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Re: Endurnce?

Hello All,

Recently, I have released a recordimg of the Clarke Technical Studies.
May I offer the following recommendations re: using the Clarke Studies 
for increasing range and endurance

Clyde 

http://www.erols.com/bflatmus

I suggest the following routine for Clarke's First Study: Play the first 
exercise, ppp, many times (slowly at first, faster as fingering skills 
permit). ABSOLUTE MINIMAL Mthpc. PRESSURE. When you have developed as 
many repetitions as you believe to be possible, continue to develop 
MORE. 

The point is to learn, firsthand, how vital the airstream - how 
effortlessly this can be done! Mr. Clarke says to "keep the lips 
moving". I describe that process as the "silent whistle". Essential to 
these exercises is the compressed airstream and silent whistle. 

When you have moved up chromatically, through exer. # 13, it is time to 
COMBINE Ex. #1 and #13 AS A SINGLE EXERCISE, within a single breath.
Now - go back and treat (2 - 14, 3 - 15, 3 - 16, Etc.) in the same 
fashion.

When you are able to effortlessly play Ex.# 25, go back and combine nos. 
1, 13, and 25 AS A SINGLE EXERCISE - within a single breath!! I believe 
this EXPANSION principle to be essential. IT IS NOT ENOUGH simply to 
play the exercises 8va!!

NOW, go ahead and GRADUALLY expand the combinations: (1 - 13 - 25)  (2 - 
14 - 26)  (3 - 15 - 27)  please notice that 26, 27, 28, etc. are NOT 
written out. Play them using your ordinary fingerings, so that you will 
"know where you are".

In my recording, I extended this FOUR way combination to exercises: #1 - 
#13 - #25 - #37, that is, #25 8va.

We played three versions of the First Etude - each a reflection of the 
principal of COMBINING octaves withing a single breath, or blow.
The last version extends from F# below the staff, to C4. (An octave 
above "high C". 

Keep everything soft!!!! - later, as your growing strength allows, you 
can gradually "step-up" the volume to FFF if you are so inclined.   

"Follow" the shape of the moving lines with the silent whistle. The 
"shape" of the aperture must gradually compressed as you ascend. 
"Squeeze" the air ever more gradually as you ascend, in order to 
overcome the increased resistance of the aperture. Air - air - air - and 
more air (pressure). This is fundamental! The "static embouchure" (chops 
in your fore-arms) isn't going to "work" for these "expanded" blows.

If you are an instant gratification person, you will likely have 
difficulty! IMPATIENCE is truly an enemy of ambition. 

Playing the trumpet/cornet is little more than singing - using the 
buzzing lips rather than the vocal chords.

If you can't "buzz" it, you can't play it! (You may be able to squeeze 
it out - careful, don't loosen your teeth.)

Thanks for listening - I hope this may be a help to someone, in some 
small way.

Clyde E. Hunt

PS - Further clarification is available is you will email privately.


Kevmil2245@xxxxxxx wrote:
> 
> Greetings Jim,
> 
> Try these methods:
> 
> I. Robert Getchell- First Book of Studies for Cornet/Trumpet. Very elemental,
> but great for developing tone production and listening.
> 
> II. Arban Characteristic Studies- The "Old Testament" of the brass musician
> bible.
> 
> III. Herbert L. Clarke- Technical Studies, edited by Claude Gordon-The"New
> Testament" of the bible for brass musicians.
> 
> Hope this helps.
> 
> Regards,
> Kevin Miller
> 
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