Having recently competed at the Grand Shield, where "Red Priest" requires the entire cornet section and the trombones to stand throughout the performance, and with Whit Friday less than a week away, I have become more conscious of the important differences between standing and sitting during playing. The effect of the differences in standing and sitting to posture, breathing and therefore playing in general can be quite dramatic.
The upright, standing position is naturally the best. A position we should try to emulate when sitting. We should never slouch. The back should be straight and free from tension. An easy way to ensure good posture when standing is to think of a string pulling the top of the head upwards, almost causing you to stand on your tip toes, the neck stretching up off the shoulders. In a sitting position, the only difference should be in the legs - which should bend to allow you to sit over your bones (i.e. the spine).
I often see people playing with poor posture, whether standing or sitting. They would sound so much better if they followed the simple trick above. When I'm teaching, I always demonstrate and work on players' posture. I believe a good posture ensures good breathing, which ensures good sound - the key to all good playing.
As with anything in brass playing, like embouchure for example, there is a universally recognised "right way", but there are as many exceptions to the rule as there are examples. Some players can slouch over, almost as twisted as a contortionist, and be one of the best players in the world. However, if you stand/sit with good posture, as outlined above, and your playing improves - why wouldn't you maintain this posture?
Sunday, 19 May 2013
Monday, 15 April 2013
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:
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
- Always fill up by taking a "big breath"
- Get the "chest up", which engages good support
- Put the shoulders back to encourage good posture
- Push the belly button towards the spine
- Take a big breath, raising the chest
- Sit as though about to stand up (back straight)
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
Monday, 1 April 2013
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.
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.
Monday, 18 March 2013
My Approach: "Air is King!"
As I have mentioned in my last post, the air, the tongue and
the lips are all the main factors in development on a brass instrument. If they are working in perfect balance, then
playing feels easy – I’m sure we can all think of those very occasional days,
that seem ‘mystical’ in some way, where everything just feels easy,
effortless. This is because,
unconsciously, everything is in balance.
Making this happen consciously is the difficult part. We often focus too much on different aspects
of our playing, sometimes our lips feel tired, so we focus on them; or we think
about the fact that the tongue affects pitch and we haphazardly alter things,
experimenting, and this doesn’t work; or we worry about our breathing and we
end up over-analysing (Arnold Jacobs used to say that we can cause “paralysis
by analysis”). Whatever it is, we must
find that balance.
To find the balance in our playing, we must step back and return to our Fundamentals – air and sound (or as Arnold Jacobs used to call them “Song and Wind”). There are many resources, articles, books and videos that talk about the development of each of these. Most of them share similar themes and all have their merits. However, it is the simpler approach that we must take. Breathe well and we play well, it really is that simple. Good breathing means less effort and less effort means better sound and better sound means good music.
To find the balance in our playing, we must step back and return to our Fundamentals – air and sound (or as Arnold Jacobs used to call them “Song and Wind”). There are many resources, articles, books and videos that talk about the development of each of these. Most of them share similar themes and all have their merits. However, it is the simpler approach that we must take. Breathe well and we play well, it really is that simple. Good breathing means less effort and less effort means better sound and better sound means good music.
I start each day by revisiting my fundamentals. Craig Morris (one time principal trumpet of
the Chicago Symphony Orchestra) wrote an article on his own blog (livmusic.com)
about his daily routine. He had names
for his different types of practice, he called his Maintenance or Technical
practice his “Skill Set” (quite an accurate name) and his warm-up he referred
to as his “Foundation” practice. I think
this is very appropriate – we start with the very foundation of our playing
(the air and the sound) and get this right, then we can build on everything
else.
For me, then, my Fundamental, Foundation, Warm-up is more
about approach than material. I focus on
getting the air moving, in as relaxed a manner as I possibly can. This is important for all brass players, but
I feel that due to the nature of soprano writing in modern literature, being
relaxed is absolutely essential. Tension
will cause us to lose control, which is a disaster on a seat where every note
is heard and we stick out like a sore thumb, whether we like it or not.
