Trumpet Discussion Discuss Fingers in the General forums; Bill, you are right with your 'train wreck' description! Thank goodness for that 2 bar E (that I play with ...
Bill, you are right with your 'train wreck' description! Thank goodness for that 2 bar E (that I play with alternate fingering 1-2). Gives us a chance to "gather it back in" before the ending! The thing is, I don't want to HAVE to gather it back in. I want it (my part anyway) to be RIGHT.
I don't use/have Colins but when I am faced with something like this particular run I DO look for alternate fingerings. I find that if I can learn/sort the piece out using alternates, I'm usually not too far away from being able to play it using the "legal" fingering. Unfortunately with the exception of the last note..... *sigh*..... there aren't any.
Also, notice that there is a bit of a cresc. in there so that does help things out in the "speaking" area.
Thanks for the advice and comisseration, guys. Fortunately we don't "perform" this one for another 4 weeks. I think we'll be happy if we can get the whole band up to 150 or so. (the alto sax and euphoniums are particularly bugged by the same run...sucks to be them).
Mezzo Piano User
You may want to try leaving the middle eighth note of each group and work it up to tempo that way. Once you have that down perfect, start slower and add the middle note of each group, practicing that until it is up to tempo. With something like that particular run, it's usually going from the third note of each group, to the first note that gives people trouble. The middle one is usually an afterthought because it's in the middle. I hope all of that is clear as mud. Happy practicing!
Eclipse MHY Bell
1949 Olds Ambassador
Listening has nothing to do with moving your mouth!
It may also help to practice it a several speeds, above and below the performance speed, well, it helps for me anyway.
Stop acting like someone shot your dog.
ABOVE 180!? "You gotta be kidding"
Well, I guess I wouldn't play the phrase as written if I couldn't play it cleanly at 10% faster than expected. For example, on Arturo Sandoval's Sandunga there is a bridge part for the trumpets that is kinda tricky. My band plays the song a bit slower than on the recording, but I kept working on that part at home along with the recording until I had it down. Its a great piece, by the way. :)
Stop acting like someone shot your dog.
The lick is in B major. Practice starting with the low b, c#, d#,c#,d#,e.
Originally Posted by Tootsall
I hope you see the pattern Use this up to the last beat. Once you have it up to speed, omit the extra notes. The ink should be easier.
The second lick will become a piece of cake 8)
Be sure Brain is engaged before putting Mouthpiece in gear.
Thanks for the response, Wilmer (and again to everyone else who has replied). Yes, the 2nd lick is already "down pat" thanks to the alternate 1-2 E at the end. My problem seems to be centered around the 3rd beat, 1st bar and 1st beat, 2nd bar. I tend to agree with those who say "just keep it accurate and repeat, repeat, repeat until the speed comes up. (I learned touch typing that way when I was a kid.... first accuracy, THEN speed). I'm still wondering what this will sound like when it gets to 180 though!
I've always had trouble with those particular notes at speed... our community band does a lot of music by Howard Cable and he LOVES the key signatures that seem to feature the use of the third valve alternating rapidly with either 1 or 1-2! You'd think I'd have it by now but it still ties me in knots. Oh well..... one of these days.
In the first phrase, try 123 for all the F#s, 123 for all the A#s, and 13 for the Bs. I believe that gets you through your problem beats with a fairly repetitive finger pattern, and it goes by so quickly that the intonation of those alternates shouldn't be a problem.
Hmmm.... I guess it would work (although it sounds sloppy when I use those alternates). Thanks for the suggestion John.
(For some reason it seems to be getting better using the "regular" fingering... I'll keep on 'shedding 'till either the cows come home or the finger buttons fly off).
I guess this is going to sound really stupid, but I have noticed that many times when my fingers don't seem to be moving fast enough, it's really my eyes that aren't moving fast enough. Maybe it's age catching up to me. But my fingers can work a lot faster than my eyes.
That's the advantage of working this passage up slowly at first until you really know it. If your eyes are having to hesitate on a note or they want to look back at a note, it will appear your fingers are the problem, but really you're just not reading the passage fast enough. That's also why playing the music over and over until it is memorized helps. After the music is memorized, you don't have to read the music any more.
Like I said, this is probably a stupid post, but check to see if your eyes are covering the notes as fast as the tempo demands. If you can read it up to tempo, you can usually play it up to tempo.
What do we have that we did not receive, and if we received it, why do we glory, as if we received it not?
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