Transcript Summary
If you have your books with you, get them out, okay?
You will need every one of Claude's books, and Clark, and Arvind's, at all.
You've got them, get them out, and we're good.
We've talked about what to practice, and how to practice.
Now we're going to go through a series of when to practice, okay?
This whole lecture is going to be on how to put practice routines together.
You have all this data, you have all these books, you have Claude's method of teaching the approach to playing the instrument.
Now if you just go home and put all this haphazardly together, it's not going to help you very much.
You have to know how to set up a daily practice routine, okay?
Now before I get started, there's nothing worse than a ditto master teacher, whether it be English class, math class, trumpet class, or whatever.
You've had ditto master teachers in your life, where maybe your parents were in the same classroom, and still the same ditto masters being handed out, okay?
I see a lot of you going, yep, that's true.
So what I'm about to give you is a plan of attack.
It's not the Holy Grail, okay?
But it's a plan of attack to give you the data to put this together, all right?
And you're going to get about six years worth of information over the next hour or so, all right?
Now, kind of as a information, I've known Claude since 1972, so that's about 18 years worth of information, all right?
And like all people, Claude has grown and changed.
So if you're currently studying with Claude, or if you're currently in the last two or three years of studying with Claude,
maybe you might be starting to go, well, gee, that's a little bit different information the way he puts it together right now.
Okay, you're going to get my 18 years of experience with Mr. Gordon, okay?
And you're going to get different ways to put the routines together.
So if you're sitting here going, well, that's not all we did, well, then, you know, that's okay, too.
You want to borrow for a bit?
A bit.
That's my only problem right now.
I'll get you a brand new one, okay?
Just from the bottom.
Okay, it's really great.
Okay, it's the complete Life and Times of Herbert L. Clark.
447 pages.
Evans has his evil ways of doing that.
Huh?
Out of dissertation services and Claude's in the book all over the place.
Okay, it's really easy.
Become a university professor.
Yeah.
Okay, so buckle your seatbelts, all right?
All right.
Each year, remind me that I'm giving you the address, okay?
You better.
Each year, what I do with my own teaching studio is whoever calls me first as a beginning student,
never played a note, I don't care how old they are, I always take on one beginner each year.
And it's one of the most refreshing things I do each year because it's really a kick to start
a little kid off from scratch.
And then watch them build all the way through.
And it's very refreshing to have them say, oh, yeah, yeah, that's easier.
Yeah, yeah, that works for me, you know?
And get the right information for these little kids.
It's just kind of almost like it plugs into your head teaching older people all day long,
yeah, this is the only way you can do this.
It's really very refreshing and very neat.
So the first thing we're going to talk about is Claude's elementary book.
So Physical Approach to Elementary Brass Plinth.
Now Claude came out with this title, a lot of us, including me, bugged Claude to change the title.
I always think of the book as being a physical approach to fundamental brass plinth.
Because it's not just an elementary book.
It can be used with beginners, but it also can be used with embouchure changes,
it can be used with people who have never practiced right before.
It's a great book.
All right?
So here's how you do it, ready?
Away we go.
You've got Physical Approach to Elementary Brass Plinth.
Okay?
All right.
Now, what you do is the parts one through two, you do them as written.
And models.
If Claude says spend a week tongue, you do a week tongue and then you do a week slur.
Okay, now we're talking beginner level here, okay?
A kid has never played his whole life beginner.
Okay?
All right.
Now, this is his physical stuff with a beginner.
If you want to turn a beginner off real fast, just do only this.
Okay?
He wants to play tunes and mommy and daddy want to hear tunes.
They want to hear Hot Cross Buns, Mary Had a Little Lamb, all those hit tunes you play.
Okay?
So, a very good band method that I like to use with my kids because the range doesn't
go up so fast is called Visual Band by Vernon Lighting, published by Highland Music.
It has all the hit tunes in it, okay?
What was the last name there?
Vernon Lighting, L-E-I-D-I-G.
He's the head of the Ed department at Cal State LA.
It's a real hit book for you band directors who are great with elementary bands all the
way through.
Okay?
It gets rid of the idiot drummers.
The drum book is a ferociously hard book, okay?
All right.
Now, they actually have to be able to read music.
All right.
Now, you've gone all the way through this book, okay, with the beginner.
You've gone all the way through this book, all right?
Now, it's not important that they get all the way up to high A or B flat in here, all
right?
You're just trying to get the kid to play, get the right data out to the kid.
The idea of tahti, the idea of routines, okay?
Along with this right here, you can do Claude's book called Tongue Levels, okay?
Tongue Levels exercises.
And what you do is you water them down.
Now, what you can do is you take your copy and write them out for the beginners or have
the beginner write them and put brackets around them, whatever you want to do.
This gives the kid flexibility studies.
The whole key to what Claude's talking about is air control and air power.
Okay?
Now, the psychology of teaching is awesome with little kids, all right?
This exercise right here, to a little itty bitty kid, this exercise is totally different.
That's day and night.
Okay?
It really is, all right?
Pick your trumpet up sometime and play left handed for a while.
French horns, play right handed, reverse the trombones, flip things around and watch what
happens to your brain.
Okay?
Little kids are building patterns.
Put dots on a piece of paper, put a mirror here, put a mirror here, put your hand around
it and connect the dots.
That's what a little beginner's doing, gang.
Don't say to yourself, it's the same exercise, it's not.
Okay?
So you can do a lot of reversal things and have a kid keep working on something.
All right?
And never raise your voice to a beginner other than to give them a high five.
Yeah!
Yo!
Hooray!
Okay?
You can think back to one teacher you had in your life that changed your life.
You were going down this road and two seconds later you were going down that road.
