leccion semanal para trompeta

7/26/2019 leccion semanal para trompeta

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Welcome to my practice program.

I designed it to work on hundreds of common embouchure

issues.

The 1st thing that you will notice is that the first few

weeks has LOTS of tonguing.

That is to help get you ready for the high stuff.

See we have 3 good valves to control the air and tonguing is

the most underused.

If we don't get the tongue crisp and clean then we waste the

air pressure that builds up.

When we waste that air pressure then we need to do a lot

more work.

As the weeks progress you will get tips from all of my books

and some that are not in my books yet.

You also get videos, audio...

Some of the music comes from my practice books and some is

written for this. Ignore the days.

In my other books they have a Sunday, Monday... study for

some things. We are doing everything on a weekly basis and


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changing weekly.

I do this because I want you to spend more time on the big

stuff than you spend reading fingering exercises.

The last page we are learning over the course of weeks.

Learn a line a day and stop at the fine on line 4. Then

start working on speed. Next week we will add to that.

Pops the scale study this week is LOW.

Yes but it goes up every week. Master the low ones and the

higher ones are easy.

This week the instructions are sections from Tongue Arch and

Aperture Tunnel.

Enjoy and get going. This stuf starts getting hard pretty

quickly.

Pops


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Physical Actions

When we do a physical action there are usually many

different ways to do it. If you include smaller actions then

you could have thousands of variations.

Each of these variations is going to have a different % of

effectiveness in achieving your goal. We normally dont

think about this. In most of the things that we do it

doesnt matter too much.

When it comes to tongue arch these variations can decrease

effectiveness by 80%. That means if you do everything right

and your friend does everything wrong; then your version of

tongue does 4 times more to help change pitch than your

friends version does.

This is why some people swear by arch and some swear at

arch. One person is doing a few things in an inefficientmanner and so they arent getting any real benefit.

There are 3 things that we want the tongue arch to do. We

want it to keep the throat open, we want it to move the jaw

forward enough to make the embouchure move and we want it to

focus the air to the vibrating part of the lips. Keeping an

open oral cavity is a plus too.


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Lets think about the teachers who taught tongue arch.

Herbert Clarke and Claude Gordon were the big proponents of

arch however; they both also taught some version of anchor

tonguing. This causes the tongue to be in a vastly different

shape and a vastly different position than if you try arch

with tongue tip tonguing.

I am going to show diagrams and explain what happens

differently in these different types of tongue arch.

Hopefully this will clear up some of the confusion

concerning tongue arch.

What about slurs?

The tongue should make the same motion in doing slurs as it

does when tonguing.

The difference is that in a slur you dont do the last 1/32

of an inch and so the tonguing sound never happens.

99% of the people who try to play trumpet FAIL. 95% quit

completely and the other 4% play but well below the level of

successful players. Common for trumpet is FAILURE. We dont

want common.


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Anchor Tongue / Floating Anchor Arch

Anchor tonguing is when you anchor or glue (not really LOL)

the tip of your tongue behind the bottom teeth. To tongue

you use the top part of the tongue against the top teeth,

the gums or the ridge just above the gum line. This type of

tonguing automatically creates tongue arch. The arch is the

front of the tongue arching against the teeth NOT the roof

of the mouth.

This is how Clarke tongued and since it ALWAYS produces a

type of tongue arch then he always used tongue arch.

Tongue arch champion Claude Gordon used a version of anchor

tonguing that he called K Tongue Modified.

It is very close to anchor tonguing and ALWAYS produces a

forward tongue arch. (I am not describing it because I am

going to describe my tonguing which is a little farther fromanchor tonguing. K Tongue Modified is half way between

anchor and my tonguing.)

Floating anchor tonguing is where the tip of the tongue is

ALWAYS pointing at the gap between the top and bottom teeth.

It always directs the air to the lips.

When we tongue this way the pedals and low notes are tongued

with the tip hitting the gap between the teeth. The syllablesounds like thu thu thu. The reason I do this instead of a

pure anchor tonguing is because this gets the tongue

slightly lower and allows the air column to spread slightly

wider which benefits the production of low notes.


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At low C, I keep the tip of the tongue pointed down but at

the gap between the teeth. I now start tonguing by using the

top of the tongue against the top teeth. The syllable used

is doo doo doo.

If you say TOO loudly then the tip of the tongue hits the

teeth and slides down. We do NOT want this to happen.

Saying doo puts the tongue hitting the teeth with the top of

the tongue. With practice you can do many oo syllables this

way including too. This means that with practice you can do

many different styles of tonguing so dont worry about that.

The doo doo doo tonguing goes for 1 octave from Low C to 3rd

space C. The tip of the tongue is pointed down and stays by

the top of the bottom teeth at the tooth gap. The doo is the

top of the tongue striking the teeth.

