Trumpet Lesson with Claude Gordon teaching Susan Slaughter April 1981 - Lesson 3

First one number seven and put the gliss on it. Let me see how that feels today. Now, of course, don't you put it on
Well, it says so in here
I tried it this morning already
Oh
She already is better than yesterday
But and you get more new notice coming down is where you'll have problems getting all the notes
But that as you work on it, you'll learn the feel of just dropping, right?
Okay. Now you understand that book, right? Yes. Now we finish that
There's only had one question. Okay, I should to keep
Building on the number of times I repeat the slurs
No, just as it's written. That's all. No, you don't you really don't need any more because you'll be doing enough
And if you overdo you're defeating your purpose say in other words, remember we're practicing to train and if you get that amount of training
and if you go like you by the time you do the whole book or
7 through 24
That'll be quite a bit of blowing anyway
And if you do if you do any more then you're just tiring and that doesn't mean anything
Well, there are a lot of attitudes that think you have to get yourself just worn out to do any good and that's not true
You just feel you shouldn't feel good when you quit, right?
all right, that's that book and we can put that away now on the on the
21st second week you will finish that book on the 20th week
Then we'll do the 21st 22nd just to nail it down then on the 23rd week we'll start the
That's not a hole just a good note
And you do but make sure you feel that jaw drop I want that movement say now you go down seven positions
Let's try that
Oh
Susan when you give when you give the manager that
Stuff of Steve's would you drop me a card right away and let me know who has it and
And what records they heard, you know right away and then
Columbia artists can take over and follow up on that thing. Okay, and I can tell them who to
Well, we can wait then well then I'll know they have them and then because I don't want anyone to contact them until they have the
Stuff, you know, okay. I notice Andrew Watts is
Gonna be on here the first one. He's very good friend of Steve's
so
He's a great player. He's a big name right now. I can just maybe mention that because they think very highly of what yeah good
Yeah, that would be a good idea. They wanted a recommendation without calling
Yeah, just tell them that they're very good. Yeah, very well acquainted good friends
All right, and I think they're both Boyston or first the person offers
Oh, I think I think Watts has
Another version of Rowan has I think two or three that they use
Watts and Steve and his wife. I don't know what there's any others even enough
Okay
Yes, it's bound to be
It's back little little quaver on you and everything, you know that you don't worry about cuz that'll see you're letting loose of everything
It's bound to be a little shaky
Sooner or later though, it'll it'll come out of it. All right now the a flat
Ah
Now after you finish the seven positions always go back into the first one again
Okay
That's the way Smith did if you are you familiar with the water Smith remember he always came back in his flexibility
It does the first one again
Okay
Okay now after just a little rest I'll come on to the next one and there's two parts to that
I
I
I
I
I
Did you go back to the first one you will forget that for a while
I
Okay now the next one
Yeah
I
I
I
I
Okay, now the next one has a little twist in it
And both parts have that same jump in there
I
As they get easier now you can
Pick up your temple, but at the same time these are not for speed as such
Okay, oh sure
I
I
That's all right. Everyone misses that at first.
That's all right.
Okay. Now the next one, watch carefully coming down because it reverses its direction.
Yeah, you didn't reverse it that time. That's why you have to really watch it.
Okay. All of these just have that little twist to them, every one of them. Okay, next one.
Okay.
Okay. Now the next one has also got, if you're not careful you'll be playing the one out of Smith and it's different.
It's from the top once you get going.
All right. Where's your sister Maggie?
Here.
Okay.
Okay.
Okay.
Okay.
Let's have the last one.
One more.
Now the next one is octave. You'll feel your tongue on this one.
Okay.
Okay.
Now that was seven, right?
Yes.
Now for that one lesson you'll do one through seven every day and that's listed here.
All right. Now on the next lesson you'll do one through eight every day. Let me hear eight.
Now these get a little trickier so take a good look at them.
Okay. Always repeating the first major ethic on like the eighth time or something.
You know, always go back and repeat the first one.
Always go back.
Let me have that. I think I'll put a pedal on that too.
No I'm not. I'm going to add to it. Let's see.
