Teaching new trumpet players?

Discussion in 'Trumpet Discussion' started by The Weez, Feb 6, 2009.

  1. rowuk

    rowuk Moderator Staff Member

    Jun 18, 2006
    Before you even start, they should know that you only can reap what you sow, or in modern english - you only get interest AFTER you invest.

    They need to learn that YOUR time is worth soemthing and that when they don't practice, they are wasting your gift of time. I consider attitude to be more important than the mechanics!

    Once you have their attention, a daily routine with breathing, long tones, slurs, scales, tunes and technical studies are critical to building and maintaining.

    I don't know how well you play, but if you are proficient, you know what works for you. Start with that. If you are not very good, get lessons before you mess somebody else up. I have had quite a few students that prove what is possible when the deaf have been lead by the blind: bad habits that some never recover from.
  2. Markie

    Markie Forte User

    Jan 4, 2009
    Clarksburg, WV
    Hi weez,
    Markie here, as you know, teaching the proper mechanics is formost. Breathing, stance, proper fingering, long tones, proper embrochure ect.. After a brief (and I emphisize brief) session of mechanics at each session, I like the idea of music being fun for young kids. Depending on their level, you might want to check out the Hal Leonard Disney play along stuff. They're not that hard and the students probably know the words and plots behind the songs. Also, the back up is every bit as good or better than Aebersold.
    While the song Reflection(from Mulan) is easy to play, It is not easy to play it with the emotion and pizzazz of the person who sang it, Christina Agullera(that'll be your job to inspire them how it can really sound). Always be positive, its easy to become too serious. Always make it light and give them lots of praise. Remember you sounded just like them at one time. I'd check out Vugano's idea too. I think it's a great idea and cost effective. Good luck!
    Last edited: Feb 7, 2009
  3. GoodMusic@PA

    [email protected] Piano User

    Aug 7, 2008
    Start with some long tones, and make sure they can actually make a good sound. Most of the time, some trumpet players that have good technique, tonguing, etc. sound bad because they were never taught properly on tone production. And transposing to C since they will someday(hopefully) be playing for the church.:-):play:
  4. oldlips48

    oldlips48 Piano User

    Mar 1, 2007
    HI Weez,

    As a humble high school teacher (science) who also plays, here are my suggestions:

    Step 1: listen to Rowuk.

    Step 2: listen to Vulgano Brother.

    Step 3: My own input-get the kids in touch with the "organic" aspects of their instrument. Get them to know what a nice full tone feels like, even if it's only a low C. I didn't pick up on what levels the kids were at, nor how much instruction each student has had. If they are all involved in a music program at school where their director is rather "by the book" (and many of them are, as they cannot spend the time they'd like with each student), then I humbly suggest you get the students "in tune" with their instruments. Get them to know what a nice rounded tone feels like, as well as sounds like.

    I know others have mentioned learning the scales and such, which is good, but if you can get them playing even a simple tune together, they'll have a great sense of accomplishment.

    Kudos to you for taking on this assignment!!

  5. johnMak

    johnMak Pianissimo User

    Dec 1, 2008
    Ridgecrest CA
    I'm practicing the cornet and my nephew comes over and seems interested. what Am I to show him? He's only 5.

    I start with what I start with...the basic's...

    I'm no teacher...so take it for what its worth...

    buzzing with a MP is always good practice.

    and Standard of Excellence Book 1. (or other beginning lesson /method books. Go thru it together or as a group.

    If you know the book already...you can at least guide them thru that book etc... but reading thru the posts already you got some good advice to keep the class going for several months.

    Its good for the soul to reach out of self and touch another life in the most positive of ways. We need more of that in the world today. :thumbsup:

    We can do it, "YES WE CAN" or is that another post altogether? ;-)
  6. Bob Grier

    Bob Grier Forte User

    May 4, 2007
    Greensboro, NC
    I ike the Breeze-Easy and Standard of Excellence method books. The key is to play a lot for them. Let them copy you at every level.
  7. lovevixen555

    lovevixen555 Banned

    Nov 5, 2008
    tedh1951 I agree totaly and completly with his outline but most especialy articles ii and V!! Geting them into a routine that cover's all their needed skils in an orginized and repeatable routine is so important! Scales and arpeggios are all i used to warm up with before every show. i would basicly run through all my scales and arpeggios first slowly and then I would build my speed. I would practive them with various tongueing,and slureing and with different timber and phraseing etc........ I would normaly end by bending or dropping a few notes and skipping around from one end of the register the other and call it good. In totoal 5-10 minutes of that and I was warmed up and confident. As repeative as sacles and arpeggios are's I found that at Festivals often scales where part of the private onon to one competition part. They would often ask for specific scale to be played then if you passed that portion it was on to site reading and then after that a piece that you had prepared. Sometimes they might ask you demonstrate a piece you knew played in a way you had never played it before etc.....The idea being to tose you off your game and see if you could adapt and move on under stress. I had that happen once at a festival. I had no idea I was actualy trying out for a seat on the local synphonia... My teacher smartly with held that info from me and omitted that fact! I was playing tuba at the time and could not believe how hard the judges where grilling me!!! So believe it or not young boy's and girls that might be reading this you never know who your judges are or if you are being grilled and tested for a postion!!! So always do your best at festivals especialy when you are doing the individual prtions as oppertunies might just find you!

    SO I feel scales and arpeggios are to the perfection of your playing what Kata/Forms/Hyungs are to martial art's. You practice not to practice the scales themselfs but to master the muscle memory of each lip postion and finger postion. So that you do not have to think when you are playing you merly see the notes on the page and your brain reflexsivly moves your fingers and lips to the right postion this what allows you to focus on phraseing! Youo can not think about the notes and think about phraseing at the same time. Since phraseing is an active componet that can not be made reflexsive youmust make the rest of the things you can almost pre-programed into your brain so you are free to think about phraseing when you are playing! Does that make sesne????
  8. lovevixen555

    lovevixen555 Banned

    Nov 5, 2008
    I wanted to add that in the past I worked with a lot of athletes that where really advanced. I found that often these athletes had complete and total mastery of the basic's. When asked what they thought was most important in terms of their secess they would always list mastery of the basics. Many of them would do the basic's for hours at a time dureing the summer. They practiced their skills more then they practiced playing games in many case's. This meant when they did play a game they where actualy putting their new level of skill development to the real world test. No one plays scales and practices tongueing and sluring fopr fun the do it for mastery!!! I would try to encourage them to play as softly as they can and still play with proper intonation as playing as soft as possable is a real skill builder for control. I would try to end on something fun or positive. So try to work the end of it into something they like to do that is almost a treat. When you debrief a kid try to end it on a postive note even when being critical!!!Grown up's understand critical critiques but kids think you are beingmean to them. If someone has a problem in a group setting it is ok to tell them once or twice but after that try to do it after wards one on one that way they do not get to embarassed. I know you said it was going to b e one on one but you never know. Kids can take little things and make a montain out of a mole hill so you really have to watch what you say and how you say it!

    Good Luck and I wish you nothing but good things!!! I have worked with children teaching them to shoot and hunt safely and for sports. It can be frustrateing at times but more often then note it is so totaly rewarding! The trick is to be patient and do not hold them to grown up standards. Initialy I was way too tough on my three boy's because I was not around kids growing up all my contact was with older kids and grown up's. So I had to really learn to be patient and not get frustrated when they did not understand what I was telling them or showing them. Also bear in mind that you can be their mentor and their teacher but not their friend! This does not mean you cannot take an interest only that you have to keep them in the proper prospective other wise they will not show you the proper respect that a teacher ormentor should have afforded him!

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