hey! your tone and understanding of these pieces are amazing, do you have something to fix tonguing? I used to tongue near the upper part of my mouth and just recently started to actually tongue in the right spots, hoping you can help! I feel like whenever I think about tonguing right it works but then whenever I do longer phrases I end up going back to my old habits
Thanks for your kind words. Perhaps practicing the "correct" placement frequently when you're not playing, like when you're walking to class or driving to work, etc. (Maybe when no one is around?!) Reinforcing the habit is key, and doing so while NOT worrying about all the other aspects of playing can be very helpful to reconnect the brain to the skill. The "jiggle the handle" approach. When you are playing, keep the sound of the articulation in your mind and let that guide your tonguing, rather than focusing on the physical sensations of "the right spot." Like Duke said, "If it sounds good, it is good."
First, we have to overcome the tendency to "unconnect" the air stream when going for the leap. Try glissing from a low F# to the upper F#, touching the B and D# along the way but not getting stuck on them. Then try to speed the gliss up, hopping over the B & D# more lightly but don't worry if you still hear them a little bit at first. The air stream has to propel you over these notes rather than just "tightening the lips." (Try whistling an octave leap while trying to minimize the notes between. That rush of air and tongue movement is what you need to do this leap on the trumpet!) Once the F#-F# gliss starts to sound MOSTLY like a clean F#-F# slur, change the low note to the E and keep everything else the same... you gotta blow "up into" the F#.
Of the two I think #3 is trickier because of the long phrases and lack of convenient breathing spots. As for what to work on, I would start with a bouncy, easy-sounding articulation and exercises that focus on note centering (finding the most resonant center of every note, the 'sweet spots'). Good luck!
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Elegantly centered sound, vibrato, and note inceptions. Bravo and thanks for posting!
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hey! your tone and understanding of these pieces are amazing, do you have something to fix tonguing? I used to tongue near the upper part of my mouth and just recently started to actually tongue in the right spots, hoping you can help!
I feel like whenever I think about tonguing right it works but then whenever I do longer phrases I end up going back to my old habits
Thanks for your kind words. Perhaps practicing the "correct" placement frequently when you're not playing, like when you're walking to class or driving to work, etc. (Maybe when no one is around?!) Reinforcing the habit is key, and doing so while NOT worrying about all the other aspects of playing can be very helpful to reconnect the brain to the skill. The "jiggle the handle" approach. When you are playing, keep the sound of the articulation in your mind and let that guide your tonguing, rather than focusing on the physical sensations of "the right spot." Like Duke said, "If it sounds good, it is good."
@@TheTrumpetDoc thank you so much!
Do you have any advice for getting the large slur intervals clearer? Like the E to F# for example?
First, we have to overcome the tendency to "unconnect" the air stream when going for the leap. Try glissing from a low F# to the upper F#, touching the B and D# along the way but not getting stuck on them. Then try to speed the gliss up, hopping over the B & D# more lightly but don't worry if you still hear them a little bit at first. The air stream has to propel you over these notes rather than just "tightening the lips." (Try whistling an octave leap while trying to minimize the notes between. That rush of air and tongue movement is what you need to do this leap on the trumpet!) Once the F#-F# gliss starts to sound MOSTLY like a clean F#-F# slur, change the low note to the E and keep everything else the same... you gotta blow "up into" the F#.
@@TheTrumpetDocThank you!!
Which one do you consider the hardest? Also I'm a freshman for context so Im only playing etudes 1 and 3. What should I work on?
Of the two I think #3 is trickier because of the long phrases and lack of convenient breathing spots. As for what to work on, I would start with a bouncy, easy-sounding articulation and exercises that focus on note centering (finding the most resonant center of every note, the 'sweet spots'). Good luck!