The Soprano Cornet is a volatile and lively beast at the best of times. Add to that the inherent intonation issues of the instrument and the versatility required, from playing soft, delicate, lyrical melodies to high, technical, powerful fireworks, sometimes within a few bars, and the choice of equipment becomes a difficult one. Today, there are many options available to the player who has some money and time to dedicate to trying out different combinations.
First, I would like to explain what I use and why. The most important thing to consider is the instrument. For twenty years or so Schilke has become the standard in the brass band world. It is a good instrument and offers great intonation, and is based on the industry standard E3L E-flat Trumpet that every professional trumpet player in the world uses, or has used at some time. There is good reason for this. It is a well made instrument and has lots of versatility.
However, for me I have never got on with Schilke. I have tried half a dozen at different times. Never been a fan. The instruments bore is listed as .453, which is small. I can feel that. For a lot of players, this resistance is perfect. For me, I like the room to blow through. In January 2005, I bought the soprano I now play. Its bore is .459, which is more like a standard ML bore trumpet and has a much fuller tone for me. I can blend better, can mellow the sound out, but can really step on the gas and give some zing when I need to. This instrument is a Courtois 107, partly designed by Alan Wycherley, soprano legend. The intonation isn't as good as on a Schilke, I have actually had the first valve slide shortened a little which has been a big help.
I have also tried a Yamaha Xeno soprano, which is very similar to the Courtois, in my opinion, but I prefer the Courtois. I have recently tried the new Besson Sovereign Soprano, which is similar to the Schilke, but for me is better. I still prefer my Courtois. I would recommend every soprano player to try as many instruments as they can. As many as they can of the same brand also. I have played three Courtois instruments and loved them all, especially my own.
Next, then is the choice of mouthpiece. For cornet players there are a few standard Denis Wick models that people use. They are all great. For me, I like the 3B for playing cornet. I love the sound of the deeper 3, but the control and security above the stave is less than with the 3B. However, for soprano, there is only one Denis Wick to choose the "S". This leaves the majority of soprano players, who have moved from cornet, struggling. The "S" produces the richest, warmest sound, however, high register work is difficult. The power and control needed in today's repertoire calls for a shallower mouthpiece.
When I bought the Courtois in 2005, I played a Warburton 8SV mouthpiece, which has a backbore size 10*. The Warburton mouthpiece system is in two parts. I like this. They are expensive though (around £120 for the two parts now). I was never 100% happy with the sound this mouthpiece produces. Quite a thin, bright sound. Difficult to blend. I switched to an 8MC in 2008, which helped a little. In 2009, I experimented with different backbores, bigger and smaller. Still not happy. In early 2010 I changed to a Schilke 11Ax, which is a great mouthpiece, I would say it should be the standard for most players. I loved the change in my sound, and the range and control were still there.
However, I was finding the cup a little small. So in June 2011 I tried a few Warburton tops at the Music Cellar in Preston and settled on a 5M with 10*, then changed to a 9* in September. That was great, but the cup was a little shallow. A 5MC and 5MD came up on eBay at the start of the year fairly cheap so I picked them up. I have been on the 5MC since, and I love it. I hope to graudally progress to the 5MD because that sound is rich, mellow and warm. I will try this over Summer, when band is less busy.
Really, the key to all of this equipment and finding the equipment for you is to try as much as you can and see what you like and why you like it. Is it the feel of the instrument or mouthpiece? Is it the sound you produce? For me, these are the only questions you need to ask. I don't worry about the range or flexibility or tonguing that a mouthpiece or an instrument will produce differently to another, I can work on these to suit the equipment. Sound and comfort cannot be learned. They are there or they are not. Simple.
I would also recommend taking someone with you when you try equipment who knows your sound, or at least has a critical ear. I take my wife, which I know she hates. She is very honest and often has a different opinion to mine, in music as well.... The key, though, is that she hears what I don't. Behind the bell is one sound, in front of the bell is what everyone else hears.
I hope this helps. Please feel free to ask me questions on equipment, its one of my favourite topics!
Sunday 27 May 2012
Change in Routine - From Sat 26th May 2012
Each weekend I review my routine and see if needs any change. I don't like to change too much at once, because I can't then focus in on what is working well etc... Because I aim to keep my routine to less than an hour, instead of adding more material, I adjust current material to give more of a workout. The important thing to note here, is that I do this very gradually. I also want to note that we are preparing for Whit Friday this week (Friday 1st June) which is the annual Brass Band Night of the year for the entire country! I will add a post about Whit Friday after the event to let you know the full feeling and what it is all about.
My routine this week...
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
My routine this week...