Right?
Everybody can think of that.
Come on, you know one teacher that either turned you off or turned you on.
All right, with beginners you're dealing with this beautiful blank slate of success.
Every negative thing that kid gets, he's probably getting from some stupid adult.
My thing about kids, kids are adults that have not had the time to make the mistakes
we have.
Kids are not stupid.
Okay?
Remember that.
So you need to switch things around for them, let them experience all this for themselves.
All right?
So tongue level exercises, water them down, give them a positive feel, give them a positive
feedback.
All right?
All right.
Now, you go through this and what happens is finally you run out of information in here.
So this book then, you go down to here and you get out Rubank Advanced Volume Number
One.
What's great about this book is it goes through up to three flats and three sharps, chromatic
scales, has etudes, solos, duets and the range is real limited.
Meanwhile, you've gone back to here and you're going through this again and you're extending
the range down and you're extending the range up.
How many times have you read a good book in your life, put it down and five years later
come back to it and found out man there's a whole bunch of stuff here and it really
was in here.
Okay, little kid goes through this the first time, he's missed a lot of information.
Now, you go back and he builds on it again.
Okay?
All right.
Along with the Rubank book, okay, so now we're down here.
This is like, it's about one year already he's gone by.
In the Rubank book you get Herring, Forty-Eight Tunes and you do the star solos of Boxman.
There's a whole bunch of great solos and the kids dig them.
They come with piano parts and matter of fact, they've even come out with a Music Minus One
series of all these solos.
They have, it just came out this past year.
And these are great and they go right along with this book and the range goes right along
with this book.
What kind of range are you talking about?
The very first one don't go above a C in the staff.
Which one is that, Beverly?
Yes, the star solos.
And they're one of them, slow part, fast part, trio, cadenza and coda.
It's cool.
I mean the kids love them.
And if you're one of these teachers who like to have your kids play recitals, that's great.
Okay?
The piano parts, even I can play them.
Scary.
Okay?
All right.
So this is happening.
All right.
Now, this whole thing here, one of your goals is slowly, now we're looking at like two years,
two and a half years worth of work.
Johnny started in the fifth grade, he's now getting ready for eighth grade.
By the time you get down here, Johnny's getting up on the range to A or B flat comfortably
and he's getting down maybe pedal, F, maybe E comfortably.
Okay?
Now you're ready for the big jump.
Arbins.
You don't put a kid in Arbins until he can play a high A.
All right?
Because Arbins, that whole book assumes you can play high A, right from basically the
first set of exercises.
Okay?
Arbins, irons, systematic approach, tongue levels, and daily routines.
My students at the college is always joking.
They always tell an Evans student by how many pounds of books he's carrying around.
Ah, that's an Evans guy.
All right?
Okay?
You get up with this type of stack.
All right?
So now you're in with these books here.
You notice Clark is missing right now.
You don't see Clark quite yet.
Okay, everybody has this data over here?
Going once, going twice, it's out of here.
Okay, here we go.
Ready?
Here's how you set up a daily routine for somebody who is about eighth grade, maybe
ninth grade.
Somebody's been playing for two or three years who can play to a high A or B flat comfortably
and is starting to play some pedal tongues.
Part one, down routine.
Okay?
This can be systematic approach.
Lessons two through seven and nine, part one.
Notice lesson eight's missing, I'll tell you why in a few minutes.
This can be daily routines, pages.
Whoever let me borrow these books, thank you very much.
Thirty-two through forty-five.
If you do every model here, you have almost a year and a half's worth of work.
Remember, before you go up, you have to go down.
Don't start off with a high Q.
Okay?
All right.
Part two, flexibility study.
I call this general flexibility studies.
This can be irons, one through six.
Kick is a little bit stronger, seven through nine.
Flexibility specific, this can be tongue levels on a Claude's tongue level book or daily
routines, pages one through thirty-one.
All right, let me give you an example of what I'm talking about.
You just got this eighth grader warmed up.
He's going...
He's going on down, right?
He's getting down to maybe something like this.
Yeah, that type of thing.
That type of thing.
He's starting to work his way down in there.
Then you've got general flexibility.
You've got to get the kid's tongue working, right?
Okay, so you do something like...
Something that you have to think about.
So we're looking at...
All right.
That's an example of general flexibility.
Specific flexibility is exercises like this.
Right?
In other words, you're saying, no, no, don't hit all those partials, give me this set of
partials.
Take it through logically.
Would you want to start with that exercise?
No.
Pick your horn up.
Okay, that's an example of specific flexibility.
You don't want to start with it.
Your muscles aren't ready to make that happen.
Everybody with me so far on what I mean by general and specific?
Okay, good.
All right.
Then...
And here's where you have to make a decision.
All of this should be done before the kid goes to school every day.
Okay, here.
Junior high school kids, maybe they don't know when they got banned.
High school kids usually have banned before dawn.
On frozen football fields.
Okay?
And here's a high school band warm-up.
Okay, guys, let's all get in that formation number three.
Macarena.
Okay?
And that's soft compared to how they play.
All right.
Now, you've got to impress upon your student to do all of this before he goes to school.
I used to practice in my dad's car in the morning.
Empty your water key out, not on your dad's rug.
Okay?
And go open the door.
Okay?
They get real upset.
All right?
So they do all of this before they go to school.
Impress that upon them.
Okay?
Okay?
Now, here's where the routine can split in two different directions.
Because here, you have a decision to make with the student.
This is why I'm saying, Ditto Master teachers don't make it.
You can do part four, it can be an up routine, or it can be technique.
Let's say Johnny or Susie does an up routine, walks out his front door, gets on his school
bus, ten minutes later he's in band rehearsal.
