Holding the trumpet properly is a great way to increase stamina. Place the right hand around the valve body, and then lower the grip away from the lead pipe to avoid excess pressure against the lead pipe.
Place your thumb between the 1st and 2nd valves and allow the lead pipe to gently touch there as well. This keeps your hand in a squeezing position and facilitates rapid fingering. Stay as relaxed as possible through your hands. Think of the golf grip:)
Bring the heel of your right hand in to the 2nd valve slide and let it gently touch there. Line the horn up 90 degrees to the floor, and if that is a bit tight for your wrist, angle the horn to the right a little but not more than about 10 or 12 degrees.
The left hand is your anchor and I prefer to use the 3rd and 4th fingers below the 3rd valve slide and let the horn sit there. This also lets me extend my thumb to the 1st slide and the middle finger to the 3rd. It also lessons tension from squeezing the valve body. If you have large or small hands you may need to use one less or one more finger below or above the third valve slide but the thing to maintain is the resting of the horn on the fingers below the third valve slide. This also helps keep the mouthpiece weight on the lower lip.
Here is Malcomb McNabs' left hand.
a trick for the upper range and accuracy up there: Use your right thumb to push up on the lead pipe which removes some high overtones, and maintains a centered sound up above High C
To depress the valves use the soft pads on your fingers. Not the tips! I often let my fingers relax so much that they hit the valve caps under the middle joint. This shortens the throw for me and keeps me relaxed. When I am playing very technical passages and exercises I do move back to the pads. To relax further and remove excess pressure on the top lip I remove my pinky from the ring or saddle on the lead pipe, and let it just rest on top of it.
As far as elbows go, it is better for your air and focus to raise the right elbow up and away from your body. For very strong playing you should raise both elbows. Look at Doc and notice his right elbow:)
August 28, 2010 Using Pressure?
Left arm pressure is like medicine: too much is deadly, but just enough can heal.
I use pressure in minimum amounts. Usually focused on the lower lip or just below the lower lip. This spot serves as my anchor for the embouchure. As long as my jaw is dropped and forward it relieves pressure on the vibrating surface of the top lip. The bottom lip does vibrate as well but in reality serves as the "facing" for the top lip vibrations.
When your lip vibrates it must begin the "stroke " from a gently closed position. (The illusion you feel is that the lips are always closed when playing with the AirPlay method.) The reality is that both lips are in motion at the rate of pitch you play. Sometimes the lips are moving vertically, and sometimes in degrees in and out of the edge of the cup. We'll discuss that later in another tip.
Any pressure in excess will hinder the freedom of vibration. Pressure or "weight" used properly and in proportion will stabilize the outer edges under the rim and give you something to feel for security.
To illustrate the point attempt a very soft tone with no mouthpiece and your lips will fly apart. Now place a finger above the top lip and another below the bottom lip. The tone can be produced. While the rim is the dividing line between vibration and non-vibration the amount of pressure from the left hand can share a small portion of the burden of the big muscles by giving them something to secure on.
If you experience pressure or weight on the center of your top lip as you get louder or higher, you have created a viscous cycle of more pressure demanding more air, demanding more pressure - leading to the point the tone is squeezed off.
By giving the left hand proper focus at the point below the bottom lip you accomplish several things: 1. You keep contact with the forward jaw and give the jaw a wall to stay against. 2. You leave the vibrating surfaces free from pressure. 3. You provide the illusion of strength which provides confidence when "power Playing" 4. You allow the blood to flow freely in the lip itself. 5. You keep the lower lip from riding up =in-and back into your mouth.
In AirPlay the central purpose of balanced left arm pressure is to maintain the jaw position dropped and forward, AND to keep the jaw from floating.
Aug 18, 2010 Being a section leader
When I was a freshman in CASS Tech high under Harry Begian I was also the cornet section leader. Working with older players can be intimidating and working with experienced professionals a challenge as well.
You must gain respect and confidence. But you have to assert authority from the beginning. Not arrogantly, but with humility. Never say "do it this way" say something like: "for this piece we need to articulate like this" It may not sound much different but it sounds as if you not dictating but directing. A subtle difference that will earn respect.
Lead through example and play what you have shown. There is nothing more irritating as a guy telling you one thing and playing another. If you decide to change something, explain that within the context of the ensemble it will be better if we adapt our concept and do it this way.
You get the idea I hope.
Intonation is not a matter of tuning each section member to a give note, instead it is preparing the players to listen to and identify the irregularities in pitch. Unless you are performing with a piano accompaniment, the pitch center can and will move during the course of the engagement, depending on temperature, tiredness, and vocalists if any.
