Scribd
Upload
54 views

Notes On Learning Trumpet

Uploaded by

Jeroen Van Malderen
Copyright
© © All Rights Reserved
Available Formats
Download as PDF or read online on Scribd
54 views

Notes On Learning Trumpet

Uploaded by

Jeroen Van Malderen
Copyright
© © All Rights Reserved
Available Formats
Download as PDF or read online on Scribd
You are on page 1/ 7
Notes on Learning Trumpet. 1) Look through the whole peice for tricky places and outstanding details. 2) Title and Composer....may give clues about style, purpose, character. 3) Tempo, Key signature and Time signature. 4) Note examination...sing it through in your head...do you know every note, fingering etc. Learn to read ahead. This means you have to “know” note pitch and value. Trust your studied judgement but don’t guess. Step one should have alerted you to places that need extra attention. 5) Counting... count in your mind while reading or playing the music. Once this is a habit it can “run in the background” at all times. Mark time. This is a useful technique for ensemble playing. Slower tempos are 1+2+3+4+ ( even in the count off!). For accuracy use foot up and down evenly. (Faster tempos might be1234..or....1 23 4...or....1 23 4. In really fast tempos it’s better not to tap ete. Your time keeping ‘must be so internalised that it’s becomes another of your senses). 6) Rests. Know them and count them (Mozart) 7) Signs and Expression Marks. Observe them at the same time as the notes. Notes on Learning Trumpet. Mikes General Practice Guide 1. WARM UP 2. TECHNICAL PRACTICE 3. MUSICAL PRACTICE Set goals but be realistic with what you can achieve in one practice time. Don’t practice things you can already do and don’t force yourself io do the impossible. How you practice is how you will play. Be clear about the purpose of an exercise. There are specific types for TONE, ARTICULATION, AGILITY, RANGE etc..and some exercises which incorporate all of the elements. Be strict with your valuable time. Rest often. The WARM UP should consist of whatever makes you feel ready to play. Some feel there is no need while others perform extensive rituals before dealing with any music. Idealy a warm up should be a brief period of time in which you touch on each of the elements of playing. Think of the warm up as a mini-practice session, to make sure everything is working as it should be. Many find a light warm up during the day is an ideal preparation for a concert that evening 1) Mental preparation. Practice helps you. It should be a positive time. If you don’t look forward to improving with practice you should question your choice to become a musician. Everyone makes mistakes, but the very best performers don't tolerate them in practice. They correct them in an unhurried, determined manner. Concentrate and Practice slowly enough so that mistakes are not learned. Get ready to practice in your warm up. 2) lip buzzing and fluttering (Stamp) 3) Mouthpiece Buzzing(Stamp) ‘Spend time on each element ... TONE, AIR CONTROL (flexibility) ARTICULATION, VELOCITY (range endurance) and some exercises which incorporate all of the elements. Rest often (as much as you play). Don’t keep doing the same exercises endlessly. Change your routine when you feel you have accomplished a step forward with the exercises you have. You will more than likely return to the ‘old exercises again or similar ones when you are ready to take it another step forward. You will eventually develop your own practice routines using studies from the many fine books available. 1)Sound (tone production) long tones..moving long tones...flowing exercises..pedal tones...lip bends. Can be same as mouthpiece ex. 2)Articulation a)Tonguing “T” and “K” attacks. b)Exercises with Variations ie tongue 2 slur 2.. ©)Style studies (Jazz, Classical etc) 3)Flexibility a) Interval studies slurred and tongued Agility )Fingering drills b) Sightreading (duets) c) Transposition SRange a)Includes all of above but specific to increasing boundries Endurance a)Includes all of above but specific to building efficiency. Should include dynamics studies ive. loud soft. Notes on Learning Trumpet. Musical Incorporate Etudes, solo’s, playalongs learning tunes harmony/improvising ete. N.B. Scales, chords and pattems can be included in many of the sections above. Inall parts of the practice you should be very focused. It’s easier to maintain self discipline when you keep a record of progress with the date, metronome speed etc. ‘The “rest time” in between technique study can be used to absorb new tunes, “changes” and harmonic material or ear-training. As you learn scales and chords as part of your technique study, pull them into your improvising. Use play-along tapes and CD's, Listen and play with original recordings. 