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| Coaching - FAQ |
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What make of trumpet should I play?
The make of trumpet you buy will depend on the amount of money you wish to spend, the type of sound you enjoy making and, very often, the influence of your teacher and peers. If you are just about to start playing for the first time find a good teacher (always go on personal recommendation) and take their advice. Most teachers who are starting players will probably recommend an inexpensive instrument with an upgrade later. If you\\\'re buying a professional model you have a huge choice! Instrument makers include Bach, Yamaha, Schilke, Stomvi, B
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Which mouthpiece should I play?
There are, literally, thousands of mouthpieces available for the trumpet in all shapes and sizes so this is not an easy question and, you\\\'ve guessed it, there\\\'s not an easy answer! Before we get into specifics it\\\'s worth making a few general points.
Don\\\'t elevate a mouthpiece into something that your very life depends on. It\\\'s only a lump of metal that bridges the gap between your lips and instrument.
The shape and size does make a difference but the sound you make on the trumpet will always emanate from your head not from the manufacturer.
A mouthpiece is a tool of the trade. It\\\'s OK to use more than one and think of a them as a piece of equipment that helps shape colour and sound rather than something that helps you \\\'get notes\\\'!
Trumpeters need to be versatile and able to cope with a range of instruments playing a range of styles so flexibility and diversity is important for both musician and equipment. One mouthpiece is unlikely to suit all trumpets so find a suitable mouthpiece for the Bb trumpet and if you own a D or piccolo trumpet look for something that produces the sound you want but also makes you feel comfortable in the upper register.
Most mouthpieces have good points and bad! A wide, deep mouthpiece will help you make a great sound with clear production and you will sound wonderful in your practice room! You will also notice that you have to work harder in the upper register and you may feel that you sound rather dull when playing in a trumpet section. A smaller, shallower mouthpiece will add brightness and help your upper register but you will compromise depth of sound and clarity of articulation. The perfect mouthpiece is always a compromise! As a very general rule the mouthpiece for the Bb trumpet should help you produce a two -and -a half-octave range with a consistent sound throughout. This register is where 99% of classical playing is focused so it takes priority. As you progress onto the smaller trumpets try to keep the cup size as deep as possible and reduce the width of the cup diameter. (For classical playing aim for a Bb trumpet mouthpiece where the cup diameter is a least 17mm and for D and piccolo trumpets 16.5mm. The actual rim size should be no more than 4mm.
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How important is the embouchure?
The physical structure of the embouchure is critical for consistent and reliable performance; therefore, it matters where the mouthpiece is positioned on the lips relative to the position of the jaw. The embouchure is nothing to do with musical ability but more to do with genetics and the physical structure of the face.
The top and bottom front teeth should be aligned which invariably means bringing the jaw forward (sometimes quite considerably!) There should a slight gap between the front teeth and a downward pull of the muscles at the corners of the mouth. Produce a \\\'buzz\\\' by pushing air through the lips and position the mouthpiece as centrally as possible with equal amount on the upper and lower lips. The \\\'buzz\\\' should continue uninterrupted to eventually produce a note.
The embouchure is the foundation on which the characteristics of an individuals trumpet playing will develop. Aspects of technique such as sound, articulation, stamina and range will be defined by the position so it is imperative that the embouchure is correctly aligned from the very beginning.
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I need to improve my stamina. What do I do?
The two factors that are essential for stamina building are practising in a manner that is similar to a performance i.e. totally committed and energised followed by rest rest! To meet these two criteria try practising in the following way:
Choose any study
Take a slow, deep breath, begin the study and keep playing until you run out of air. Interpret the phrase as musically as possible and don\\\'t feel, in any way, inhibited. Don\\\'t worry if your air supply stops mid-phrase.
At this point rest for as long as you have played (probably around 20\\\"-30\\\'). After your rest just pick up the phrase again and continue playing until you run out of air again.
Continue to the end of the study in the same manner.
Either repeat the study or move onto a new one and continue playing and resting. When you begin to feel tired stop.
Rest for 15\\\' and begin the process again. It essential that you rest for the length of time you have played so patience is required! You should find, after a week or so, your stamina increases and your recovery times decrease.
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Is there a \\\'right\\\' way to single tongue?
The \\\'right\\\' way is when the articulation enhances the nuance of the music you are performing. Production quality depends on the embouchure set-up, the contact point of the tongue in the mouth and the aural awareness of the player. Articulating a note is a musical rather than a technical effect. The speed and position of the tongue depends on the musical effect we are trying to achieve. When articulating notes try and give a musical context to what you are doing and endeavour to hear the effect you are trying to achieve in your inner ear. A range of articulations can be produced when the contact point is the middle of the tongue arching up to the roof of the mouth. Moving the tongue forwards and backwards and varying the speed of production can produce a variety of articulations.
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How do I double and triple tongue?
Double tonguing is a repetition of the syllables du-ga and triple tonguing is a repetition of the syllables du-du-ga. The two syllables should be as close in sound and colour to each other as possible. They should merge into one another so the listener is unaware of the two different syllables. Again, this is all about being musically aware of the sound you are making and you should aim to say these syllables as smoothly and rhythmically as possible before you play them on the instrument. Begin slowly with a metronome and gradually increase the tempo.
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Am I breathing properly?