If your team is aware of this they can listen and play in the center of the overall pitch.
If a player is on the low side, ask them to raise the pitch. There is no "hey man, push it in " instead assess the situation and give a general guideline. If they are still a little low tell them they "can come up a bit more"
In most cases the improved ease of performance for the team is appreciated and no foul is part of the "blame game"
Always comment a well played phrase. Listen to and create an esprit d'corps that builds a sense of pride in placing every note in time and in tune.
I have both done this and have been a part of a team where the lead or first player has molded the section. It is appreciated - IF DONE IN the correct spirit.
Aug 18,2010 How to Go With The Flow
This is a picture of bowling balls in a row. This is also the way the flow works:) The beginning of one note becomes the beginning of the next without spaces. If there is a space, as the first two balls allow, then we have a rest or a staccato or a detached style. But the air is still active and is momentarily pulsed, held back, or ceases for longer pauses between notes.
When we play the air is in constant motion. It is the Bow - the stream of water - the constant energy that produces not only the tone, but the attack, decay, sustain, release, volume, range, connection of the tones.
A simple exercise is to hold an piece of paper 3 or 4 inches in front of your lips and breathe a stream of air continuously so the paper maintains a specific angle. Now while holding that angle allow your tongue to "accordion" up from behind the lower teeth to the top teeth - interrupting the column for a split second before falling back to the bottom. If performed properly you will have the sensation of the air column causing the tongue to release the note.
Start slowly and with a small - steady stream of air for about 10 seconds. After this is easily performed, move to 15 - 20 -30 seconds. Don't think about how you do it, just keep the paper out at the angle and never let it collapse while you are tonguing. It will flap a bit not not collapse.
This teaches you to connect the tones with air and to not spit puffs of air with your mouth.
A second example is to tear a short thin strip of paper and breathe air across it and watch it pulse the strip of paper. This shows how the air is actually changing the pressure above and or below the paper as it would the tongue for rapid fire tonguing.
When you slur an interval the air column speeds up and you time the mental intent with the meter of the phrase to create the leap up or down with a decrease in speed. The muscles sense the change and with your unconscious will you allow the note to move.
It takes practice to flow through intervals. The result is an even tone, naturally smooth release of the slurred tone and a relaxed sound.
You may want to play a middle G and start Piano - then tell yourself you will increase the air as if you were going to crescendo. Instead letting the lips open a bit to accommodate the air and create a longer stroke thus producing a louder tone. You tell the lips to maintain the size of the aperture and the note will move up to C without the excessive tension usually used. The sound will easily be controlled and as you get the knack of it through trial and error it will change the way you perceive and employ leaps of intervals.
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The longer Warburton Backbores work much better for AirPlay. They give you something to "sit on" when you play. I like the 3, 5 & 7 - DL's and the BL's.
August 14, 2010 Balancing things. A discussion of the realities of becoming and being a Player.
Moderation in all things is good. Consistency is good. Hard work is good. Relaxation is good. A trumpet player must learn to balance all things trumpet in such a way that it becomes habit.
Here is what I mean:
You must continue to do the pencil, the bulldog , static sounds, and breathing exercises for the rest of your playing life. Finding the proper balance in your routine is the trick. What you feel the best with is not always correct. Sometimes you just have to do it regardless of how you feel.
Plan your goals realistically. Don't expect to have progress every week or even every month. If you are spending all your time on the fun things like range, power, volume; chances are you are never going to be an accomplished musician. The business of trumpet is 100% about music.
Control your ego. It may be nice to receive adulation, but it is more satisfying to give it. Find a younger player to invest yourself in. You will receive more than give. You will learn by sharing, talking, and demonstrating techniques.
Record yourself and listen back to it. Play as much as you can - if it is proper playing. If you play in a marching band, pace yourself. A dead hero never finishes the race. I have known players like Alan Chez that used the discipline of a drum corps to become an accomplished and highly paid player. While I have also known guys that blow themselves out and leave the trumpet forever.
Be a smart student for the rest of your life. Take criticism with a grain of sand, and do the same with praise.
Find every opportunity to play with people that are better than you are. Never believe the lie that you are the best. There are always blowhards that burn out.
Devour all instruction. Check out the web often. Go to master classes. Listen to CD's. Attend orchestra concerts.
All of this in balance will MOTIVATE you. Help you see the big picture. Try new things. Listen to players, teachers and never give up your dream.
August 3,2010 Lots of Requests for more isometrics.
