Claude Gordon Brass Camp 1991 - Dave Evans on Constructing Routines

Transcript Summary

Okay, what my goal is in the next hour or so is to give you a lesson plan to
attach all of this data that you've got this week.
The goal of this session is to give you some lesson plans to put all this data
together. All right, so far you've learned about breathing exercises, you've learned about how the Clark
book works in articulation, range studies, down studies, long holds, all this information. And as
Clark says, it's not what you practice, it's how you practice. And so now if you've never been to
one of these seminars before, you're sitting with all this information and not having a clue what to
do with it. I mean, do I practice my range study first today, last day, middle of the day, when do I do
this, when do that, how do I do it, where do I put it, what do I do, you know, that type of thing. That's
what we're going to do right now. Okay, now the only bit of trepidation I have about doing this
session each year is that I don't want you to get the idea that this is a ditto master plan of attack,
that you take this home, learn on a ditto master and start cranking it out to everybody in the
neighborhood, every brass player in America, okay, that when you study with Claude or you study with
any really good teacher, obviously they're going to adjust things to fit into what it is that you
need, okay. What I'm going to give you is a general plan of attack. I don't want anybody going home
and saying, oh yeah, just plug this in, you get gooder, okay. That is not how this is going to
work. But it will give you data in a precise type of order that you can go about doing things, okay.
Okay, first of all, you need to have all of the books we've talked about this week. So,
just to go through it one more time, Brass Plane is No Harder Than Deep Breathing, and that's a
book on the Gordon philosophy of playing a brass instrument. Before you start any of this, read
that book. You need, if you're a younger player, you need physical approach to elementary brass
playing. And as I've said many times to my session, a younger player doesn't mean young in age,
it means young in your playing ability at the moment. Then you need to have systematic approach,
you need daily routines, you need tongue levels, you need a book called Thirty Velocity Studies by
Claude Gordon, you need an Arvin's book, a St. Jacob's book, all of the Clark books,
Irons, 27 Groups of Exercises, Smith Lip Flexibilities, and the Charles Colon Flexibility
Books. Basically all the books we've been talking about all week, and I will, all these books will
be mentioned again as I go through here, okay? All right. Now, we're gonna start off with beginners
and intermediate level, how you go about setting up a routine. And for you advanced folks, go ahead
and take notes anyway. You're gonna have some beginners come along the road here, so you want
to do it, okay? All right. What Claude does and what I do is I set my lesson plan up with numbers
in a particular order the kid has to do it. So, one of the things I always hated with a lot of
teachers I had in my life was you go to the lesson, they give you all this stuff, they wouldn't write
anything down, and they wouldn't really tell you what order it was supposed to be in. So you'd go
home going, well, what do I do first each day? You have to end up experimenting, you know? Well,
that makes me feel bad, I probably shouldn't do that first. Well, that makes me feel good,
I'll try to do that every day. So, you write a specific lesson plan, okay? Just like going
to a good band rehearsal. The guy doesn't say, gee, what do you want to play today? Okay, so you
have a specific lesson plan. So, this is beginners dash intermediate, okay? First thing you do is
pick up your microphone. All right, you do part one, physical approach, telemetry brass
playing, and that comes in treble as well as bass clarinet. You play exactly what's written.
You follow the directions exactly as written. Now, one of the mistakes that a lot of people do with
that book is they go through the book and then put it away. There are books in this world that you
play and you put away. Belwyn Bambuilder, book one. Once you're done with that, you put it away,
give it to the next generation of kid coming through. There are books in this world that you
play over and over and over again. This is one of them. What you want to do with this book is you
go through it, all the parts as is, as written first time through. Then you go back and begin
extending. You can extend down to the pedals and you extend the range up. So, the second time
through, you start working on the pedal end of things and you start taking whatever the range
might be. It might be just an F or a G. Start putting that up high. You keep using that book,
the part ones and twos, until you get down to pedal C and up to a strong high C or D. The
opposite word here is strong, where you already feel comfortable with that high C or D. Then,
you take a break. You take a break. Get the horn off your face. You take a break. Whenever I write
this here, that also means warm down. Now, with a young player who's not ready for pedal tones,
all you can do is just go like C, G, E, C, low G, C, and do that three or four times for a young
player. That's your warm down if you're not ready for pedal tones yet. So, instead of doing the pedal
tones, you're just going to do this little thing. Three times, and that gets their chops relaxed.
