Spreading Intervals

Discussion in 'Trumpet Discussion' started by LH123, Jul 6, 2011.

  1. LH123

    LH123 Piano User

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    May 14, 2010
    Hi! I've been playing from the book, "Advanced Lip Flexibilities" by Charles Colin. There are exercises in Volume 2 of the book called "Spreading Intervals". (For example, page 26: Spreading Intervals to E). When I play any of the intervals greater than one harmonic to the next, I hit all of the harmonics between the two notes. (Sounds like a glissando...) How do I best get rid of these middle notes? Thanks for your help!
     
  2. tptshark

    tptshark Pianissimo User

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    Jun 4, 2005
    Hong Kong
    I found Pierre Thibaud's concept of "in-out" horizontal playing and vertical playing really helpful for sorting out this, and it's something that i revisit on a regular basis in order to keep a check on things. Basically it goes something along the lines of play the higher notes "towards the floor" and the lower notes "towards the ceiling". This isn't something you do visibly, but rather a feeling you generate within yourself. Imagine a line between floor and ceiling just in front of your embouchure, and imagine the air falling to the floor or rising to the ceiling as it exits your body.

    It is explained more fully in Thibaud's 'Method for the Advanced Trumpeter', with exercises to practice it. (available from balqhidder music, i believe)

    Has anyone here studied with Thibaud? I'd be interested on hearing this concept "from the horses mouth".

    Cheers,
    AK
     
  3. coolerdave

    coolerdave Utimate User

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    San Pedro
    I have been workng on the interval thing as well... was actually going to post something.. I find going down is harder then jumping up. The more I practice I "think" it's a combination of air support and tongue placement... I actually increase the "air" going up and down... I wonder how I am suppose to play a decrescendo if the interval goes down and I am putting more air into it... but rigtht now I just am happy to hit the interval. Mentally I hear the note and physically I try to hit the note and not think so much of sliding up to it..
    Hopefully someone else has a better explaination.. but that's my take
     
  4. rowuk

    rowuk Moderator Staff Member

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    breath support.

    The partials (intervals) that we play when lip slurring are actually the number of wavelengths in the horn (pedal C is 1 wavelength, low C=2, G=3, C=4, E=5, G=6, Bb=7, high C above the staff is 8 . When we want to skip over a wavelength, we essentially do this by "brute force". In Germany we call this "√úberblasen" or overblowing the instrument.

    Like most things physical (electricity or an automotive engine), there are 2 parts to playing t(Amps/Volts, HP/Torque)oo. The frequency of our buzz - controlled by the lip tension and the support behind it controlled by breath support. The lips end up buzzing sympathetically with the pitch of the horn (some call this slotting). Breath support gives our airflow the power to overcome the resonant, natural state of the horn and change pitch. As NONE of the parameters (lip tension or breath support) allows us to switch in turbo mode, practice allows us to shape the end of one note to prepare for the jump to the next one.

    This is my way of simply saying "Practice More"!
     
    Last edited: Jul 7, 2011

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