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Version 0.5 (preliminary) - 1999.09.17 The Comeback Trumpeters Guide 2 Content

Version 0.5 (preliminary) - 1999.09.17 The Comeback Trumpeters Guide 2 Content INTRODUCTION...........................................................................................................................................4 TIPS FOR THE COMEBACK PLAYER........................................................................................................5 EMBOUCHURE:............................................................................................................................................7 MOUTHPIECE PLACEMENT:...........................................................................................................................9 BREATH CONTROL: ...................................................................................................................................10 PRACTICE:................................................................................................................................................12 MOUTHPIECE: ...........................................................................................................................................13 TRUMPETS:...............................................................................................................................................14 TONGUING: ...............................................................................................................................................17 TONE:.......................................................................................................................................................18 ENDURANCE: ............................................................................................................................................19 RANGE: ....................................................................................................................................................20 "WHERE'S YOUR HEAD?" ...........................................................................................................................22 PHILOSOPHY.............................................................................................................................................23 SONG AND WIND.......................................................................................................................................24 BILL ADAM................................................................................................................................................26 QUOTES FROM "THE INNER GAME OF MUSIC".............................................................................................27 Relaxed concentration........................................................................................................................28 A NEW IDEA IS BORN..................................................................................................................................29 FROM "PRELUDE TO BRASS PLAYING"........................................................................................................30 FROM "ENCYCLOPEDIA OF THE PIVOT SYSTEM"..........................................................................................31 HOW AND WHAT TO PRACTICE....................................................................................................................33 OFF TO A GOOD START............................................................................................................................34 THE TEACHING PHILOSOPHY OF CLAUDE GORDON .....................................................................................42 TEACHING COME BACK STUDENTS ..............................................................................................................45 THE ETERNAL AIRSTREAM..........................................................................................................................52 INNER TEACHERS......................................................................................................................................54 COMMON PROBLEMS AMONG PLAYERS .............................................................................................56 ARNOLD JACOBS: THE MOST COMMON PROBLEMS ......................................................................................56 CLYDE HUNT: "MOST OFTEN OBSERVED" PROBLEMS...................................................................................57 COMEBACK PLAYER’S OWN STORIES .................................................................................................60 CP'S OWN STORIES - STANTON KRAMER....................................................................................................60 CP'S OWN STORIES - RUNE ALEKSANDERSEN.............................................................................................63 CP'S OWN STORIES - TIM HUTSON.............................................................................................................65 CP'S OWN STORIES - WARREN LOPICKA.....................................................................................................69 CP'S OWN STORIES - ALAN ROUSE ............................................................................................................71 CP'S OWN STORIES - TOM MUNGALL..........................................................................................................73 CP'S OWN STORIES - BILL FAUST...............................................................................................................75 EQUIPMENT...............................................................................................................................................85 TIME FOR A NEW TRUMPET?.......................................................................................................................85 HOW TO TEST A TRUMPET..........................................................................................................................89 MOUTHPIECES ..........................................................................................................................................91 3 THE CARE OF PISTON VALVE BRASS INSTRUMENTS....................................................................................93 METRONOME ............................................................................................................................................96 FOUR WEEKS TO BETTER PLAYING .....................................................................................................97 FIRST WEEK ..............................................................................................................................................98 DAY 1, WEEK ONE....................................................................................................................................99 DAY 2, WEEK ONE..................................................................................................................................101 DAY 3, WEEK ONE..................................................................................................................................102 DAY 4, WEEK ONE..................................................................................................................................103 DAY 5, WEEK ONE..................................................................................................................................104 DAY 6, WEEK ONE..................................................................................................................................105 