And he's doing the whole sweet E flat second movement.
And he's just done a screaming up routine.
You're not going to be very popular with that band director.
Okay?
So this up routine thing here can be put someplace else in the routine to make it work.
All right?
Okay, so I'm going to go over to this board.
And let's go on to part four.
Okay?
Part four.
If you're going to do an up routine, let's say the kid's got band last period of the
day.
Fine.
All right.
There you go.
Systematic approach, part two.
And you just go all the way through the book.
Spend a minimum of one week on each lesson.
Every time Claude had me do two or three weeks on a lesson, I really got the knack of what
he was trying to do.
Okay?
Or part four here, Arvins.
Now the Arvins book divides up into general technique and specific technique.
Okay?
Let me tell you what I'm talking about.
At the very beginning of the book, pages number 13 through pages number 22 are just very straight
ahead general scale and interval studies.
Very limited technique, very limited range.
13 through 22.
Exercises 11 through 15.
All right?
That gets their fingers and tongue going.
Da dee da dee da dee da dee da da dee da.
Something like that.
Very simple, straight ahead.
Then what you should do is jump over to page 59 and do one or two exercises each week off
of these scales.
Work on them as written and work on them slurred.
Work on them slurred to tongue to.
Give the little guy some models to work on.
Don't give him K-tongues yet.
He's just going to climb a wall with that.
Poor kid can already play a high A or B flat, remember?
Okay?
Then you go to page 76 and give one chromatic study each week.
And keep it simple.
Keep it tongued and then keep it slurred.
Okay?
Remember, he's still learning to do basic things.
Then go back to page 155 and I like to introduce triple tonguing first.
K-tongue, single tongue, and triple tongue.
And impress upon the kid, speed is not important.
All we're trying to do is get you to go ta, ta, ka, ta, ta, ka, ta, ta, ka.
That's all we're trying to do.
All right?
Then go to page number 23.
Exercise 1 through exercise 38.
These are all the fundamental rhythms in music you'll ever have to have in a band.
What's your rhythm size?
23 to 36.
Okay?
So now look what you've done here.
You've done tonguing, single, simple K, and multiple.
You've worked rhythms, you've worked intervals, and you've worked scales.
That's a prelude to Clark, isn't it?
All right.
Me, what?
Yo.
Over there on the daily routines, then, should we be doing all the modeling for students
of this class?
Not necessarily all of them, no.
It's a good question.
Just have them do it as rhythm is learned.
Okay.
Thank you.
Good question.
All right.
Now, long rest, long rest.
That's the end of their morning routine.
That's about, if you go to here, it's about 35 minutes.
If you go to here, it can be 45 minutes to an hour.
So that's another first routine of the day.
Then, you come back, and here, part five would be armets.
You do this routine.
Part six, solos, levels one and two off of those sheets I gave you.
Part seven, etudes.
Continue with the herring book, 40 etudes, continue with 32 etudes of herring.
Part eight, more flexibility.
Yeah, spell it.
You can come back here and work on this here with many repeats.
Explain to the kid, we're getting these muscles built up here, getting that grip going.
So this can be irons.
All right.
Part five over here would be literature.
All this stuff here.
Part six, a down routine, and an up routine.
In other words, systematic approach, and have him do whatever pedal routine he did at the
beginning of the day, have him do it here.
And then, warm down.
Impress upon the kids that are playing up the high B flats and high Cs and C sharps and
Cs, that the end of the day's warm down is the beginning of tomorrow's warm up.
Everybody hear that?
Today's warm down is the start of tomorrow's warm up.
The muscles tend to, wherever they are, when you're finished working, that's where they're
going to start tomorrow.
Tomorrow.
Okay.
You've got to undo that muscle, get it relaxed.
All right.
Now, this gets this kid into about 10th or 11th grade.
Okay.
All right.
So, if you're in this group, here's some lessons to go home with and go crazy with.
I mean, here you are.
If you're a kid who's in 9th and 10th and 11th grade, and today can play up a high B
flat, maybe a C comfortably, there's where you start.
If you're an older kid, like me, that's a place to start too.
Okay.
All right.
Any questions about this?
You now have about four and a half years of routines.
Yes?
What if you get, like, a kid that's, like, playing marching band where they're playing
for three hours a day and stuff, how do you explain to them when it's not dressed enough
as far as whether, you know, if they're screaming high notes on the marching band field for
three hours a day, they're not going to be able to play that much?
Well, if they're screaming high notes on the football field...
It shouldn't be in a vertical field.
Well, okay, remember what age group we're dealing with here?
We're dealing with 8th, 9th, and maybe 10th grade.
He's probably not playing lead yet.
Okay?
That's a great question.
I mean, I've had it out with a few band directors in L.A., you know?
Why, in God's name, are you giving these kids these Buddy Rich charts or these Count Basie
charts, a jazz band, when a poor kid can barely play a high C and you're forcing them to play
Fs?
Why is my kid coming home with a 14A, 4A, Shokey mouthpiece for Christ's sake?
Who told you that's going to get him high notes?
And I get livid at some of these band directors.
Okay?
And they think that's the solution to high notes.
Quad just did a whole thing on it.
Okay?
So, you've got to sometimes deal with band directors.
Okay?
Now, I have kind of a little rule with my students.
This is me talking.
You can write this down or you can forget it.
I have a little rule.
My elementary kids, I don't let them go above a high A. Okay?
My junior high kids through 9th grade, I don't let them go above a high C sharp in their range.
Once they get to about 10th or 11th grade, their muscles are built up to a point where
they're kind of becoming adults and they can really move the air.
Remember, violins, the kid's this big, he go gets a half-size violin and all of his
muscle groups work correctly.