Now you'll have to finger for the G and the G flat and from then on it'll just be the same vowel but then it gets to F.
Okay.
Okay. Let's try that.
Leave it a little flat.
It's okay. It breathes in the middle, right?
It's all right to breathe in the middle.
Oh yes. For as far as now is concerned don't be out of air.
You get where it's comfortable and even if you have to break your tempo that's perfectly all right.
Okay.
But by the time you get here your pedals are going to be much easier to do.
So do I have to slow down?
Oh, I would do the pedal job, definitely.
Okay.
All right.
All right. Very good.
Now which one was that?
Number eight.
Now nine jumps even more so take a good look at that.
Okay.
These are fun, really.
That makes sense.
Okay.
All right.
Okay.
All right.
Okay.
All right.
All right.
Okay.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
I'm going to just enjoy playing so much more because you know exactly what you're doing
Okay.
All right.
All right.
All right.
All right.
All right.
Okay.
Now on the following week you will do, what was that last one?
Number nine.
All right.
Now you'll do one through ten.
Now ten is a little longer.
Okay.
And it repeats.
The repeats are good.
Then it goes up and into where you've got four parts.
Light on the lower notes.
Okay.
All right.
All right.
Okay.
All right.
All right.
All right.
All right.
Light on the lower notes.
Now do that last one again, Susan.
And see what you feel that tongue is doing on that.
Just try one more.
Do that whole little section there.
And watch that tongue and see if you get that feeling like it's drawing forward towards
the lower teeth.
If I do it slowly I can.
Huh?
Yes.
If I do it slowly, yes.
Right.
You can feel it pulling forward.
Now watch that because that's the way it goes to go higher, higher, and higher.
It's that forward type E feel there.
Okay.
And the tip may pull up higher on the lower teeth.
You let it go.
Okay.
Whatever the tongue does and the note is pure, you know that's the way to go.
All right.
All right.
All right.
All right.
All right.
Okay.
Was that the last one?
No, I just got some water.
Oh, you got some more?
Yeah.
All right.
Okay.
All right.
All right.
All right.
All right.
All right.
Now if you should get a little tired and just rest for a little longer.
All right.
All right.
Rest a minute now before you go on.
Now the next one is pretty tricky movements too.
So take a good look at that first.
All right.
All right.
That's why I always love to play a light horn instead of a heavy one.
We used to beg the manufacturers to make us a light horn, not just from the weight
of it but from the fact that it plays easier and it sizzles.
They wouldn't do it.
It costs more money so they wouldn't do it.
We used to buy those old French Bessons and the minute we'd get them we'd take them
and put them on a buffer and cut those bells down until they were so thin.
Boy, then they really sizzled.
I bet.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
Yeah, definitely slow those down and then you'll, that'll help your pin point.
Of course by the time you get there you're going to be more ready for it, isn't it?
All right.
That was the last one?
Yes.
All right.
Where are you now?
Ready for twelve.
Twelve.
Okay.
Let's take another good look at that.
That's the trickiest one yet.
That's the trickiest one.
That's the trickiest one.
That's the trickiest one.
That's the trickiest one.
Don't tongue the pedal though.
Oh.
You'll do it subconsciously just to make yourself more accuracy but force it to slurp.
All right.
All right.
That's right.
That's darn good for the first time on me.
All right.
Okay.
Now the next one.
Is that the sixteenth note?
Yes.
I was going to say don't breathe before the top one.
And slur the whole thing except when you take a breath.
That's the hardest one I think so far in the straight.
All right.
You go all the way.
Okay.
Let's take a look now at the next one.
What's the number of the next one?
Fourteen.
Fourteen.
Fourteen.
Okay.
That's the number of jumps there too.
Okay.
All right.
Let's put a pedal on that.
There's some longer jumps there too, okay?
Right, let's put a pedal on that too.
Okay, let's do that once again, okay?
Very good. All right, and you go all the way.
Now, the next one. Now, 14 will be, we will be to the end then, that will be the 38th week.
But we might as well go ahead down to the following weeks and finish them up.
Okay, now then let's take a look at 15.
Now that gets trickier than all, let's take a good look at that.
