ROGERIO

Manny Laureano

That's precisely why I went to Vince Cichowicz in 1980!

The first person I heard with that articulation was Ed Carrol when he transferred to Juilliard. It was different from what we were learning with Vacchiano but I always thought it sounded cool. When I got to Seattle, my second player, Jeff Cole, had that same articulation and I got very curious about it. Jeff turned out, incidentally, to be one of the most profoundly influential people on the evolution of my playing. He doesn't play anymore but he was a wonderful musician when he was playing.

Eventually I found myself in a lesson with Vince where he encouraged me to think a bit more emphatically about the consonant with which I started my tones. He then had me slow my practice down dramatically and use my ear to create that sound consistently.

Now, I go back and forth between a variety of articulation styles using the consonant as my aural guide.

ML

ROGERIO

Thanks so much Manny.

Do you mind going into a little more detail about the process?

Ed - please jump right in ... Manny has set this up nicely for you..

"consonant as my aural guide" ... is it as simple as that in theory (then the hard work begins)?

During my "come-back" a little over a year ago I came across a pedagogy book Dr. James Ode gave to all his Freshman students at Ithaca. In it I found some real gems I had ignored previously. One of those gems was this exact topic... the "spitting watermelon seed approach". Very strong attacks… then backing off slowly… until it doesn’t sound forceful but still strong. This is somewhat illustrated in the Arban First Studies.

I've been spending hours a week of just attacks... trying to replicate this pop. It comes and goes.

Derek Reaban

Rogerio,

There was a topic about this on TH. In addition to the comments that you have received from Manny (and hopefully Ed), the exercises that Dave Hickman does come at this topic from a slightly different perspective. I was also fascinated when I first heard some of the ASU grad students when I moved to Phoenix years ago and that very distinctive POP in their articulation.

Hope this helps!

Derek Reaban

Rogerio,

Here's another post that I think is very appropriate to mention here (by Peter Bond). What may be masking a clear "popping" articulation may not be related to the tongue at all!

Very good thoughts there.

Hot enough for you today!!!!

ROGERIO

Thanks Derek...

First off... YES... hot enough... 113 today?

Thanks for the research work. Maybe we can talk about this in more detail next time we meet. Hope all is well. Did you get your horn back? PM me.

Rogerio

wiseone2

Pablo Casals was a master string musician, but he had little brass experience.
He wanted a crisper attack from the brass section. Casals loved to speak at rehearsals. He looked back at us.......first mistake......then he said to us ......."Pee"..... "you must pee at the beginning of the note, pee into your instruments" A ten minute break was called. The brass section was on the floor.
Wilmer

chrisvenditti

My teacher, Ray Mase, talkes sometimes in lessons about having more ping in the sound. If you want to hear a good example of ping when playing trumpet check out the Fyre and Lightning Cd by the American Brass Quintet.

Anyway, he said that he gets the ping in the sound by the lips reacting to the air in complete efficency. If there is good efficency in tone production than there is no wasted effort, and the sound rings with a good ping.

Alot of the people I have heard play in NYC play with that pop or ping. One person once refered to it as the "Local 802 attack." LOL

Cheers,
Chris

beartrumpet74

I heard Nick Payton speak along the lines of this thread earlier this year.
He started to talk about a way to get the note to "pop" right out of the horn, and he related this to air flow and apeture cordination. He was very vague, called it a trade secret and promptly moved on to a lengthy dicussion about chords. I think this thread is great!
I wonder what the best way to approach this idea with my own playing is. I would love to have a little more zing on the start of my notes. Especially in the middle of long 8th and 16th note runs when I improvise. YOu can really start to place interesting accents within a long line this way.
Peace
matt

ROGERIO

For those of you who poses this POP and had to learn it...

How about some pointers??

Manny, you talked a bit about "consonants". Can you give us a quick lesson on this?

Ed, were you born with this?…

Thanks.