OK here is an easy and effective one. Use a tablespoon full of peanut butter and turn the spoon upside down. Then clean all the p'nut butter off the spoon as you pull it out of your mouth slowly. Try to really dig in with the lower lip to get all that stuff off the spoon.
Well honestly you don't need the p'nut butter, you get the idea:)
In this photo I am tugging down my top lip and consciously pushing my chin and lower lip up. This is one way I establish my power embouchure, and I also do this as an isometric exercise.
In this photo I am only tugging my top lip down and not allowing the chin and lower lip to push up and out. This is an isometric I do to establish a foundation at the corners WITHOUT PULLING BACK OR SQUEEZING THE CORNERS IN TO THE TEETH.
In this photo I am demonstrating the most common fault of players attempting Air-Play. I have tightened the actual red of the lips and am pulling them against the teeth into what feels like a solid tight position. This cuts off the blood supply, kills the freedom of vibration, and causes lip damage from the rim pinching the lip against the teeth. THIS IS NOT THE WAY TO DO IT
July 19, 2010 Back to basics
Today I want to go back to the most basic of the Air-Play method concepts. The lower jaw..
You must learn to drop and relax the lower jaw into a position of great power. To help you accomplish this I need you to get a Bic pen and hold it between your teeth. Do not clench your teeth - just hold the pen lightly between the teeth. Now bring the pen up just above parallel to the floor. Eyes looking straight ahead and chin out and up.
Now let your lower jaw and all your facial muscles relax. Like melting your face - let relax from the back of your neck to the tip of your chin. Now hold that position as long as you can remain relaxed. If you can do this for one minute you are getting your "foot in the door" of proper playing.
In this picture I am pulling my top lip down with the proper muscles. The result is the bottom lip goes up and forward. This is how you will naturally resist the air as you blow UP the pen.
In the picture below you see that my teeth are apart wide as I open my lips with my fingers. You can also remove the pen and freeze the face then stick your tongue through your open teeth and "feel" the aperture where the top and bottom lip meet in THE CENTER.
Over whatever period of time it takes - days, or weeks; increase this time to at least 5 minutes. Once you can hold the pen parallel and RELAXED this long you are ready to begin the following:
1. Blow air up the pen from slow to fast and repeat. Getting used to the natural resistance you feel in your face as you add air. Do not think of playing the horn - only think about increasing the air flow and feeling the chops resist. You must stay relaxed inside your mouth and just let the face respond without your conscious effort to resist.
2. Allow your lower lip to roll forward if it wants to as you blow 3. Allow the top lip to roll down or in as you blow. 4. Make every effort to keep the blow relaxed and as wide as your mouth is. Let it hit from cheeks to center of chops without respect. Feel the entire face reacting to the blow. 5.Drop the back of your throat like trying to sing a very low tone. 6. Let the air fill your mouth and throat cavity without making a "bubble" of air in your mouth above your tongue. 7. Keep your tongue wide down the center - it may curl a bit and touch your top or bottom teeth edges - this is ok as long as the center of the tongue is not pressing up towards the roof of your mouth.
This develops ALL of the correct playing muscles and surfaces. Do this EVERY day as long as you live and play the horn. Deviating from this practice will allow you to revert to negative devices.
I pry my lips open to show you the teeth are APART. If you do this and see the top teeth you know that your lips have "slid" up or if bottom teeth - they slipped down. KEEP YOUR TEETH APART ALWAYS AT LEAST THE THICKNESS OF THE BIC PEN. I use the Bic because it has flat edges to hold between your teeth - the round pens do not work well. If you use a pencil it can be bitten and allow your teeth to close.
July 3, 2010
I have been away a while so here we go into more valuable tips!
Performance based practice is a different animal than Developmental Study.
Here is part one dealing with Developmental Study
When I face a period of time in the day to play, I consciously make a decision to use that time for performance preparation, development of skills, or a combination of the two.
This in no way effects the warm up time, or the "free-playing" time after my practice time.
In this Tip I deal with development of skills:
The vital thing you must not miss is that we work on areas with specific intent. You must have a plan to progress. So many fall by the wayside because they lack the plan, and waste countless hours meandering through what "feels" fun.
When I was 14 I decided to dedicate one entire Saturday to learn to double tongue. I began as my instructor showed me with very legato gentle KU or Kuh attacks. Then gradually moved up and down scales and repeated strings of 4 then 8 then 16 then 32 then 64 K's. After this I progressed into playing songs and exercises entirely with the K tongue as legato and even as possible. Eventually it sounded as good as a Duh, Dah, or Thu tongue.