Very good. Let's put a couple pedals on that too.
All right, now the next one is a take off on 15, of course you go all the way now.
Now 16, like that, let's try that.
Very good. Now see when that tongue is right, those jumps aren't that wide.
And as you get more of the knack of it, it's going to get easier than ever.
All right, you go all the way. Now let's hear the next one.
That's those triplets, only it's extended this time.
You see, without a tongue it would be impossible, you just couldn't do it.
I see it now.
It's so exciting because pretty soon you won't want to put the horn down
once you start really feeling it back. It's just so easy.
All right, now you go all the way. Now let's see the next one.
Now this is sections again, take a good look at it.
No, it isn't that. The next one, this is straight line.
Watch your intervals, they jump around. Let's try it.
All right, now make sure you have plenty of air if you need another breath.
Let's try it once more.
Now as they go a little brighter, once you get used to them,
they'll be much easier with just a little movement.
They get easier then. But when you first do them, do them always slow.
Good, feel the tongue?
Yes.
Okay, you're down to seven positions.
Now the next one is in four sections.
And that last section, don't take a breath in there.
I want that.
Now it goes there. Let's try that one.
Very good, that's very good.
Now the reason I didn't want the breath that last one is so that you had to have that movement.
Let's try it once more.
Whole thing?
Yeah.
Yeah, that's right, that's very good.
All right, you go down to all the positions.
Now then the last one starts on the bottom.
He had it on one and three, you do it on all three.
Let me hear that.
And that goes up to seven positions.
Right, I'm going to see if I can find that book and show you how in-sync it makes.
You can keep going up if you want.
All right, fine.
Light on the lower notes so you don't tie yourself out.
Don't hold back, notice I didn't say soft.
I hate to use the word soft.
The minute you say soft, then you automatically hold back.
And I don't want you to hold back, just do it like, this is nice, you know.
And key modified now, all tongued.
Let's try it.
This book here, you said something about doing the chord and concentrating on...
No, don't, don't.
Yours is fine, it'll work that way anyway.
If you concentrate on it, you're going to overdo and it might do you a lot of harm.
The big rule I'm going to give you, forget your lip.
Don't even think of the lip.
It's working great, nothing will change it, so leave it alone.
So would this be like ta-ti-ti-ti-ti-ti?
A little crescendo, ta-ti-ti-ti-ti-ti-ti.
Now even Clark, when I first did this, of course I was so screwed up.
And I did it with purposely doing that contracting thing.
But I had to, because my lip had no development to it.
But you don't need it and I think it would do more harm to even think about it.
So forget the lip.
No matter what comes into your head, forget the lip.
Now, what I want you to do, and this is very important, now, you hold your horn comfortable,
but you're doing it that way.
That's good, so keep that flat, and don't let the horn twist over.
Just keep that thing right straight up and down.
Now, what I'd like you to do, keep that thumb stiff like that, right on the valve.
Never in between.
You get in between, you're going to do this.
Now, if you do that, your fingers are going to come up like this, or across the valve,
and they'll be very mushy.
They'll never develop any other way.
Keep it straight.
Now, you see, it falls right on the ball of the finger, not on the tips on the ball.
When you're practicing the technique, let this slide.
Now, I want those off the valves.
Never let them lay on the valve.
And when you bring them down, you strike them.
Hit them hard.
That's the only way they'll develop.
It's like a pianist, if he just, like an organist, couldn't play piano unless he practices,
because the keys are so light, he'd just push them down.
But you strike them.
Now, you'll hear lots of teachers say, oh, no, that's not fast enough.
Believe me, it's many times faster than pushing them down.
And every technician has always done it this way.
Go very high, exaggerate it, and strike.
Make them noisy.
That doesn't hurt at all.
Let's try the next one now.
Good.
Now, before long, you'll find your hand becomes an entity all on its own.
And when that really happens, you're going to say, gee, that feels so good.
That's going to become one of the best fingers you've got.
And right now, it's generally probably clumsy finger for you, you see.
But so you do it.
Lift it high and strike it hard.
It's like a lot of, oh, so many times in the studio playing,
I'd have a fine trombone player beside me and a bower, you know, and everything.