I always start with some breathing work. This could be explicit exercises (off the
instrument) or blowing through the instrument (not playing) or playing
something easy on the instrument, such as long notes, flow studies and/or air
attacks, or a combination of all of this.
The inhalation must be relaxed and the exhalation should be equally
relaxed. Inhale so that the chest fills
up and exhale from the front of the mouth (this will naturally engage support
musculature), keeping the chest up (a la Claude Gordon). I focus on this during all of this work. I will spend 5 minutes on this, sometimes
less, sometimes more, depending on how long it takes to get things
co-ordinated. There are days, and
periods of time, when this takes a while to initiate, especially earlier in the
morning.
Following this I will do some pedal work. I have developed a good pedal range over the
years (since I started seriously exploring it c.10 years ago) and can now reach
triple pedal G on soprano cornet (the equivalent to triple pedal C on trumpet)
which is where I work down to, steadily, in warm-up. I use semi-Claude Gordon-style exercises. For me, the blowing the last note part is
important so that the support muscles, used for the high notes, can be
developed. I do this, EVERY day, and
have done, on and off, for the best part of ten years. The benefits are second to none.
I then work upwards.
I have used a variety of material over the years to do this. I have explored scales, chromatic exercises,
arpeggios, James Stamp, Chicowicz and Claude Gordon material. I always seem to find the Chicowicz Flow
Studies (also Pierre Thibaud’s material) and Claude Gordon’s material (and
similar) to be of the most benefit. I
tend to switch between the two. Claude
Gordon is great for developing power of the air (or Wind Power as CG himself
calls it). Flow Studies (a la Chicowicz)
are great for ensuring the air is relaxed.
This is important. I choose the
material, and stick with it for a period of time, depending on the current
focus – i.e. developing power/stamina or developing maintaining a relaxed
approach. Whatever material I use, I
always work up as high as I can, focussing on the same quality of sound, same
movement of air, same relaxation.
Usually I get to around E above high C (I often stop at high C if I have
a rehearsal or a performance to concentrate on).
I am always modifying my warm-up, and main practice
routines, but do tend to follow a trend of this pattern – air moving, pedals,
working upwards. However, my approach is
always the same – use the air to ensure a full, warm, relaxed sound. During warm-up, I am also conscious of the effect
of the tongue. As I work higher, I
develop the feeling of where the tongue goes.
I then use the feeling I have learnt throughout the playing day, whether
that is in private practice or performance.
The feeling of the tongue is also continuously developed in private
practice through lip flexibility exercises and any material that moves up and
down the range, such as Herbert L Clarke’s Technical Studies.
I hope I have explained my approach well enough that others
may get some benefit, I always find that reading someone else’s approach helps
me with mine, even if it is just a minute detail. If this offers a little help to just one
person, then it will be worth the effort to write it down and publish it.
Feel free to leave a comment and look at the other articles
on my blog.
Happy Sopping,
John.
Sunday, 17 March 2013
Air vs Lip... vs tongue?
It's been a while since my last post, so I thought I would discuss a few things inspired by a few posts in the Soprano Cornet group on Facebook. I have always felt that people focus too much on the lips. When we get tired it is our lips that hurt. Thats is probably where the obsession comes from. There are three areas that are important in playing a brass instrument:
- The air
- The tongue
- The lips
I believe that their importance is in that order. The air is most important because it is our engine. The tongue affects so much more than articulation, though a lot of people seem to forget about it. The lips are a vibrating set of flesh reeds that transfer the air into the instrument to produce sound. In a previous post I have mentioned Claude Gordon's book "Brass Playing is No Harder Than Deep Breathing". I highly recommend it for those interested in becoming a good player. He has seven areas of focus, including fingers, hands etc... but he also emphasises the importance of the three elements I mention above.
We must blow correctly, which means a supported airflow, with the air channeled towards the front of the mouth by the tongue and the lips vibrating without too much pressure. The tongue position affects the pitch we play. A high tongue ("EE") makes a high pitch, while a low tongue ("AW") makes a low pitch. Whistling helps us to find this for ourselves. Lip Flexibility studies (which should be called Tongue Level studies) help us to experience this feeling on the instrument.