He gets bigger, they keep working the same relationship.
They finally flex.
A trumpet is a trumpet.
It takes the same amount of air to play a high C for a kid who's 8 years old as it does
for a kid who's 68 years old.
You see what I'm saying?
You got a little itty bitty guy, his chest is this big around.
His lungs are this big.
Okay?
Or something like that, right Larry?
Okay?
I heard that Tom.
Okay, now.
Okay?
Now, you've got to deal with that.
I mean, you count this poor kid goes, big breath.
That's all the poor little guy can get in there.
He's not going to be plowing out double C's.
And if he is, you know, now there's exceptions to that.
I had a little girl, Jennifer Rimmer.
Okay?
Her older brother took lessons from me.
Her father is a scientist at JPL and he's a trumpet player.
And she came into a lesson one day, story time, came into a lesson, seventh grade, been
with me since fifth grade.
Part of your range stays at the B flat.
She'd almost get a high C, right?
In her lessons.
And so, one day, she gets up to a nice high C.
I go, yeah, I'm getting warm now.
And I'm writing out her next part, right?
She goes, I can play double C.
Very nice, Jennifer.
That's neat, you know.
Thinking, well, maybe she's thinking, well, see, a couple more open notes.
Maybe squeak a high E, that's double C, right?
She goes, I can play double C.
I go, that's really nice, Jennifer.
That's neat.
Okay, I'll keep writing, you know.
She says, you want to hear it?
Okay.
And I go, yeah, okay, go ahead.
Play a low C, right?
You know, yeah, let's do it there.
I mean, I was expecting a high E, and I go, yeah, man, that's a great high E, man.
That's great.
I wish I could do that stuff.
She goes, low C, E.
Good.
Middle C.
C.
Play a high C.
High C.
I look over there.
Okay, double C.
Double C!
And I go.
Do that again.
Double C!
And I go, one more time.
Double C!
Eight, eight, seven, one, seven, eight, eight.
Hi, class.
Check this out.
Double C!
She's 11 years old.
Click, right?
One thousand one, one thousand two.
Get her to camp, okay?
So there are exceptions, okay?
I told her, do me a favor.
Don't do that at school, okay?
Just throw the banner and know you can do that, all right?
So there's exceptions to everything.
She just got this, that, etc.
Well, how do you do that?
She just goes, I just think T like you tell me.
So the next week it's like, T, T, T.
So, you know, there are exceptions to everything.
But I mean, I still only wrote lessons up to high C for her.
Okay?
All right.
So now, you've got through about four and a half hours of routines here, okay?
Now, we're going to go to the advanced dudes and dudettes, okay?
All right.
Does everybody have this up here?
All right, here we go.
It's out of here.
Okay.
Now, books you need to have at this point.
Ready?
Systematic approach.
Daily routines.
Arvids.
St. Chacon's.
Irons.
Smith.
The flexibility book, okay?
30 velocity stuff.
By clock order.
Okay?
Yeah.
And Clark Technics, please.
Atube books.
Bronte.
Orchestral atubes.
Published by MCA or International.
Caparelli.
Caparelli, that's the transposition book I talked about last week.
Solos from levels three and four.
Last week?
Last week, two days ago.
It just seems like last week.
All right?
Is it only Thursday, you know?
It's like, whoa.
Okay?
What's that level three and four?
Solos levels three and four.
Like, no, this is the Evans List.
Yeah.
The world according to Garp and Evans, okay?
All right?
At this point, sea trumpet.
Pit.
And flugelhorn.
Flugelhorn.
The kids interested in different pitched horns?
They should start thinking about these.
And you should go and play them for us.
Okay?
Sea trumpet is a different animal than a B flat.
Pit is another world.
And flugelhorns, you're dealing with different mouthpieces, you know?
The whole bit.
So you really go find a good horn for the kids.
He's just getting into this.
All right?
Now we're talking about the student who can play up to a good high E,
can play down the pedal C,
has no embouchure problems other than the normal ones that we all suffer through every day,
can triple tom, can double tom, scales and chords,
okay?
So we're talking about a kid who's maybe 11th, 12th grade, freshman in college.
Okay?
Everybody's with the program?
Yeah, it's a college problem.
This is a dream situation.
I wish some of the kids would come in and do all this stuff.
All right.
Here we go.
Ready?
Yeah.
Part one.
Down routine.
All right.
Now, this is old Claude Gordon, new Claude Gordon.
All right?
Old Claude Gordon, when I first started taking from Claude,
okay?
Pick the horn up, first notes of the day.
That was the first note of the day.
That was the first note of the day, okay?
All the way down, add on double G.
Okay?
Now, I have news for you.
Some of us had some problems with that once in a while,
and I remember calling up the phone and going,
Hi Claude, what do I do now?
All right?
Okay.
Claude Gordon that, you know, towards the time I could study with him,
old Claude Gordon was this.
The new Claude Gordon idea was this.
Or basically one octave exercises taking you all the way down.
All right?
So just a one octave pedal routine.
And I have the lesson books at home that have this magical word
going through almost two years of the lessons.
Okay?
Okay.
Do you get up in the morning and go,
Today I will start with breathing out.
And now man.
Okay?
There are certain things in this world you do the same.
There's nothing wrong with doing that.
Okay?
You might maybe dry your hair before you brush your teeth once in a while.
That's okay.
All right?
But there are certain things in this world you do the same.
So a simple down routine.
I just brush.
You just brush?
With my teeth it doesn't matter anymore.
Okay.
All right.
Now.
Okay?
Mellow out back there guys.
All right.
Okay, now at this point, depending upon what the student's doing,
then you do this.