Then I moved onto the D-K combination (or T-K) very softly and smoothly. Gradually up scales, and then as repeated patterns. Gradually faster and allowing a tiny bit more explosive attacks.
At the end of the day I had fallen into a very usable double tongue from legato to staccato and soft to Fortissimo.
The process took 14 or 15 hours. I was determined and disciplined. Pacing myself to not jump ahead of what I was learning, and allowing it to become a natural or kinetic event.
Two things you must learn are patience, and positive repetition. By this I mean that if you play a passage slowly and perfectly 100 times it will accomplish much more than thousands of attempts to produce the same result when allowing mistakes, cuffs, intonation issues etc along the way.
On another day I chose to learn a difficult cornet solo. The same
methodical practice of a pre-decided plan yielded great results. This
process is part two and I will discuss this next time.
June 4, 2010 Blowing hard !
Every strong player practices blowing hard and loud in his routine.
It's how and when you do it that allows it to help and not hurt.
I suggest 3 times a week max in practice, but only if you feel strong, and your chops are relaxed.
Start with a three note arpeggio - G-B-D-B-G up and down in quarter notes. Repeat 4 or 5 times each one more intense.
Breathe in so you feel the air enter your mouth. The air goes in deep and wide and full, but not "stuffed." Turn the air right back around without closing the glottis and begin the sound. i.e. 1-2-3-breathe-Play
Let your face "give" a bit when expel the air. Listen to the sound broaden, intensify, and then come back to center as you decrease volume.
Allow your lips to float on the air column, but focus your intent on feeling the very tiny center of the aperture maintaining the vibration and NOT blowing open into the mouthpiece.
Small aperture control is always the key focus - do not let the chops pooch into the cup. You will feel the tingle as the vibration intensifies but not the "blasting" feel like those whose lips chase the air into the cup and spread open.
The places that "give" first as you add the intensity of the blow is:
Below the bottom lip, then the throat - mouth,Cheeks, and just above the top lip, producing a hugging of the rim, but not pulling the lips apart in the process.
Your awareness should be of your small aperture vibrating with much more energy.
Not moving in, out, up, or down, or tightening, or blowing open!
It will feel as though the vibration of your aperture from the outside to the inside, or front to back is lengthening -i- and not certainly not opening up as you turn on the gas. This then reverses as you turn down the gas and descend or play softer.
Your lips are not tightening against the rim or the into cup or pulled against your teeth but cushioned in place by the air cushion, and are ever so slightly wrapped around the rim. Look at James Morrison when he plays... (see picture)
I often carry these arpeggios up higher and louder, and usually hold the top note a few seconds before coming back down in volume and pitch. After you have done these you may start full and loud and stay full and loud throughout the riff.
It's important to lower yourself with the air and allow the lips to float down and let the small aperture relax BUT NOT OPEN to lower the pitch. Keep the motion in your body core, not out in the front of your face!
Once you have it flowing and powerful move up higher and higher. Play the first line of a song instead of the arpeggio, and think musically as you blow the walls down.
To get the sense of the proper muscles working; before you start, take a bristled hair brush and scrub your jaw line left right and under the chin for a minute or so. Do it pretty firm and close to your lips - BUT ALWAYS BELOW THE LIP APERTURE LINE. When you quit the area that receives the air in this exercise will be tingling. You feel nothing above the center line of your aperture and it should stay that way.
Let your air either: 1. increase and the sound gets louder or higher, or both. 2. decrease and the sound gets softer or lower , or both.
A bit like rubbing your head and patting your belly.
I'll try to get a utube up of this for you all. gR
May 22,2010 Efficiency - LET THE LITTLE MUSCLES WORK. DON'T GET MUSCLEBOUND
I was working today with a fellow who closed off and wore out when playing a solo lasting four minutes. This is not uncommon, and comes from some basic misunderstandings about mechanics.
Don Sebeski taught that the essence of writing was Focus and Economy, and it applies to just about everything in life.
Watch the video and you will see the importance of allowing the large muscles to react to the air flow. Here is what I mean by large muscles: 1. Below the centerline of the aperture 2. Below the corners 3. Below the bottom lip.
These are the playing muscles. To identify the small, and not used muscles try these: 1. Snear 2. Pout 3. Smile wide 4. Blow down towards your shoes
To identify the large muscles try these: 1. Blow up at the tip of your nose 2. Blow up at your nose and at the same time pull your top lip way down over the teeth against your bottom lip with your JAW FORWARD. 3. Push your lower lip up as far as it will go.