There is a lot of information out there to read and material to practice from that develops our understanding and awareness of the importance of the tongue and the air, so look around. This is an introduction to the idea that the lips are less important than we think, I woll hopefully post a more in depth discussion soon.
Happy sopping,
John
Tuesday, 25 September 2012
Breathing is the Key to Good Brass Playing
Because I haven’t changed anything in my routine this week,
and I am trying to keep this blog regular, I thought I would post about what I
feel is the most important aspect of brass playing, but that I feel is also
neglected by a lot of players and is the root of most problems in people's
playing.
Obviously, as a brass player I speak from my own experience, but as a teacher (in the classroom mostly, but also a teacher of brass to private pupils) I come across the same problems in others. Players who have problems with playing loud, high or soft or with articulation or with tone, usually have inefficiencies or faults in their breathing.
There has been much discussion about this topic in the past,
a quick ‘Google’ search for Arnold Jacobs yields hundreds of results, but still
this is an issue for so many players – something many teachers and tutors also
seem to neglect. For me, the title of
this post sums up how important awareness and understanding of breathing is.
Claude Gordon acknowledged that this technique is inaccurate
and so came up with his approach. The
muscles used to try to keep the chest up, are those around the diaphragm. To begin to learn the “chest up” position,
imagine puffing out the chest. Develop
this feeling by taking some relaxed breaths, keeping the chest in this
position. Now start adding force to the
breath, during inhalation and exhalation, and learn how this feels. For me, this “chest up” position feels like
raising the abdomen towards the breastbone.
Also make sure to visit www.trumpetherald.com - a forum for trumpet players, with a dedicated forum to Claude Gordon.
Obviously, as a brass player I speak from my own experience, but as a teacher (in the classroom mostly, but also a teacher of brass to private pupils) I come across the same problems in others. Players who have problems with playing loud, high or soft or with articulation or with tone, usually have inefficiencies or faults in their breathing.
There has been much discussion about this topic in the past,
a quick ‘Google’ search for Arnold Jacobs yields hundreds of results, but still
this is an issue for so many players – something many teachers and tutors also
seem to neglect. For me, the title of
this post sums up how important awareness and understanding of breathing is.
My own approach to breathing is based on Claude Gordon’s
technique. His breathing mantra is quite
simple – “Big Breath; Chest Up”. Of
course, the “chest up” is the antonym to much of the breathing techniques
taught by those who say to use the ‘diaphragm’ to breathe properly. Anatomically speaking, the diaphragm is an involuntary
muscle and cannot control how we breathe.
For many years, in many circles, this has been the only approach to
breath support that has been taught.
Although the statement is scientifically inaccurate, the sentiment is
correct in that the support musculature for breathing is in the area around the
diaphragm.
Claude Gordon acknowledged that this technique is inaccurate
and so came up with his approach. The
muscles used to try to keep the chest up, are those around the diaphragm. To begin to learn the “chest up” position,
imagine puffing out the chest. Develop
this feeling by taking some relaxed breaths, keeping the chest in this
position. Now start adding force to the
breath, during inhalation and exhalation, and learn how this feels. For me, this “chest up” position feels like
raising the abdomen towards the breastbone.
To develop the “big breath”, this is quite easy. If you push the jaw forward slightly, which
opens the oral cavity (a technique of Jacobs), and suck the air in until full
you have taken a “big breath”. Combining
this with the “chest up” is the simplest form of Gordon’s breathing technique. Gordon also has an exercise, that he easily
extends, that develops this technique further and thus develops the players
breathing efficiency.
Preliminary Exercise
This is a good way to begin learning the technique and can
be a good exercise at the start of the day in which to ‘warm-up’ the breathing.