WARM-UP:
1. CG Breathing:
- Preliminary Exercise: CG 5-5 x10
- CG 5-5-5-5 (as previous weeks)
- Low C, B, B-flat, B and C then two octave arpeggio down from Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Middle F, E, E-flat, E and F then three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- The extra notes at the top help to establish a full sound before moving down to the pedal register and help to connect the registers better
- Two octave arpeggio (tongued, minims) from pedal C to middle C, slurring to C#, D, C# and pause on C
- Then E-flat, F and G, then each key as high as possible
- Again, this focusses on connecting the registers
1. Lip Flexibility
- Earl D Irons Group 9
- Earl D Irons Group 12
- Slurred, single tongued, 'k' tongued and double tongued,
starting on:
- Low G, Bb, Db, E, mid-G, Bb, Dd and E [+ upper G] --OR--
- Low Ab, B, D, F, mid-Ab, B, D and F [+ upper Ab] --OR--
- Low A, C, Eb, mid-F#, A, C, Eb and F# [+ upper A]
- Followed by two octave G dominant seventh from low G to upper G, slurred and then double tongued, then triple tongued, as fast as possible, two (or three) notes per pitch
- Work on pieces that need it (preparation for the English Nationals and ofcourse Whit Friday)!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
The only thing that I have changed is the warm-up. I am also working at doing more breathing exercises this week, because I slacked a little at this last week.
As an aside note, I want to point out what I do on rehearsal and performance days. I don't do any of the Maintenance or Repertoire work on these days because, ultimately, I want to sound as fresh as I can. I warm-up in the same way and warm-down in the same way. I sometimes spend more time on the breathing throughout the day, which is a good workout in itself.
For example, this week I have band rehearsal on Monday and Wednesday (which is typical) and I also have Whit Friday on Friday (as I mentioned above). So Saturday to Friday will go like this:
- Saturday - Full Routine (c.1 hour)
- Sunday - Full Routine (c.1 hour)
- Monday - Warm-up; Rehearsal; Warm-down
- Tuesday - Full Routine and some private teaching (c.1 hour+)
- Wednesday - Warm-up; Rehearsal; Warm-down
- Thursday - Full Routine (c.1 hour)
- Friday - Warm-up; Whit Friday; Warm-down (hopefully!)
Tuesday 22 May 2012
It's not what you practice...
In my last post, I went through my routine and how it has progressed in the last two months. This is a record for myself as much as anything, but I want to make sure anybody who reads it understands the reasoning behind it.
If you have read the last post, you will have seen that I my routine is based loosely on the Claude Gordon model, and so it may not be a surprise that I have adopted many of his ideas in my approach to playing as a whole. Claude Gordon is well-known for having many "phrases" (I like to call them "mantras"). One of his "mantras" that applies now is "It's not what you practice, but how you practice that counts". I believe this is true. You can practice lips slurs and flexibilities all day long, well-known as a beneficial exercise for playing any brass instrument, but that doesn't mean you will improve.
I'm going to go through my routine (as it stands now) and explain my approach to these areas of playing.
WARM-UP - this usually takes around 15 minutes.
1. Breathing
Breathing exercises are very useful. The title of Claude Gordon's book "Brass Playing is No Harder Than Deep Breathing" explains his view on the importance of breathing in the title alone. The book is a must have if you want to know more.
I try to do at least three sets of the breathing exercises everyday, completely separate to practice. Obviously, this doesn't always happen. I like to do them when I'm alone, purely for concentration, so finding time to do this and then time to practice the instrument can be difficult. When I'm driving tends to be the best time, but obviously concentration on the road often takes priority. Early in the day, I do a set of Preliminary Exercises, then later full Exercises (as many times as I can) and then return to Preliminary Exercises as part of my warm-up.
Inhalation should be be full and relaxed. I like to imagine saying "HOME" as I inhale because that allows my mouth to open enough to fill up without resistance, whilst not opening so much that I overbreathe. As I inhale the chest rises. I am at a stage where my chest rises automatically, but I have had to concentrate on this in the past to make this happen, sometimes concentrating a little more now when first doing exercises ensures that this is habitual.
By holding the air, whilst full, the chest learns the feeling and the support muscles around the chest and intercostaldiaphragmatic muscles also learn this feeling. It is important to be relaxed. If I have felt the shoulders rise a little, I lower them at this point. They don't tend to rise often, but occasionally.
Exhalation should be a hard blowing action, still trying to keep the chest up. The chest will fall a little, obviously, the lungs are emptying, but by trying to keep it up the support muscles of the abdomen and intercostaldiaphragmatic areas are engage properly. These muscles are also used in Wedge breathing, by understanding a little about this my awareness has heightened.
By continuing to 'squeeze' the air out during the exercise, the support muscles are worked extra hard. This is important to a) learn the feeling b) make it a habit and c) develop the musculature. This is when you become most aware of which muscles are used. Start at exhalation now to get that feeling. Then go to the beginning of the routine and notice the difference in how long you can blow, and the strength of the muscles because of filling up at the beginning.
Although keeping the chest up is a strange feeling at first, it soon becomes natural and is actually quite logical. Singers do it. Watch. David Krauss, Principal Trumpet of the MET Opera Orchestra, recommends it. Hakan Hardenberger, internationally renowned trumpet soloist, recommends it.... kind of.
