We all have a tendency to be a little stagnant with our practice and so our playing doesn’t improve like we wish it would. We often assume where our limits are and accept them too easily. I want you to fully understand that with the right practice and the right mindset you have NO limit. I have used these ideas and others to help players who had trouble playing a G on top of the staff, and turn them into players who could play into the doubles and beyond. We do it by working actual techniques like in the Arban book and real songs. In doing this range, resonance, accuracy, endurance… all improve. These 5 files should be done in order. The song should be played every day starting today. Get good on the first 2 interval files (Air Kicks, and Arban Intervals} then move to the other 2 Interval […]Continue reading
Pentatonic Drills with Inversions Pops pentatonicsContinue reading
Where is YOUR bar? Not the closest watering hole as they say in Texas. Where have you set the bar for your playing? People wonder if it is fair that I say they needed to have things ready on 1 days notice. That depends. Do you want to be the player every one counts on to be perfect, or do you always want to sit in the audience and watch the player that everyone counts on? My level of meanness is based on the level of a students knowledge and skill. I treat a comeback player who stopped in High School a lot different than someone who is auditioning for Grad school and I treat them different than a good full time pro player. The better you get the higher the bar and that is how we constantly improve. But the bar isn’t what we can work up. It is […]Continue reading
Here is a very mental and physical drill. It is all of the scales connected and trilled.
Fast all you get to do is the written note a note above and the written note before you change to the next note of the scale.
Played slowly you get a trill workout.
When playing slowly do it 2 times so you can use both Baroque (Starting the trill above the written note) and the more modern trill Starting on the written note.
trills Click link for music.
People ask me all the time about a practice routine. The fact is that every player is at a different point and that changes weekly. The best person to give you a routine is YOU. Look through every one of the method books that you can get your hands on and write down the types of technique that are involved. Keep track of how many times each technique is shown in all the books. (That gives an idea of how important that the authors thinks it is.) Now play some of each technique. (ie double tonguing) and rate how well you do that. Play and rate each type of technique. Now on your chart you have each technique and a rating of your skill. The 1st thing is to attack the low scores. You want things to be even. ie you feel slurs are the weak link so then you […]Continue reading
In my books I list all of the possible causes. Poor Attacks on Trumpet mouthpiece too small or shallow wrong syllable for tonguing lips too tight Weak Stuffy Trumpet Tone too little air used too much pressure closed throat Bright Shrill Trumpet Tone Mouthpiece too shallow Bad concept of tone Too tight Dull Lifeless Trumpet Tone Mouthpiece too deep No tongue arch Wrong concept of tone Forced Trumpet Sound Lips too tight Too much mouthpiece pressure Bad breath support Weak Upper Register on Trumpet Chops too tight Too much pressure Wrong or no pivot Weak Low Register on Trumpet No or wrong pivot Mouthpiece too small Not using warm air Haaaaa Changing Quality of Sound Poor breath support Change in tongue arch or pivot Tonguing problem Slow Response on Trumpet Too much pressure Poor breath support Lips too tense Missed Notes Mouthpiece Too small or shallow Too much pressure Poor […]Continue reading