josephus07

Hi Ed,

This semester I've been playing a ton in ensembles. I've been paying principal on nearly everything in Symphonic Band and Orchestra, plus I'm playing in the graduate quintet, 2nd book in the jazz ensemble, and I'm playing in the brass choir. At the end of the day, my chops have gotten quite a work out.

I've been pretty much just doing my fundamentals in the morning and then playing in ensembles and performances. I guess when I type it out it looks like I've been neglecting the aspect of which I'm about to ask.

I've been having trouble playing delicately lyrically. All of the lyrical solos I've had in ensembles haven't been very soft or terribly delicate and today I was thinking that I really need to keep this aspect of my playing up.

So, I pulled out my Concone and didn't like what came out of my bell.

In terms of feel, it feels like I'm having a hard time balancing the horn (I've been playing on a really large orchestral mouthpiece for everything since the start of the semester (except for jazz ensemble) and I suppose it is possible that I just haven't yet learned how to balance my horn with this setup).

Lyrical playing used to be one of my strengths and now it is one of my weaknesses.

I know the answer lies in just doing it, but do you have any advice/guidance on ways to approach lyrical playing?

Thanks for your time, as always!

ecarroll

Jphus,

Uh...yes...just do it.

I'm serious. Large ensemble playing can sound a death knell for the delicate parts of your technique unless you're balancing loud, heavy playing with a significant amount of soft, lyrical playing. Clarke studies in ppp will help you find the path as will breath attacks to ensure that the beginning of each phrase is riding on the air. After that play any melodic materials (Concone is a fine example) and make sure you're singing it through your horn beautifully and softly. Use vibrato. Find your inner opera star.

Jim Thompson once gave a class at Lake Placid entitled "Mozart One Week and Mahler the Next: reconciling your practice with professional obligations". You see where this is heading. . . now just do it.

Best,
EC

rowuk

With that much playing during the day, you may be musically worn out as well.
One of the things that I have noticed is that soft/lyrical needs every bit as much "freshness" and technique as heavier types of playing. You need to bang the valves down every bit as hard as when you are playing more loudly.
I generally put "soft"/lyrical in my daily routine at the beginning, not at the end where loud is no longer possible.
You may want to add some repertory to the graduate quintet that would support this type of playing - Ewald Quintet 1 or 2 for instance (on cornets???!). There are some really beautiful melodies there and if you avoid the urge to knock walls down, you have a good chance of reaching your goal!

jscahoy

Of course, practice is the key, but it's also a fact that soft and delicate is more difficult on large "symphonic" mouthpieces (Bach A series, for example.) Every mouthpiece is a compromise, unfortunately.

rowuk

I think a big mouthpiece makes soft easier (for my chops anyway).
The key is the balance of the mouthpiece not the size. The throat and backbore have to match the cup and the rest of the horn, something often ignored by the DIY mouthpiece modifiers. They read somewhere that a 22 or 24 throat is good and out comes the handdrill.

I do not see the mouthpiece as a compromising factor. It is never the guns fault - the person on the trigger takes the full responsibility! It is possible to play just about anything on any mouthpiece.

Of course common sense is necessary to get a mouthpiece/horn suitable for the work that you do. That has nothing to do with compromise, rather with efficiency. If I am a first call studio musician, I need a different balance of skills (and equipment) than the solo trumpet of the New York Phil. The same is true for a lead player in a big band.

I think we need to get hardware out of this equation. Playing softly and lyrically is an issue of flesh, blood and soul (for some Blood, Sweat and Tears). Starting there will give you the results!

josephus07

Thank you for the replies everyone. I will thoughtfully consider all responses and just get to doing it (practicing soft) when I'm not beat up (i.e. early).

Concerning hardware, the only issue I notice with the large mouthpiece (large rim, fairly large cup, large throat, large backbore) is that it is really easy to not be playing exactly in the center of the pitch, so I have to be really diligent about that.

Ed, I couldn't find any threads here in your forum on how you like to have studnets work on intonation. I was always of the mindset that if you use your ears, stive for playing "in tone" and practice long tonges, Clarke, and scales against a drone, you should be ok...but lately i've been trying to do some more long tones and Clarke with a tuner and I'll stop on random notes and I'm often around 5 cents (give or take a few) off. Is this the wrong way to work on intonation?

I want to develop spot on intonation while still remaining flexible and aware enough to be a good colleague in all playing situations. I know it will take time - any suggestions?

Actually, I will be starting a job in the Navy music program in January and during boot camp I'll be off of my horn. So, now I'm trying to really get a lot of stuff sqaured away before hand and have a good idea of how to work on things when I come back to the horn after boot camp.

Thanks to Ed and all who responded/respond!

ecarroll

D,

I'm not sure how one can effectively work on intonation other than simply playing with others. Playing over a drone is a decent idea, as is sitting at the piano (or better, the pedal board of an organ as it sustains until you lift a foot), depressing the sustain pedal, outlining chords, and playing the appropriate Clarke study SLOWLY. Electronic tuners, unless you want to pay big bucks for one of the old tube kind, are a waste of money (and train your eyes, not your ears, anyhow).

Playing with good ensembles that value intonation is the fastest way. Perhaps your Navy band will be the ticket. Congratulations!

Best,
EC

josephus07

Something that someone recommended to me that has helped a bit with my soft playing is to make sure I'm not playing high of center. Seems so simple, but I almost have to think of blowing low in order to counter the natural tendency to be a bit high because of something I'm doing wrong - eventually it will become a habit to be blowing right down the center of the pitch when playing soft and then I won't think of it as blowing a bit low, but for now it is helping to think of it this way.

ecarroll

D,

Playing above the center of the note is usually a good indication of tension somewhere in your body. Check your posture, your inhalation, and "listen" to your body. Relax down to the note. You'll know it's right when your sound clears and becomes colorful.

Cheers,
EC

mcstock

Hi Ed,
Could you expand on the idea of "listening to your body"?
Thanks,
Matt