To show you how efficient the large muscles are try this: 1. Place your lips into your basic embouchure and then blow the air through them down at your shoes. Notice how the corners collapse and the lower lip folds back in. 2. Now move your jaw forward, open your teeth, close your lips and blow the air out up at the tip of your nose. Notice how the aperture locks in the more you blow. Just like a "Chinese Handcuff" the more air the more solid the embouchure. That is efficeincy.
gR
May 13,2010 How to choose a throat size...
The rule of thumb I follow is:
For bells that have a smaller diameter at the junction with the first valve and then up and around the bend, and then they open up - a # 25 or larger is a good place to start. As example players using a Bach Strad. 43 or 43* would be happier with a #25 than a #26.
For bells with a larger diameter at the junction with the first valve and then up and around the
bend, and then open up - a #27 or smaller is a good place to start. As an example players using a Bach Strad, 37 or 37* would be happier with a #27 than a #26.
The throat and the bell have to be in balance or you will loose center, focus, tone quality, and the resistance will be squirrely. No offense to squirrels:)
The cup depth or width has really little to do with this. The throat is where so much of the feel and sound come from. This is why Terry Warburton is so rich.
Another factor for players who use several leadpipes is that the throat size is as much connected to the leadpipe as it is to the bell. The same rule applies. Smaller pipe bigger throat, bigger pipe smaller throat.
Most mouthpieces come with a #27 standard. This is a very middle of the road size and one most of us are familiar with.
If your horn seems a bit dull or it backs up and does not let you move the air then these simple rules will give you a starting point.
May 7, 2010 - What do You Hear?
I find that younger players "create" their sound by shaping it with forced manipulation of mouth and air to sound the way they want to sound.
This is not how you develop a great tone. A beautiful tone is produced by: A FREE VIBRATION!
Obtaining a free vibration is our goal, and leads to success as a player. The AirPlay concepts I show you on the site and on my DVD will lead you to a beautiful tone.
What we strive for is using the large muscles surrounding the lips for control of your aperture.
We strive for the optimum position for your lips and teeth to produce the freest vibration.
We strive for a long relaxed, buoyant air column of air acting like the bow playing a violin - constantly moving and gently supporting the sound.
Forcing your sound to sound the way you want it to is
"Sacrificing your future on the altar of the immediate."
It leads to burn out and discouragement.
Take the time to let your sound be a free vibration, and you will thank me a 1000 times. gR
April 28, 2010 - Go down to go up?
This is a simple explanation of a complex synergy occurring when you ascend and descend on the trumpet. You will understand this more as you practice this technique. It is important that you commit this technique to habit through thousands of repetitions.
Start with 2nd line G and move up to A. Now repeat and focus your intent on playing towards the bottom of the pitch on the A as you move from the G. Now do G-A-B and on each step focus on staying on the bottom of the pitch.
Repeat in increments until you have played the entire G scale to the top.
Now Play C in the staff and move down to b. When you make the move to B focus on keeping the B on the top of the pitch. Repeat C-B-A doing the same. Now work the scale until you have played from c in the staff down to Low C.
Each time you focus on either top or bottom of the pitch it is accomplished with air flow alone. Do not bend the pitch with your tongue or lips as that would actually make the notes flat or sharp.
Next step is to move to chromatics, and then up and down passages as you find in H.L. Clarke studies.
This work eliminates "sticking", "cuffing", and maintains an even sound as you ascend and descend.
So you have learned how to go down when you go up:) gR
April 23, 2010 - Tips for building power
Recently I have lost weight and feel real good and strong. Building my power back has been fun. Here is one of the many things I do to build my chops.
In the morning I start soft tones with a large cup Mouthpiece. It has a Schmidt backbore and a 22 throat, and the tone is real easy to produce. I feel a bit like I'm swimming in it, but I stay in the staff and play softly. Gradually I get louder and louder until I feel a nice buzz on my chops.
Next I move to my gRawlin #3 with a Warburton 8* and play until my sound is centered and my flexibility is really easy.
Next I move to my gRawlin#2 with a Warburton 5. I do a lot of arpeggios and climbs and play some of my favorite exercises and music.
Next I move to the gRawlin#1 with a Warburton 11* - for more range and power work and finally I move to a new mouthpiece that is an exact reproduction of the original Stevens #1.
Now if you play a 1.5 or bigger mouthpiece what you should do is get a flugel piece to start on in your trumpet or a Schilke 24 or even an alto horn mouthpiece. Some of you may have a trombone or baritone - start there and work towards your regular size.