And we'd come along to something and go...
And inevitably, he'd say, you better play this, because he had no fingers.
So, but later, it really feels good.
So really work on that.
And I've stamped that again.
That's the important thing here.
Okay.
Let's try that on the next one now.
Excellent.
Excellent.
And that's K modified, right?
Yes.
Good.
Okay.
I know it is, because I know you're talking that well with that.
All right.
Now, let's jump just for now.
Don't you skip a one.
But for now, let me hear 13.
That's halfway.
That's halfway.
Okay.
All right.
Now, number 20.
Now, you're a little higher, so you blow a little stronger,
and think T-T-T, right?
Good.
All right.
Let's jump to 25.
Now, a little stronger, because you're up higher.
Yes.
And T-T-T.
All right.
Now, when I get ready for the C, I want the...
Yeah.
That's what you'll feel.
But don't try to place it.
You follow it.
That's good.
Now, as long as you're watching the tongue and it is...
Now, as long as you're watching the tongue and it'll get a little better and a little better.
Not overnight, you know that.
But as time goes on, it's going to get better and better and better.
Now, the etude, let me have the book.
The etude, Susan, we do exactly whatever way you're doing the study.
But I want you to stop here and get a nice breath.
Just take a second, see?
Beep, da, da, da, da, da, da, da, da, da, beep, and stop a second.
Now, go ahead, and when you get here, you can take a second there also, and then go to that.
Never mind the one breath, that's the finished product thing.
Okay.
All right, let's try the etude there.
Light on the bottom.
See, we're not, remember, we're not practicing your tire, we're just working on it, see?
Now, go ahead.
A little stronger on the top now.
Okay.
Now, then you go all the way and play the etude.
Okay, now, then you go all the way including the etude, right?
I want you to break the etude just like we did on the tongue.
Still break in the middle.
Yeah, okay.
All right, that's the fourth week, so you'll be four weeks on that.
On the fifth week now, let's turn to number two.
I've written a lot of fingers, and I want you to go by them strictly, and we're going
to work on that hand until it really works well.
Now, the first week is always tongue, K modified, so let me hear that first one up there.
Now, then the horn off, and then the next one, and then the horn off, and then the next
one.
Now, let me hear the key of A, do it very slowly with those fingers, they'll be awkward.
You would never finger it this way, it's strictly an exercise to develop the hand.
When the master was third on all A's and E's.
Okay, and work that out until you can pick up a little speed on it.
Now, B flat is no change.
Now, key of B, some of the E's are third, some are one and two.
Okay, let's try that.
Lift those fingers now.
Now, C has the same situation on the last couple of bars.
If I don't have it marked, then you use conventional things.
Let's hear that.
Okay, now there's, the next one is D flat, there's no change, D, E flat.
Now, let me hear E at the bottom of the page.
And I think you had the, I must have the same thing, all the A's and E's are thirds.
Okay, now hold the first valve down, all the time, just hold it down and lock it.
And play that same fingering.
Now, it'll sound a tone lower, but you use that exact same fingering.
The first valve locked.
On E?
Yeah, on E.
Lock it down, and forget you got a first valve, it stays down.
Use the alternate fingers, the pencil fingers.
With the first valve down?
Yeah, so your first one would be third.
Okay.
Okay.
Okay, let's try it again.
Keep that first down hard, and just read those fingers.
Tum it, though.
First week is all.
Very good.
Now, you actually played D, say.
Right.
So notice what I wrote.
When you get to D, you hold the first valve down, all the time, and use the fingering down on E.
So you'll do it when you get to D, and then when you get to E again.
Okay.
And pretty soon it'll get easy, of course.
All right, now on F is the next one.
F, all A's and E's are thirds.
Okay.
F sharp is no change.
As you hear G, all A's are thirds.
Very good.
Now there's no more changes.
Let's hear the last one, C.
Now there's no more changes.
Let's hear the last one, C.
It says D, S, and off, or something.
Yeah.
That'll be afterwards, though.
Play the C first, and then we go.
Okay.
Now D, S, A, B, A.
And the D, S is back there on D flat.
