Siegtrmpt

I play through as much of the Clarke book, if not all of it, as I can daily using a variety of articulations. Sometimes on C, sometimes on B flat. Still trying to get them all up to the suggested tempos. Lots of Rafael Mendez solos, orchestral excerpts and Real book tunes. I'm trying to understand Clifford Browns style better and incorporate some of it my own improvisation. I like to wind down sometimes and the end of the day with some easy dixieland trombone licks.

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Bill S.- NY Bach 6, 38 Mt. Vernon 43 Bach "C" cornet, NY Bach trombone 6vii Monette mouthpieces

nplotts1

What I am working on: Scales, Breathing, Jazz Audition Piece, Finger and Lip Flexibility.

Why: Scales can never be too good in the world of college, Breathing is essential and a good breath helps with a better sound, Audition piece (along with scales) is because I have an audition on saterday, Fingers and lips can always benefit from better flexibility.

How: Scales-Repetition. Breathing-Breathing Gym, Audition-slow then faster repetition, Flexibility, fingers- HL Clark #27 to 44, Lips- Lip slurs

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Georgia Southern University Music Ed. Major

Equipment
- Getzen 300 Series Bb
- ZeuS Guarnarius Polished Copper Bb - Wick 3C, GP
- 1918 Conn New Wonder Cornet Bb/A
- NYTC Stage 1 California C Silver

Paul Gorman

Hi Shermy,

An interesting question! Like most I have just had a summer break, took one of my instruments but only managed a couple of practice sessions. So my current work is to get back into some sort of shape with the chops, fingers and breath control. Usually I start with exercises from the Vizutti - New Concepts for Trumpet warm ups and then the early pages of Arban for production. Once I am happy I move onto the scales in Arban and some of the Clark Technical exercises to try and obtain smoothness and facility in my sound. Usually once a week or so I spend half an hour just playing hymn tunes or slow ballads to really concentrate on the sound I am producing. For me sustained upper range playing has always been a weaker part of my playing but its been compensated by having a decent sound and one or two other technical competencies. As I get older (I am now 53 and a very happy grandfather to two beautiful baby girls) I've given up the ambition to be another Derek Watson or Conte Condoli but concentrate instead on maintaing sound, rythm and stamina.
A very useful practice tip I heard from David Daws, cornet player extraordinaire in the UK and former principal of the International Staff Band of the Salvation Army, was this: - " I don't practice until I get it right but practice so it can't go wrong!" Great advice.

Regards
Paul

Ray Vega

Currently, I'm working with the manuscripts of a series of books that I'm writing. Lots of long tones, flex, flow, multiple tonguing, scales ,arpegios, patterns etc,etc.
These exercises have slowly developed through my studies with Henry Nowak, Sidney Baker, Lonnie Hillyer, Bobby Rogovin and Susan Winder. I also tap into many hours of time spent on gigs with people like Victor Paz, Tony Barrero, Ray Gonzalez, Ite Jerez, Guido Gonzalez and the late Gerry Chamberlain. My dear buddies Mark Gould and Jon Faddis have no idea how much their playing has impacted my own.
My aim with this series of books is :
1-address classical players and their quest to open up their ears to advanced/modern harmony.
2-address jazz players in their journey towards getting their chops together.
I'm in a constant mode of tweaking/editing my manuscripts.

My summer has been one of the busiest in years. I've been playing lead trumpet is salsa bands, Jazz trumpet in small group settings (Jazz and Latin Jazz) and next weekend, I'll be doing the Mostly Mozart Festival in NYC with Ozvaldo Golijov and conductor Robert Spano.
I'm having a ball.
A solid regimented approach to practicing is the only way that I could switch gears from genre to genre.
Again...I'm having a ball!

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Ray Vega
Stomvi Artist
www.rayvegamusic.com

Miyot

Warm up 12 major scales. Then starting on topline G play G Ab G A G Bb and so on, up as high as you can go. Using as little pressure as possible and getting a nice sound then come back down. ( a variation of a Schilke range stretcher). Nothing really hard or excessive. Just working the upper register a little. I do this a couple of times.

Then the Arban or Sigmund Hering's 32 Etudes, both every day. Just when I think I am getting somewhere its back up and start over. About an hour every day. Take at least an hour break or more, then back to the books for another hour.

Another little break and Crank the stereo. My daughter on drums and I cut loose. Saturday in the Park or Some tune. Not ever day but a couple of times per week. I don't over do it, but I let go.

I try to take a day off every 4 or 5 days. Its hard with a new horn sittin there. I'd like to sit in a big band, maybe even lead. At least play somewhere.

jkmcmu

I bought a new (to me, any way) C a few weeks ago and am working on acclimatizing myself to it. I do Caruso exercises, then Clark and Arban material before shedding whatever music needs attention.

Shermy

Hey BW,

You, or anyone for that matter, should also check out Pat's other method book - Technical Studies for the Modern Trumpet. It is basically made up of studies similar to Clarke studies adapted for all the different types of chord scales - Dorian, Lydian, Dominant 7th, Whole Tone, etc. Really makes you have to hear the intervals, especially if you are really familiar with the particular Clarke study it's based on.

Once I get through Trumpetology - won't be anytime soon, or have more time to practice, I'll start incorporating this back into my routine.

Thanks all for contributing!

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Kanstul ZKT 1601 TW
Kanstul ZKF 1525
Yamaha YTR 6810s
Bach 37*
-Curry 2BC, 2FL, 2*, 2TF

BergeronWannabe

Sounds good, as soon as I get more cash! I'm gonna order Trumpetology and Bergeron's playalong with the Big Phat Band, that should keep me busy for a while!
-Andrew