All right, now, part two is some type of technique. All right, and with a beginner, the books that I
strongly recommend are Lighting's Visual Band Book One. It's a really good beginning band book,
especially for brass. It has lots of good songs in it for the kids, and it has good technical studies
in it. It's a very good beginning band book. Yes? Highland Music. For book two, I strongly recommend
Ployar Band Today Book Two, and I believe that's published by Bell & Mills. That's a good next step,
and what these two books do is they have lots of scales in it, lots of songs, because young kids
need those songs. So do old kids, okay? You have to have songs. If you're just doing this stuff,
they're going to quit. You need to have that emotional outlet you heard Frank and I talking
about, okay? So, they need to have these songs. This is very good book one and book two. Then,
Ployar, P-L-O, Lighting, L-E-I-D-I-G, okay? Yeah, if I mess up, jump in, okay, if you're missing
something. Highland Music. All right, then part three can be etudes if the kid's ready for them,
and that's what I suggest is 48 etudes by Sigmund Herring. H-E-R-R-I-N-G. One R, H-E-R-I-N-G. Herring,
okay? And for solos, that Ruben Star Series, and you can buy those individually or they also
come in books now. You can buy, they're kind of like five solos at a time, okay? Just start
a good old solo one. Then, end the day with flexibility. And what you can do with a beginning
student is just have them going low C to G, ta, ti, ta, ti, ta, ti, ta, ti forever. And one of the
things about younger students is remember, by simply changing an exercise, you've done an
entire different problem. And what I'm talking about is simply this. A young person doing this
exercise, and then doing this exercise, that's radically different. If you want to see what I'm
talking about, take a piece of paper, put a series of dots on it, and then block it and put a mirror
out here in front. Have somebody set the pencil on one of those dots and then say connect them in a
particular order. So you look at a mirror image of what you're trying to do. You'll go up a wall
real quick. And a lot of times when we teach young kids, we don't realize that there's an entire
different problem to them. Radically different. Okay, and doing, and radically different. Okay,
and don't be in a hurry. It may take a long time for a kid to go, you might give that exercise for
months. It's okay, they'll like it. They'll keep working at it. They're not gonna get bored of it.
And then flip it over. So flexibility and things you can do is irons, exercises one through six.
That comes from the 27 groups of exercises published by Southern Music. Okay, yeah.
That first break is the only break then?
Oh no, that's the really big break though you want to do because they're gonna be a little bit tired
if they're working on this rain stuff. Okay, they can, they should rest always through here. Okay.
Now breathing exercises. Now if you're working with a very little tiny beginner,
they're probably doing a cycle of 10 is gonna be too much for a very young little kid. So you
just basically say, look, I want you to kind of stand up each day and just, and do that a few times
before you play. And tell them to keep their chest up. And that's more than enough for them. I find
with young kids doing 10 of those in a row, first of all their bodies aren't ready for it and they're
not gonna do 10. Okay, and just kind of mention to them, do it every day, breathing exercises. So you
start right off the beginners with breathing exercises, smaller amounts. So here we have, if a
youngster, say, is in fifth grade, you can work him through this routine. This will take to cover
all of this material and get that person up to a nice high C or high D to cover these two beginning
books here and to get then maybe into like Rubank, advanced volume number one. That would be the next
step after this, by the way. Rubank, advanced volume number one. That would follow the Ployard
book here. To get all of that covered, you're looking now at about two and a half to three years
worth of work. And if you're familiar with this material, you know exactly what I'm talking about.
This is a lot of material. So now you've got a student from fifth grade to about eighth grade.