You see, this doesn't go as far as you should take it.
He's probably to get the book evened out.
They left it there, but you should continue.
Okay.
Now, regular fingerings on this, on the A, B, A.
Okay, now the D.
All A's, A, B, A.
Very good.
All E flats.
Very good.
All right, now, on the first week,
which is the tongue week, we'll start with A2.
Now, notice what I wrote here.
How do you practice?
That's the name we're going to go about it now.
All the great soloists used to practice this way,
and when you do it, you'll never miss a note.
We'll be trying.
So on the tongue week, I want you to start here.
Now, when you do, be sure to watch your carryovers
and repeat.
Otherwise, you get it wrong.
It's hard to keep.
I'll tell you about it again, four times.
If you miss, just start it.
It's got to be four times correct.
Chest up.
Do we have practice now, Mike?
Is it?
Yes.
That's the way to do it.
All right, now, take it from here to the first note.
Let's sing it all.
D, da, da, da, D.
Da, da, da, da, da, da, da, da, da, da, da, da, da, da, da.
Now, let's put those two together.
Four times?
Four times.
Ha, ha, ha, ha, ha, ha, ha.
Ha, ha, ha, ha, ha, ha, ha.
Ha, ha, ha, ha, ha, ha, ha.
Ha, ha, ha, ha, ha, ha, ha.
Now, you're back up one more from the F-sharp and the two.
We'll put all those together.
We'll put all those together.
All right, now back up one more time.
All the way.
All right, now we'll back up one more.
All right, now back up one more.
All right, now back up one more.
All right, now back up one more.
All right, now back up one more.
Now we'll back up one more.
Okay, I'll go all the way.
Okay, I'll go all the way.
Okay, I'll go all the way.
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Okay, now we'll back up one of them.
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Okay.
And you, it'd be ridiculous if he was a fan,
because your first round was already down.
Right.
Okay.
So that's the general master.
Now this goes to an F,
that doesn't mean you're gonna have to get there.
You take all the breath you want,
As far as you can, sooner or later you're going to go to the F and that tongue is right
and it's going to be very easy.
But until that happens, don't worry about it.
Go as far as you can and then glug out.
These you don't need now.
I'm going to skip those.
The A2.
How to practice, two lines a day.
And don't worry about the one breath right now.
That will come later.
Okay?
You'll get it once in one breath, maybe twice.
Bobby McDonald's single tongue's in one breath.
I have students now that K-tongue in one breath.
And I did it twice in one breath slurred.
And I've been told, he never mentioned it, but I've been told that Clark did it about five times in one breath.
That's a bit of a blur.
He was.
I have my single tongue in 144.
16th notes.
And I thought that was pretty fast.
And it is a fast tongue.
In fact, in tongue 144, he's never going to have any problems.
And I could do it watching the clock.
We had a sweep hand.
I could tongue with the metronome for one solid minute without taking a breath either.
On that metronome in 144.
Clark could do it at a hundred and thirty.
No matter what you do it, it's just so phenomenal.
I don't think anyone today realizes, you know, what a fun, fabulous player he was.
And the records don't show it because they play what was commercial song.
Right.
That was it.
Now then.
You know what else in there?
Now this A is third.
And then you switch back to the one that you missed right now.
Oh, that was back there.
You don't have to do it now.
This, I hated this standing on our first date.
And then later on, it was one of the best days of the book.
He was loving it.
But you hate it because it's hard.
Right.
Now remember your key signature.
That's the main thing. It's F-sharp minor.
And we also play these A-sharp.
Now it goes minor, major, right?
Minor, major, minor, major. Now let's try this minor.
Okay.
Okay.
Okay.
Okay.
Okay.
Follow those all the way. If I don't have a mark, you use dimensions.
Okay. Now let me hear this.
The dimensions are good when you're practicing.
You can go on for now.
Okay.
Okay.
That's what I want you to have.
And that's the same over here.
Now when you get to the C, you have the same over here.
Now if you were playing this in the passage, you would probably use third on there.
But I want you to work with the fingers.
Okay.
Okay.
All right. Now these fingers would be
correct at all times
in a revolving chromatic. This would be the proper finger.
