Trouble with wide skips and slurring large intervals?
This is not discussed much, but your lips have to be closed from the corners first and not just touching in the center with a gap between the rim inner edge and the center closed point.
In other words slowly bring your lips together just before placing the mouthpiece and make the effort to seal the sides against each other gently. Then let the rim settle down over the chops. This always gives your formation flexibility.
Now with the lips completely closed from rim to rim you can get your breaths in from the corner of your mouth to the rim and the rim holds your chops together from the point where the outside edge of the rim seals to the opposite side.
<o> (o) -0- Wrong very wrong straight line represents closed chops - correct Leaky Pinched Closed
MARCH 27,2010 TIP
What you think you hear may be telling your ears a lie!
Recording a big band or a trumpet solo is not an exact replication of the actual sound. I know the first time I recorded a TV Commercial, I was shocked at what I heard on the TV. It was a jingle for Chrysler Corporation with Patti Page - called Dodge Fever. The mikes were Condenser pencil mikes at close range and recorded a very bright brittle sound. This was in 1965 and was in what I call the "crossover" period of recording.
The old Neuman, and RCA ribbons recorded a more natural trumpet sound, but in the world of fast food jingles, and commercial music the sound is not the end, the energy is.
So now we live with generations brought up to hear a trumpet sound that is thin, shrill, and synthesizer like. The players are now forced to imatate that sound live, and to do it; they use smaller and smaller high velocity mouthpieces, and make money.
I had a big surprise when I went to New York in the 60's and worked at Radio City and other venues. The sound was a big fat Bach with a 3C sound. Not timid, not small, but FAATT.
Same thing when I worked in LA. big fat sounds from Purviance and Benges, and Callichios, and Bachs.
What I've learned is that the guys that really are in the trenches of the movie sessions and orchestras have big fat sounds. The guys in the traveling rock bands, jingle sessions and "B: markets tend to be brighter, thinner, and less musical sounding.
So whatever you decide to do with your playing as a profession. Remember that at times there are big compromises you may have to make. The guys that last are those who: 1. Read anything the first time 99% accurately for style, pitch, notes, and sound. 2. Don't complain 3. Know what sound is all about and are willing to have a nice fat sound reduced to a shrill synth sound on the recording. And occasionally get to play musically wonderful charts, with recordists that let the trumpet sound like a trumpet.
Here is a new one for March 20, 2010. Goal Oriented Calisthenics:
1. Sharp tonguing of intervals and "skipping exercises" produce a constant aperture and is my number one endurance exercise. I often spend up to an hour on these things. I use slurs sparingly and choose simple exercises that allow me to focus attention on a sharp explosive pop to the attacks.
I use the mid range first and then expand to my "easy" upper register (no screaming here) and then venture to the bottom of the horn, and back through the cycle. I do not use Clarke for this I do use simple Arban arpeggios, the Sigmund Herring book, and the simple exercises from the Vizzutti books. Remember this is calisthenics for endurance, not a beauty contest!
This example was played in a short 5 minute session on a Bach 43 with a Bach 37 lead-pipe. gRawlin #2 Mouthpiece Top and my new "Fat" Backbore. I hope to have these Backbores mass produced soon. The throat is a #25. 2. Flexibility is best accomplished by focusing on a relaxed air column with a controlled intensity. Eighth note step up and back patterns of 6 or 8 reps followed by 8 reps of down and back patterns. Then move to minor thirds same pattern, then spread the intervals apart to a minor sixth (c-Ab example)
After 10 or 15 minutes on these rest and then do 4ths as 8ths then triplets then 16ths. After this do fifths the same way.
3. For Tone quality I sit or stand facing a corner and play long tones on middle G in the staff. I pulse the note louder and then softer over 8 counts. After this I use that G as a center and slur half notes up to the next open tone (C) and back down. Then I do a triad G-C-E. DEPENDING ON YOUR ABILITIES THESE CAN BE EXPANDED UPWARD AND DOWN THROUGH THE OPEN HARMONIC SERIES.
My intent is to use the same air column to connect these notes and maintain the resonance of each note at the same place in my mouth, throat, and core. This makes you use the entire body as you ascend and then learn to come back down by backing off the air and not closing your throat.
Remember that the meat of the horn is between Low C and C above the staff. This is where 80-90% of our work is done. When we are using this range correctly the expanded ranges are much easier to develop. gR
Here is a new one for March 20, 2010.