This is all a-kin to swinging a few bats before stepping to the plate - don't change your embouchure from piece to piece, just play what is comfortable for you on each one to "open you up" and strengthen the natural flow of your air core.
By making these progressions I find my air is bigger and my control energized.
It sets me up for a great day of playing
gR
April 23, 2010 - Conte Candoli I met Conte Candoli in 1966 in Hollywood. The Spurrlows were at the Hollywood Presbyterian Church and he had come to hear us. He talked with us about his renewed trust in God and other life issues. He was a true gentleman, and his concern with his spiritual life was genuine. During the next few weeks I met with him and he told me great stories of his professional life. As a 19 year old kid he was a hero to me in the trumpet world. Conte was a natural player. He said when he started band back in Indiana he picked up the trumpet and just played it. He kidded about the fact that the only difference between his playing then and presently was that he had better "ideas" now.
Conte was a strong, workhorse player. Any section he played in was solid just by him being there and leading with a clear and powerful sound. His jazz and lead playing are legendary as is his brother Conte's was.
Conte promised to send me one of his Golden Flair trumpets, but like a lot of us forgot it. Then I ran into him here in Atlanta in the 70's. The first thing he said was oh - I forgot the trumpet..:) and I been trying to live right, but it's tough and I'm weak. He stayed at the Fairmount Hotel for a week stand with Edie Adams and we caught up on a lot of things. He said he really needed to get back in church but with his schedule...
I learned to be fearless from him. To hear it, and play it. To have fun but carry a big stick.
Conte told me I needed to go over to old man Purviance and get a mouthpiece. I was playing a Connstellation with the mouthpiece that came with it. So Pete calls up Carroll Purviance and makes an appointment.
I go into this "garage" looking place and see this old guy sitting on a stool polishing a mouthpiece. I said "Conte sent" me and I wanted a new mouthpiece. He looked at me and turned around to his bench and picked up a 4*K4 and shoved it at me. "Here you go kid, so and so plays this and he blows the walls down.." I foolishly argued that I'd like to try it. He said: "you think this is a rehearsal hall - take it" I was honestly scared of him, so I paid him and left. Here is a nice column written about him in 2007 - his last year. I will always remember him as the guy that taught me what it took to be a leader in any section.
Through the
years there have been a number of "family acts" in jazz, but not many
in which the parent/offspring or siblings played the same instrument. An
exception is the Candoli brothers, Pete and Conte, who not only played
trumpet but did so with such creativity and talent that they are widely
considered to be among the best who ever picked up a horn. There were
some small differences. Conte, younger than Pete by four years, was best
known as a jazz trumpeter who could play lead, Pete as a lead trumpeter
who could play jazz.The Candoli brothers were born and spent their
childhood in Mishawaka, Indiana, near South Bend. Conte received his
earliest trumpet lessons from Pete, who was largely self-taught, and the
brothers first played side-by-side as professionals on Woody Herman's
First Herd in the summer of 1945, shortly before Conte's eighteenth
birthday. It was there that Pete earned the nickname "Superman" for his
stamina and high-note prowess (even wearing a cape as part of the act).
Pete, of course, had a different take: "They called me Superman," he
said, "because I could open windows that nobody else could lift up..."
While
he may not have been the Man of Steel, any trumpet section with Pete Candoli
as its anchor would be solid as granite, as no less than twenty-seven
big bands (and innumerable studio ensembles) were to learn. Tommy Dorsey
recognized Pete's talent, as did Glenn Miller, Stan Kenton, Les Brown,
Count Basie, Freddie Slack, Tex Beneke, Jerry Gray, Charlie Barnet and a
host of others. In the studios he worked on more than 5,000 recording
dates, performing with ensembles led by Gordon Jenkins, Axel Stordahl,
Nelson Riddle, Frank Comstock, Don Costa, Michel Legrand, Henry Mancini
and others while composing, arranging and conducting for such stars as
Judy Garland, Ella Fitzgerald and Peggy Lee. In their "spare time," the
brothers Candoli co-led small groups that recorded and played on the
West Coast, in Chicago and at other venues.
Pete earned many
awards from Down Beat, Metronome, Esquire and Look
magazines, the last naming him one of the seven all-time greatest
trumpet players, the others being Louis Armstrong, Bix Biederbecke,
Harry James, Bunny Berigan, Dizzy Gillespie and Bobby Hackett. Fast
company indeed. Speaking of Armstrong, Pete did an impression of Louis
that became near-legendary, and in the 1970s performed a nightclub act
with his then-wife, Broadway star Edie Adams. He had previously been
married to film actress Betty Hutton. The Candoli brothers were
especially close (Pete once said they'd never exchanged a harsh word in
their lives), and Pete suffered a devastating blow when Conte succumbed
to cancer in December 2001. Pete didn't play much after that but still
showed up at various jazz events. But he too had cancer, and it claimed
his life on January 11 at age eighty-five. The last of the "seven best"
trumpeters had gone to join the other six, and the celestial trumpet
section became even more "super" than before.
