Saturday, June 30, 2012

Trumpet: Four

                       Resist temptation to rush this one.  It is good for endurance and control.

Wednesday, June 20, 2012

Trumpet: In Context

   Blowing high notes for the sake of blowing high notes becomes pointless.  And only when they are used in context with other notes in other registers do they provide true expression of a trumpet player's ability.
   It is difficult to experience confidence when faced with something you cannot do.  But confidence must be dealt with pragmatically.  Especially when it comes to trumpet playing.  This is why it is important to recognize confidence builds over time.  And it is no accident it parallels your ability as a trumpet player.
                                                                                Gary

Tuesday, June 19, 2012

Trumpet: Trill (12th-13th)

   The "feel" for notes in the upper octave is close.  So pay attention to pitch.  And if need be, master each valve position one at a time (from either direction).  Also it is not a bad idea to sound the starting note one octave lower to establish pitch before commencing the trill.
   Fast trills are not essential.  But evenness in the trill is.  Add or subtract from the trill as endurance dictates and do not over-practice.

Tuesday, June 12, 2012

Trumpet: Portamento (One)

   Portamento (erroneously referred to as glissando) is the process used by trumpet players to move from a lower note to a higher note by increasing pitch in a continuous line (reverse process to descend). And it requires coordination of the lips, the tongue and the airstream.

Sunday, June 10, 2012

Trumpet: Setting the Embouchure

   Setting (stabilizing) the embouchure is essential to consistency in performance.  But embouchure stabilization has more than one requisite: properly learned fundamentals, focus, repetition of practice material until it is mastered, sufficient daily practice time and consistent (accurate) application of the material practiced.
   Trumpet playing is one endeavor to remain devoid of political correctness.  Neither apologies nor excuses work.  It is a case of either you can or you cannot.  Close is never sufficient.
   Setting the embouchure is physically impossible so long as any facet in trumpet playing remains in need of improvement.  And to forge ahead before making necessary correction (or development) rewards the player with inconsistency and bad technique.

Wednesday, June 6, 2012

K Tongue Modified

   K Tongue Modified (KTM) is Claude Gordon's expansion of Herbert L. Clarke's "K" tonguing.  The common denominator to both tonguing techniques is use of the tongue proper rather than the tongue tip.
   Gordon theorized by tonguing in this fashion (KTM) less disturbance would be offered the airstream and result in a more effective upper register performance.
    Like "K" tonguing, KTM requires the tongue tip make contact with the back of the lower teeth at all times.  Unlike "K" tonguing, KTM is used for single tonguing in addition to double and triple tonguing.
   Converting to KTM takes time.  But usually less time for players proficient in "K" tonguing.  It should be noted that KTM requires developing the front of the tongue ("T") to the same degree of fluency as the back of the tongue ("K").
.