1) New tunes, Try to lear at least one new tune every week. Make a “real” book of tunes you know. 2) Chord schemes TI VI; tumaraounds; other common sequences. Put them on tape and listen to them repetatively. Make a “patterns” book. 3) Study transcriptions. Make your own transcripts. 4) Use the play-alongs to practice patterns, scales and chords. ‘50 Tape yourself and listen critically. Notes : No matter what you are practicing, use your metronome as a rythm guide and to measure improvement. A tuner, is useful to help you get in the habit of playing in tune with yourself. It is impossible for anyone to play in tune with another musician if they cannot play in tune with themselves. The tuner doesn't lie. Sing often. Spend time at a keyboard for voicings and ear-training, ‘Don't forget to take a real break at regular intervals! To develop your concept of sound, spend as much time as possible listening to recordings and live performances of good trumpet playing. A few good role models might be drawn from the following lis * CLASSICAL PLAYERS * JAZZ PLAYERS Maurice Andre Louis Armstrongo Adolph Herseth Cootie Williamso Gerald Schwartz Fats Navarroo Thomas Stevens Clifford Brown, * CROSSOVER PLAYERS Lee Morgan Doc Severinsen Freddie Hubbard ‘Wynton Marsaliso Clark Terry Allen Vizzutti *FUSION/POP Rafael Mendez Miles Davis Arturo Sandoval Randy Brecker Your sound might also be influenced by players on other instruments. Notes on Learning Trumpet..... Further notes on practicing Extracts from Maximizing Practice : Mark Van Cleave - There are many books with great exercises you can play, but how you practice them will determine your improvement. (A great exercise practiced wrong will not help you). -The mind is the most powerful resource for learning or developing skills that any trumpet player has. Yet most players practice by playing through a prescribed set of exercises. When they are finished, they are done practicing for the day. No thought went into how or what they were trying to improve. Once programed with the correct information, the brain can not only calculate how to best perform the desired task, but also has the ability to control the body and make necessary physical adjustments without having to consciously. - All the information in the world cannot help you if you are unable to recognize when you are producing the correct end results. Without the necessary information (how the trumpet works), your brain has no idea how to make the correct calculations or physical adjustments in order to help you. You would be playing a game of trial and error. Just aimless blowing. Not the most efficient way to develop a skill. Without a clear idea of the end result, if you were to achieve it, you might not even recognize it. And then, back to the drawing board. One of the most important aspects of developing as a trumpet player is to have a very clear idea of exactly how you want to sound. For this, you must listen very carefully to great players that you admire. Without a goal, itis impossible to reach one. ~ When you practice, you develop muscle memory or reflexes. The reflexes that you draw on while playing are developed during the practice session. Everything that you play builds reflexes...good ones and bad ones. While practicing, you must be careful not to build undesirable reflexes. Practicing while tired (mentally or physically) can lead to bad habits or reflexes being leamed. Unleaming a bad habit takes much longer than learning a good habit. - How you practice is how you will play. When you are tired or distracted - DO NOT PRACTICE! Wait until you feel like practicing. Do not make your practice session a bad experience by forcing yourself to practice. Never practice past when you feel physically comfortable. If your chops need a break...take one. Know when to stop! - There are many Trumpet Jocks out there that can play the trumpet well but cannot play any music that is, worth hearing. It is easy to get caught up in the business of high notes or the higher, faster, louder syndrome. Try to remember that ultimately the trumpet is part of the MUSIC business (not the trumpet business). The creation of good music should be your ultimate goal. ‘SNE Notes on Learning Trumpet. Exerpts from a1975 CLINIC ADDRESS by Prof. William A. Adam In everyone's life, many obstacles present themselves. These have to be overcome by positive thinking ‘and by positive approach to the problem at hand. Sometimes, we are acting and thinking positively, but not always toward our own fundamental goals. Basic production of a beautiful tone should be the goal toward which we always work. ‘Truly the trumpet is a wind instrument and is dependent upon the breath as a source of motive power. Today I believe that ninety per cent of all playing is mental and the last ten per cent of the physical will be

You might also like