Daily routines.
Page 47.
Which is why I just played for you.
Okay?
And you go all the way through that.
And then part three, systematic approach.
There's that book again.
Part twos.
Part twos.
Now you notice there's no part one here for systematic approach.
He wrote daily routines after systematic approach.
When I was studying with him, he didn't even have this book.
He would say to us, okay, well we did the first eight lessons in systematic.
So now, look, just take that two octave chord and make it diminished.
You go.
Okay.
You know.
And you're going crazy.
We finally said, Claude, did you just publish a book?
So he came out with these big onion skins.
It was like about $36 to get the book.
Okay.
A bunch of the old students like myself got the big old daily routines books.
Bruce knows what I'm talking about, right?
Yeah.
So that's where this book came from.
Was Claude saying, I'm sick of major chords.
Let's do some other ear training things.
This is the best book I've ever seen in my life for ear training.
You do one model a week, and if you go all the way through that book,
you've got about three and a half years worth of study if you do every single model.
Now systematic approach.
You don't have to get to double C the first time through the book.
Okay.
And maybe he's got the high E.
Well, that's worth a year.
Think about it.
If you start on a project, and you say, okay, I can play the high C.
You spend a year, and you get to.
Fine.
Now you spend another year, you got a G.
Spend another year, you got a B.
Spend another year, you got a B.
Spend another year, you got a D sharp.
Isn't that worth four years of your life?
Okay.
All right, so now you're back in systematic approach.
All right.
Now, let's say you're one of those lucky people that got up to the double C's,
going through systematic approach.
You feel pretty good about that book.
You feel pretty good about that book.
Instead of doing this book, you do this book instead.
Thirty velocity studies.
And that, what this book is, this is a control book for upper range.
It's all scales and chord studies.
You go all the way through it with all the models.
That's about two and a half years of range studies.
And you're not going to get bored.
It's every key, every chord, every octave, every articulation.
What do you start doing K-tongued range studies?
You haven't lived.
Okay.
Long rest.
Part four, Clarke technical studies.
Now, the guys that were in my practical application class can take a nap.
The guys who weren't in my application class, listen up.
First time through the Clarke book.
First time.
Spend one week singleton, one week slur.
Just on the exercises, not the etudes.
Leave the etudes alone.
Okay, so there's sixteen weeks.
All repeats are good.
Sixteen weeks.
Right?
Now you go back and start the book all over again.
First study.
One week singleton, one week K-tongued, one week double tongued, one week triple tongued, one week slurred.
Eight.
Middle line, four times.
Five, six, seven.
Whatever you can do.
Okay.
All right.
Second study, third study, fourth study, fifth study, and sixth study.
Here we go.
The exercise and the etude, one week each, single K-double slurred.
Seventh study and eighth study, single K-triple slurred, including the etude.
One week each model.
So that's eight months in a week.
So now put those sixteen weeks and you've got a year in a week.
Now you go back to the game.
And you do this.
You spend one day on each articulation on the first study.
You do the first study Monday singleton, Tuesday K-tongued.
Don't get the idea?
Don't get the idea?
You do two weeks that way.
Then you move on to the second study the same way Thursday.
All the way through the book again.
There are sixteen more weeks of your life.
Then you go back and you do this.
Single tongued the first line of the first study.
K-tongued the second line.
Double tongued the third line.
Triple tongued the fourth line and slurred the fifth line.
And then singleton the next one.
K-tongued.
So now you're doing what?
You're rotating the models through the study.
Do each one of those for two weeks.
And every day start with a different model.
So now the whole thing changes, doesn't it?
It's one thing to go.
Singleton.
Double tongued.
It's a different thing to go.
K-tongued.
It's a different thing to go.
Double tongued.
So if you start each one of those with a different model,
you're going through all different keys and problems with every articulation, aren't you?
There's another sixteen weeks.
You do each study in etude that way.
Then you go back to the end of the book.
And you do the whole book, minus the etudes, every day, by memory,
as written each study to high C.
For six months.
As soft and as fast as you can play.
As soft as you can play.
After six months, that's become easy.
Do each one in C sharp.
You spend a month to six weeks.
Then to D.
A month to six weeks.
And then to E flat.
And then to E and then to F.
And then if you want, you can spend the rest of your life doing that whole book every day to F.
There's about three and a half years of chlorine.
Okay.
So now we've got what?
Seven years of technical studies to do.
Next camp is 1997.
Be there.
All right.
Now.
Chalk.
All right.
Now.
St. Jacob's.
Page 157.
Do each exercise with every single model.
Including K tongue or double tongue or triple tongue.
If he doesn't have that model in there.
And you just go all the way through that entire second volume.
And that will take you at least two and a half years.
At least two and a half years.
The first teacher I had to give me that book.
He said, yeah, buy it.
Looks good on the shelf.
Nobody ever plays it.
Now guess what?
Claude made me play it.
And everybody else were studying with it.
All right.
Part six.
Literature.
Including jazz studies.
Come on you legit guys.
Okay.
All right.
Work on that.
There's a lot of guys that wander around with master's degrees and doctor's degrees
who can't play happy birthday if they get beat on their instruments.
Because they never had to go, well let's see.
How does this work without music?
If you work on improv, your ears will get a lot bigger.
Okay.
So work on that a little bit.
Okay.
Then.
Part seven.
Flexibility studies.
That's these two books here.
What you can do with the irons then is it looks like this.
Look at this.
You can do 7, 9, 11, 13, 17, 19, and 21 one day each week.
On the alternate day do 8, 10, 12, 14, 18, 24, 22.
Odds and evens.
Okay.
When that starts getting really easy put one glissando, two octaves on the end of each
one of those exercise notes.
