Hunt shows you how to use these studies to best advantage for developing wind control, low mouthpiece pressure, great endurance, and astounding trumpet range. Each of the Etudes is performed (1) as written (2) an octave higher (3) Expanded over a four octave range.Music Link Etude No.1 - mp3
Book Published by Carl Fischer)
A word about the stereophonic recordings from B-Flat Music Production. Our recordings are produced using a pair of Crown PCM Pressure Zone Boundary Mics, which enable all the musicians to sound as if they are all equally close to the mic. The resulting signal is fed into a stereo Tascam mixer. Our first processor was an outboard two channel unit, recording direct to digital audio on a Beta Video Machine. When the Akai Dr4d Hard Drive recorder became available we switched to this newer format. As a matter of principle, we allowed no further tampering with the signal, except for a "room size" digital environment: No compression, limiting, or dolby noise reduction.
In the H.L. Clarke Technical Studies for trumpet, each of the Etudes has been recorded both as written, and also 8VA!! Several of the exercises, from both publications, have been expanded so as to require greater range from a single blow, than do the originals. Etude # 1, Clarke for example,moves,in a single phrase,from F# below the staff to C4! (double C).
The First Study (and the rest for that matter) are only secondarily about mastering fingering complexities. THEY ARE ABOUT: (1) Very low mouthpiece pressure, (2) pressurizing and "leaning" on the air when ascending, while playing ppp, and (4) SMOOTHLY adjusting your focus for each and every tone as it goes whizzing by.
After you are feeling good about the First exercise,(a smoothly,rolling, bumblebee) WITHOUT stopping or breathing, connect exercise #1 to exercise #13 via a one-octave, ascending, chromatic scale up to the 1st space F#, where you continue the exercise as written (# 13). When you can accomplish the above while totally relaxed (with NO increase in mouthpiece pressure, you should then use another one-octave, ascending, chromatic scale, moving up to the 5th line F# - then continue with exercise #25 for as many repetitions as desired (able) THEN reverse the process (back through ex. #13, back through, and coming to rest upon the F# below the staff, where it all began! And yes, it is possible to extend the exercise through to #25 8VA, without pausing. But, the impossible always takes a little longer. You CAN do it - if you decide you want it.
Several people have asked for info. re. the "silent whistle", especially as it relates to the Technical Studies. Here's the objective. EVERY note we play has a best setting to insure:accuracy of pitch, purity of tone, and great resonance. Try this experiment: whistle: Middle C (Tu)- G(second line)(tah) - C2 (third space)(ta) - E(4th space)(tee). Notice the movement of the tongue in order to assure an accurate, resonant tone. So often we read "play every note with the same lip setting"...this is nonsense. No two notes are best played with the same lip setting, let alone many or all. By silent whistle, I mean for you to follow the moving, melodic line so that the tongue and embouchure are placed in the best possible position, or focus, to best produce the tone in question.
Playing the trumpet accurately and with good resonance (beautiful tone) is contingent upon learning to accurately and efficiently move your "chops" to the correct focus for each individual tone! I call this the "dynamic constant-adjustment embouchure" as opposed to the "static embouchure", where the partials are selected using the forearms to vary the mouthpiece pressure.
Beautiful brass playing is all about the ability to maneuver the embouchure. Flexibilty is the key to brilliant brass playing! These exercises are designed to reinforce and compliment the principles of SAIL THE SEVEN C'S.
Thanks for listening!
Clyde E. Hunt
THE FIVE MYTHS OF TRUMPET PLAYING extracted from SAIL THE SEVEN C's MYTH #1 Only special freaks can play in the high register. Don't waste precious time trying to duplicate their efforts. There are plenty of notes below high C upon which to devote your time and effort. FACT: Nearly any player can dramatically improve his or her high register. What is needed is the desire to do so, and a dedicated, systematic approach. The high register will not succumb to the casual player. MYTH #2 If I could find just the right mouthpiece, I too could be a high note artist. FACT: There are mouthpieces which facilitate brilliance and intensity of sound. These mouthpieces, sometimes labeled high velocity, are more "V" shaped as opposed to bowl shaped. Sometimes, usually at the music store when we are trying mouthpieces, almost any mouthpiece appears to be superior to the one we are now playing - hence the answer to all our prayers. But pitch is determined by frequency of vibration of your lip. If you can play a C4 on a Schilke 5a4a, you can also do so on a Bach #1. Don't get into the drawer full of mouthpieces syndrome. Choose a rim that is comfortable and learn to play it. I am convinced that a larger cup diameter and a more open throat, which permits a larger airstream, actually facilitates the development of the high register. MYTH #3 I need a special trumpet. FACT: Mouthpiece tapers, varying bores, different bell sizes, and various alloys will alter the timbre and playing characteristics of an instrument. But the instrument, in fact, has even less to do with lip vibration, which determines pitch, than does the mouthpiece. MYTH #4 Playing and practicing in the high (G2 to C5) register will ruin the middle and low registers, and make my tone brittle and laser-like. FACT: Not practicing all registers equally will allow one-sidedness to take place. Practicing the pedal register, especially, will serve to counteract the extreme compression required to perform the high register. More than likely, a piercing, laser-like sound and a too blatty low register is really the fault of a too small, too shallow mouthpiece. This combination leads to jambing the mouthpiece for the high tones, which is sure to elicit the above mentioned complaints. MYTH #5 You must play in all registers without changing your embouchure, or play in all registers without re-setting your lips. FACT: I don't disagree in principle with the above statement. But I believe it has been widely misinterpreted because of semantics and/or insufficient explanation. The opening quote, taken literally, is nonsense! No two tones are played with precisely the same lip setting, let alone an entire register. What is required is a constantly adjusting embouchure, capable of moving from the bottom register through to the top register without the necessity of stopping along the way to regroup your chops. Re-read the last sentence and memorize it! It is of the utmost urgency that you understand what is meant. The understanding which you believe that you have right now will probably be altered as you progress toward the Constant Adjustment Embouchure.*s Clyde Hunt Extracted from SAIL THE SEVEN C'S (C) Copyright B Flat Music Production.