4th line D to G on top of the staff, the syllable is dee dee

dee. Again the tip of the tongue is pointed down and stays

by the top of the bottom teeth at the tooth gap. The top of

the tongue is hitting the gum line to do the dee syllable.

These positions can often be felt by whistling notes from

Low F# to G on top of the staff. The tongue makes a forward

arch and raises as the note goes higher but the tip is

pointing down and by the tooth gap.

Above G we switch to a hiss. The syllable for this is siss

siss siss. So starting at Ab above the staff and going up

the tip of the tongue is pointed down and stays by the top

of the bottom teeth at the tooth gap. The top of the tongue


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is hitting the ridge about 1/3 inch above the gum line to do

the siss syllable.

You start with the thu, doo, dee siss syllables but in anhour or 2 you switch to thu too tee and tiss because these

make crisper articulations. The doo dee siss were only used

so that you could get the feeling of the position faster.

The forward arch created by tonguing this way keeps the

throat open throughout the trumpets range.

The forward arch against the teeth helps to focus the air

stream. The sides of the tongue hits the teeth and seals the

air making the stream follow the groove in the center of the

tongue. The higher the note, the higher you tongue and the

more the air is focused.

The tongue makes the most forward jaw movement of any of the

arch types and causes a larger change in the embouchure.


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This is for all notes under Low C. Some players extend this

up 2-3 notes.

The tongue is low and flat. The air stream is not directed

or focused.

Now you see that the higher notes like C to the top of thestaff are tongued using the TOP of the tongue instead of the

tip.


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As the note goes higher, the tongue tongues higher on the

teeth, the gums and above.

The arch is against the teeth and the tip aims the air atthe lips.


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They are now tonguing with the TOP of the tongue well above

the gums. I tongue up on the ridge inside my mouth.

The oral cavity is still big so the sound quality isunchanged.

The tongue presses against the teeth and there is no place

for the air stream to become unfocused.

All notes are not created equally:

Many people think that every note on the trumpet responds

the same way to an increase in arch, or compression, or

breath support, or even facial tension.

That isn't what really happens.

Generally when we cross over an open note we have to change

something MORE.

Low D to low E to F, I am picking up fingers and making the

horn shorter. I don't need much change to play the pitches

on pitch. Going G to A, I am making the horn longer by using

valves. I need MORE change (arch, compression, whatever)

than I needed to change from e to f.

Low C to D, G to A, 3rd space C to D, E to F, G to A: Each

of these spots needs extra help to change notes.


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Several of these sections respond slightly differently to

different tools we use to play also.

The notes below low C respond in one way. We all know

someone with a good sounding low C but a horrible low A, G,

F#. They used the wrong tool. It could be too much arch,

tension or too much breath support.

They approach the notes the same as higher notes, and the

notes bark out.

Low C to 3rd space C is another section. It works great with

arch but compression and tension alters the tone here. You

can sometimes hear someone play and they have a sound

quality shift in this section. They used the wrong tool.

4th space D to A above the staff responds to arch

differently than the previous octave. It takes a little more

change to go from note to note.

Some people dont realize that just a little more arch would

do it and so some people start adding facial tension or

compression here and it is easy to hear sound shifts from C

to D, E to F and G to A.

There comes a point for everyone where you HAVE to make lip

to lip compression to keep going higher. This can happen

anywhere from A above the staff to F above High C but it isgoing to happen and you have to add a different tool.

http://www.mallstore.biz/TC/arch/addinghiss.wmv

Video about hiss in playing.


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http://www.mallstore.biz/TC/arch/hiss2.wmv

More hiss and playing.

Sadly many people use their lip compression too low and they

even use facial tension in the middle register and so they

have NOTHING left to use.

Think of these tools like a light switch. Once you push it

then the light is on. Pushing it harder isn't going to turn

the light on more. Once you get to the end of arch or

compression, or tension; trying to add more isn't going to

do anything.


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Warm upPops

Lip Buzz Loosely

Continue C scale down an octave to double pedal C8VB

Mouthpiece Buzz

Play


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Sunday FingersPops


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Tue Dynamic ControlPops

ppp

fff

slow crescendo

slow crescendo

fff slow decrescendo

slow decrescendo ppp

every note even and the same


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21

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Sunday SlursPops

start valves 1-2-3

start valves 1-3

valves 2-3

1-2

1st valve

2nd valve

open


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G Major StudiesPops

2012

Ex #1

Ex #2

Ex #3

Ex #4

Ex #5


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G Major part 2Pops

Ex #6

Ex #7

Ex #8

Ex #9


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BTrumpet

4 Major ScalesPops

Single tongue one day and doubletongue it the next day.


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Wed Interval ArpeggiosPops


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leccion semanal para trompeta

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