Now the only one that will be an exception that's number seven.
Okay.
In other words you're going to go.
So that one starts on a different octave.
All the rest of them you have to do a two octave gliss.
Alright.
When that becomes easy do that.
When the book gets easy two octave gliss plus a third.
When that gets easy.
Good luck.
Two octave gliss and then a two octave and a third gliss and two octaves and a fifth
gliss.
If that ever gets easy then do what you saw Claude doing.
Four glisses.
Yeah.
Do you want to hear it?
I'm going to play it.
Okay.
Alright.
Now as an alter to that book if after a while you're getting burned out on irons.
Okay.
And you want to start working on some other type of flexibility the Smith book is great.
The big difference between Smith and irons is this.
Smith uses the seventh.
I'm sorry irons uses the seventh.
Smith doesn't.
Smith doesn't have you do this.
He has you have to jump the seventh.
Alright.
So he makes you jump that all the time.
And the way that works is just what the guy says in the book.
Do one through four, then one through five, then one through six, then one through seven,
eight, nine, ten.
Do the whole part and half of the book.
When that gets easy start adding to start getting better in the back part of the book
and then do the things Tom did.
Okay.
Alright.
There's about three years of flexibility in this.
Alright now same thing here.
Watch what I'm going to do.
Watch.
See this here?
Sometimes guys don't like this.
They get stiff all day.
Or they got to go to a gig right here.
Or they got to go to high school or college band practice right here.
You take this out of here, move all of this up and put this at the end of the day.
See what I just did?
Just take your notes, got this lesson plan right?
Just take this and put a bracket and draw an arrow around it here.
And that will depend upon the player.
I have students who love to do their power exercises to gain the day.
I have students who hate it.
And it has nothing to do with how high or loud they can play.
It's just how they warm up.
Or how their day is put together.
Or how their gigs are put together.
That's about ten years worth of information.
From day one through day pro.
You can use this type of an idea as a maintenance routine the rest of your life.
Take a look at that routine.
What do you got?
You have flexibility.
You have technique.
You have all of the tummy.
You have all of the keys.
Major and minor.
You've got flexibility through the pedals and you have an up routine.
And you have literature to work on.
Can you think of anything else to hit?
Okay.
It's all there.
Don't see it.
Okay, now.
This is a general outline.
If you're playing a show and you're playing Lee Trump at early night.
You're not going to have the face to play all that stuff.
What you might want to do is this, look.
Pedal routine.
Some technique.
Some easy light flexibility.
Hit some tunes you've got to do tonight.
Go do the gig.
Go do the gig.
After the gig's over, hey, go down underneath the pit.
And hit on some of this if you need to.
A couple of days a week is plenty.
You're trying to maintain what you've got.
You're not trying to get better.
You're just trying to maintain.
So this type of an outline can work the rest of your life.
In a Clark book, you should play that every day of your life.
Your trumpet should have come with a Clark book in the case.
Complimentary.
Welcome to Trumpet World.
Okay?
Daddy, what's this?
You'll learn later, trust me.
Okay?
Alright?
So now you know what to practice, how to practice, and when to practice.
You got it, gang.
What?
So you can thrive a red acro legend.
That's why I raise high for practice, okay?
Alright.
Questions?
You have Arvins up there.
Where did that come from?
Well, if you haven't quite finished up the Arvins stuff, that's St. Jacob's.
If you're still kind of grubbing up the last part of Arvins, go in here.
Okay?
Questions?
This is kind of like the last session of the camp where it's kind of like all the data is going to be out here in front of you.
So if you've got a question about something, there's a lot of us in here.
Let's have a serve.
Well, that would come after you've gone all the way to the Clark book on 15 times.
Yeah, there's another Clark book.
Okay?
Well, there's another Clark book that's a real stinker.
Okay, it's called Setting Up Girls.
Okay?
After you've gone all the way through this Clark regime, okay?
And you've really got this thing going, you're feeling great, you do all this stuff, and you want to work on your single tongue.
You just want to say, I'm going to zero in on single tonguing, period.
There's a marvelous book called Setting Up Drills by Herbert L. Clark.
It's 16 pages of hell and high water.
Okay?
Does anybody happen to have that book with them?
You got a copy, Bruce?
Let me show you what it's about.
He was asking where in the routines.
Just eliminate, just substitute Clark for Clark.
Just leave out that one and go in there.
Okay, see the problem with the Setting Up Girls book is it's only a single tonguing book.
The technical studies should work on everything.
And it's only in, each study is exactly the same, just transposed.
Yo, thanks.
Oh yeah, hand them around.
Do you want to see what the book's about?
That's a warm-up.
The kicker of the book is page 16.
Anybody got a metronome on them?
Anybody got a metronome?
Yeah, bring it up here, will you?
Here.
I hated this book when Claude gave it to me.
Man, I was already playing the Clark book every day to F, and he gave me this stupid little scale book, and I thought, what's this noise?
What's Claude doing to me now?
Where's that metronome?
Anybody else got a metronome on them?
Rats.
Rats.
Rats.
Rats.
Rats.
You got one out there?
All right, the directions on that last little study, you're supposed to play the whole thing in one breath.
Single tongue.
And look at the tempo marking you're supposed to get to down at the bottom of the page.
Well, yeah, it says up to 144 beats a minute.
Single tonguing sixteenth notes.
Yeah, all right.
Yeah, all right.
So it's like, the first time Claude gave me that, I could do about 92.
About...
Man, I could halfway through that and my tongue would fall off.
All right?
I am playing it right now.
And then you lock that thing in and you just keep working on it until it gets easy.
Well, finally you get it up.
Single tongue.
