Trumpet Lesson with Claude Gordon teaching Susan Slaughter April 1981 - Lesson 2

Transcript Summary

How does it feel today?
I'd say a little easier.
It's kind of difficult to imagine the time.
I'll do the last line too.
I'll do the last line.
Okay, now let me have the book and I'll show you what I want to do.
Come on over here.
We'll work, like I showed you, by adding one each week, right?
And we'll work up through 14.
Now when we get to 14, we're going to start back on 7 again, and that'll be in your list.
You can study these before you go.
But we're going to do it differently.
Now don't be like some players.
They think, oh, I can do that and then just jump over and do it.
You're sure you can do it, but they don't want you to do it yet.
Wait until it says it on here.
Now, I want a glissando from here and back down to the low F sharp.
Just like a xylophone.
The more notes, the better.
Don't worry about being too clean.
I don't want them to lock like that.
You mark it on the first one and then, of course, you do it on all of them.
One question.
Did you want me to do this four times without a break?
No, you break every time.
Now let's take that just from here and let me see what you do with that glissando.
The more notes, the better.
And don't be tight on it.
Just let it go.
And once you get into it, you'll find that coming down is always the most difficult
on anything you do, coming down, because that's where you're controlling that tongue.
People don't realize why it's harder, but it is harder to come down and keep it accurate.
Try it once more.
Like that.
Now let's hear the whole thing.
All right, keep going.
Would you rather I not stamp in your book?
No, it's fine.
Actually, you're going to get used to it.
I have fellows come in.
They've been gone maybe a half hour.
All of a sudden, they drive back up and say, hey, you forgot to stamp my book.
They get used to it.
I grab my finger and that.
I had one guy come in one night.
He says, he's going over to play a job.
He says, can I borrow your stamps?
I says, why?
He says, because I'm going to have to site read everything.
I'm afraid I can't do it unless it's stamped.
That's great.
I know that was priceless.
Yeah, that's good.
Okay, let's go ahead.
That was too clean going up.
All right.
Don't lock them in.
Just glistle.
Okay, make sure.
All right.
All right.
And don't be out of air.
All right.
See, if you're even slightly out of air, then that kick is going to come hard.
So get a breath.
On this one, it's the repeat.
It's a great place to get a breath.
On the repeat mark, either time, first or second time.
All right, nice.
All right.
See, if you're even slightly out of air, then that kick is going to come hard.
All right.
And don't lock them in.
Just glistle.
All right.
And don't be out of air.
All right.
On this one, it's the repeat.
It's a great place to get a breath.
On the repeat mark, either time, first or second time.
When that happens, take it on the last quarter notes and do it again because you're working
for a feel.
Now remember, Susan, it's never force.
It's that feel, the feel of that note, where that tongue goes, and when you miss it, never
get upset or excited because that doesn't look good.
And it's not because you weren't strong enough or anything, you're as strong as anyone in
the country right now as far as playing.
It's that you're working for that knack.
Like you ever see these vaudeville shows, you've probably played them where they stand
a beautiful girl against the wall and then they'll throw knives at her and just encase
her with knives.
I've seen that so many hundreds of times.
Never have I ever seen a knife hit a girl.
Now, those knives are sharp, they're not fake, they're really sharp.
And he throws them hard because they've got the stick, if they bounce they could slice
her or something.
And boy, they go in, right there, and if they miss two inches, they'd kill her.
Why doesn't he miss?
Because he's not guessing, he knows.
Exactly when he throws it, he's not guessing at all, he knows exactly where it's going
to go.
He went through myriads of repetitious practices until he got the knack, the feel.
And it's the same with this.
You're working on that tone, you can't tell it where to go, but you have to follow it.
Sooner or later, after thousands of repetitions, you're going to start getting the knack.
And that's what we're working for.
Trombone playing is never brute force like they try to make it out today.
It's the knack, the feel.
So when that happens, fine, stop and do it again.
Maybe two or three times.
Pretty soon when you feel it lock in, just kind of remember in your mind how it felt.
