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Thank you so much for listening!

Hi Peter! Absolutely, please do what feels physically reasonable and productive. When any routine feels too taxing to get through, I usually suggest doing just a bit of each section. Sound production work is the most important, but after that, a bit of each thing will keep your session well rounded. Good luck, and happy practicing!

@@betsybright Hello Betsy, it's great to hear from you. Noted, thanks. Particularly " .. ..I usually suggest doing just a bit of each section. Sound production work is the most important, " Thanks again, Peter

Hi! I'd suggest starting slow for sure. You can set up "anchor points", meaning that you pick certain notes to target along the way that help you anchor onto something. Breaking it up into 3 separate triplets each time can also help - you can kind of pulse into the start of each triplet to help yourself feel those divisions, and then take the pulse out so they just sound like one big gesture. Another way to get really tricky technical passages under your fingers is to practice it with an assortment of different rhythms (also called "rhythmic modulation"). This can help your mind and fingers iron it out from all sides, and then it feels easier when you go back to the original rhythm. There are lots of different strategies you can use, which keeps your practice sessions more interesting! Be patient and stay creative with your problem solving skills and you'll tackle it eventually!

Thanks so much for listening! Happy practicing :-)

Thanks Bikebone!

Thanks for listening!

Thanks so much for listening!

Hi Peter! It can help to imagine a string player here... If they're sliding their fingers up and down on the string, that's sort of like our siren (a vertical motion). But their bows moving across the strings is like our flow study (a horizontal/lateral motion). Both things require our attention and we have to work to stay connected with both, but sometimes that's difficult to do! When we think of connecting vertically with the underlying siren, we just want to make sure that we can move from one coordinate to the next with a smooth motion, keeping the "vowel siren" intact. So that's our vertical connection. When we think of connecting horizontally/laterally with the underlying flow study, we are thinking of that forward motion/energy of the air. Thinking of the space between notes can help - we have to make sure there's a constant vibrant energy between notes. Hope this helps! Betsy

@@betsybright Betsy, it’s great to hear from you. Thank you very much for that explanation. I’ll go over what you’ve said and inwardly digest it! It all makes sense to me. The trick is of course, to successfully apply it. I’m up for that challenge. Peter

Thanks for checking it out!

Thanks for listening!

Thanks Mark!

Thanks for listening!

Thanks so much!

Thank you for checking it out!

Thanks Matthew! Still working at it 🙂 I think what helps us all find our most resonant sound is to find balance in our sound production. If we're really whistling the right note underneath, and if our abdominal support is dialed up, we're better able to let go everywhere else (chest, shoulders, arms, neck, etc) and a vibrance can shine through the sound. Happy practicing!

Thanks for checking it out!

Hi Peter! Is it feeling tough when singing or when buzzing? Feel free to sing in any octave for sure. Though some men find it easier to sing in falsetto just so they hear it at the true pitch. Either way is fine! The important thing is to have the pitch itself in any octave. And actually, freebuzzing is fine in any octave too as far as I'm concerned. The mechanism of the freebuzz has little to do with that of actually playing the instrument. The point (to me) of even doing freebuzz drills is just the idea of maintaining the "whistle" concept even as there's an added friction/distraction of vibrating lips. Many of the world's greatest players freebuzz an octave lower than it would sound when playing. Hope this helps! Betsy

Hello Betsy, that does help me a lot. Thanks. I think it’s impossible for me to sing at true pitch e.g. G4, second line on the stave (I. Sound Production). But singing an octave lower is not a problem i.e. G3, I’m pleased to say. And you say that’s ok, good. Starting a buzz exercise at G4 is a real challenge for me, but I think I’m getting better. Tonguing G4 and A4 is really hard for me - we’ve got the added complication of remembering the position of where our tongue was in the mouth, immediately after we’ve tongued the note, right? But thankfully, much much easier somehow, when we play it on the horn. Thanks again, Peter

Hi Peter, thanks so much for your interest in this routine! I just added it to my website a minute ago as a free download. Go to: www.brightmusiccompany.com then go to "shop our sheet music catalogue", then click on "Trumpet" and you'll see it there. Please let me know if this downloads okay! I've never tried setting up a free download before so I want to make sure it works. If that doesn't work, this may work as a direct link: betsybright.com/brightmusiccompany/product/tucson-brass-workshop-2020-warmup-day-1-trumpet/

Betsy, it’s great to hear from you. I’ll let you know tomorrow if the download works. I’m so pleased I asked the question now. Best wishes, Peter

Betsy, sorry for the delay in getting back to you. It worked like a dream. Thank you so much. Back to the practice room. This material will keep me busy for some time, good. I’m confident it’s going to help me a lot. Best wishes, Peter

So glad to hear it worked! Happy practicing 😊

@@betsybright Ok Betsy. You can’t be more pleased about it than me. Thanks for your interest and support. Peter

Thanks! They're tough etudes for sure. Fast tempo markings!

@@betsybright No doubt. But I’m stuck on the fact that you are letting it happen, not forcing it. You’ve laid out not only a great aural/audio interpretation but have a visual component that tells a big story.

Thank you!

Obrigado! Eu costumo usar um Bach 3C.

Thanks!

Grazie! Sì, mi alleno tutti i giorni. Ho davvero bisogno di almeno un'ora al giorno per mantenermi in forma, ma preferisco più tempo se ne ho a disposizione.

Thanks Charles! This is the one from last year. This year, I used the black background and also shot from a little above because there's a better view of the valves that way.

Thanks William!

Thanks for checking it out! Happy practicing :-)

Thanks Charles! Happy practicing :-)

C'est un peu comme un sifflet.

Merci Madame , je vais essayer. J'aime beaucoup vos exercices.@@betsybright

Thanks for the comment! I've been working on a lot of unlisted content as well as a new fundamentals book! I'm hoping to complete at least the first volume within the next year. Slow going though...seems like it's always on the back burner due to other deadlines. I do have a bunch of quintet arrangement videos that will be coming out soon, but probably no more fundamentals videos till this book gets off the ground. Happy practicing - hope you have some great playing opportunities ahead!

@@betsybright I enjoy your posts and look forward to more Betsy! Someone has given you good training, more importantly you have done a lot with it. Nice to see a young person enjoy their passion & share it with others.

Here comes the blowback! I’ve had a few teachers who actually taught that way, (and also band directors who like the bell up and out of the stand). You can at least appreciate the reasoning: the angle of the mouthpiece on the lips is a fundamental factor to what’s going on mechanically. If you push the bell up beyond what is physically natural and efficient for your body, it will have some weird and unwanted effects on your posture. Neck straining up, head tilted back to compensate, for example. I like your point about the lower jaw coming forward. Doing that could help mitigate the negative effects of a head tilt. Probably some kind of balance between the two is what you want, because it’s true there are times when you kind of need the bell higher up. But if you have a big overbite and it’s going to screw up your natural balance efficiency and safe posture, is it worth it?

Hello Gregory, I believe that what teachers teach is to play in an effortless way, achieving the best sound possible, considering the posture of a student. And because every student is different, so we will have a lot of different trumpet positions. Look at Аdam Rapa.. He is the perfect example of a trumpet player who has a great posture by himself and he doesn't need to readjust the trumpet position. So, if you have a bad posture you will of course have to bend your neck in order to open up your throat. But if your posture is fine as it is, you don't really need to change your "every day" posture when you play the trumpet. Summarising.. just to let you understand better: look at her when she is not playing and when she plays.. Can you notice that she is not changing her posture? It means she is perfectly aligned !

Thank you!!