Yeah, it is cold here. All right, so here we have two to three years of work. All right, next stage.
So now let's say you have a student come to you that plays pretty well, can read music,
got pretty good chops, can play up to a pretty strong high C or D, doesn't have an armature
problem, doesn't have a lot of really bad technical problems, and he comes to you as a student. All
right, that would be the intermediate to moderately advanced. Okay, all right, here's a type of routine
you set up for that type of student. You have a part A and you would have to do irons four, five,
six, and seven. As they can, you might want to just do four for a while, then add five, then add six,
then add seven. Those are flexibility studies. Those are tongue level studies. It gets their
tongue and airstream coordinated, gets it going. Then part B would be like daily routines. That's
Mr. Gordon's other book. Okay, daily routines. Pages five through 31, one lesson per week with
models. All of the models. Now, with maybe somebody who is maybe on the back end of this intermediate
to moderately advanced, you might have them doing iron number four, page five, two models this week,
maybe two models the next week. So that page five, that might last you for three or four weeks. It
may take four or five months before you can do all of this. The biggest thing with young
ambushers and young players is don't be in a hurry. Don't be one of these guys. I've got an
eight-year-old kid that can play triple C. I'm sorry, you know. I've got a nine-year-old kid
who can play the hint of an open octave. I'm sorry, that's disgusting. Don't live through your student.
Let the student grow through you. Don't push so hard that you're causing problems for that kid.
Take your time. Part C would be Claude's book tongue levels and you just do the very beginning
of the book with them. Just a very easy one. Get them working on that ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta-ta.
Yes? Yeah, every day. No, no. Kid's gonna do number four. He's gonna do one lesson out of here.
He's gonna do one of the exercises on the tongue level. Look at about maybe ten minutes of work here.
Yes? Yeah, this is an everyday routine. You're gonna start the top of this and go through it,
okay? And eventually it's gonna work out the two and three, four hours of work, okay? I'm giving you
a lesson plan, a plan of attack. I'm telling you how Claude does this thing, how he puts it together.
You guys have known Claude for a long time, you know, are sitting with him right now. This might not
look exactly what you have right now, but it adjusts to each of the teachers, each of the students,
okay? All right, then part one. Systematic approach, lesson two, part one. Okay, now look how this fits
together. See this over here? You've got me down to pedal C. So now he's over here, right on pedal C.
See how this hooks together? When you leave here in a few minutes, you're gonna have about eight
years of lesson plans, okay? Then systematic approach, lesson two, part two. Relax your lips,
long rest. Part three. Clark, technical studies. What you should do on this is you do one study per
week, tongue for a week, slur for a week. So it's gonna end up being a two-week routine. But you've got
one study each week, tongue it for a week, slur for a week. So it's gonna be one study per two weeks.
Then Arbins. Now he's covered the fundamental St. Jacob's exercises back here, right? He's done
that first part of the St. Jacob's book. So now he's ready to go over here to Arbins and begin
plowing into that book. And what you do is this. Pages 13 through 22, two or three exercises each
week from those pages. Those are those little interval studies in the front part of the book,
little scale studies. Then you do pages 23 through 36, two or three studies each week. Those are the
rhythm studies. Okay? So pages 23 through 36. Then you start on page 59 and you do one or two
of those scale exercises. That's where it starts. Okay, so you're doing scale studies. One or two lines
each week. Then you go to page 76 and you progress through all of those chromatic studies. Give one,
maybe two exercises a week and go through that whole series of chromatic exercises. Then you go
back page 155 and introduce triple tonguing. That's also where you introduce K-tonguing. And the way
you do that is you have them single tongue the whole exercise, then you have them K-tongue the
whole exercise, and then you triple tongue the whole exercise. Don't introduce all three ways of
triple tonguing. Just introduce one way of doing it. My own personal preference is ta-ta-ka to start
off with. Ta-ta-ka, ta-ta-ka, t-t-k, t-t-k. Okay? So that's what I do with that. Then page 191,