2. Claude Gordon's Long Holds + 5 Notes
This is important for a few reasons. Firstly, pedal notes at the start of the playing day are a nice way to relieve the lips and the rest of the playing system of any tension from yesterday. If you've had a hard day, they tension goes away immediately. They're almost like meditation for brass playing. I'm a big fan, even though many, many, many players at all levels aren't.
By playing this exercise, which isn't actually from Claude Gordon, but loosely based on his exercises, the pedal register becomes a major focus. In Claude Gordon's pedal exercises, which he supposedly adapted from Louis Maggio, he teaches that you should push the final note as long as you can, and longer. This is engages the support muscles on the same way as the breathing exercises, the second of the important reasons for pedals. I like to do this. It is a work out as well as a warm-up that way - multi-tasking!
I play down to "Triple Pedal C" on soprano cornet (which is three octaves below the C under the treble stave). I can play further (usually to the G below that, but I feel that triple pedal C is plenty for warm-up). There are many contentious issues around pedals, with regard to embouchure. Some say that you shouldn't change the embouchure (including Claude Gordon), some say that you should. I think that because I am focussing on relaxing the lips and getting the air moving, I am happy to alter my embouchure if I need to. Without distorting the embouchure, I can play to pedal G (an octave below low G). Then I start changing it a little, gradually putting the lower lip under the mouthpiece.
When the pedal-purists reading this have picked themselves up off the floor, I will support this by saying that I don't expect to always do this. I couldn't always play to pedal G this way. I still can't play pedal A to G with valves - I have to play them open. Only recently have I been able to play pedal B and B-flat with correct valves, i.e. the same as the octave above.
3. Claude Gordon's Upward Arpeggios (+ 5 Notes)
I tongue the arpeggios, slurring the last five notes, and don't hold the last note too long. Just enough to hear and feel the full sound of the note. I go up as high as I can, which is currently up to D major/E-flat major (i.e. high E or F above high C). High D is my highest "usuable" note. I can hit it and sound full on it. Until recently, the last two months or so, coincidentally, notes above high A were only there 75% of the time. Now up to high D is at least 95% there.
MAINTENANCE - this usually takes around 30 minutes with rests
1. Lip Flexibility
Playing smoothly, focussing on a full sound on each note, is the priority in these exercises. Whether it is at mm.=c.42 or mm.=c.184 doesn't matter, full sound and smooth playing is the priority. It is better to play accurately than quickly. I also make sure to crescendo towards the higher notes in flexibility exercises, this encourages the correct breathing. I could talk about tongue level here, but that is another contentious subject. All I will say, is that if I whistle a low note to a high note and back down my tongue moves to change the pitch. When I play the instrument, the same happens. Try it for yourself. If this doesn't work for you, fine. If it does, fine. We're all different. In my teching experience, I haven't met anyone who didn't feel this relationship in their playing, but I am happy to meet the first one.
2. Clarke Studies
I like to use these as a multi-tasking tool. They develop finger technique, including strength of fingers and learning of patterns, but I also use them to develop tonguing and articulation. I play with single, 'k', double and triple tongues as appropriate. By 'k' tonguing, my double tonguing improves. I always aim to a strong 'front' to the note, whether it is single, 'k' or multiple tonguing. This is important. If I can tongue hard, I can tongue soft. The reverse isn't true. In tonguing, hard can be softened, soft can't be made hard.
Adding a faster pattern, working on double and triple tonguing, is a development of agility. Double and triple tonguing is meant for speed. This is important to practice.
REPERTOIRE - as much time as I can find, resting often
I work on specific pieces as needed, or look at pieces for development of general or specific areas of technique. All music develops musicianship, some can also develop tonguing, rhythm, finger technique, dynamics, range etc...
WARM-DOWN - five minutes at most
As Bud Herseth, former principal trumpet of the Chicago Symphony and father of the American Orchestral trumpet sound, used to say - leave the lips how you would like to find them the next day.
I use three octaves descending arpeggios, working down to from low C to usually triple pedal G, one key at-a-time.
I hope this helps to clear up some of the elements I discussed in my last post. I hope to post some videos of my routine over the coming weeks,m which should go some way to explaining the concepts a little further.
Please leave a comment below if you have anything you wish to post, questions welcome.
Thanks - John
If you have read the last post, you will have seen that I my routine is based loosely on the Claude Gordon model, and so it may not be a surprise that I have adopted many of his ideas in my approach to playing as a whole. Claude Gordon is well-known for having many "phrases" (I like to call them "mantras"). One of his "mantras" that applies now is "It's not what you practice, but how you practice that counts". I believe this is true. You can practice lips slurs and flexibilities all day long, well-known as a beneficial exercise for playing any brass instrument, but that doesn't mean you will improve.
I'm going to go through my routine (as it stands now) and explain my approach to these areas of playing.
WARM-UP - this usually takes around 15 minutes.
1. Breathing
Breathing exercises are very useful. The title of Claude Gordon's book "Brass Playing is No Harder Than Deep Breathing" explains his view on the importance of breathing in the title alone. The book is a must have if you want to know more.
