AZ_Brad

I've been reading through the posts in the site and getting an education. I didn’t know how little I knew! That being said, I’m trying not to get too caught-up in technique, and I’ve played a total of about 6-7 hours since I got a horn a few weeks ago and started playing again. So here is the question…what should I expect? This is where I’m at….
I get tired quickly playing exercises in the old Arban-Clarke book, but short 15-30 second rests help a LOT.
My tone seems okay for this stage of the game, but I get a “Growl “ when the chops start to fatigue.
The upper register is coming along. I’m getting clean C’s and D’s when I’m reasonably fresh. Middle to upper octaves intervals are okay.
When I was actively playing, I was never a screecher, but I had fairly good endurance and was consistent up to F’s. It is surprising to me that the upper range has come back so quickly. I’m not sure why?
Tonguing in the staff is poor; tonguing above the staff is awful.
Anyway, I guess I’m just looking for some thoughts. I’m on a Getzen 300 Series (Student Horn) with a Blessing 3c mouthpiece.

jbowman1993

For me, it sounds like you have a great grasp of what to do! Slow and steady wins the race!

Good Luck!

__________________
Joe Bowman
College of Music, Mahidol University
Bangkok, Thailand

Visit the ITG Youthsite!!
http://www.trumpetguild.org/itgyouth
Yamaha Performing Artist

Richard Oliver

Brad, I "came back" a year ago. After 2 weeks + things began to gel compared to the 1st 6 to 7 hours.

Arbans, Clarke Technical Studies, Schlossberg, and a Hymnal.

The Getzen 300 huh? I've been using a Getzen 300 Cornet for much of my home practice. Nothing wrong with a 3 C either.

Sound like you got the ball rolling and in the right direction.

Keep us posted!

Happy Practicing,

Richard Oliver

P. S. JB is right about "slow and steady."

bilboinsa

I don't think that your expectations should be based on others' opinions, because no one is in exactly the same boat as you are. The only thing that is important is whether you--at your level--are getting better. Range is only one of the issues. Are you getting less tired after a few weeks in Arban's? Is your tone more consistent in the uppers and lowers? How is that tounging now above the staff as oppsoed to a month ago? These are questions that only you know the answer to, and these answers will guide you in the areas that you need help on. The only other reliable source would be a teacher that can really listen to your good stuff the rest.

If you're working out of Arban's and already have the range you do, it sounds to me like you are doing great. One caveat--don't take the range for granted. Several CB players have it at first, then lose it for a few weeks and have to work to get it back. Weird, but not worrisome.

HAVE FUN!!!

__________________
Doug Walsdorf

Schilke B2
Kanstul 1525
1927 Conn 22B New York Symphony

"In a hole in the ground there lived a hobbit. Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort."

AZ_Brad

The range issue you mentioned is interesting. Does anyone have some thoughts on why that is? So far, it has not happened to me, but I think it would be tough to deal with!

Richard Oliver

Brad, I didn't experience a loss of range. A fluke maybe.

In fact, I sort of ignore range. My attitude was and still pretty much is own the notes between G3 and G5 at all dynamic levels and articulations.

I don't own them all of course.

I practice daily using Eric Bolvin's "The Arban's Method" as a tutorial and also work out of Clarke's "Technical Studies." Now that I'm playing in a Concert Band, I have my parts to wood shed too.

I surprised myself a week ago by sluring part of a C scale from C6 to G6.

I rarely check my range. Almost never.

But I'm 50, and not enthralled by altius, citius, fortius anymore.

Just not part of my mind set.

Happy Practicing,

Richard Oliver

rowuk

AZ Brad
welcome to TM!
I think you should expect just about what you have described.
You have range because you probably learned how to do it right many years ago. Your tongue is where it belongs and you aren't "pinching" the lips off.
Tonguing is always gone very quickly, so only serious practice will help here. I say, be greatful for what you have, practice a lot and keep us informed! Slurs, tonguing, long tones...................
A 3C is a good mouthpiece size to start with. The student horn may slow you down after a couple of months.

__________________
Whenever I feel blue, I start breathing again.

BobD

rowuk,

Do you mean that the 3C is good to start on but isn't good to stay on? If so then why?

AZ_Brad

I took my first lesson on Wednesday. It was a great experience! I have not had a lesson in 19 years, so I wasn't sure how it would go. I did Étude studies 32-43 in H.L. Clarke, and some scales. I also did some stuff in Schlossberg and Arban's. The good news was that he felt my tone and embouchure were good.

After the assessment, we did some jazz duets. I heard myself playing stuff without knowing what I was reading! Sounds strange, I know, but it was sort of like an out-of-body experience. I would look ahead while we were sight reading, and I'd see rhythms and notes that looked like trouble, but then I would play them fine. I guess the ability is programed in the back of my brain somewhere, but not in the conscious. As long as I stayed relaxed and didn't think too much, the music just "came out".

The last jazz duet we did had me holding a "b" or something above the staff for the ending note. The teacher then capped it...with a "Double A". WOW! It was loud, clear, clean, and in good pitch. Ah, yes, maybe some day...

He gave me some things to work on in the books I brought, and I'm going to see him again in 2 weeks. Hopefully by then I would have built some more chops for him to work on.

Brad

crowmadic

Richard Oliver,
Can you tell me where G5 G6 and C6 are located? I'm sure they are above the scale but am wondering if they are as high as those numbers would suggest? If so, I guess we're talking MF and Arturo Sandoval as a couple of examples. I hope that's what your referring to so I can eleviate any concerns of every reaching those notes. I get a strange feeling between my legs and my temples just thinking about the possibility.............BRAVO TO YOU.............tom