Cross my heart and hold the deck.
That's single tongue.
Claude had me doing this whole book every day for a year.
And I would go back to a lesson and he'd go, let me hear that thing through, right?
So I would go...
So turn to page eight once.
He'd have me go...
He'd go...
Okay, fine.
Keep working on the book.
I finally got to the point where I was so sick of it.
I went back to a lesson one time.
I don't know if I can pull off this stunt today.
But I did this.
Move that one.
Okay.
Rats.
Anyway, I played the whole thing, both of them.
I hated my school.
I got all the way through in one breath, both exercises.
And he just kind of looked at me and went...
So I did the next one, and the next one, and the next one.
I got the whole book that way and he goes, oh, bring technical studies next week.
Thank you.
So, and I'm sorry I can't give you that today, but it's like, you know, that book is a single tongue book.
I went from 92 up to 152 to 160 single tongue.
All right?
It took a year.
All right?
So that's another one of these books.
So, so Rich, that's what that book's about.
Okay?
Single tongue.
You want to improve your single tongue?
There's the book.
So, can you give it back to Bruce?
I'll practice that for next year.
Okay, are there any other questions?
Yo, fire.
Is there any questions about the routines?
Any questions about use of books?
Any book that maybe I haven't hit yet?
Yo.
Can you explain characteristic studies about that in a moment?
Okay, characteristic studies of Clark is a violin book.
Okay?
It comes from the Kaiser Violin Method.
And what Clark did was he took the Kaiser Violin Method and brought it into the trumpet world.
But me thinks that probably Clark was playing the violin book where it was written.
But if you want to see what probably Clark was practicing, get the Kaiser Violin Method.
It's still around, K-A-Y-S-E-R, the Kaiser Violin Method.
And you'll find every exercise in characteristic studies in there.
Every one of you goes.
Oh my god.
And what Clark did was he transposed the different keys and brought them into the trumpet world.
Okay?
And the characteristic studies is a book in every major and minor key.
Through every problem of the trumpet.
Okay?
With the solos at the end of the book.
But that book would go up in here like Bronn.
Okay?
I consider the characteristic studies a lot harder book than Bronn.
Because that comes way up in Bronn for me.
Okay?
But it's a great book.
Get the violin book and look at it.
Yes?
Say you're starting off your beginner of a play.
Did you recommend seeing your teachers once a month or twice a week?
A beginner?
Once a week.
Every week.
Okay?
We mentioned Aaron Harris.
Just so you know that.
Well, this is the...
I don't want to mention that book.
I mean, there's a million books.
Okay?
I mean, it's like we just scratched the surface in this session.
I mean, a lot of you are sitting around going to this.
I see your eyes going to tilt signs.
You're starting to roll up, you know.
I mean, this is just touching the surface of this.
I mean, I have a library of books at home that are like,
just for etude books.
If you buy every one of those solos on that solo list,
you're going to be part of the national debt.
I own every solo on that list I gave you.
I mean, I hate to start thinking.
We ever have a fire at my house.
I'm going to go in the studio, throw the chair through the window,
and just turn any books out.
You know?
Say this, say this.
Well, here's the dog.
Say this, you know?
Okay?
But if you're serious about it,
you're going to buy all this stuff.
I mean, there's all kinds of books.
Harris was another violin book,
based on Bach and violin inventions, according to anything else.
See, these old,
hey, these old cornet players didn't have method books.
They went to the violin methods,
for the most part,
and made them into cornet books.
And the scary part was they probably watered it down to us mortal people.
You know?
Did I answer your question?
I got 13 things going to last.
Another question?
Look.
Yeah.
Kind of.
What time is lunch?
Okay, I mean, this is important.
But look,
I'm a teacher.
Okay, now usually when you say that in America's society,
you all go, gee, I'm sorry.
Couldn't you do anything else in your life?
You're stupid or something?
Okay.
All right, look.
Okay, if you want to write this down, I don't care.
You know, whatever you want to do.
It's Evans' philosophy, 1A at this point.
I'm a teacher.
I think in society, that's the most important thing you can be.
When bus drivers in L.A. make more than starting teachers,
I think there's a problem.
Teachers are every bit as important as doctors.
Doctors keep the body going.
Teachers keep the soul and brain going.
Okay?
When you sit down in a room with a person to give them information,
you've got to be, number one, honest.
Number two, positive.
And number three, a friend.
Teaching's a two-way street.
I learn as much from my students as they learn from me.
And any teacher doesn't admit that.
It's not a teacher in the real sense of the word.
Okay?
The minute you start teaching, you've got to be willing to give
and give and give and give and give.
The whole idea of teaching is to get that generation a little bit better.
To give that nine-year-old the information you learned when you were 22.
With a little bit of luck, we can leave somebody a legacy.
Look what Claude's done.
He didn't have to do that.
Look what he's done.
Look what Clark did as a teacher.
Okay?
Remember my beginning of this whole discussion?
Every one of you know a teacher that made your life change.
And I'm going to leave you the story of my own personal experience
and now the two of us.
My first trumpet teacher's name was Edwin Bonewood.
My second trumpet teacher's name was Edwin Bonewood.
Great name for a trumpet teacher, Bonebrake.
Okay?
I joined band because I hated history.
Mr. Bonebrake came into our fifth grade class and said,
who wants to be in the band?
I thought, oh God, not more work.
And all these dweebs were signing up for band.
Yeah, I'll do it.
I'll get the transmission.
Okay?
And so finally I thought to myself,
what if a band's going to meet sometime during school?
I raised my hand.
True story.
He goes, you want to be in band?
No.
The teacher's already going, he's the troublemaker in the class.
I go, when does band meet?