I try to do at least three sets of the breathing exercises everyday, completely separate to practice. Obviously, this doesn't always happen. I like to do them when I'm alone, purely for concentration, so finding time to do this and then time to practice the instrument can be difficult. When I'm driving tends to be the best time, but obviously concentration on the road often takes priority. Early in the day, I do a set of Preliminary Exercises, then later full Exercises (as many times as I can) and then return to Preliminary Exercises as part of my warm-up.
Inhalation should be be full and relaxed. I like to imagine saying "HOME" as I inhale because that allows my mouth to open enough to fill up without resistance, whilst not opening so much that I overbreathe. As I inhale the chest rises. I am at a stage where my chest rises automatically, but I have had to concentrate on this in the past to make this happen, sometimes concentrating a little more now when first doing exercises ensures that this is habitual.
By holding the air, whilst full, the chest learns the feeling and the support muscles around the chest and intercostaldiaphragmatic muscles also learn this feeling. It is important to be relaxed. If I have felt the shoulders rise a little, I lower them at this point. They don't tend to rise often, but occasionally.
Exhalation should be a hard blowing action, still trying to keep the chest up. The chest will fall a little, obviously, the lungs are emptying, but by trying to keep it up the support muscles of the abdomen and intercostaldiaphragmatic areas are engage properly. These muscles are also used in Wedge breathing, by understanding a little about this my awareness has heightened.
By continuing to 'squeeze' the air out during the exercise, the support muscles are worked extra hard. This is important to a) learn the feeling b) make it a habit and c) develop the musculature. This is when you become most aware of which muscles are used. Start at exhalation now to get that feeling. Then go to the beginning of the routine and notice the difference in how long you can blow, and the strength of the muscles because of filling up at the beginning.
Although keeping the chest up is a strange feeling at first, it soon becomes natural and is actually quite logical. Singers do it. Watch. David Krauss, Principal Trumpet of the MET Opera Orchestra, recommends it. Hakan Hardenberger, internationally renowned trumpet soloist, recommends it.... kind of.
2. Claude Gordon's Long Holds + 5 Notes
This is important for a few reasons. Firstly, pedal notes at the start of the playing day are a nice way to relieve the lips and the rest of the playing system of any tension from yesterday. If you've had a hard day, they tension goes away immediately. They're almost like meditation for brass playing. I'm a big fan, even though many, many, many players at all levels aren't.
By playing this exercise, which isn't actually from Claude Gordon, but loosely based on his exercises, the pedal register becomes a major focus. In Claude Gordon's pedal exercises, which he supposedly adapted from Louis Maggio, he teaches that you should push the final note as long as you can, and longer. This is engages the support muscles on the same way as the breathing exercises, the second of the important reasons for pedals. I like to do this. It is a work out as well as a warm-up that way - multi-tasking!
I play down to "Triple Pedal C" on soprano cornet (which is three octaves below the C under the treble stave). I can play further (usually to the G below that, but I feel that triple pedal C is plenty for warm-up). There are many contentious issues around pedals, with regard to embouchure. Some say that you shouldn't change the embouchure (including Claude Gordon), some say that you should. I think that because I am focussing on relaxing the lips and getting the air moving, I am happy to alter my embouchure if I need to. Without distorting the embouchure, I can play to pedal G (an octave below low G). Then I start changing it a little, gradually putting the lower lip under the mouthpiece.
When the pedal-purists reading this have picked themselves up off the floor, I will support this by saying that I don't expect to always do this. I couldn't always play to pedal G this way. I still can't play pedal A to G with valves - I have to play them open. Only recently have I been able to play pedal B and B-flat with correct valves, i.e. the same as the octave above.
3. Claude Gordon's Upward Arpeggios (+ 5 Notes)
I tongue the arpeggios, slurring the last five notes, and don't hold the last note too long. Just enough to hear and feel the full sound of the note. I go up as high as I can, which is currently up to D major/E-flat major (i.e. high E or F above high C). High D is my highest "usuable" note. I can hit it and sound full on it. Until recently, the last two months or so, coincidentally, notes above high A were only there 75% of the time. Now up to high D is at least 95% there.
MAINTENANCE - this usually takes around 30 minutes with rests
1. Lip Flexibility
Playing smoothly, focussing on a full sound on each note, is the priority in these exercises. Whether it is at mm.=c.42 or mm.=c.184 doesn't matter, full sound and smooth playing is the priority. It is better to play accurately than quickly. I also make sure to crescendo towards the higher notes in flexibility exercises, this encourages the correct breathing. I could talk about tongue level here, but that is another contentious subject. All I will say, is that if I whistle a low note to a high note and back down my tongue moves to change the pitch. When I play the instrument, the same happens. Try it for yourself. If this doesn't work for you, fine. If it does, fine. We're all different. In my teching experience, I haven't met anyone who didn't feel this relationship in their playing, but I am happy to meet the first one.