April 16, 2010 revisiting the lip and mouthpiece connection
After receiving some new questions about lip placement I want to give you as clear a word picture as I am capable of:
1. Open your teeth and close your lips in front of them very softly. 2. Use your tongue tip to feel if you feel both top and bottom lip equally. 3. Place your right index finger softly against the line on your top center lip that divides red from natural skin.
4. Move your lower lip center forward so you feel the slippery wet of that lip touching the top lip edges. Now wet your lips
5. Relax and place the mouthpiece to your top lip approximately in the same position where your finger was. Depending on the size of your lips you may achieve a better result if you place the mouthpiece over the lower lip FIRST and then the top - if you do this it will most likely feel as if your lower lip goes in to the cup Too far and takes up too much space, this is more of an illusion than reality. Just be careful to cover the top lip with the rim so it is as you felt with your finger over it in step #3
6. Now you feel the top lip in the proper position, so bring the rim onto the lower lip. Let it lay flat against the lower lip and area below it - as an anchor for your entire embouchure. You will absorb any left arm pressure here hopefully below the lower lip, allowing the top lip to be free to vibrate with just the rim gently holding the top lip steady! If this causes the rim to press hard into the top lip - you do not have your jaw forward enough.
7. Move your lower lip slightly into the cup while keeping it in contact with the top lip. 8. Out at the corners - bring bottom lip corner up slightly against the top corner just enough to feel the entire lip aperture close a bit. You will feel this mostly along the lower lip and it may move your lower lip a tiny bit more into the cup.
9. Breathe in through your nose and without doing anything with your embouchure let a medium volume AAHH pass into the mouthpiece across your lower lip causing the vibration to start. 10. Everything you feel will be in the lower lip and the floor of your throat and mouth - the note will respond and you will feel your embouchure responding by itself - as long as you tell the note to continue.
11. Depending on the size of your lower lip and the proportion of it to the top lip you will repeat this with tiny adjustments to purify the sound and let it come out easily. 12. Now you see that the top lip has done nothing - all the adjustments and set up revolves around the lower lip. This will continue as you play, so that these supporting muscles learn to react to your air and your will.
You can play-test this for ease and sound for several days. You will feel your face begin to conform (especially the lower jaw) to the proper delivery and release system, and you may experience your pitch becoming a little flatter. This is good as you are opening up and relaxing.
If this leads to a increase in resistance back from the horn you will need to consider and more open backbore to compensate.The Warburton 7B is always a great choice. Or you may be happy with your normal backbore.
This is a small piece from a very interesting article I found on the web. It talks about the teachings of famous LA player and teacher James Stamp the author is: matthewstock@sbcglobal.net
Time spent studying complex theories or thinking about problems is almost always wasted (“The professors can keep their theories, I’ll keep my job.”). By focusing our attention on a handful of good habits we can simplify playing and learn to work out our “bad days” rather than having to accept them. Learn to trust your ears, when you’re playing correctly you will hear it. When in doubt, simplify. AIR
“They call it a wind instrument for a reason!” Don Jacoby.
Many difficulties can be overcome simply by making sure that the airstream is moving quickly and steadily. Roy Poper describes this feeling as being, “Like trying to blow out a candle 20 feet away.” what we’re trying to accomplish, “spinning” the airstream through the center of the notes. If the airstream isn’t moving properly, other parts of the body (lips, throat, tongue, chest, shoulders) begin to tighten to try to compensate. This new balance may feel unusual at first, but the change in the sound will be immediately apparent. While changing notes the airstream must remain continuous.
Remember Jimmy Cagney saying, “You Dirty Rat”? That is the “Brass Player’s Face.” The jaw is pushed forward. This opens the throat and gives the mouthpiece a solid foundation to rest on.
Hold the thumb and second finger about a quarter of an inch apart. Place them against the front teeth and grip inward with the lips. This is the feeling we want while playing, a firm grip on the mouthpiece with absolutely no smiling. By gripping with the circle of muscles outside the mouthpiece, the part of the lip within the mouthpiece can remain relaxed enough to vibrate fully. This gripping exercise can also be used as an isometric exercise, holding for about 10 seconds then relaxing for the same length of time. I usually do 3 sets of 10 “grips” at night after I’m done playing for the day.