So work thoroughly on it and get in the habit of it.
Because that would be what you want to become habit.
Now the finger is good for the triplet only.
Right.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Now that's the basic fingering all the way.
When you get to two flats.
Here on your C.
Here's a D flat to C.
Two and two. Let's try that.
Okay.
Okay.
Okay.
Okay.
Right.
And of course that follows too. Now when you get to here
you do not need these arpeggios at this time.
So let's go to
42, which is your
and the same thing.
Now this is just a continuation of seven. The same type of thing.
And incidentally
all through the book that hold should be over the last note.
Not over the bar. Don't get so mad.
So you go
and that's the strongest point.
All right. The same thing.
And enjoy this on your flat.
Okay. Now that's as far as you get. We won't do the ninth steady.
Next time I see you, you'll probably be ready for that. But that gets up to right here.
Now, then on the following week
we're not done yet. So we will start back on the first steady.
Now we're gonna do it this way. I want you to take a big breath.
That feeling. Nice chest up. Now, your thought, oh this is
so easy. And then very light.
like that, four times in one breath.
Let's try that.
Let's try that.
A little more.
You wouldn't have to go quite that fast.
You notice if they get mushy, it's because they're not going down all the way.
The only way they're going to do that is just to hit them down.
Of course, by the time you've gone to the bookstore and come around to this, you shouldn't have that down.
All right, you go all the way four times in one breath.
Now, when you get there, we have here one, two, three, four, that's 416 bars.
Two, four, six, eight, ten, twelve, fourteen, sixteen.
So feel ready, if you can do that four times in one breath, you shouldn't have to do this.
So then, when you come back, you'll start working four times on each one.
Then, you'll try it for one breath.
All right, the following week, you do it six times in one breath.
See how I've got that marked.
Yeah, let's see, number eight.
Oh, yeah, I started you out six times in one breath, instead of four.
Which you could do very well.
Then the eight to it in one breath, right?
What's through?
Yeah, in the next lesson, you'll drive eight times in one breath,
and then two times through on the A2, you try for it.
On the next one, you do...
So you play the A2 through?
No, that's here, I shouldn't have had that there.
Right, block number one, each eight times in one breath,
and the A2 two times in one breath.
Now, if you don't make it, don't worry, you're going to start working for it.
All right, on the next lesson, you'll do ten times in one breath,
and try for three on the A2.
And that's as far as we'll get, we're up to your 38th week.
Okay, that's all a-clar, you understand it?
Yes.
Okay, now, remember, lift those fingers, I've got that everywhere,
so you can't miss it.
The thumb, too.
Yeah, the thumb, oh, definitely.
And you'll get, so you'll really love that,
because you're going to feel that hand get so flexible within itself.
Okay, now, you had some more questions?
Okay, let's see, yeah.
Like, during weeks 27 and 28, you had four days on each model for the daily routines?
Oh, 27 and 28?
Uh-huh, week 27 and 28.
Daily routines.
Over here.
Yes, and you, yeah, in other words, you break, you don't do those models all at the same time.
Several days on each, and just, what I was getting at is,
what I was getting at is, break it up so that you get a set number of days in the period, in the two-week period.
Okay, and it's all right, you would encourage continuing that?
Yes, and do that in the same way.
Now, here you only have two, so you do a week apiece.
Okay.
Here is just two.
Now, here you've got three again.
Okay.
And so forth.
Okay?
All right, now, if I get to, well, I'll get here, but I mean, when I get there,
Uh-huh.
I figure that's going to be, what's 38 weeks, isn't it?
All right, it'll be the first of January then, probably.
Yeah, uh-huh, uh-huh.
And I'm not certain when our breaks are going to come next year.
Yeah.
Yeah, we won't look until September.
Uh-huh.
But shall I continue on?
Yeah, I've got everything so that you can keep continuing.
Okay.
Now, with this one, see, you only have 14, you can continue through the other, and then just stay on them.
Okay.
And these are, Clark, you can keep doing, like you could start on the number two,
and there's no tongue or anything on when you're doing it for one breath.
It's all story.