2. Clarke Studies
I like to use these as a multi-tasking tool. They develop finger technique, including strength of fingers and learning of patterns, but I also use them to develop tonguing and articulation. I play with single, 'k', double and triple tongues as appropriate. By 'k' tonguing, my double tonguing improves. I always aim to a strong 'front' to the note, whether it is single, 'k' or multiple tonguing. This is important. If I can tongue hard, I can tongue soft. The reverse isn't true. In tonguing, hard can be softened, soft can't be made hard.
Adding a faster pattern, working on double and triple tonguing, is a development of agility. Double and triple tonguing is meant for speed. This is important to practice.
REPERTOIRE - as much time as I can find, resting often
I work on specific pieces as needed, or look at pieces for development of general or specific areas of technique. All music develops musicianship, some can also develop tonguing, rhythm, finger technique, dynamics, range etc...
WARM-DOWN - five minutes at most
As Bud Herseth, former principal trumpet of the Chicago Symphony and father of the American Orchestral trumpet sound, used to say - leave the lips how you would like to find them the next day.
I use three octaves descending arpeggios, working down to from low C to usually triple pedal G, one key at-a-time.
_________________________________________
I hope this helps to clear up some of the elements I discussed in my last post. I hope to post some videos of my routine over the coming weeks,m which should go some way to explaining the concepts a little further.
Please leave a comment below if you have anything you wish to post, questions welcome.
Thanks - John
Sunday 20 May 2012
My Practice Routine
As time has gone by, my practice routine has changed - a lot!
In my first lesson with Russell Gray, we talked about constucting a routine that covered all areas of technique. I have always used this as a basis for any routine I have used.
For the last two months I have returned to a style of practice I tried a few years ago - Claude Gordon. If you don't know who CG is, Google him - his list of students is impressive, and his method book output is huge. I do not follow any of his methods strictly, but base my routines on them loosely.
The first thing to say about Claude Gordon's approach, is how he sees breathing. He has an approach that is quite out of the ordinary, where the chest stays up throughout exhalation. This seems counter-intuitive, but actually has a big impact on playing, especially range. More on that in another post.
With time being precious (a busy life as a school teacher, a wife and son and a band to rehearse with) a concise, but full routine is essential! This is a diary of my practice routines since I started with Claude Gordon material. I have kept this in a little book, keeping a journal...
On days of rehearsal and/or concert/contest, warm-up only.
From Sat 17th March
WARM-UP:
1. CG Breathing - 5 in, 5 full, 5 out, 5 squeeze x10
1. Lip Slurs
From Sat 24th March
WARM-UP:
1. Lip Slurs
From Sat 31st March
WARM-UP:
1. CG Breathing (the same)
2. CG Long Holds (the same)
3. CG Upward Arpeggios:
1. Lip Slurs
WARM-UP:
1. CG Breathing (the same)
2. CG Long Holds + 5 Notes:
1. Lip Slurs
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
I'm not saying it'll work for everybody, but its making a big difference for me.
In my first lesson with Russell Gray, we talked about constucting a routine that covered all areas of technique. I have always used this as a basis for any routine I have used.
For the last two months I have returned to a style of practice I tried a few years ago - Claude Gordon. If you don't know who CG is, Google him - his list of students is impressive, and his method book output is huge. I do not follow any of his methods strictly, but base my routines on them loosely.
The first thing to say about Claude Gordon's approach, is how he sees breathing. He has an approach that is quite out of the ordinary, where the chest stays up throughout exhalation. This seems counter-intuitive, but actually has a big impact on playing, especially range. More on that in another post.
With time being precious (a busy life as a school teacher, a wife and son and a band to rehearse with) a concise, but full routine is essential! This is a diary of my practice routines since I started with Claude Gordon material. I have kept this in a little book, keeping a journal...
On days of rehearsal and/or concert/contest, warm-up only.
From Sat 17th March
WARM-UP:
1. CG Breathing - 5 in, 5 full, 5 out, 5 squeeze x10
- Inhale over 5 ("Big Breath, Chest Up")
- Stay full for 5 (keep the chest up)
- Blow hard over 5 (keep the chest up)
- Keep blowing over 5 (keep the chest up)
- Starting on middle G, one octave descending arpeggio, holding the bottom note as long as possible.
- Then in each key down to C major (i.e. pedal C)
- Then, play two octaves in the same way (low C to double pedal C), then in B-flat and G
- Then, three octaves in F major (from middle F to triple pedal F), then in E-flat and C (down to triple pedal C)
- Vincent Chicowicz style Flow Studies working up to high C (and above) with equal balance in the low and pedal ranges
1. Lip Slurs
- Low C - middle G - middle C - middle G - low C (as many times as possible in one breath)
- Then the same on B, B-flat, A, A-flat, G and F-sharp
- Middle G - middle C - upper E - middle C - middle G (as many times as possible)
- Then on F-sharp, F, E, E-flat, D and D-flat
- Middle C - upper E - upper G - upper E - middle C (as many times as possible)
- Then on B, B-flat, A, A-flat, G and F-sharp
- Simple, scalic passages covering around a fifth, entirely single tongued
- Some kind of Clarke material - nothing too planned
- Work on pieces that need it!
