I just soft tongue and fake it.
I just soft tongue and fake it.
When we play a note, the air column inside the instrument has defined and mathematically predictable areas of high pressure and no pressure. In physics these are known as nodes and anti-nodes. The higher the tone, the more of these nodes inside the instrument. With a horn of sufficient light weight, we can play a long tone we can gently run a finger around the leadpipe and/or bell and feel some of the vibrations. Change to a different harmonic and that place will move.
Now for the esoteric part. Playing a long tone, we can shift our awareness to inside the trumpet, and imagine/feel a point of resistance somewhere inside the horn. I call these "magic bubbles." To slur up, we can "blow" this magic bubble further away, backing off will allow the magic bubble to return to its place closer to the mouthpiece.
Our body will memorize the feel of these notes and nodes much more quickly than the cognitive control of several variables can. Remember that the embouchure is (or should be, in the Zen Vulgano philosophy)formed in part by the note that it is playing.
Experiment a bit, and have fun!
"A tool good enough to be so used and not too good"C.S. Lewis That Hideous Strength
set the metronome for the tempo that you CAN play the 16th notes... and THAT is your baseline starting tempo. Increase one click at a time.I do the usual quarter/8th/triplet/16th note exercises but rarely get to the 16th because it's too much. If the notes aren't even and squared off (as someone earlier mentioned) I stop immediately. Something to work towards :)
Practice! I think it is a book by Wally Smith called something like ‘Lip Flexibility’ or ‘Lip Flexibility for the Trumpet’ that I used back in my learning days. Practice these every day. ALWAYS do all of your practice on a metronome and log what your times are. Keep a careful log of what you are playing and when. This way you can see your increases! When I have time, I split my practice sessions up and make shorter sessions that I do throughout the day. I divide these into what I call ‘modules’. These are simply routines that I will work on during that particular session. For example, I have a ‘warm up’ module that I do early in the day. I have ‘modules’ for working on transcribed solos (which I play as etudes and for the same reasons!), modules for what I call ‘range and power’, a module for jazz improv, another one for scales and so on. The only real one I do every day is the warm up module. The others I vary throughout my practice week, or as I find I have a need to focus attention on that area. Good luck!
I am generally not a methodical and organized person. But! I do have a very highly organized practice routine and I stick with it. I got into this mostly because I am lazy! I don’t like to do extra work for any reason! So, through lots of trial and error I figured out the best way to dovetail exercises and stream line my practice sessions so that I didn’t waste any time or any notes. What I mean is that my routine that works my fingering technique is also my routine that works breath control and a bit more. I start everything on a metronome and start at tempos I call ‘painfully slow’, and then work it up from there. Speed happens, but only after muscle memory! Good luck! From a lazy trumpet player!
and in order to stick to the thread topic -- that would mean to play fast slurs -- I would devote 53 seconds to those each day -- OK 1 minute and 46 seconds when you add the trombone in there
Last edited by kingtrumpet; 12-16-2011 at 06:54 PM. Reason: staying with thread topic
1991 King Silver Flair
1953 Olds Super (LA)
1979 King KG1055T (pre UMI) Silver Flair
1940? Olds Ambassador (LA) tenor trombone
I'm not responsible for offending people -- people are responsible for themselves taking offense at me
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