Trumpet Playing - Page 2

SteelyDan · 11-25-2003, 03:27 PM

Just three???!!! Well, I'd have to say:
1) Watching TV.
2) Reading Cycle World...
...Oh, three things that helped! Well, that's a different list entirely. In all seriousness it would have to be:
1) Finding teachers/players that are open to new ideas.
2) Balanced Emboucure.
3) Practicing with a purpose(quality not quantity.)

Have a great day!

Dan

trumplyr · 11-28-2003, 07:13 PM

As a come back player, ( about 12 years now ) the three best things were

a) Hookimg up with my old teacher
b) Practice, practice, practice
c) Playing in groups and with players who are/were way better then me. Always a push to improve.

DaveH · 11-29-2003, 11:15 AM

1. A good teacher - my best progress was made with my first, and probably best teacher many years ago.

2. Appropriate embouchure approach - I started playing in a more lips together type embouchure "concept" and I think that was a significant step.

3. Performance opportunities - IMO, you need the opportunity to perform to reach the "next level" so to speak. All the practice in the world won't give you that something "extra" that regular performance will do. It all sort of comes together then. Especially in a solo or small group context where you can't "hide" in a section of a large ensemble or band.

There are other things I might mention, but these are, IMO, three of the most significant for me.

Larry Gianni · 11-29-2003, 10:51 PM

Hi all,

Here's 3 things I learned over the years that seem to help:

1) When you practice. focus mentally and audioly on what's comming out the bell, not whats happening behind the mouthpiece.

Visualise yourself listening from a position infront of the trumpet , like a member of an audience, listening to yourself play.

I don't mean mirrors which are counter-productive.

This will let all those muscles move naturally to get the results you want, instead of the player manipulatiing them to achieve just the opposite. Most of the muscles used to play a pitch on a trumpet , can't be conciously controlled anyway.

It's somewhat the same principle you use when you make a turn in your car. Do you consciously think of every move all the muscles in your body have to make to achieve this ( turn signal, head check, brake, gas ,rear view mirror look, hand or hand wheel turn, etc ) or do you visualize or decide where you want to go ( ie: pitch to hit ) and the rest comes naturally.

2) Hear all the notes before you play them no matter how fast the material you are trying to play is. This is very improtant.

3) Visualize notes ( the slot ) as you get toward the top of your range like a shape of a triangle ( not round or oblong ). When you percieve the shape of a triangle, the base is big and wideand the top is very small and pointed.
The farther you stay toward the base of a triangle ie: slot of the note ( not flat of course) the wider the slot for the note will be and the easier it is to hit, control in and have full volume. Think of an ascending scale a triangles stacked on top of each other. As you ascend, aim for the largest part of the note ( base of triangle ) as you change notes.

This concept will also help you relax as you ascend. Oh, by the way , high notes don't go up high above each other, they move farther out in front of you. ( that may be my 4th principle )

The tip of a triangle is very small and pinched. I see those words used alot when talking about range problems. On the otherhand, when a great high notes are played the terms " huge " and " fat " are used , like a triangle's base.

See my point.

Larry Gianni

1965 gold-plated Conn Director, coprian bell, amado waterkeys, rounded tuning slide, Malone MC4 leadpipe annealed twice, heavy bottom caps on 2 and 3
MF Jet-Tone with a Bach 1c rim , 9 throat cut for Reeves sleeves.
( not really )

MPM · 12-03-2003, 07:54 PM

Larry,

GREAT POST!!!!

You either are a Carmine Caruso student, or know someone rather well who was ....

( hee hee )

I don't know if it's been mentioned on this web site yet. Readers: Check out ... www.bobfindley.com ... BUY HIS BOOK !!! It's not full of a bunch of musical examples, saying "play this exercise, then that one, and you'll be a kick ass trumpet player". Bob's book you will have and read for years. You'll be refering to it for common sence answers to trumpet playing questions for the rest of you life. I've had a copy for 3 1/2 years. I'm still reading it, and drawing from it.

Michael

dauminator3 · 12-03-2003, 11:23 PM

My favorite....

Have fun and enjoy what you are doing. If playing turns into a chore, what makes you keep playing?

Jared

Larry Gianni · 12-04-2003, 02:21 AM

Well, I guess for the same reason I'm still married .

Chore or not, someone has to do it.

Larry Smithee · 12-04-2003, 08:24 AM

In my case I just don't think I could live without the frustration.
Larry

Tootsall · 12-04-2003, 10:02 AM

Why keep going when it becomes a chore? Because the good times are better than the bad times, the bad times don't last that long, and there IS a realization that there are going to be bad times from time to time.

Still, like the man said about fishing...a poor day of fishing is better than a good day at work!

BaliTrumpeter · 06-17-2007, 05:13 PM

1) Practice
2) Practice
3) Practice

11-25-2003, 03:27 PM	#11 (permalink)
SteelyDan Pianissimo User Join Date: Nov 2003 Location: Phoenix, Az Posts: 100	Just three???!!! Well, I'd have to say: 1) Watching TV. 2) Reading Cycle World... ...Oh, three things that helped! Well, that's a different list entirely. In all seriousness it would have to be: 1) Finding teachers/players that are open to new ideas. 2) Balanced Emboucure. 3) Practicing with a purpose(quality not quantity.) Have a great day! Dan
	__________________ Why are we so obsessed with bore size? Are we trying to compensate for something?