that's the songs in the Back of the Yardens book, My Pretty Jane. Okay? You have them do a couple of
those to work on their phrasing and you should play it along with them and you should play listening
to opera recordings if you're doing this on your own. You heard Frank play those beautiful opera
pieces last night. Every one of you could play those songs, but could you play the music in those
songs? That's the hard part. Okay? Don't just blow notes around the room all day. Okay, then probably
a nice break at this point. Okay? So he's done one, two, three, four, five, six, seven, eight, nine
exercises out of the Yardens book. Yes? Right now? You're up to about an hour, about including the
breaks and the rest. You've got about an hour. Time to get a life. Tell him if he wants to be a
successful trumpet player, he's going to have to practice an hour to an hour and a half a day. I
tell my kids practice before you go to school, sneak into the band room at lunch, and practice
when you go home. Seriously, I never went to high school without having warmed up in the morning,
gone through some type of routine first thing. The idea of walking out on the football field playing
Lee Trump in high school without having blown before I got there, that concert B-flat scale
I haven't seen him make it for me. All right? All right, part five would be etudes. And I
strongly recommend Sigmund Herring with one R. 32 etudes. Those are wonderful little etudes.
Along with that, solos. And that would be off of those sheets I gave you, levels one or level two.
And then end the day with flexibility. What I suggest here is irons again, and depending
upon where they're at up here, you're going to repeat this again. Or start with seven and go
seven through 14. And you don't add one on until it's easy. You keep doing seven until it's a piece
of cake. Then you do seven and eight until it's easy. Then seven and eight and nine until it's
easy. Until you get to seven, eight, nine, ten, 11, 12, 13, and 14. Now you've got some big muscles,
this endurance you're starting to build, you're starting to hold that embouchure together. It's
like taking a small weight, just doing lots of repetitions. The irons book is the best flexibility
book in the world. All right, now look at this for a couple of moments here. Systematic approach is
a year's worth of study. That's if you only do one a week. Most of my students take, you know,
it takes a couple of weeks to get through each one of these. Clark, to go all the way through it,
two weeks each has 16 weeks of study right there. Arvins, that's a lifetime. Etudes and solos,
I mean by the time you go through all 32 of those etudes and really work them up, every dynamic,
every tempo, every phrasing, every ID you can do, and work through about 20 of those solos,
get the irons books where you go seven through 14 without even thinking about it, what do you
think? I mean that's at least another couple of years worth, not including this idea, to really
get it so you can feel good about tonguing in the Clark book and slurring in the Clark book. All right,
now up here, let's go back up to systematic. Let me show you how this looks in the next idea.
The part ones here are lessons two through 18, and then you bridge to daily routines. Now I'm going
to show you how that bridge works in a few seconds. When I was studying with Clyde, we went through
lesson 18 in systematic, and he didn't have daily routines published yet. He had them on onion skins,
and he had somebody in LA that would run them off for us, and you know, but the daily routines
book was about this big, about this thick, and each page was like a cardboard sheet in Clyde's
handwriting. Okay, and it was expensive. And what we do, we get to lesson 18, and we stop those
part ones, and then go into daily routine. So if this kid's gone fifth grade through eighth grade,
this young person here, or you as a young player, you can take eighth grade plus, and this will get
you at least in 10th or 11th grade working on this stuff. If you're in eighth or ninth grade,
you're able to handle this stuff. Welcome to honor band, honor orchestra city. Okay, so now
here's this lesson plan here. Now, Shirley, I guess that TV can't move, can it? Because I
try to use that chalkboard, but maybe I can just use this one here, okay? Can you catch
everything on here? No, I really don't want to do that, because I want to kind of, what I want to
do, if it wasn't for this microphone, I want to start over there and show you how this whole
thing runs. So I'm just going to go for it. Is that okay, folks? All right, cool. I got it.
I'll handle it. A little bit of chalk dust going to try to get a little bit better. Is that okay?