-
5 counts in – “Big Breath; Chest Up”
- 5 counts out – blow hard, completely empty
- Do this ten times in sequence
- 5 counts in – “Big Breath; Chest Up”
- 5 counts full – keep the “chest up”
- 5 counts out – blow hard, keeping the “chest up”
- 5 counts empty – keep blowing, keeping the “chest up”
- Do this at least ten times in sequence
Application to the
Instrument
When playing, the best way to use this technique is to
replicate the inhalation (take a “big breath”, with the jaw forward, sucking
the air in, filling up) and the exhalation (blowing hard, keeping the “chest up”). Put simply, “Big Breath; Chest Up”.
For further reading into the Claude Gordon technique, refer to his book "Brass playing is no harder than deep breathing".Also make sure to visit www.trumpetherald.com - a forum for trumpet players, with a dedicated forum to Claude Gordon.
Sunday, 16 September 2012
Routine Progression from 25th June
There have been lots of subtle changes to the routine since
June. I will attempt to go through them
as briefly as possible.
Up until I began my ten day break, the routine stayed
exactly the same as it was at the 9th
June. I stopped, completely on
Sunday 15th July, when we had a short march and hymn job. In the few days leading up to this, I worked
one-off-one-on in terms of practice.
On Wednesday 25th July I began again.
WARM-UP (only)
1. C.G. Breathing (separate to practice, early in the day):
-
Preliminary Exercise: 5 in; 5 out – ten times
- Developmental Exercise: 5 in; 5 full; 5 out; 5 empty – at least ten times
-
Eight beat notes from low C down to low G, starting with air attacks (no tongue) focussing on airflow and quality of sound
- Vincent Chicowicz First Flow Study, in C down to low F major, again focussing on airflow and quality of sound
-
Low C, B, B-flat, B, C, G, E, pedal C, B, B-flat, B, C, G, E, double-pedal C, B, B-flat, C and C (holding last note as long as possible)
- The same in B-flat and G majors
- Middle F, E, E-flat, E, F, C, A, pedal F, E, E-flat, E F, C, A, double-pedal F, E, E-flat, E, F, C, A, triple-pedal F, E, E-flat, E, F, C, A, triple-pedal F, E, E-flat, E, F (holding last note as long as possible)
- The same in E-flat and C majors
-
Pedal C, E, G, low C, E, G, upper C, C-sharp, D, C-sharp, C
- Then in E-flat, F and G major
- Continue up as high as possible (in this case to
C major)
Thursday 26th July: As yesterday, this time
working up to D major
Friday 27th July: As yesterday – no changeSaturday 28th July: Same warm-up, this time added Irons group 13 afterwards
Sunday 29th July: The same, now with Irons groups
13 and 17
Monday 30th July: As yesterday, adding Clarke
Second Study in low G, B-flat, D-flat, E, middle G, B-flat, D-flat, E and high
G.
Tuesday 31st July: As yesterday, except Clarke
Second Study now in low A-flat, B, D, F, middle A-flat, B, D, F and high A-flat
From Wednesday 1st August, routine returned to
normal (as above, alternating between diminished seventh key sequences in the
Clarke), adding Repertoire work of varying degrees daily.
I developed a horrible and painful cold sore on my bottom
lip, exactly where I place my mouthpiece, and changed my routine slightly on
Wednesday 8th August – only doing warm-up and stopping at High
B-flat Major (because I couldn’t go any further)
From the 9th August, because my lip was healed, I
returned to the routine, this time adding “Franquin” type exercises
at the end of the routine, played as softly as possible, firstly with air
attack and then tongued.
From the 19th August, the routine continued, this
time removing the Chicowicz Flow Study and with the addition of Clarke Third
(in place of Clarke Second), again working through diminished seventh key
sequences and employing single, ‘k’ and double tonguing. I also replaced Irons 17 with Irons 18 (just
a little more complex).
From the 25th August, the routine stayed the
same, except the “Initial Long Tones” and C.G. Upward Arpeggios. The Long Tones were now as long as possible
on middle G/E/D-flat/B-flat/low G or A-flat/F/D/B/low A-flat or
F-sharp/E-flat/C/A/low F-sharp (matching the Clarke key sequence). The C.G. Upward Arpeggios were now pedal C,
E, G, low C, E and G minims followed by middle C, chromatic down to middle
F-sharp and back to C as quavers. Working
in the same manner as previous weeks.