You can start number two and start working for four times in one breath,
and the etude in one breath.
And then maybe five times in one breath and the etude twice or more.
And that would be as much on that.
Then number three, you go on and try it as written in one breath.
Okay.
And work it like that.
Okay.
Then on the breathing exercises, each time you inhale, you want,
you talked about not getting a breast load, you're going, you know, that.
So you don't want that.
You just want to...
No.
Yeah, comfortably full so you feel like you got a big, free, comfortable breath.
Okay.
And instead of do it 10 times, five times a day.
Uh-huh.
And then is it all right to do it five times in a row, say?
Yeah, if you feel all right, don't get dizzy or overdue.
Uh-huh.
But you can do it.
You can do it as many times as you want as long as you don't overdo it.
Like this morning I did two, and then I did three in a row.
That's all right.
But I didn't notice any...
Good, yeah, that's fine.
Okay.
And when you start walking, you want to go at least around the block,
and you can increase it as you feel like when you're doing the five steps.
Okay.
Okay?
Is that cover that?
Uh-huh.
All right.
Now, let's see what time we got.
Oh my gosh, half past three already.
And when is your plane ready to go on?
Twelve o'clock.
Oh, twelve o'clock.
Yeah.
Well, we'll see if we can get this done then,
so we don't have to rush or run when we go to dinner.
Oh, well.
You don't have to rush.
I don't think so.
Okay.
Now then, we'll take systematic approach.
You want to break for a minute?
No, but if, you know, you...
I'm going to run and see what's happening if you want.
So that's why they're all a little long.
Now, this...
I want you to always start with that feel.
Right.
Nice, great breath.
Now, comfortable.
You don't have to worry about loud or soft.
Just comfortable, nice sound.
You hold that.
Keep that chest up.
Hold it, hold it.
You'll feel it.
Now just push.
As you start running, I'll try to get louder.
You won't.
But you'll try, you know, to keep it pushing.
And then you'll start shaking like that.
And it's that last few seconds that does the job.
You go, you know, if the tone stops, give it a little push.
But keep the chest up.
Good.
Now tell me if you feel anything around the sides or your back or anything.
Just right there then.
You will feel it there, if that's true.
Okay, but what I want is when you start...
And you'll feel it here.
Yeah.
And after about four or five, you're going to feel like, oh, let me sit down.
All right.
Get the horn off your mouth, always.
Rest about as long as you play.
Now the next one.
Good, excellent.
You felt it then, yeah.
Now in, say, maybe 10, 12 months, you're going to start feeling it.
Oh, that's good.
Because it's going to develop.
And then after two or three, you're going to start feeling warm.
That's the blood circulating.
It's very good.
Okay, now the next one.
Okay.
Keeping the chest up, right?
Yeah.
Now when you go on a job and play, you don't worry about that.
You just start this way and blow.
Forget it.
Don't be thinking of anything then.
But in the practice, you keep it up.
All right, next one.
All right.
This is the only exercise I've ever seen in all my life that actually gets at the muscles that do the pushing.
I don't think there's any other.
Now guys say, oh, I do sit-ups.
Fine, that's excellent.
But it's not going to do that.
That has to be done, you know, and never stop it in your practice.
Now do you suggest?
Because if you go like this, you're not suggesting your arms come in, are you?
Your arms?
You can if you want.
It doesn't, I don't think it does anything or hurts anything.
I know I find myself doing it too.
Okay.
All right.
Good.
You really feel a pull when you hold that chest up, don't you?
All right.
Now the next one.
And that's worth, isn't it?
You know, you go dee da da da.
That wouldn't develop anything.
It's got to be that athletic push to develop something, you know.
Okay.
Now the next one.
Good.
Later on it'll become so used to it and you'll become, that you kind of like that feel because you feel good.
And then you'll be holding on to everything without even thinking about it.
All right.
All right.
Good.
Even though the note doesn't come out, right?
Right.
Okay.
Good.
Excellent.
Okay.
Good.
Very good.
Okay.
Let's go.
How far have you been going down?
I've been trying to get to the pedal C.
The next one.
I can, the C sharp.
Yeah.
And don't worry about it.
Don't try to force it.
