Two questions: 1 personal, 1 discussion - Page 2

Manny Laureano · 07-08-2005, 04:18 PM

Butifnot,

Is it safe to asume, then, that you're not studying with anyone?

ML

butxifxnot · 07-08-2005, 08:07 PM

Quote:

Originally Posted by Manny Laureano

Butifnot,

Is it safe to asume, then, that you're not studying with anyone?

ML

I had an instructor and am thinking about it again this year; he is an older gentleman with a Ph.d in brass instruction, I believe. Out of two years with him I got surprisingly little, as he focuses more on "Let's play your piece", which is understandable; there aren't the greatest of musicians that he tends to teach nowadays (at the HS). I have addressed this (structure of a practice session) with him but didn't come to a solid conclusion as to a practice session or a warm-up that actually warms me up, personally. There is a cloud of a session idea in Rubank's but it doesn't include buzzing, warm-downs...
Thanks for the input.

butxifxnot · 07-08-2005, 08:09 PM

Quote:

Originally Posted by Derek Reaban

You might try Chris Gekker’s article on Summer Practice as a starting point (along with the reference to Notes on Practicing) for some great ideas of “what” to practice. He provides a very nice outline. If there is too much content, just take a smaller grouping of exercises from each of the sources that he recommends, or spend more time on each of the groups of exercises (if you can’t get through a complete Characteristic Study from Arban’s in one session for instance). Maybe you program a week for this study instead of a day. Or even several weeks for that matter. Be creative!

Thx for the input. I'm looking at the article.
[edit]Now, that's one nice article. Thanks; it helps. I wish I had the books they refer to other than the Arban (those 14 characteristic studies are quite difficult).
[edit2]So, what I got (generally speaking, as I can't be 100% specific without the materials) from the article is 1 relaxed playing focusing on making the right sounds, 2 technique and 3 power.
[edit3]...which is good, because, surprisingly, a short, three-line warm-up/chorale that I wrote for the HS trumpet section follows this pattern.

Yes.

Heavens2kadonka · 07-09-2005, 12:16 PM

Sigmund Herring's Progressive Etudes. Its a Red book.

VOXMAN Cocert and Contest Pieces for trumpet.

I'm also thinking of Concone....

Herring gives you a lot of notes to work on making sound beautiful. The Voxman is actual pieces at the level I believe you're at. In my honest opinion, playing actual pieces gives the player a lot of stuff to work on. You try to make the piece sound like it should, makes you work harder. The Concone is beautiful stuff, really really REALLY lyrical...

Van

07-09-2005, 12:16 PM	#14 (permalink)
Heavens2kadonka Forte User Join Date: Jun 2004 Location: Carthage, TN Posts: 1,311	Sigmund Herring's Progressive Etudes. Its a Red book. VOXMAN Cocert and Contest Pieces for trumpet. I'm also thinking of Concone.... Herring gives you a lot of notes to work on making sound beautiful. The Voxman is actual pieces at the level I believe you're at. In my honest opinion, playing actual pieces gives the player a lot of stuff to work on. You try to make the piece sound like it should, makes you work harder. The Concone is beautiful stuff, really really REALLY lyrical... Van __________________ Stage 1 California Light '94 Bach Strad 37 1900 Eb Cornet B&S 7C LOUD Steve Patrick 10 1/2 C LOUD LM93

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07-08-2005, 04:18 PM	#11 (permalink)
Manny Laureano Utimate User Join Date: Sep 2004 Location: USA Posts: 5,989	Butifnot, Is it safe to asume, then, that you're not studying with anyone? ML

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