Olds Studio trumpet
Olds Special trumpet
Yamaha YFH-731 flugelhorn
Dillon Bb pocket trumpet
Selmer Bundy tenor trombone
Casio CTK-518 keyboard
"If it was just up to me, I'd have nothing but trumpet players on my show." - Jackie Gleason
Here are two tricks that worked for me. First, is the constant practicing. But, rather than counting sheep, I rested my hands on my stomach while lying on my back. My right hand was over my left so that the tips of my playing fingers could hit the knuckles of the left hand like trumpet keys. I would then proceed to work through, fingering the scales as I fell off to sleep.
Wrong thread. sorry. it won't let me delete.
OK. responding to this thread. Pedal tones serve many purposes but it is not something I would introduce early. If time is limited, say under two hours, then work and learning pedal tones may be taking the place of something that is developmentally more important. I am glad that I can do them now and they serve a great purpose, but I probably should not have spent so much time on them early on in my comeback. Sound concept, rhythm and sight reading, use of air are so much more import. When the musical mind leads all the physical things that pedal tones are supposed to do will naturally follow.
I use them because Claude has them in Systematic Approach .... I feel like they are great for hearing a pitch and playing one where there really isn't suppose to be one ( if that makes sense)
not sure if that answers the question but when I hear anything about pedals I think of Claude Gordon .. warm ups ... and that crazy 20 something year old kid who plays jazz using pedals all over the place.
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Bugles Across America > Home
Getting here late but, lip flexibility and playing without tension are the main reasons given for pedals. Why did they ALL lose range?? Maybe they all play with tension! Not unheard of in MB!! MB mantra ,"higher, louder,faster"!!!
Knowledge is freedom, and ignorance is slavery - Miles Davis
The difference between a beginner and pro mouthpiece is practice - tobylou8
Nobody has learned how to play the trumpet. It's endless. - Maynard Ferguson
Don't be afraid to try something different. The Ark was built by an amateur and the Titanic was built by a group of experienced engineers.
By the inch it's a cinch, by the yard, it's hard!
Whenever I feel blue, I start breathing again.
I consider that the position of the lips in the double pedal register provides for a complete freedom of vibration. If the work in this register is carried out diligently, with a normal position, the standard playing range (from low F# to high C) becomes very easy to play. Moreover, it can be achieved with the minimum of fatigue.
Another aspect of this work consists of mastering the transition from low pedal notes to the normal register with the smallest possible lip movement. When double pedal notes are played, the 'body' or thickness of lips between the mouthpiece and the teeth is at its greatest. This affords maximum protection from fatigue. When moving into the normal register, it is important to maintain this lip thickness as much as possible, so as to safeguard the lips.
Pierre Thibaut - Methode pour Trompettiste Avance
On the face of it, this seems to make sense, particularly to those such as myself who have a less than smooth surface in the teeth department.
Also, being more turned on by a strong low register than yodelling up in the gods probably puts me in a minority here
But are there any significant drawbacks to this approach? Did I waste my $35?
Bb Trumpets: Yamaha YTR-6335HSII - Flip Oakes "Wild Thing" - 1972 Getzen Eterna "Severinsen" - 1980 Boosey & Hawkes Sovereign Studio - B&S 3005 WTR-L - 1963 Besson 10-10 - Monke Mystery Horn - Spiri Vario
C Trumpet: Inderbinen Alpha 200
Bb Bass: 1961 Holton #58 "Symphony"
Wyrd oft nereš unfågne eorl, žonne his ellen dėah.
"Pypes, trompes, nakers, clariounes, that in bataille blowen blody sounes"
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