From Sat 24th March
WARM-UP:
- Exactly the same as last week
1. Lip Slurs
- C-G-C-E-C-G-C etc...
- G-C-E-G^-E-C-G etc...
- C-E-G^-B-flat-G-E-C etc...
- #1 to 7 (or 13), slurred, single tongued, 'k' tongued, double tongued and triple tongued
- Followed by a one octave chromatic scale up and down from C to C, slurred, then double, then triple tongued
- Work on pieces that need it!
From Sat 31st March
WARM-UP:
1. CG Breathing (the same)
2. CG Long Holds (the same)
3. CG Upward Arpeggios:
- One octave arpeggio (tongued, minims) from low C to middle C
- Then E-flat, F and G, then each key as high as possible
1. Lip Slurs
- C-G-C-E-C-G-C etc...
- G-C-E-G^-E-C-G etc...
- C-E-G^-B-flat-G-E-C etc...
- #1 to 7 (or 13), slurred, single tongued, 'k' tongued, double tongued and triple tongued
- Followed by a one octave chromatic scale up and down from C to C, slurred, then double, then triple tongued
- Work on pieces that need it!
- Two octave arpeggio down from low C, three times (CG "Relax Lips")
WARM-UP:
1. CG Breathing (the same)
2. CG Long Holds + 5 Notes:
- Two octave arpeggio down form Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- One octave arpeggio (tongued, minims) from low C to middle C
- Then E-flat, F and G, then each key as high as possible
1. Lip Slurs
- C-G-C-E-G^-E-C-G-C etc...
- G-C-E-G^-B-flat-G-E-C-G etc...
- C-E-G^-B-flat-C-B-flat-G-E-C etc...
- #1 to 7 (or 13), slurred, single tongued, 'k' tongued, double tongued and triple tongued
- Followed by a one octave chromatic scale up and down from C to C, down to low F-sharp and back to low C: slurred, then double, then triple tongued
- Work on pieces that need it!
- Two octave arpeggio down from low C, three times (CG "Relax Lips")
- Play an extra, lower, octave on the last time (and/or make two more repeats wth extra octave if needed)
WARM-UP:
1. CG Breathing:
- Preliminary - 10 in; 10 out x10
- CG 5-5-5-5 (as previous weeks)
- Two octave arpeggio down form Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- One octave arpeggio (tongued, minims) from low C to middle C
- Then E-flat, F and G, then each key as high as possible
1. Lip Flexibility
- Earl D Irons Group 9
- Earl D Irons Group 11
- Slurred, single tongued, 'k' tongued, double tongued and triple tongued, starting on:
- Low F#, A, C, Eb, mid-F#, A, C, Eb and upper F# --OR--
- Low G, Bb, Db, E, mid-G, Bb, Dd, E and upper G --OR--
- Low Ab, B, D, F, mid-Ab, B, D, F and upper Ab
- Followed by a one octave chromatic scale up and down from C to C, down to low F-sharp and back to low C: slurred, then double, then triple tongued
- Work on pieces that need it!
- Two octave arpeggio down from low C, three times (CG "Relax Lips")
- Play an extra, lower, octave on the last time (and/or make two more repeats wth extra octave if needed)
WARM-UP:
1. CG Breathing:
- Preliminary - 10 in; 10 out x10
- CG 5-5-5-5 (as previous weeks)
- Two octave arpeggio down form Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- One octave arpeggio (tongued, minims) from low C to middle C
- Then E-flat, F and G, then each key as high as possible
1. Lip Flexibility
- Earl D Irons Group 9
- Earl D Irons Group 11
- Slurred, single tongued, 'k' tongued, double tongued and triple tongued, starting on:
- Low F#, A, C, Eb, mid-F#, A, C, Eb and upper F# --OR--
- Low G, Bb, Db, E, mid-G, Bb, Dd, E and upper G --OR--
- Low Ab, B, D, F, mid-Ab, B, D, F and upper Ab
- Followed by a one octave chromatic scale up and down from C to C, down to low F-sharp and back to low C: slurred, then double, then triple tongued
- Work on pieces that need it!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
WARM-UP:
1. CG Breathing:
- Preliminary - 10 in; 10 out x10
- CG 5-5-5-5 (as previous weeks)
- Two octave arpeggio down form Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- One octave arpeggio (tongued, minims) from low C to middle C, slurring to C#, D, C# and pause on C
- Then E-flat, F and G, then each key as high as possible
1. Lip Flexibility
- Earl D Irons Group 9
- Earl D Irons Group 11
- Slurred, single tongued, 'k' tongued, double tongued and triple tongued, starting on:
- Low F#, A, C, Eb, mid-F#, A, C, Eb and upper F# --OR--
- Low G, Bb, Db, E, mid-G, Bb, Dd, E and upper G --OR--
- Low Ab, B, D, F, mid-Ab, B, D, F and upper Ab
- Followed by a one octave chromatic scale up and down from C to C, down to low F-sharp and back to low C: slurred, then double, then triple tongued
- On a mid-range note, then repeat on other notes throughout the range
- 8 beats (mm.=60), air attack at p
- 4 beats rest
- 8 beats, tongued at p
- 4 beats rest
- 8 beats, air attack at pp