The next change has occurred this week, from Friday 14th
September, where I removed the “Initial Long Tones” altogether and now replaced
Irons Group 13 with Group 14. Otherwise
this is the same.
As you can see, this is a progressive development and has
proven to be beneficial and essential to the development of control, tone,
accuracy and stamina as well as range throughout this period.
A long overdue update
It’s been three months since my last update and so much has
happened since then. I have played a
solo with another band (which I had never done before), played at the English
Nationals (requiring two test pieces), had a break from playing (which I try to
do annually) and returned to a busy concert schedule, including playing at a
wedding with an almost ‘scratch band’.
Firstly, my routine has developed a little, bit by bit. I will post an update on that separately. The routine has progressed gradually so as not to be too dramatic a change at any one time.
Since then, we have done two concerts, one of them with the Hoghton Weavers. Both of them the band has played really well. We have a weekend of this weekend, but we are then busy the next four. All concerts. At the end of November we are competing in the Scottish Open and we haven’t confirmed our choice yet, but it is looking very likely that we will be performing a piece that has an exceptionally demanding Soprano Cornet part. So far, so good. Contest week might be a different ball game!
I will give more details of how my routine has changed since June (three months ago!!) and how I phased my return to playing after my short break in the next update.
Firstly, my routine has developed a little, bit by bit. I will post an update on that separately. The routine has progressed gradually so as not to be too dramatic a change at any one time.
So, Saturday 16th June 2012: my first solo with
another band. Pemberton Old Wigan DW
Band had arranged to do a joint concert with Yorkshire Imperial at the infamous
Morley Town Hall. As part of this, we
played two joint items, followed by one set each and accompany two soloists
from the other band, culminating in another two joint items. The joint items and our individual sets were all
great. When it came to playing my solo, ‘Live
and Let Die’ arranged by Ray Farr, I have never been so nervous. I had practised the solo plenty. I had even performed at a number of concerts
with Pemberton when I first joined the band four years ago, so was confident I
could play it well. The only problem was
with not knowing the band. Being
accompanied by your own band and your own conductor is comfortable. You know how each other tick. A new conductor and a new band bring up too
many variables for my confidence.
Anyway, it went fine.
I know I could have played better.
I know there were bits I have played better in my own practise and in
concert with my own band. I also know
that it wasn’t the band’s fault, or the conductor’s. It was my own performance anxiety – nerves. I am not ashamed of how I played. It wasn’t that bad. I am just unhappy
that the performance wasn’t better. I
hope to be able to perform solos with other bands and do a better job of it in
the future.
The week that followed was contest week building up to the
English Nationals. This year, just like
last year, we had to prepare two test pieces.
First, was the set test piece ‘Masquerade’ by Philip Wilby, followed by
our own choice ‘Harmony Music’ by Philip Sparke. Last year, working on two test pieces in a
week of rehearsals was very tough.
Perhaps due to the demands of the pieces - we played ‘Elgar Variations’
and ‘Spriti’. The Thomas Doss piece,
written for the 2010 European Championships, has a demanding Soprano Cornet
part, with a lengthy delicate ‘religioso misterioso’
section.
This year, even though the two pieces are demanding and require
lots of stamina and test all facets of brass playing, from range to finger
technique to tonguing and articulation to loud playing to the softest, most delicate
playing. I enjoyed the rehearsals, and
think that the key to my ‘survival’ during the week, was pacing myself. The way our conductor works, is that we do
work on our test piece to then run at the end of the rehearsal. This usually starts a few weeks before the
contest. Sometimes, we do an early
run-through to see how it feels on a ‘fresh lip’. My stance during non-contest-week rehearsals
is to always give 100%. How else can I improve
and be sure to be confident in what I am playing? However, in contest-week I save it for
run-throughs and the ‘important bits’.