And you'll miss it a lot of times before you finally get the knack of it.
Okay, next one.
You want me to do the quarter notes again?
You see what you did when it flipped up finally?
It kind of hung up a little bit, then it kicked in.
And then eventually, it's going to get easier, and then you want to make sure you get all
the notes you can.
Okay, next one.
Now it seems always a little strange at first, but these things are never hard to do.
It seems tight, but when it finds the knack, everything is loose enough.
And don't start looking for problems, because you'll sure find them, and then they'll just
give you more problems, and it won't do any good.
All you do is just keep doing it, and pretty soon it'll work out.
Guys will come in and say, well, it feels like this.
I know, it may feel many ways, but that you ignore.
It'll take over.
All right.
Let's hear the last line.
If you do it every day before you leave, you've only got one more day, but it'll even be a
lot better.
The main thing is I want you to feel, yes, I understand, so you're comfortable.
Yes, right.
And I want you to get back there and start worrying.
All right.
Let's turn to the next page.
Now let's do the same thing with this one.
At the end?
At the end, yeah.
In fact, let me mark it while we're at it.
This was certainly easier.
You know, it was easier when I went back from the seat.
Actually, it's amazing how quick it'll start falling in, and you'll love it.
In fact, everybody, when I take them off of this book, because you can't stay on one thing
forever, when you finish it, then there's another set of things.
When you finish that, there's another set, and the reaction is always the same.
Oh, can't I do that?
No, got to move on.
Can't do it all.
Now, when we get to these, now see, we've gone back from 14 and put the gliss on.
Yesterday, we didn't use the gliss.
But when you start on 17, you will be doing the gliss right away, because you've already
done the gliss through that.
Understand what I mean?
I have a couple of questions to ask you about the breathing, because I was working on that.
I was going to ask you if you worked on that.
It seems like by about the ninth or tenth time of taking it in and out, right just right
below the ribcage, it feels very tight at times.
Yeah, it will.
But it's usually towards the end.
Yeah, as you're doing it a while, it will.
That will come out, too.
Don't worry about it.
Try not to even be conscious of it.
Well, but that is the way I feel in the middle of the Messiah.
There's only two or three things I play that I feel that way on, and that's one I have
to play every year.
That's when you're getting a little exhausted, see, and you're really pumping air, and you
want some air, and that's where you get a feeling of it.
Well, I sure do.
But I'm certain that getting the tongue in the right position will help a great deal.
That will help that, too.
It surely will.
It gets so easy, that thing.
But the air, yes, you will go through several stages of air, of feelings like that, and
the sooner you can get to walking, it will help, too, the five steps, you know.
I walked around the room.
It's a nice big room.
That's good.
Yeah, it's a very nice room.
Well, that's good.
But that will come out.
Yeah, everyone mentions that.
And you should, sooner or later, you'll start feeling it back here, and around the sides
a little bit.
Yeah, about the sixth or seventh sign through the ten times, I begin to feel it back to
Right, and that's where you should, see, because that shows it's pumping right.
Now, also, you will get feelings in your stomach, but you ignore it, just because everything
is all tied together.
Does that help, now?
Does that help answer that?
Oh, yes, uh-huh.
I don't want to worry.
Well, I was connecting that feeling with the other feelings.
What you were doing, yeah.
And you notice you get more going up than coming down.
It wants to hop coming down, and that's normal.
So you keep trying to get more.
All right.
All right.
Now, let's go ahead with number nine.
Let's use it on one and three here, so we get off that low one.
All right.
Now, let's go on to ten, and do it on two and three.
See what, you've probably got an idea how much this is going to help that tongue, because
you're going to go down.
All right.
All right.
Now, let's go on to ten, and do it on two and three.
See what, you've probably got an idea how much this is going to help that tongue, because
you're going to go down.
So do that one again, and really watch the tongue now, and see what you can feel on it,
just from watching it.
All right.
Should I make it as quick as?
No, just about.
That's great.
But don't, like some people want to make a hold on the top like it was for getting a
It has nothing to do with that.
