More on Breathing

As has probably become clear by now, breathing and air is my main focus to playing.  If you breathe correctly, all other apects tend to become easier.  Transversely, bad breathing hinders good playing.  My opinion on good breathing and good support has been previously posted.  This is a quick summary, for those too busy to read through everything:

• Always fill up by taking a "big breath"
• Get the "chest up", which engages good support
• Put the shoulders back to encourage good posture

To help all of this, here is a different thought process that achieves the same goals:

• Push the belly button towards the spine
• Take a big breath, raising the chest
• Sit as though about to stand up (back straight)

Of course, the key is to experiment for yourself.  But the two approaches above achieve the same outcome - good posture and good support for good breathing.

The following YouTube video is of Canadian Jazz Trumpet Player (and pedagogue) Chase Sanborn discussing his approach to breathing, which is almost identical to what I have said:

http://youtu.be/94UK5pBria4

It is a short, but concise video.  He references Bobby Shew and his "Wedge" breathing, which I have already discussed in a previous post is similar to the Claude Gordon approach I favour.

Hopefully, this might be useful to some of you.

Happy sopping.
John

Pedal Notes

Even as far back as Arban and Saint-Jacome, the pedal range has been recognised as usable notes on the Trumpet and, of course, the Cornet. In fact, the lowest note on original Baroque Trumpets was always recognised as the equivalent to pedal C, known as "The Fundamental Pitch". Due to the fact that on the Baroque Trumpet it was common place for notes to be missing between pitches it was not deemed unusual for there to be a big gap between notes on this ancient instrument.

The modern valved instrument, the invention of Adolphe Sax, allows for complete diatonic and chromatic pitches from low F-sharp to high C (and beyond for advanced players). This means that anything more than a semitone gap between notes has been ignored. The Fundamental still exists. A four-valved instrument, such as a Euphonium or French Horn, can play the notes between low F-sharp and pedal C quite easily, but on a three-valved instrument, such as trumpet, cornet, flugelhorn or soprano cornet, such notes are difficult - though not impossible!  Below pedal C, on the other hand, is relatively easy. Relaxed lips and plenty of air. Controlling them takes more skill, but the underlying principle remains the same.

Louis Maggio was one of the first to publish a method book discussing proper use of the pedal range and his work was superseded by Claude Gordon and James Stamp. Both of these well-known trumpet teachers used and advocated the use of pedal notes as one of the main aspects of their methods. Their objectives varied slightly, but their recognition of the importance of working in this range is important to note. Gordon was all about what he called "Wind Power" and Stamp was all about a relaxed approach.

Pedal F to Pedal C-sharp
As discussed earlier, this range is difficult on a three-valved. In fact, it is the most difficult of all pedal ranges. All methods recommend the use of standard fingering in this range, which essentially means that we have to bend each note down a fourth. To learn this feeling, bend low C by a semitone. Check it against a true, 2nd valve B. Do the same bending a tone (B-flat), a minor third (low A), a major third (low A-flat) and then a perfect fourth (low G). If possible, bend further (I am comfortable bending to low F, though I have been doing this for c.10 years)

This range is less about air and more about suppleness of the embouchure, in particular the corners. James Stamp spends a lot of time here, as well as doing a lot of lip bends. However, Claude Gordon works through this range. Personally, I think this range is excellent at the very start of warm-up to secure good co-ordination of the lips, tongue and air.

Pedal C
This note, the fundamental (as we know), is the first, natural harmonic on all brass instruments. In almost all cases, this note is flat. On most instruments in the trumpet family, unadjusted, this note will sound as low as pedal A. Lots of players play pedal C on valves 1-2-3. I think this is counterproductive. It is the balance of embouchure, tongue and air that makes pedal C sound properly. Gordon and Stamp both recommend working with open pedal C. CG even says to let the C stay flat, eventually it will come. He is, of course, correct. When your embouchure, tongue and air find the perfect balnce, pedal C sounds fully.  As well as playing open, the important thing to do with pedal C is to use the exact  same embouchure setting as for low C.

Pedal C to "Double" Pedal C
This range is all about air. In fact, volume of air. Relaxed lips, blowing hard is the key. Doing this in a controlled manner is the key. Use the same fingering as you would for C in the stave to low C. CG is an advocate of this range. His approach focusses on this range, but his pedal practice is to hold the lowest note of each exercise for as long as possible and longer, fully engaging and isometrically developing the abdominal support musculature.  This range is of most benefit to this development, but also it is a great way to disperse the build up of lactic acid in the lips from playing - this makes it very useful to warm-up.

"Double" Pedal C to "Triple" Pedal C and below...
Just like the range above, this range serves the same purpose - developing "Wind Power"; dispersing build up of lactic acid in the lips; isometric development of abdominal support musculature. If you think "Double" Pedal C is tough, "Triple" Pedal C is even tougher. A great development of "Wind Power" and proper balance of the embouchure is required, but the benefits then transcend to all registers on the instrument.

Further Study
Claude Gordon has probably written the most comprehensive material on pedal note practice in his Systematic Approach. He also discusses the benefit in his book on breathing. For further discussion on Claude Gordon's teaching, visit the dedicated forum at The Trumpet Herald.

James Stamp's teaching is outlined in his Warm-up book. Stamp also has a dedicated forum at The Trumpet Herald.

A quick Google search of either of these teachers also brings up a wealth of information.  Happy reading!

Should you have any questions about what I have written,  feel free to leave a comment.