting the note with tonguing, cold or from a lower octave, that is what builds range toward acquiring an accurate skill.
  5. dlewis

    dlewis Piano User

    Nov 22, 2006
    Rowuk always word to play trumpet by:thumbsup:
  6. fraserhutch

    fraserhutch Mezzo Piano User

    Jan 23, 2004
    Novato, CA, USA
    Agreed to a point, but I strongly believe that slurs and glisses are the most effective means of learning where the upper notes lie.
    Once that is figured out, then yes, absolutely, every tone in the upper has range needs to be DEVELOPED by playing them with all articulations, including, as you mentioned, playing them cold, and in interval leaps such as the interval exercises presented in the Colin Advanced Lip Flexibilities..

  7. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Upper notes don't lie. Inexperienced players trying to show off do............

    I agree that slurs are a VERY instrumental part for developing strength and flexibility. The problem is that no register makes sense without valid context and that is not learned with slurs and glisses, rather with scales and most of all TUNES!
  8. gmonady

    gmonady Utimate User

    Jan 28, 2011
    Dayton, Ohio
    I believe we all agree here. Slurs are important, but to rely on this technique only cannot be conveyed. Valid context IS an important prerequisite as it is important to hear and give context, understanding to the note (pitch). Scales are valuable for this. Once this is done, then go for cold hits and octave hits without slurs.
  9. BrotherBACH

    BrotherBACH Piano User

    Oct 5, 2010
    Range seems to be a very gradually increasing thing. Of course long tones are great for muscular delevopment. But, the one thing that helps me best is chromatic scales and inching my way upwards. I can always hit higher notes when I slur up the chromatic scale. I think it is because I can hear the next note in my mind.

  10. fraserhutch

    fraserhutch Mezzo Piano User

    Jan 23, 2004
    Novato, CA, USA
    If the expression "where the notes lie" is confusing, let me rephrase - I am referring to learning the knack of how to play the notes, which I believe is the first vital step in learning how to play them. Most pedagogy that I know of that addresses this relies on this to some large degree on slurs and glisses in discovering where they are.

    I think we are all in agreement that "context" is required to DEVELOP the range, and that range is musically useless without the ability to play in all articulation and volumes. That's a seriously beaten horse.

    Last edited: May 6, 2011

Share This Page