11-29-2003, 11:15 AM	#13 (permalink)
DaveH Pianissimo User Join Date: Nov 2003 Posts: 93	1. A good teacher - my best progress was made with my first, and probably best teacher many years ago. 2. Appropriate embouchure approach - I started playing in a more lips together type embouchure "concept" and I think that was a significant step. 3. Performance opportunities - IMO, you need the opportunity to perform to reach the "next level" so to speak. All the practice in the world won't give you that something "extra" that regular performance will do. It all sort of comes together then. Especially in a solo or small group context where you can't "hide" in a section of a large ensemble or band. There are other things I might mention, but these are, IMO, three of the most significant for me.
DaveH Pianissimo User Join Date: Nov 2003 Posts: 93

12-03-2003, 07:54 PM	#15 (permalink)
MPM Pianissimo User Join Date: Nov 2003 Posts: 228	Larry, GREAT POST!!!! You either are a Carmine Caruso student, or know someone rather well who was .... ( hee hee ) I don't know if it's been mentioned on this web site yet. Readers: Check out ... www.bobfindley.com ... BUY HIS BOOK !!! It's not full of a bunch of musical examples, saying "play this exercise, then that one, and you'll be a kick ass trumpet player". Bob's book you will have and read for years. You'll be refering to it for common sence answers to trumpet playing questions for the rest of you life. I've had a copy for 3 1/2 years. I'm still reading it, and drawing from it. Michael
MPM Pianissimo User Join Date: Nov 2003 Posts: 228	__________________ "~iii<O" Michael Manthey Scodwell USA Trumpets Bob Reeves Mpc's www.ultrapureoils.com Maynard Ferguson BBN Band

12-03-2003, 11:23 PM	#16 (permalink)
dauminator3 Pianissimo User Join Date: Nov 2003 Location: Decatur, IL..Soy Beans of the World Posts: 53	My favorite.... Have fun and enjoy what you are doing. If playing turns into a chore, what makes you keep playing? Jared
	__________________ "I just want you to nail the pee-whillies out of that high C." -Our beloved director- Jim Culbertson-Decatur MacArthur

06-17-2007, 05:13 PM	#20 (permalink)
BaliTrumpeter New Friend Join Date: Jun 2007 Location: Bali, Indonesia Brand: Schilke, Selmer Posts: 3	Re: Trumpet Playing 1) Practice 2) Practice 3) Practice

11-28-2003, 07:13 PM	#12 (permalink)
trumplyr Pianissimo User Join Date: Oct 2003 Location: Rochester Hills, Mi. Posts: 72	As a come back player, ( about 12 years now ) the three best things were a) Hookimg up with my old teacher b) Practice, practice, practice c) Playing in groups and with players who are/were way better then me. Always a push to improve.

11-29-2003, 10:51 PM	#14 (permalink)
Larry Gianni Piano User Join Date: Nov 2003 Location: Los Angeles Posts: 266	Hi all, Here's 3 things I learned over the years that seem to help: 1) When you practice. focus mentally and audioly on what's comming out the bell, not whats happening behind the mouthpiece. Visualise yourself listening from a position infront of the trumpet , like a member of an audience, listening to yourself play. I don't mean mirrors which are counter-productive. This will let all those muscles move naturally to get the results you want, instead of the player manipulatiing them to achieve just the opposite. Most of the muscles used to play a pitch on a trumpet , can't be conciously controlled anyway. It's somewhat the same principle you use when you make a turn in your car. Do you consciously think of every move all the muscles in your body have to make to achieve this ( turn signal, head check, brake, gas ,rear view mirror look, hand or hand wheel turn, etc ) or do you visualize or decide where you want to go ( ie: pitch to hit ) and the rest comes naturally. 2) Hear all the notes before you play them no matter how fast the material you are trying to play is. This is very improtant. 3) Visualize notes ( the slot ) as you get toward the top of your range like a shape of a triangle ( not round or oblong ). When you percieve the shape of a triangle, the base is big and wideand the top is very small and pointed. The farther you stay toward the base of a triangle ie: slot of the note ( not flat of course) the wider the slot for the note will be and the easier it is to hit, control in and have full volume. Think of an ascending scale a triangles stacked on top of each other. As you ascend, aim for the largest part of the note ( base of triangle ) as you change notes. This concept will also help you relax as you ascend. Oh, by the way , high notes don't go up high above each other, they move farther out in front of you. ( that may be my 4th principle ) The tip of a triangle is very small and pinched. I see those words used alot when talking about range problems. On the otherhand, when a great high notes are played the terms " huge " and " fat " are used , like a triangle's base. See my point. Larry Gianni 1965 gold-plated Conn Director, coprian bell, amado waterkeys, rounded tuning slide, Malone MC4 leadpipe annealed twice, heavy bottom caps on 2 and 3 MF Jet-Tone with a Bach 1c rim , 9 throat cut for Reeves sleeves. ( not really )

12-04-2003, 02:21 AM	#17 (permalink)
Larry Gianni Piano User Join Date: Nov 2003 Location: Los Angeles Posts: 266	Well, I guess for the same reason I'm still married . Chore or not, someone has to do it.

12-04-2003, 08:24 AM	#18 (permalink)
Larry Smithee New Friend Join Date: Dec 2003 Location: Tennessee Brand: married with no children but love kids Posts: 46	In my case I just don't think I could live without the frustration. Larry

12-04-2003, 10:02 AM	#19 (permalink)
Tootsall Fortissimo User Join Date: Oct 2003 Location: Yee HAW! Posts: 4,641	Why keep going when it becomes a chore? Because the good times are better than the bad times, the bad times don't last that long, and there IS a realization that there are going to be bad times from time to time. Still, like the man said about fishing...a poor day of fishing is better than a good day at work!

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