- 4 beats rest
- 8 beats, tongued at pp
- 4 beats rest
- Air attack at pp, hold as long as possible, always diminuendo-ing
- Work on pieces that need it!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
WARM-UP:
1. CG Breathing:
- CG 5-5-5-5 (as previous weeks)
- Two octave arpeggio down form Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- One octave arpeggio (tongued, minims) from low C to middle C, slurring to C#, D, C# and pause on C
- Then E-flat, F and G, then each key as high as possible
1. Lip Flexibility
- Earl D Irons Group 9
- Earl D Irons Group 11
- Slurred, single tongued, 'k' tongued, double tongued and triple tongued, starting on:
- Low F#, A, C, Eb, mid-F#, A, C, Eb and upper F# --OR--
- Low G, Bb, Db, E, mid-G, Bb, Dd, E and upper G --OR--
- Low Ab, B, D, F, mid-Ab, B, D, F and upper Ab
- Followed by Clarke's "Setting up Drill in C": low C to low f# to low C to middle C to low C chromatic, as fast as possible exploring double and triple tonguing
- On a mid-range note, then repeat on other notes throughout the range
- 8 beats (mm.=60), air attack at p
- 4 beats rest
- 8 beats, tongued at p
- 4 beats rest
- 8 beats, air attack at pp
- 4 beats rest
- 8 beats, tongued at pp
- 4 beats rest
- Air attack at pp, hold as long as possible, always diminuendo-ing
- Work on pieces that need it!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
WARM-UP:
1. CG Breathing:
- Preliminary Exercise: CG 5-5 x10
- CG 5-5-5-5 (as previous weeks)
- Two octave arpeggio down form Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- One octave arpeggio (tongued, minims) from low C to middle C, slurring to C#, D, C# and pause on C
- Then E-flat, F and G, then each key as high as possible
1. Lip Flexibility
- Earl D Irons Group 9
- Earl D Irons Group 12
- Slurred, single tongued, 'k' tongued and double tongued, starting on:
- Low G, Bb, Db, E, mid-G, Bb, Dd and E [+ upper G] --OR--
- Low Ab, B, D, F, mid-Ab, B, D and F [+ upper Ab] --OR--
- Low A, C, Eb, mid-F#, A, C, Eb and F# [+ upper A]
- Followed by two octave G major scale from low G to upper G, slurred and then double tongued as fast as possible
- Work on pieces that need it!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
WARM-UP:
1. CG Breathing:
- Preliminary Exercise: CG 5-5 x10
- CG 5-5-5-5 (as previous weeks)
- Two octave arpeggio down form Low C to double pedal C, then B, B-flat, B and C (holding double pedal C)
- Then in B-flat and G
- Three octaves down from middle F to triple pedal C, then E, E-flat, E and F (holding triple pedal F)
- Then in E-flat and C (down to triple pedal C)
- One octave arpeggio (tongued, minims) from low C to middle C, slurring to C#, D, C# and pause on C
- Then E-flat, F and G, then each key as high as possible
1. Lip Flexibility
- Earl D Irons Group 9
- Earl D Irons Group 12
- Slurred, single tongued, 'k' tongued and double tongued, starting on:
- Low G, Bb, Db, E, mid-G, Bb, Dd and E [+ upper G] --OR--
- Low Ab, B, D, F, mid-Ab, B, D and F [+ upper Ab] --OR--
- Low A, C, Eb, mid-F#, A, C, Eb and F# [+ upper A]
- Followed by two octave G dominant seventh from low G to upper G, slurred and then double tongued, then triple tongued, as fast as possible, two (or three) notes per pitch
- Work on pieces that need it!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
I'm not saying it'll work for everybody, but its making a big difference for me.
Introduction...
Well, I best get the ball going and explain who I am and why I am writing a blog...
I'm John Atkinson. I started playing the trumpet at school when I was 7, in 1993, because my Dad had once played and my uncles had played in their youths. I never practised very hard, or strived to do anything, just did it to get out of lessons through Secondary School. When I realised I might want to carry on after school I found a brass band nearby and joined up, on cornet, around my 4th year of Secondary School. It was a local band, in every sense, no real aspirations, just a few friends (most of which 20+ years my senior!) having a blow! I moved up the ranks of the band, quite quickly, and went onto Soprano Cornet aged around 16.
I fell in love with the instrument immediately. It was a thrill to play, so everyone could hear me, to rise above the band and play as loud and powerful as I could. For a short while, I played for this band (Chadderton and District - near Oldham, Greater Manchester) and also New Mills Band (in High Peak, near Buxton) because they shared a conductor and he took me under his wing a little. Jim Farnsworth was a very encouraging man, giving me lots of advice and letting me play solos, for both bands!
