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
Snooky said it best...
"It `taint whatchya do it how thatchya do it"
Yeah that's my reaction to my previous post too lol. Was trying more to emphasize a point rather than make an absolute statement.
Looking back over my years I've found that I practiced more exercises during my developmental years. Now having been around the horn since 1964 I get more from public performance than practicing.
When I was in the beginning stages of range development (1971 -72) I needed to get the knack of register connection. being able to ascend from a Low G to a High F or so in one smooth, connected blow. No re-setting of the chops. And of course I was also weak in articulation and flexibility during those years. So I went through the Clarke Technical Studies regularly.
After a while though i found that public performances were sort of a "two for the price of one" bargain. Of course public performance may not encompass all the technical matters of the trumpet. Such as: I rarely need much double tonguing of running lines ascending or descending. However with playing publicly so much this will increase my ability to play accurately WHEN IT REALLY COUNTS. An invaluable aid far surpassing anything gained while practicing.
Or to make an analogy: Who would you rather have protecting you in a gunfight?
1. The crack shot who wins marksmanship contests but never served in a real battle?
2. Or the sniper with twenty kills under his belt?
The less experienced marksman may have the better technique but he is untested.
The well seasoned trumpet player of years and years of public performance is likely far superior to his green peers regardless of their practice room ability. He's been in the game when others were really "shooting back"...
One of my teacher wrote out a 40 minute routine that he insisted was no great work of genius. Any experienced trumpet player would look at it and say "no big deal". But it used to take him an entire semester to go through it and explain HOW to do each exercise and what was to be gained from it. For example, even before we started the first exercise (which is long tones) we spent an entire day in a master class just learning how to breath. Since then, I have spent many hours on the phone and writting essays just trying to get his concepts of correct.
So, to echo others, a highly qualified teacher is of critical importance. And, now I also suggest just because someone is a professional it does not mean they are qualified to teach. Try to find a trumpet teacher who is concerned with the pedagogical aspects of teaching someone to play the trumpet. For example, I really like the Mystery to Mastery website. Eric Bolvin has also dedicated himself to doing this as well. My teacher would say his "routine is nothing; it is what is behind the routine."
Last edited by BrotherBACH; 12-04-2011 at 07:27 AM.
Upon reflction, I remember beginning from scratch and all I need was some information, and not all this excess advice, so here it goes. Purchase there VERY cheap, "I Recommend: A Complete Warm-Up Technique Book Designed to Improve Fundemental Musicianship" by James Ployhar. It is a detailed road map of exactly what you should do and how much you should do.
There are currently 1 users browsing this thread. (0 members and 1 guests)