We aim to please around here. Name of the game, you'll live a lot longer. Maybe that hair will
start growing again. Okay, all right, now we're going to go up to advanced student. That's all
of us. That's you, that's me, okay? This type of thing. This is somebody who's probably an advanced
player from 17 to, I don't care, 120, whatever, okay? As long as you want to play. This is kind of,
you've gone through all this program, your range is up to a pretty doggone good high E or F.
Doesn't have to be double high C, all right? You've got really good flexibility. You can play
7 through 14 in irons in your sleep. You've got the Clark book pretty well figured out,
tonguing it and slurring it. And now you're ready to go and start really working on some
advanced ideas, some advanced techniques. All right, here we go. Part A, irons. And what you
do here is you do an alternate day routine. One day, hit the odd numbers. The next day,
hit the even numbers. And you want to do at least 7, 9, 11, 13, 17 one day. The next day,
8, 10, 12, 14, 18, the alternate day. Beyond that, you want to add a few more, go ahead. They start
getting pretty high to do on the front end of the day. Then, part B is tongue levels,
and you go more into the book. Another book that I haven't mentioned, but the clod certainly put
me through, and I'm sure the rest of the students too, is a book called Schlossberg. The problem with
the Schlossberg book was Matt Schlossberg never wrote a book. His son-in-law published it after
he had died. And it's kind of like if you took all of the lessons you ever had with a particular
teacher and cut all the part ones, twos, and threes out, and throw all the part ones over there,
all the part twos over here over there, and then you just kind of gather them up and published it.
That's the problem with the Schlossberg book. But it's a very good book for controlling the
air strength. But you have to work your way through it very carefully. All right. Now, at this point,
you really aren't having a problem with your range. Like I said, you've got a pretty doggone good
E ref. So now, at this point, you have to make a decision. How heavy is your playing day coming up?
Is it a light day or a hard day? Do you really want to work on your range right at the front end of
the day or do you want to work it at the end of the day? When I was studying with Claude,
especially after I got things going with him, it got to a point where if I really worked hard on
my range, I didn't feel comfortable the rest of the day working on symphony stuff, going out and
doing gigs right afterwards. And we talked about it and he said, well, that's okay. Just put it at
the end of the day. So the next two parts can either go right where I'm going to put it now or
it can go at the very end of the day. All right. So we go. So I'm seeing it. The adjustments. Part
one. Daily routines. Lesson 12. That's on page 47, that lesson 12. And he has a whole series of
models and you cover every single model. You're looking at about six weeks per lesson. Now,
when you first start off, you'll notice it says optional. It has a double G. Optional is read,
don't do it. The way that works is like this. You go all the way through it, leaving off all
the optionals. When you get all the way through that and you feel really comfortable after about
a month or two, then you add the C sharp. And you go through that and you feel comfortable. And then
you add the D until you feel comfortable. Now that might be seven or eight months. Then you add the
E flat. Pretty soon you're adding the G. You're feeling pretty good up to G. That's how that works.
You don't put the roof on until the foundation is dry. You don't go, oh, that G feels terrible.
Of course it feels terrible if you haven't done anything else backwards away and add on. Okay.
Then you're finishing up systematic approach. I'm just going to put S, A, two. So now you've
gone all the way through systematic approach, all the part twos. That may have taken you a year or
two at least. The book you go into next is Claude's book called Velocity Studies. And for those of you
that are not familiar with that book, that's based on the hand and piano studies. And he has taken it
as a technical study and a range study. And it is marvelous. This book here, as Claude said,
is kind of an elementary book. This book here is plain in all the ranges. You've got a K tongue in
the upper range. You've got a double or triple tongue in the upper range. You have to control
the upper range. This really gets you plain up there. All right. Take a break. Yes.
Right. That's a continuation. Yeah. You don't do these together. No. This is like this comes
after that. All right. Part three. Clark Tech Studies. Now at this point, you're going through the
book with the models we've taught you this week. Spend a week on each one single tongue. Spend a
week on each one K tongue. Double tongue it for a week or triple tongue it for a week, whichever
model fits. And then slur it for a week. And take each study up to high C. All right. You go through
that book, the first study goes to high C. The next one goes to G. Extend it up to high C. Fourth,
fifth study goes to F. That's not really important unless you're feeling really good about it.