Playing the mouthpiece should be like singing. Constant attention to pitch is essential. Internally hear what you want to happen, breath in rhythm and blow while gripping the mouthpiece and continuing to sing the phrase in your mind. The horn only amplifies what we put into it, good or bad.
The mouthpiece should be held with the thumb and first finger about 1” from the small end. Remember to keep the airstream moving quickly and steadily.
One of Stamp’s most important rule is, “Stay down going up, stay up going down.” This helps to keep excess tension out of the high register and keeps the low register from collapsing. In time this has the effect of “compressing” the range, making the notes seem closer together. This allows you to play an exercise like the large intervals on pages 125-130 in the Arban quickly, accurately and easily. This approach is what allows Thomas Stevens to make a fiendishly difficult piece like the Robert Henderson Variation Movements sound easy.
Establish a tempo before you begin, breath in rhythm and blow while also playing the exercise on the keyboard.
On the second note, grip the mouthpiece slightly as described above. While maintaining the grip, keep blowing and continue the exercise. Your ear will tell your face exactly what to do if you stay out of the way and let it. The air will open up the lips just enough to play the descending intervals.
Many players over-emphasize the importance of pedal tones. They are a technique to encourage good habits but not a cure all. They must be played on the same embouchure you use in the normal range. The pedals may not sound full at first. Keep your grip on the mouthpiece and BLOW. Pushing the jaw further forward will also help. The pedal C can be played either 1-2-3 or open, the important thing is to blow through the note without letting the chops collapse.
GOING UP
Stay down while going up, letting the air and the ear make the pitches. On the top note increase the grip slightly and BLOW.
Stamp taught that you should expand the range in both directions simultaneously. Remember an efficient, relaxed middle register, is an essential prerequisite for a usable high range.
April 8, 2010 Push your lips forward and keep them together. Do you feel the muscles that are working?
Pull your lips back into your mouth and keep them touching.Do you feel the muscles that are working?
Smile and keep your lips together. Do you feel the muscles that are working?
Pull your lower jaw back and keep your lips touching. Do you feel the muscles that are working?
Now you have identified the muscles you don't use while playing the trumpet!!
Open your lips and visualize the outer corners of your lips. Now bring the top corner down and the bottom corner up. Your mouth just closed and the center of your lips are touching. These are the muscles you use!
The muscles are bigger muscles, and they hold the middle of your lips together and allow them freedom to vibrate.
The rim over the top lip keeps the top lip from blowing open...
April 8, 2010
Reading is the primary difference between the players that work and the players that don't. It is expected that a player will read the piece correctly the first time through - even to the point of correcting notes that are written wrong BEFORE you play them. This is the way of the working musician.
Developing reading skills begins with hearing intervals and developing very good relative pitch.
The sub tone you hear in most rooms (if all is quiet) is a slightly off key Bb. You can train yourself to hear the Bb, and then sing a concert A. If you practice this day in and out after a year or so you will nail an A by ear alone any time - even while music is playing.
Intervals can be seen and heard as familiar tunes. A fourth is "Here comes the Bride". A Major 7th is "Bali Hi" Find your own tunes and practice hearing the intervals you see on the page by singing.
Now put your middle finger against your thumb as if playing second valve - that should bring that concert A instantly to your mind.
The best book for ear training I have found is the Hindemith elementary training for musicians
March 29,2010 Tip
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
September 4, 2010 Hands and fingers
August 28, 2010 Using Pressure?
Aug 18,2010 How to Go With The Flow
News from the web:
August 14, 2010 Balancing things. A discussion of the realities of becoming and being a Player.
August 3,2010 Lots of Requests for more isometrics.
July 19, 2010 Back to basics
I pry my lips open to show you the teeth are APART. If you do this and see the top teeth you know that your lips have "slid" up or if bottom teeth - they slipped down. KEEP YOUR TEETH APART ALWAYS AT LEAST THE THICKNESS OF THE BIC PEN.
July 3, 2010
June 4, 2010 Blowing hard !
May 22,2010 Efficiency - LET THE LITTLE MUSCLES WORK. DON'T GET MUSCLEBOUND
May 13,2010 How to choose a throat size...
May 7, 2010 - What do You Hear?
April 28, 2010 - Go down to go up?
April 23, 2010 - Tips for building power
April 23, 2010 - Conte Candoli
April 16, 2010 revisiting the lip and mouthpiece connection
Here is a new one for March 20, 2010.
