| As a developing player I spent time everyday doing pedal tone studies from Maggio (ala Carlton MacBeth and Clyde Reasinger), Claude Gordon (I practiced through that book for several years). Keeping the same embouchure from top to bottom seemed like a good idea, and getting the best tone possible on each pedal (as good as that's going to be) then moving back and forth between registers smoothly also seemed like a good idea. It was when I heard Robert Nagel practice note bending/pedal tone excercises that it really hit me that correct pedal practice was important. His pedal register had such resonance and ease, his note bends sounded like a trombone gliss, it hit me that there was more to do with this type of practice than I'd understood. His complete control all over the trumpet convinced me to work with note bends/pedal tones for more efficiency in embouchure development rather than just range building. This was about (or just before) Jimmy Stamp's book was published. Using Mr. Nagel's book "Trumpet Skills" I found an entire new approach to pedal practice that I've followed ever since. A couple of years ago I got lazy and stopped doing them for a while, got back to them over a summer and was re-convinced of their importance. I've also heard Tony Plog (before he retired from active playing), Ray Mase, Dave Hickman (what a great pedal C he has!!) play in and out of this register effortlessly and with a marvelous sound. So I do a pedal routine as part of my daily practice and find it does help my playing. Keeping a good set-up (not changing anything as I move in and out of the pedal register), using air flow very freely, getting the best possible sound, and not making a big deal out of it. I don't do the triple pedal thing anymore, like Tim Morrison says, "I get the most good down to pedal C." Note bends/pedal tones done but not overdone seem a good part of the daily workout. |