Probably by this point you are. Take it up to the F. Six, seven, eight. Work out all of the
etudes backwards, just like Claude showed you, how you practice. That's eight months and a week.
All right. Then part four is Arvind's. Continue with the Arvind's book. Take those pages there
and just follow it logically all the way out. I like to teach my students the triple tongue first.
Ta-ta-ka has ta-ka in it. When you go to double tongue, it's easy. I have found people that have
learned the double tongue and not triple tongue really struggle with learning the triple tongue.
It's ta-ka-ta-ka-ta-ka-ta-ka-ta. They've got to add something. Ta-ta-ka-ta-ta-ka-ta. They're going to
take away something.
So I always do a triple tongue and then double tongue.
After you've pretty well pounded the Arvin's book down,
if you take that approach, you'll
be surprised how fast you go through that book.
Then you go to Sage Combs.
And you start on page 157.
That's where the interval start is da-da-da-da-di-da-di-da-di-da
technical studies and math.
Arvin seems to have based his technical studies on scale work.
Sage Combs has seemed to base his technical studies
on interval work.
That's why I use Sage Combs after Arvin's.
And you go all the way from page 157 to page 228,
doing all of the models, all of the keys, everything.
And that's years of study.
That is years and years of study just on that one thing alone.
Then etudes.
All right.
Now, at this point, you've gone through the Sigmund Herring
You've gone through those solos.
So now you're ready to work on books
like Goldman Practical Studies.
Brunt, Orchestra Etudes, Charlier, 36 Etudes.
And that's the order I do them with my students.
I do Goldman, and then the Brunt book, and then the Charlier.
Along with these, you should be working on a Concone and Bordone
You should be working on transposition.
You should be, depending upon what direction you want to go
in, working on different pitch instruments.
If you're interested in orchestral work,
the next instrument you buy is a C-tropical.
Go get a C. Start running out of blood.
And then be listening to other players.
I am the ultimate pack rep.
I own everything.
I own everything.
Claude even jokes about it.
You want it, see Dave.
And so it's important.
Listen to other players by every record, by every cassette,
by every CD.
If you can't find somebody else to ask,
make a trade with somebody.
Do something.
Start listening to every player you can listen to.
Louis Armstrong, Harry James, Maurice Andre, Wynton Marsalis.
Doc Severinsen.
If you're interested in going to an orchestral,
start making a library of all of the great orchestras
playing the big pieces.
Buy all the Shostakovich, buy all the Tchaikovsky,
buy all the Beethoven.
Start buying those things and listening to them.
Build a library.
All right, then solos, you're working
on levels three, four, and five off those sheets I gave you.
Now, so far, that's about 2 and 1 half hours a day.
All right, this is at least three practice seconds.
Then finally, at the end of the day, flex ability.
The Smith Flexibility Book is very good.
Charles Cullen, volumes one, two, four, three.
Start working on those books.
All right, now, with this, I alluded to this earlier.
There's part one and two over here.
You can take this, this whole section here.
If you have a heavy day of playing
and you don't want to pound out the range,
take that out of your routine and put it over here
at the end of the day.
If you do that, you won't be building range as fast
as it would be over here.
But it's already assumed you've got a pretty good range.
So to maintain that range and build with it,
you can put it over here.
This type of routine, take a look all the way back here.
And I want you to understand what this is.
This is a systematic approach to becoming an incredibly
good player.
Look over there and look how the whole thing flows.
Part one, find part one and two on the intermediate
moderate level.
Find part one and two in the advanced level.
It's a very logical flow, a progression.
Take a look at the technical studies.
Find part two over there.
Lighting, band book, ploy art, band book, rubank.
Follow it across the board.
It becomes Clark and Arvinds.