Just, the way I worked it out is I always try to go one more.
And that's all.
And eventually, all of a sudden, there it started to come.
Okay.
Good.
Very good.
Okay.
Let's go.
How far have you been going down?
I've been trying to get to the pedal C.
The next one.
I can, the C sharp is pretty good and this, the low C is.
Yeah.
And don't worry about it.
Don't try to force it.
Just, the way I worked it out is I always try to go one more.
Mm-hmm.
And that's all.
And eventually, all of a sudden, there it started to come.
Okay.
Good.
Very good.
Okay.
And don't worry about it.
Don't try to force it.
Just, the way I worked it out is I always try to go one more.
Okay.
And eventually, all of a sudden, there it started to come.
Okay.
And don't worry about it.
Don't try to force it.
Just, the way I worked it out is I always try to go one more.
Okay.
And eventually, all of a sudden, there it started to come.
Okay.
And don't worry about it.
Don't try to force it.
Just, the way I worked it out is I always try to go one more.
Okay.
And eventually, all of a sudden, there it started to come.
Okay.
And don't worry about it.
Don't try to force it.
Just, the way I worked it out is I always try to go one more.
Okay.
And don't worry about it.
Just, the way I worked it out is I always try to go one more.
Okay.
And don't worry about it.
Just, the way I worked it out is I always try to go one more.
Okay.
And don't worry about it.
Just, the way I worked it out is I always try to go one more.
Okay.
And don't worry about it.
Just, the way I worked it out is I always try to go one more.
Okay.
And don't worry about it.
Just, the way I worked it out is I always try to go one more.
Okay.
And don't worry about it.
Just, the way I worked it out is I always try to go one more.
Okay.
And don't worry about it.
Okay.
I see.
And if you don't get to the third, don't worry about it.
Right.
But never let that lip turn.
Yeah.
Okay.
Most of them go to the third, but consistent practice on it is not necessary.
To the second does the job.
Okay.
All right.
I should feel it as much through here as I do through the back, through the jaw a little
bit.
Oh, yes, because that jaw.
I used it so much, Susan, that I kept throwing my jaw at a joint.
I scared the day like that.
If that happened, don't you try to squeeze that jaw shut because you'll break it.
Those jaw muscles are strong.
You just have to let it relax and it'll slip back in the joint.
Oh, okay.
It doesn't happen anymore now because I know how to control it.
But jaw working, and one night it just, we were going on the air one night in a dance
orchestra in a hotel, and just, I yawned, and just before the stick came down, that
jaw stuck, and you don't think I was in panic.
Yeah.
But if something happened just as the stick came down that I relaxed somehow on it, the
things that can happen.
Yeah.
So it may never happen, but if it does, don't panic.
Right.
Just relax.
A dentist will put his thumbs in and go like that and it slips right into place.
And lots of times you'll throw it out when he's working in your mouth, you know.
Very uncomfortable.
Okay.
B flat.
Right.
Okay.
And you go on down there.
Now, part two.
It used to say, take a rest there.
Right.
This is actually, these two are the same really, so don't rest.
Just come right back up.
Now this is the pedal seat, right?
Mm-hmm.
This is just the opposite.
You're going up, and it's tough.
And this is a short hold.
It's not long.
Okay.
And that's to a crescendo only.
So it will be.
This will be a little under.
Leave it.
Mm-hmm.
So it will be.
D, D, D.
Just like that.
Okay.
Just like that.
Like that.
Like that.
Like that.
Like that.
Or off.
Now, when you're starting in the, from here on, test the pedal with the octave first.
That's not only for intonation, it's for the feel.
D, da, like that.
Okay, now C sharp.
Okay.
Now the critical thing is that you do take advantage of that rest.
Most players will not stop.
Mm-hmm.
They just go right on, and they go, what happened?
I can't play anymore.
You know?
Okay, next one.
Okay.
That's what you want?
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
And then we didn't even have a music program in our school, very small, like 18 in my class.
Eventually we consolidated with a nearby school over 68. So when I was 10, I hired a music teacher and started a program and my parents said, what do you want to play? And I said, play.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.
Yeah.