DAY 7, WEEK ONE..................................................................................................................................106 SECOND WEEK .......................................................................................................................................108 DAY 1, WEEK TWO..................................................................................................................................109 THIRD WEEK............................................................................................................................................110 DAY 1, WEEK THREE...............................................................................................................................111 EXERCISES..............................................................................................................................................114 4 Introduction Welcome to "The Comeback Trumpeters Guide"! This guide has been put together as a joint effort. Several members of TPIN, The Trumpet Players International Network, as well as others, have contributed with information and tips here. What is a Comeback Player (CP)? A CP is a person who once started playing the trumpet, then for some reasons put the trumpet away in the closet. Then, maybe years later, he or she decided to take up playing again. It can also be a person who have been playing all the time and are having troubles. What he or she wants, is to "come back" to a better and easier way of playing the instrument. Editors for this guide are: Rune email: trpthoughts@geocities.com Ole email: Ole.J.Utnes@hive.no Feel free to contact us for comments on spelling errors, suggestions for improvement, etc. This guide is licensed under the OpenContent License (OPL) 5 Tips for the Comeback Player By 'Pops' Clint McLaughlin I firmly believe that comeback players can surpass their previous level of playing in a short time. (A year or so.) This is due to several factors: 1. The player has a memory of all of his problem areas. 2. The player has matured and can concentrate better to the task at hand. 3. The player has been off the horn long enough to break old habits or bad embouchures. 4. The player knows more about what he wants from music and what style is his favorite 5. The player has THIS information available to prevent forming any new bad habits. With this out of the way I will address some areas that may be of interest to a comeback player. Starting out: The first thing that concerns a CP (comeback player) is how to get started. Hopefully you've read the outline for week one that has been provided. It is very straightforward and works quite well. This comes from the Rafael Mendez book "A Prelude to Brass Playing". In fact most of what I'm going to outline here for you comes from H. L. Clarke, Don Jacoby, Rafael Mendez, Dr. Reinhardt and Dr. Stevens. All of these giants wrote books about trumpet playing and they should be required reading. The areas of concern for CPs are as follows: 1. Embouchure (Is my setup working for or against me ?) 2. Mouthpiece placement (How much top lip should I use?) 3. Breath control (It's just breathing right ?) 4. Practice (What should I practice and how long should I practice ?) 5. Mouthpiece (Is there a perfect mouthpiece?) 6. Trumpet (Do I need to buy one of those new _____ trumpets ? ) 6 7. Tonguing (How can I speed it up and smooth it out ? ) 8. Tone (How do I get that full rich sound ? ) 9. Endurance (How do they play 2 - 3 hour jobs?) 10. Range (I'm sorry but this IS asked every day. How do I play up there ? ) Where's your head? (Jakes #1 question.) 7 Embouchure: The lips need to be moist, or the air stream will separate them and there will be no sound. This moisture causes surface tension, which facilitates the buzzing process. The air blows through the lip aperture. The higher or softer that you play the smaller the lip aperture is. The lower or louder that you play, the larger the lip aperture will be. High notes need a lot of lip compression and abdominal pressure, not mouthpiece pressure. Lip compression is something all teachers make mention of. Their advice is, tighten up to play high. They don't tell you that this compression is lip against lip, like when you squeeze your thumb and forefinger together to grab something. It's this lip pressure that you need to fight the air stream and soar into the sky. Excessive mouthpiece pressure against the lips will separate your lips by pushing them apart. This lowers your range and causes a poor, thin tone, sluggish technique and less endurance. Points to remember: 1. Good posture. Chest, arms and head up. 2. Relax jaw and open throat. 3. Teeth 1/2 inch apart. Jaw forward. 4. Pull the mouth corners in toward your lips. 5. Roll both lips in slightly. You want a hint of an inward curl. 6. Let the lips touch and expose to air. Say "M". 7. Buzzing firmness before placing mouthpiece. 8. Place mouthpiece gently on lips. 9. Little mouthpiece pressure. 10. Breathe and blow. Don't hold it in. 11. Pivot to keep mouthpiece lined up with air stream. 12. Lip compression will give you upper register. Lip against lip. 13. Relax the chops. Back off the pressure and make the air work. 14. Always set for a g on top of the staff. The lips can easily relax 1&1/2 octaves to get to low c and high g is only an octave away. 15. Always set chops, place mouthpiece, blow. Problems Nine times out of ten if your upper register does not speak it is because your lips are too tense. Most people do not play in the upper register because they depend on their 8 mouth corners and mouthpiece pressure to create tension. All we want is to resist the air by rolling the lips in ( slightly ). This can not be seen nor is it like a sax or clarinet embouchure. We create a one way valve. Only in this case we are blowing the air against the valve the wrong way. This causes a great deal of resistance with a very little tension. Therefore a super c is now played with high c tension and a lip curl in. .... Take this example: 1. Take two pieces of paper hold them so that the top piece and the bottom piece touch but do not overlap. Now blow see how the paper (lips) does nothing to resist the air. We need to make the paper (lips) strong enough to resist the air. 2. Take the same two pieces of paper and let the top overlap the bottom. Now blow . Again they offer no resistance. If we put the mouthpiece in front then mouthpiece pressure WILL create resistance. 3. Take the pieces and put them together so that they both curl out away from you. Now blow. Again there is no resistance. We will put the mouthpiece in the way to let mouthpiece pressure create resistance. 4. Take the paper and put them together so that they curl in toward you. Now blow. There IS now built in resistance. It needs no mouthpiece pressure, or years and years of lip ups to build a mass of muscle. The air does the work for you. Relax and make the air work for you. If your sound is thin and weak you are using too much pressure. To get a brighter sound roll your lips in, or direct the air stream behind your upper teeth. To get a darker sound, roll your lips out, direct the air stream down, or make a more oval lip aperture by drawing the corners in slightly. Too flat a lip aperture will produce a bright, hard sound. You will not be able to play softly and will have air in your tone. No matter what embouchure you play, make the air do the work, relax your chops, back off the pressure and use the right equipment for the job. If you need a dark sound, you need a deep cup and wide bell flare. Don't forget to set your chops for the g on uploads/s3/ comeback-trumpeters-guide.pdf