It becomes more Clark, more Arvinds, St. Coves.
Go back over, find the etudes, follow that across.
See how that works.
Look at the flexibility, how it slowly
advances and expands out.
See how the solos advance.
Look how the day opens up like a beautiful flower
from beginning to advance.
Somebody once said, it's a flower.
Plant the seed, nurture it, and let it grow.
You don't throw some poor little beginner
in this type of thing.
I know teachers are trying to do that.
This is a whole systematic idea.
Now, the most important book you'll ever buy in your whole
life is Clark Technical Studies.
Doc Sertzner says, I hate that book, and I play it every day.
So let me show you how Clark puts you through that book.
Here we go, Clark Books.
We've already talked about single K, double, triple.
Now, what you do is the second time through the book,
we've already gone through the whole book, Tum and Slurred.
The second time through the book,
you've gone through it one model a week, single K,
double or triple, Slurred.
Now, here's the third time for the book.
Go single tongue, K tongue, double tongue or triple tongue,
Slurred, one model each day, and spend a month on each one
of those that way.
Sure, use those models, single K, double, triple, and Slurred.
One model each day, not each week, one model each day,
spend a month on each one, each study.
OK, fourth time through the book, single tongue, K tongue,
double tongue, triple tongue, and Slurred,
and you rotate it through the study.
So you would do first study, first line would be single tongue,
second line would be K tongue, third line would be double tongue,
next line would be triple tongue, next line would be Slurred,
next line would be single tongue,
and each day you start with a different model.
So the whole thing's different every time you go through it.
Yeah, you use the models, but each line's a different model.
And then each day you start with a different model.
So today line one was single tongue, tomorrow it's K tongue,
the next day it's double tongue, and you just go,
great, your figures get used to a pattern,
and the next day the pattern's different.
You're K tongue, OK?
So you spend a month on each one of those, at least a month, all right?
Then after you've done that, you put that book away,
and you get setting up drills.
It's a little 16 page book, Clark Setting Up Drills.
You read Mr. Clark's directions, and what you do is you go at it.
The first two exercises are chromatic scales,
he has models written in the book, and then the rest of the book
is single tonguing exercises through all of the keys.
And then he has a little exercise at the very end of the book
that will make you into a single tonguer, OK?
All right?
It's called setting up drills.
It's a little torture exercise at the end of the book,
that it's just a double C scale.
It's like.
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But it's like, you can do that, and I'm lucky, when I started doing that thing, it was like,
it just was horrible, because I never really worked on straight singletongues.
You do that book every day, alright, you memorize all of those studies, and you play one study a day,
slurred to high C, then you start playing the whole book, you go through it to high C,
just get it going, so you're still good about it, you're going back and redoing it, okay?
Then, when you've gone all the way through it, that's like eight weeks, then you start playing the whole book,
all of the studies, all the way through, by memory, to high C, for six months,
then you play the whole book, by memory, to high C sharp, every study, every day.
You do that for a minimum of a month, then you go and do it to D for a month, then E flat for a month,
and then E for a month, and then F for a month, and by the time you get to F, you're going so fast,
and so quick, and so light, you can play that whole book, and a little bit over and out, you're just hauling,
by memory, the studies, do the eight years alone, just the studies, and you can do that for the rest of your life.
Then what?
Step on some water, see if you can work, you know, okay?
I mean, and that's how Claude had me, I'm looking over, you guys are going, yeah, I remember that,
you know, that's how Claude had us go through that Clark book.
And Clark, that's how Claude had me, Clark had him do it, just to get that F,
get over that whole book, by memory, just as fast as you can go.
Now, ladies and gentlemen, stop, look at this thing here.
That'll keep you busy for a heck of a long time.
That's at least eight to nine years of work, right there.
And you haven't repeated a darn thing.
You've got the Clark book, every time you've done the Clark book, you've done it differently.
There's no tricks up there, there's no shortcuts.
It's straight ahead data on very logical books, most of which have been around for a hundred years.