By preserving my energy in rehearsals and only really ‘stepping
on the gas’ during run-throughs, I knew I had the stamina and energy in reserve
for the big day. I played well, as did
the band. ‘Masquerade’ finally came
together on stage, it is not a piece that suits us particularly well. However, ‘Harmony Music’ is right up our street
- big solo for our star euphonium, cadenzas for cornet and horn. The right people are featured, and the
technique of the band is tested and displayed.
On the set test we came 8th out of 8, and on the own choice
we came 6th. This made us
joint last with two other bands (Reg Vardy and GUS). We were very pleased with our performances,
but in such a strong field were happy to have beaten a couple of rivals, even
if only in the own choice.
Following the English Nationals, on Saturday 23rd
June 2012, we only had one or two performances before our summer break, which
started in mid-July and lasted until mid-August. After our final rehearsal, I put the
instrument away and left it there. I
didn’t touch it for nearly two weeks.
This is quite a long time really.
In previous years I have only not played for one week at the most. I decided for my own sanity, and for the sake
of an effective recovery, I needed to have a longer break this year. We had been so busy, and I needed to spend quality
time with my young family, I wanted a longer break.
Once school finished for summer, I could spend quality time
with the family as well as begin to practise again. I built gradually over the course of a week,
before returning to a complete routine again, by adding an extra exercise a
day. Within two weeks of my return I was
playing at a wedding for a friend of the band, with a ‘scratch band’ made up of
mainly Pemberton and Wingates players, with a few others thrown in for good
measure. The programme, including the
hymns, were mainly Salvationist arrangements, with a number Paul Lovatt-Cooper
pieces (himself a Salvationist). Anybody
who has played Salvationist hymn arrangements for band will know that they are
quite demanding in terms of stamina.
They are fair more demanding than the ‘Red Books’ most other bands
use. We coped, but it was a bit of a
blow.
A week later and we were back at band an performing in
public again. Saturday 18th
August was a private function. We had a
light programme, but a baptism of fire in terms of our return to band. Wednesday 22nd August was where we
backed our principal cornet player, Joanne Johnson, in her final Masters
Recital. We accompanied her in a 45
minute programme and then we continued with a normal, but open-to-the-public,
rehearsal. What a hectic return to
band. Good job I was back in good form
because of my practice routine!Since then, we have done two concerts, one of them with the Hoghton Weavers. Both of them the band has played really well. We have a weekend of this weekend, but we are then busy the next four. All concerts. At the end of November we are competing in the Scottish Open and we haven’t confirmed our choice yet, but it is looking very likely that we will be performing a piece that has an exceptionally demanding Soprano Cornet part. So far, so good. Contest week might be a different ball game!
I will give more details of how my routine has changed since June (three months ago!!) and how I phased my return to playing after my short break in the next update.
Sunday, 10 June 2012
Another (Slight!) Change in Routine - Sat 9th June 2012
As I have mentioned previously, I tweak my routine weekly, adding slightly more advanced material or pushing myself a little further, one way or another. This week, I have only adjusted my Lip Flexibility work. I am, ofcourse, still using Irons, I have just altered a little:
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
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
- Last week I tongued this, which was difficult. This week I am slurring.
1. Lip Flexibility
- Earl D Irons Group 9 - minimum 2 repeats
- Earl D Irons Group 17 - minimum 3 repeats
- 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 diminished 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 (or A-flat or A dim.7 to match the days Clarke routine)
- Work on pieces that need it (preparation for the English Nationals and upcoming oncerts)!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
As you can see, I have moved from group 12 to group 17 in the lip flexibilities. I have skipped 13 to 16 for a reason. After group 9 (in the next couple of weeks) I will move up a little in addition to group 17, probably 13 next, then 14, etc... because 13 doesn't go as high as 12, and is one harmonic higher than 9. This is a natural progression. I didn't want to change both at the same time because I feel that this would be too demanding. I won't change again until after the English Nationals (23rd June).
Tuesday, 5 June 2012
Whit Friday and a Change in Routine...
Whit Friday
Well, Friday 1st June 2012 was a nie day. Not too warm and not wet! As a school teacher I had to beg the headteacher to let me leave a little early (which he did, thankfully!) so that I could meet the bus and begin at Heyrod, in Tameside, just east of Manchester, around 4.30pm.
