“We do not learn by experience, but by our capacity for experience” the Buddah
One of the things that has helped me have endurance and to develop range is practicing lip flexibilities. Most trumpet players start their study of lip flexibilities with pages 42 – 47 in the J.B. Arban Complete Method for Trumpet. Then they move on to books by Charles Colin or Earl D. Irons and maybe get to the edgy modern book by Scott Belck.
I often make up small fragments of lip flex studies usually to work out a section in a solo or orchestral excerpt. There are many in my book Daily Routines for the Student Trumpet Player (Mountain Peak Music Daily Routines for the Student Trumpet Player (mountainpeakmusic.com)).
Here are a few new flexibilities from this week of practicing. The meter of 5/4 provides you with an experience thinking in a lesson commonly seen meter. Remember to glide on your air flow and imagine small crescendos that lead to any higher note. Think of staying relaxed and always using your BEST SOUND, no strained sounds. Use all valve combinations (0, 2, 1, 12, 23, 13 and 123) and rest after each fermata for an equivalent amount of time as the previous measure. I wrote these exercises starting on the open harmonics but you can reverse them and begin lower on the 123 combination. It is important to play the correct rhythm. You are teaching your lips to respond in time, not to react when they feel like it! Stay in time and in tempo for positive results. Stay relaxed and fresh.
In case you feel the need:
We all love movies and we hear so many films that have wonderful trumpet solos in their themes. Listen to this excerpt and hear a big fat trumpet sound with a wonderful lyrical style.
Uan Rasey trumpet. Chinatown: “Main Title” Composer: Jerry Goldsmith
Uan Rasey – Wikipedia biography – Born Glasgow Montana, yet another small town that gave us a great trumpet player.
A little more to listen and emulate:
https://thepeakperformancecenter.com/ a list to help set and prioritize your goals.
Gould, Mark trumpet
An outstanding teacher (Juilliard School) and player (principal trumpet, Metropolitan Opera- retired), Mark Gould provides thoughtful information to add to your knowledge and library.
Gould On Music (Playing, Studying, Teaching, and Preparing for the Future) by Gould, Mark | qPress
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Koren, Loren Wabi-Sabi for Artists, Designers, Poets & Philosophers (Stone Bridge Press)
The book expresses thoughts concerning the aesthetics of Japanese culture. A book for contemplation: more perspectives, more thoughts, perhaps a better chance of greater understanding and success in all things.
Maurice Andre Competition 2021 – postponed due to Covid-19.
Competition will take place in fall 2021 from the 14th to the 19th of September 2021
Whether you hope to compete or not; competition repertoire can help you set goals, learn new pieces and develop as a player and a musician. If you are asking what should I practice, here at least is a list or some suggestions.
Baldwin, David trumpet
Charlier 36 Etudes Transcendandtes No 11 (ADVANCED LEVEL) 36 Etudes Transcendantes pour Trompette, Cornet a pistons, ou Bugle Si b
Very important etude book in the trumpet repertoire, start listening, then get the book and start practicing.
I think one goal of practicing is to constantly challenge yourself. This means looking for weaknesses and work towards fixing them without being discouraged. Many of us spend time with Herbert L. Clarke’s Technical Studies for the Cornet. When I hear people practicing Series 1, they are frequently doing the slurred articulation version. With enough practice I have found that 16 times in one breath slurred can happen. If I go to single tongue or multiple tonguing the results are sadly very different. Mr. Clarke suggests “To become still more expert try double tonguing”.” More expert” translates to knowing that I need to spend more time practicing; I get it!
I work this out by beginning in the middle register. Later on I do the practice in the extreme registers (high and low). Always start slowly with the goal of the “T” and the “K” matching their percussiveness of the attack. Be sure your rhythm is correct and even.
Number 11 Original
Number 11 variation 1
Number 11 variation 2
If you do not have a copy.