And I promise you, you can talk to guys like Carl and Tom and then Brad and Rich and Larry, myself,
any of us have been around Claude for years and years and years, Paul, you know,
and they'll tell you, it works.
Dr. Kattarevich uses this stuff, at the courtesy of the music.
Dr. Schuster had it all translated into Russian.
This is going to make you a complete player, top to bottom.
You put your horn in that car to go to a job, you're not worried about what's on that page.
You can do it, you know you can do it.
At any level, if you're a beginner, you can handle that stuff.
I have a sneaky suspicion that, you know, marching along to Buffalo in the beginning band
will probably get handled pretty well.
If you're in eighth grade, I'll bet you you can play the heck out of activity in Project March.
All right?
And more than likely, you can play the whole sweet-knee flat over here.
Probably pretty well.
So, this is going to make you a very successful, very comfortable person.
You'll walk out of a state of confidence, at any level, and know you can do it.
That's how you put all this data that you've learned together.
And the breathing exercises are always there.
I didn't even mention that.
So, it looks like you've gone up like part three and four in these lists of parts,
like five and six, where they are.
You can use this rather than what's right.
Whatever is the mark.
Any questions?
Can we give you a call when we get confused after we get on?
Well, you know, if you write that down, you know, you're in business.
Tomorrow, all of us will give you our phone numbers.
So, if you have a question or anything like that, you can call us.
All right.
We talked for a few minutes about something that you kind of touched on in the practical application sessions,
about good days and bad days.
How many of those factors are physical, psychological, whatever?
How many are controllable and how many are just inevitable?
If you go through these routines, rest as you should, rest as much as you play,
go at it reasonably and correctly, your bad days will start evaporating.
Only you will know you're having a bad day.
You used to get the double A. Well, today you got the double G.
You can single tongue that, say no drills, single 144.
Well, today's 138.
Your bad days will still be pretty deep.
The bad days will start going away, honestly.
I mean, on my bad days, I can still play what I've got to play.
What do you do if you're getting a whole string of bad days?
Probably analyze, A, clean your horn.
Sorry, sorry.
Check the pads, your upstroke and downstroke pads.
If they're really bad, you're going to be putting those notes in weird spots,
and that can just tire you out like crazy.
Clean your mouthpiece.
These are all dumb things, but a lot of times the students who clean out a mouthpiece
will give them a good day again.
All right?
Check what you're practicing.
Maybe you're doing too many etudes and getting stiff.
What happens a lot of times, you get the etudes and solos,
and, man, you're just into it, and the clock's going whirling around, you know?
When you're working on an etude book, you can have a phrase,
sit back and put eight bars of rest in it.
Usually that's what causes bad days.
You're working too hard on literature.
You're not resting enough.
What do you do if, for some reason, you can't practice for several days,
like you're sick or emergency out of town or something?
You back off the routine.
Instead of doing a range really hard, you do it really easy.
Instead of working really hard on your literature,
you just need to leave it alone for a while.
I mean, every day you've got to do part A, B, and C,
or that first part reasonably,
and you need to every day hit a little bit of stretching out,
whatever that is.
If you're a little bit out of shape, don't stretch out as much.
Every day you need to hit some technical studies.
Every day you need to hit some flexibility studies.
You don't have to every day hit literature.
So I take a week off after Christmas,
and I take a week off after all these camps are done.
I don't want to see it. I don't want to look at it.
I don't want to touch it.
It's like heroin withdrawal.
It's like my wife goes, God!
You know, it's just like, just go out and cut the lawn, do something.
But it's like, I've got to practice. I've got to practice.
And it takes me about two or three days to go,
I don't have to practice. This is great, you know?
And I come back, and it feels pretty mushy,
and I just kind of slowly put it back together.
I take about a week off.
It takes me about three or four days
where it's going pretty good again.
Yeah, but we're all on vacations.
I take two a year from the beast.
That puppy and I are good friends the rest of the time.
Okay. Questions?
All right. Thank you very much.
Thank you.