I soon realised this was too much, and moved to St John's Mossley, where my brass teacher was conductor. Steve Corbett had started me off, aged 7, and passed me on to Malcolm Cockerill, for my five years at Secondary School. At Sixth Form College I returned to Steve, who used to cornet play for Brighouse and CWS Manchester Bands (Steve was actually a good frined of the great soprano player Brian Evans, and arranged many solos for him).
St John's Mossley did contests and this was very appealing. I stayed there for around two years, a short spell on cornet as I arrived and then on Soprano for the most part. I enjoyed the competitive nature of contesting and learnt a lot from it.
At 18, I auditioned for the National Youth Brass Band of Great Britain and did four courses on 4th (out of 4) Soprano Cornet - what an experience, for a player who was actually quite average at that time. Very lucky! I also began to study Music at the University of Salford, which at that time was the brass band hub of Higher Education, and left St John's to go to Boarshurst, briefly, and then joined Mossley band, who at the time were Championship Section.
In my first year at Salford, I began lessons with Russell Gray, a great teacher and all-round nice guy. I studied with Russell for the entire time I was at Salford, also playing the advanced band pieces and picking up a Piccolo Trumpet and doing recitals, conducting one of the University bands and studying arranging with Peter Graham, one of the most formiddable brass band composers alive today. Looking back, this was a great time and a fantastic education!
After Salford, I left Mossley, taking some time out of banding and away from studying. Still playing, but more at home building on what I had learned from Russell and developing my own skills. I played briefly with Besses o' th' Barn before being asked to join Pemberton Old Wigan JJB Band, just as Mark Bentham had taken over, and I have been there ever since. We have had a great run of success so far - qualified for the National Finals at the Royal Albert Hall twice and winning Preston Brass at the Guild three times (including two best soloists - that I won!).
Enough self-indulgence and self-gratification - what am I writing a blog for?
Well, because of the unique needs of the Soprano Cornet, and the lack of good information out there for helping aspiring Soprano players, I hope to post information on practice routines, best methods, breathing, embouchure and all things Soprano! Hopefully, it will be helpful and not to self-centred.
I'm John Atkinson. I started playing the trumpet at school when I was 7, in 1993, because my Dad had once played and my uncles had played in their youths. I never practised very hard, or strived to do anything, just did it to get out of lessons through Secondary School. When I realised I might want to carry on after school I found a brass band nearby and joined up, on cornet, around my 4th year of Secondary School. It was a local band, in every sense, no real aspirations, just a few friends (most of which 20+ years my senior!) having a blow! I moved up the ranks of the band, quite quickly, and went onto Soprano Cornet aged around 16.
I fell in love with the instrument immediately. It was a thrill to play, so everyone could hear me, to rise above the band and play as loud and powerful as I could. For a short while, I played for this band (Chadderton and District - near Oldham, Greater Manchester) and also New Mills Band (in High Peak, near Buxton) because they shared a conductor and he took me under his wing a little. Jim Farnsworth was a very encouraging man, giving me lots of advice and letting me play solos, for both bands!
I soon realised this was too much, and moved to St John's Mossley, where my brass teacher was conductor. Steve Corbett had started me off, aged 7, and passed me on to Malcolm Cockerill, for my five years at Secondary School. At Sixth Form College I returned to Steve, who used to cornet play for Brighouse and CWS Manchester Bands (Steve was actually a good frined of the great soprano player Brian Evans, and arranged many solos for him).
St John's Mossley did contests and this was very appealing. I stayed there for around two years, a short spell on cornet as I arrived and then on Soprano for the most part. I enjoyed the competitive nature of contesting and learnt a lot from it.
At 18, I auditioned for the National Youth Brass Band of Great Britain and did four courses on 4th (out of 4) Soprano Cornet - what an experience, for a player who was actually quite average at that time. Very lucky! I also began to study Music at the University of Salford, which at that time was the brass band hub of Higher Education, and left St John's to go to Boarshurst, briefly, and then joined Mossley band, who at the time were Championship Section.
In my first year at Salford, I began lessons with Russell Gray, a great teacher and all-round nice guy. I studied with Russell for the entire time I was at Salford, also playing the advanced band pieces and picking up a Piccolo Trumpet and doing recitals, conducting one of the University bands and studying arranging with Peter Graham, one of the most formiddable brass band composers alive today. Looking back, this was a great time and a fantastic education!
After Salford, I left Mossley, taking some time out of banding and away from studying. Still playing, but more at home building on what I had learned from Russell and developing my own skills. I played briefly with Besses o' th' Barn before being asked to join Pemberton Old Wigan JJB Band, just as Mark Bentham had taken over, and I have been there ever since. We have had a great run of success so far - qualified for the National Finals at the Royal Albert Hall twice and winning Preston Brass at the Guild three times (including two best soloists - that I won!).
Enough self-indulgence and self-gratification - what am I writing a blog for?
Well, because of the unique needs of the Soprano Cornet, and the lack of good information out there for helping aspiring Soprano players, I hope to post information on practice routines, best methods, breathing, embouchure and all things Soprano! Hopefully, it will be helpful and not to self-centred.
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