mahaberio

Ed,
I actually just ordered the Kase book. I think we all owe a great debt to Rob Roy McGregor. His founding of Balquhidder Music has made some wonderful pedagogical texts available to the trumpet (and brass in general) community.

hunsicker

I like the idea of using Clarke studies, etc. as a form for practicing various modes and scales. But I don't see the need for a book for that. Seems like applying the patterns to the different scales oneself would produce more benefit.

mahaberio

Bill,
I think memorizing them out of a book in this manner would produce just as much benefit as doing them with just the Clarke book. While some might not find it necessary, I find a book helpful in keeping focus (I tend to get side-tracked quite easily). This is why I map out in detail what I want to practice every day.

camelbrass

I was at a workshop in August where Michael Laird (Academy of St Martins in the Field, English Chamber Orchestra etc etc) had us all totally out of our comfort zone. He went round all the participants and asked us to all play the 2nd movement of the Haydn (which everyone new from memory) in a key of HIS choice on the spot and suggested that, just as a jazz player would be able to do, this was something we should all work on.

He had a great idea for building scale work and using different keys in everyday practice. He had part of his practice routine on a laminated card but only in natural keys..the object being to be able to play all the excercises, like Clarke #2, in all keys (and scale types) but without actually reading them. It also does wonders for my somewhat limited transposition skills.

Regards,


Trevor

tpter1

I just came upon this thread...wonderful discussion.

It's alot of fun for me, especially lately, to take something like the Clarke #2 or 4 and try to play them in as many different ways as possible, from memory (no peeking in the book...). Trying various modes or scale types, adding a tonic an octave above between the first and 2nd eight note in each set of 4, dominant below on 2nd and 4th 16th, etc. Just because a scale study appears in one way in the book does not mean we have to play it only that way...I view those s starting points and suggestions of things to try in different ways. (BUT...they should be learned properly, first). Not only is this good for getting the brain moving, but it really helps build flexibility and endurance for me.

I've also been lately (when I have time) in the Arban scale studies section trying to hit some of those later excercises. Man, they're HARD.

rowuk

the St. Jacome method has a lot of scales (except the one found in the Arutunian......).
My students play scales from memory - no expensive books required. The basic form we write by hand (as legibly as possible-even this needs practice) on music paper and they transpose from there.