Deep breathing is a physical process that can be very demanding. Although breathing is something we do without thinking using the air to play a musical instrument and directing it through the instrument at different speeds is a technique that has to be learnt. The process begins by filling the lungs with air. Set a metronome to crotchet = 60 and try the following exercises:
Breathe in over 4 beats and out over 8 beats. Repeat 3 times
Rest for 15\\\'
Breathe in over 3 beats and out over 6 beats. Repeat 3 times
Rest for 15\\\'
Breathe in over 2 beats and out over 2 beats. Repeat 3 times
Rest for 15\\\'
Breathe in over 4 beats and out over 20 beats. Once only
Don\\\'t worry if you can\\\'t make 20 beats; just reduce the number to something more comfortable. The different numbers relate to different air speeds, which, in turn, relate to musical colours on the instrument. Air speed affects everything we do on the instrument including range, sound, and dynamics. Breathing deeply will also help reduce tension, which can play a significant part in breathing difficulties.
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Do I need more trumpets than just a Bb?
The Bb trumpet is the mainstay of the trumpet family and is the instrument that the majority of players use when performing. There are many other trumpets in different keys that can be used in both solo and orchestral repertoire but much depends on cost and musical inclination. Trumpets are expensive instruments and buying more than one might seem prohibitive. There is, however, a thriving second-hand market that can offer instruments well below the list price. Buying second-hand instrument can be a great way to build up a \\\'trumpet collection\\\' without breaking the bank! So, although not necessary, other instruments can broaden musical horizons and offer a variation in the repertoire performed. A C trumpet is ideal for French solo and orchestral repertoire, a D/Eb trumpet when performing Bach and selected orchestral repertoire and a piccolo trumpet for baroque, contemporary and brass ensemble repertoire.
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If I own more than one trumpet do I use the same mouthpiece throughout?
The choice of mouthpiece is always a very personal one. Many excellent players use only one mouthpiece for the full range of instruments so there is not a definitive answer to this question. A mouthpiece can make a difference to the sound of an instrument depending on the cup shape and backbore. A selection of mouthpieces can give alternatives to your basic sound that might be musically more appropriate. Some players feel apprehensive at the thought of changing equipment in this way but using several mouthpieces will do no physical harm, as the actual differences in millimetre size are usually very small. Selecting a specific mouthpiece to an instrument can be beneficial both technically and musically and allows the sound characteristics of the particular instrument that is being played to be maximised.
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How do I practice the piccolo trumpet?
Playing a piccolo trumpet requires stamina; range and almost immediate recovery time as invariably the register for this instrument can often be consistently in the upper register. An effective practice regime is, therefore, essential to build muscular strength and confidence in playing the instrument. The format is the same as for the Bb trumpet (refer to I need to improve my stamina. What do I do?). For the piccolo trumpet use scales and scale passages (Clarke or Vizzutti Technical Exercises for instance) beginning in the lower register and working upwards. Always take a deep breath, perform one exercise or scale and rest for at least 20\\\". When you reach a point where you feel tired rest for at least 15\\\'. Continue in this manner for as long as you feel you your sound is strong and confident. It\\\'s very important that you are patient in this respect and allow time to do the work for you! When you feel your stamina has developed try using this method of practice on the Bach cantatas or the oratorios. Work your way through stopping mid-phrase if necessary and resting after each turn. After a period of time play the complete work resting for 5\\\' between each movement.
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I play the cornet in a brass band; if I have trumpet lessons will this affect my cornet playing?
There is no reason why the two distinct styles of these instruments should be detrimental to one another when combined. Indeed the lyricism and versatility that is associated with the cornet are admirable qualities to be used on the trumpet. Equally, the range of articulations and sound projection required of a trumpeter can give a musical dimension to your playing that will be most useful when performing different compositional styles.
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Concerts make me so nervous I just want to give up. What should I do?
This question has been posed by, probably, every performer on any musical instrument at some point during their lives! Public performing brings up every issue to do with self-confidence, technical ability, practice technique, musical awareness... so the list goes on! Performance anxiety is caused by negative thoughts and feelings concerning our abilities on the instrument. These feeling are exacerbated by the worry of humiliation and concern about the perception that other people will have of us after the performance. These problems can be approached in a systematic way and, in time, can be controlled. This is an important point because if you fight these feelings you will invariably come off worse with the resultant further lack of self-esteem.
The first step is to develop a practice regime that is consistent and regular. When you perform a piece of music knowing that you have worked on the piece, \\\'performed\\\' it countless times in your practice room and heard yourself play the music confidently and with conviction then you can take this \\\'sound world\\\' with you to the performance. You know you have put the work in; you know you are up to the job; you know you can do it.
In addition to this it is important to \\\'visualise\\\' your performance in situ many times before the actual event. Close your eyes and visualise the process from leaving home, arriving at the venue, warming up, experience the environment, hear the sound of the hall with people in it, see yourself walk on stage, feel the adrenalin, conscientiously activate positive thoughts even if you feel apprehensive, hear and feel yourself play, hear and experience the applause, feel the appreciation of the listener. The feelings associated with performing can be re-created in a controlled environment if you apply your mind, activate your feelings and control them positively.
On performance day give yourself time. Do everything at half speed. Eat slowly. Breathe slowly and deeply. Warm up slowly and be kind yourself. Remember the sound you made in the countless run throughs. Allow the apprehension and fear to come but meet it with acceptance and tranquillity. Remember the work you\\\'ve done and hear the sound you make.
There is no such thing as perfection on a musical instrument nor is it desirable. If any mistakes occur during the performance... forgive and forget. Move on to the next objective with no post mortems!
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