(A) Short answer - "Until you are able to accurately 'effect' the techniques you will immediately be needing!! If I have "warmed-up" only to "C" 3, and the opening "number" requires a "G" 3, I have "under-warmed" myself for the job at hand. Perhaps the most important aspect is psychological - "am I READY to begin?" If I EVER approach a given routine it is : Soft low register into the pedals - soft, 4 octave (E's, eg.) chromatic scales asc and desc.
In my estimation, some people "wear themselves out", while "warming-up"! It is perhaps important for "new" players for developing a "hierarchy" of warm-up materials and "routinize" (new word) them.
(Q) How warm, is warm enough, and how do you determine that you have warmed up enough (or not enough)? I'm trying again after 20 years to get back into it. (Seems to be a common enough story, doesn't it?)
(A) And as it should be! Music, and the skills of playing an instrument are gifts from the creator - to brighten an otherwise hum-drum existence.
(Q) I really need some guidance as far as warm up and practice techniques. I need, of course, just like everyone else, to improve range, endurance, etc. Would appreciate any and all advice and guidance!
SAIL THE SEVEN C'S, takes direct aim at the problems you mention. But so does HUNT plays SCHLOSSBERG CD, and Clarke Tech Studies- CS.
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.
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