We arrived, had a moment to warm-up, i.e. blow a few notes, and we were marching down the street and then playing our "stage" march "Honest Toil", by William Rimmer. Because of the rush, it wasn't our best performance, but 12 performances later (11 in Tameside and finishing with Lydgate in Saddleworth, a little further north) we had made some good performances. "Honest Toil" isn't the most difficult march, but it proved to provide the band with some consistency. We were placed 5th overall in Tameside based on our 6 best results - 3 4ths, 2 5ths and a 6th. Ofcourse, we would have liked to have finished higher, but that's contesting. Its a very subjective sport! Other results will come in in the near future.
For all brass players, Whit Friday is both enjoyable and competitive. The key to doing well is accuracy, stamina, consistency and concentration. These are the most difficult things to maintain over a seven hour period, especially when you can be playing three times an hour if the contests aren't too busy. As a soprano player, the first sign of any of these areas diminishing is immediately noticeable.
My Approach...
I approached from a breathing perspective this year. I focussed on the main aspects of the Claude Gordon style approach to breathing, "Big Breath - Chest Up". This helped with all of the areas named above:
Change to Routine - from Sunday 3rd June 2012
I had a day off the instrument on Saturday 2nd June for two reasons. Firstly, after Whit Friday I earnt it and secondly, more importantly, a wedding! (Not mine, been there done that, but a friends!)
My routine, then, started again on Sunday. With only a couple of small changes...
WARM-UP:
1. CG Breathing:
1. Lip Flexibility
Well, Friday 1st June 2012 was a nie day. Not too warm and not wet! As a school teacher I had to beg the headteacher to let me leave a little early (which he did, thankfully!) so that I could meet the bus and begin at Heyrod, in Tameside, just east of Manchester, around 4.30pm.
We arrived, had a moment to warm-up, i.e. blow a few notes, and we were marching down the street and then playing our "stage" march "Honest Toil", by William Rimmer. Because of the rush, it wasn't our best performance, but 12 performances later (11 in Tameside and finishing with Lydgate in Saddleworth, a little further north) we had made some good performances. "Honest Toil" isn't the most difficult march, but it proved to provide the band with some consistency. We were placed 5th overall in Tameside based on our 6 best results - 3 4ths, 2 5ths and a 6th. Ofcourse, we would have liked to have finished higher, but that's contesting. Its a very subjective sport! Other results will come in in the near future.
For all brass players, Whit Friday is both enjoyable and competitive. The key to doing well is accuracy, stamina, consistency and concentration. These are the most difficult things to maintain over a seven hour period, especially when you can be playing three times an hour if the contests aren't too busy. As a soprano player, the first sign of any of these areas diminishing is immediately noticeable.
My Approach...
I approached from a breathing perspective this year. I focussed on the main aspects of the Claude Gordon style approach to breathing, "Big Breath - Chest Up". This helped with all of the areas named above:
- Accuracy - because of good support
- Stamina - because the pressure wasn't on the lips
- Consistency - because of good support and good stamina
- Concentration - because of focussing on breathing not my own fatigue
Change to Routine - from Sunday 3rd June 2012
I had a day off the instrument on Saturday 2nd June for two reasons. Firstly, after Whit Friday I earnt it and secondly, more importantly, a wedding! (Not mine, been there done that, but a friends!)
My routine, then, started again on Sunday. With only a couple of small changes...
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
- Last week I tongued this, which was difficult. This week I am slurring.
1. Lip Flexibility
- Earl D Irons Group 9 - minimum 2 repeats
- Earl D Irons Group 12 - minimum 3 repeats
- 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 diminished 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 (or A-flat or A dim.7 to match the days Clarke routine)
- Work on pieces that need it (preparation for the English Nationals and upcoming oncerts)!
- Three octave arpeggio down from low C to triple pedal C
- Then in each key down as low as possible (usual to G)
Sunday, 27 May 2012
Equipment
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!
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!
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.
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