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
Expanded Arban The Arban book has been the mainstay of Trumpet practice for well over 100 years. However; no revisions have ever been made to the exercises in it. The range in the Arban book was stuck at the top of the staff; with a few limited High Cs included. For example there were 16 exercises for the C scale. Only 1 of the 16 had a high C in it. The majority of exercises were written for what is now a middle school range. This is a problem because to expand you range, you have to practice to the top note of your range every day. If you only play 3-10 high Cs a day then High D will NEVER become a good note. I took exercises from the major sections of the book and some songs and raised them step by step up to Double High C. I also included […]Continue reading
For about 100 years we have known that tension at the side of the face (cheek area) inhibits tone production, lessens endurance and impedes range. Using this part of the face creates a “Smile” but sadly most people still do this to some extent when they play. Most never even know it. Many famous teachers have written about it but people keep doing it.I myself have been trying to educate people about this for 40+ years. (I’ve been writing books about this for 20 years.) I decided that showing the muscles used by players that struggle and showing the muscles used by players with range to spare might help. I thought that the best way to show this was to do a Thermal Video Study of players while they were playing. This has never been done before. Nobody ever did thermal images while someone was playing and the video aspect […]Continue reading
“Congratulations to Clint McLaughlin for this informative collection of professional opinions. “The Pros Talk Embouchure” is a helpful tool for better understanding both the differences and the common ground relating to the embouchure. It will hopefully lead to further candid discussions about this vital aspect of trumpet/brass performance. ITG Journal June 2004Continue reading