Eleven o'clock.
History.
Sign me up.
I'll be there, right?
Okay?
So I got in band.
Okay, totally unannounced,
we came into band with our song blues
and there was all these weird contraptions
laying around called band instruments.
Well, I'm a very systematic person.
That's one of the reasons Claude and I get through along really well.
So I'm going down the list looking for something black
that uses all the fingers.
And thank God he didn't teach oboe.
I'm going down the list and he's like, zing.
I pick this instrument up and I went, what's this?
That's a clarinet.
Clarinet.
Cool, I want one of these, right?
It works, right?
So he said, okay.
Went home that night, went to my dad
and said, dad, I need to have a clarinet for next week.
Well, my dad's an engineer.
My mom's a secretary
and I was the oldest one in the family
so there was nothing going on here.
My parents are going, okay, clarinet.
So the next night, my dad comes home
with his case.
Right?
Big old black case and the word con on the side, right?
And I went, what the hell is this?
I open it up and I'm going, dad, it's a trumpet.
It's a clarinet.
I went, I don't want to do this, right?
And I said, no, I wanted a clarinet.
My dad's about this tall, about this big, right?
He goes, I paid three months rent and I'm going to play.
Okay, right?
So I went to band class the next week really mad.
I hadn't even taken out a case.
I hadn't played a note on it.
I'm sitting in band like this.
Maybe I'll be a history prof, you know?
And he's going down the line.
Mr. Bowenbrink's going down the line.
We're all supposed to play G.
First kid goes, right?
Next kid goes, no, who knows?
Next kid.
I mean, you know, who knows, right?
And he gets to me, right?
The kid who wants to play clarinet and he goes.
Who's a little dweeb with glasses down, right?
He goes, do it again.
So he put me in the next band, right?
So now I'm in advanced band, right?
I can play G, right?
Well, I'm this little itty bitty guy, you know?
And I had polio when I was a kid and I had glasses this thick so I was dead last year.
I had this book that looked like it had gone through World War 92, right?
So I played for about seven or eight weeks.
And Mr. Bowenbrink comes up to the band room, up to the classroom.
He calls me out of class.
He goes, come with me.
So I got my clarinet, you know?
And I go downstairs, right?
And we had this band room was the grossest thing.
Smith's School in Akron, Ohio.
It's still there.
It was boys' head, girls' head, cool and boiler room, the band room.
Okay?
And baby, that place had an interesting smell no matter what.
And I go in there and we had this piano.
I'm not sure.
I mean, he probably sounded like Horowitz to me.
He was probably going, boom, cha-cha, boom, cha-cha, right?
And he goes, I want you to play two solos at the PTA meeting next week.
Oh, okay.
That's cool.
I'm stupid.
I'll do it.
You know, right?
So it was Mary Whittle Waltz and Southern Roses.
So he gets out this rickety music stand and puts it up here.
He goes, okay, four bars and three.
Ready?
He goes, no, no, it goes higher.
Four, five, six, seven, eight, nine, ten.
He goes, no, it goes higher.
I go, that's his rick.
Right?
Well, he was a trumpet player.
Right?
And he goes, he takes my book off the stand.
He pushes it in his accordion briefcase.
Right?
He pulls out this solo carnet book.
The kind where you open it up and it's still cracked.
Right?
He puts it on his stand.
He says, Evans, I swear, you never called me David.
Evans, don't you ever play third again as long as you live.
And boy, did that turn a light on.
Yes, sir!
You know, I went out and played that solo.
Right?
And he had this old tattered picture of the holly weird wolf.
Right?
Out in California.
Right?
And this thing, I mean, we'd all thrown bubble gum at it,
Valfoil, you know, reeds, you know.
And he'd really get mad at the band.
He'd go, someday, one of you kids are going to play there.
He'd go, he's on drugs again.
Okay.
You know?
And so I was taking private lessons from him the whole bit
and we moved to California.
I was playing on the LA Brass Society,
which was part of the LA Philharmonic.
And we were going to do a thing at the Hollywood Ball.
And the section rotated.
So it was kind of like, one minute Tom Stevens was first,
the next minute I was first and he was seventh.
You're looking down the road going, you know, I'm trying to play.
Well, luck would have it, I was a new member.
Of course, they had it all figured out.
When the solo came to play, guess who got stuck?
Yeah.
Well, Dave, guess what?
Go out there.
So click, click, click, picture, picture, picture
of little Evans and the Hollywood Ball.
So a few years later, I was going to go back
and visit all my relatives in Ohio.
And I thought, God, I wonder if old ball breaks still alive.
Right?
So I got in the car, I drove in the driveway,
and he's back there tinkering, right?
And I went, you know, less hair, you know, the mustache,
and I'm walking up with my trumpet case.
Right?
And this little resume thing.
I walk up and he's looking at me like this, right?
I know this person, right?
And I go, Mr. Boehner, can a kid still get a $3 trumpet lesson here?
Evans!
He still never called me Dave, right?
And he goes, so we're sitting there talking about things, right?
I hadn't seen him in probably 11, 12 years.
And I go, you still teaching?
He goes, yeah.
I says, you're still at Smith School?
Yeah.
And he's still got that stupid picture of the Hollywood Bowl.
And he got really mad.
He says, good.
Mr. Boehner, do me a favor, will you?
One of your kids did.
And he just started crying like a two-year-old.
And we hugged.
It felt really good.
And that's what a teacher can do.
One time, he pulled that dumb little kid out of history class
and got him playing.
See what a teacher can do?
It's neat.
So if you're going to teach somebody, this is the information.
Give them a positive thing.
Many things can happen.
Okay?
See you later.
Good lunch.
All right.
Thank you.