I just want the.
That was good.
Did you see the tongue?
And it's normal for it to kind of, once in a while, until you get the exact feel for
it to stick like that.
Then you have to make it move up.
I think that's what it's been doing all along, is not putting it forward.
Let's try it again.
Just the last part.
All right.
You're going to do very well.
Some of the guys fight it, you know.
You're just going right along with it.
No, that's what I came out of here.
I'm never going to fight it that I didn't spend the money, and just be spending the
Number 11.
I'm going to do the same thing.
Let's do it on A.
Number 11.
I'm going to do the same thing.
Number 11.
I'm going to do the same thing.
Let's do it on A.
That one came easier.
If there was any that I thought you'd hang up on, it would have been 11.
That's the way they always do it.
That was the best one.
Let's go on with 12 now, and do it on first.
If you do it again, that sticks.
The only thing to do is just think like that.
See what happens.
That one's good.
There we go.
That was 13.
Oh, it came that far.
All right.
Now, let's go on with 13 and do the second rail.
All right, let's do the open tune, the one that's not there.
Does it make much difference that at least in the early stages I'm not hitting many notes in between?
Oh, you wouldn't be able to. You just keep, as it gets easier, you try and make more come out.
Pretty soon you'll feel it and you'll get a lot out of it.
In other words, like we talked about yesterday, I've seen so many cases where professors say,
Well, why can't you do it? I want more notes in it.
You learn how to do it, then you have to go practice it until you can do it.
Too many expect it to happen. Right now, just because you say,
Well, this is the way you do it, why can't you do it? You can't, and there's no way you could.
So don't make that demand on yourself. The time takes care of everything.
You just keep doing it and you know what your goal is, so pretty soon it'll start coming.
But watch that tongue. That's the thing.
All right, let's go ahead with 14 now.
That was excellent.
With others you'll get them, and it won't be consistent. Others will be just lousy, you know.
But what happens, see, progress is never like that.
It goes up, down, up, and some days, whoa, some days way down, and some days way up, you know.
It's always that thing. But all the time that's happening, that line is going up.
All right, now let's go ahead with 17.
Now what did you do?
I just kept bringing it even more forward.
That's right, and I don't hear it every time. I'm glad that happened. That was good.
All right, now the next one.
Yeah, I have a hunch that you're just going to move very rapidly on it.
Even the little one helps.
Okay, now let me tell you what's that.
Now go on to the next one.
And you do it on B. What is that, 18?
Go on to 18. Oh, you did 18?
Yeah, all right, go on to 18 now.
Good, did you feel it move up?
All right, now let's go ahead with 19.
Now I saw it when you stuck on the D, and when it came I could see everything. I could just see it come up.
That was very good, and that was on the higher one too. Was that the second now?
No, that was open.
That was open, that was the higher one. Let's do that once more then.
You see, because if someone was watching or you did that, when you go up like that and everything holds and grips,
so they would by nature, they'd say, oh well that's the lip, I gripped it, and you didn't.
The only thing is that the lips have to hold.
And it's interesting, the lips, as I said before, don't play the horn. All they do is vibrate.
But these fascia muscles have to get very strong, but very elastic, not stiff.
So because every time the tongue moves, the jaw will move.
Every time the jaw moves, the lips have to adjust immediately so that they will keep vibrating.
Otherwise, this would get tight here and then shut it off. This under here, I don't believe ever moves at all.
But this is constantly fluctuating, and that's why you get tired in the face, because you're holding against a force of air.
And with that, it's constantly adjusting. This is why it's gripping, it's letting loose, it's gripping, and it gets tighter.
So you don't worry about how am I going to develop that, because if you're practicing everything, it's going to develop on its own.
Again, if you leave the lips alone, they'll take care of themselves.
Just for my own information, teaching on my own, you said that you hardly ever change an embouchure, but once in a while you have to.
Once in a while I'll have a student that is smiling and coming back. Is this an occasion when you would try to get them to?
I wouldn't even mess with them on it, and I'll tell you why.
Some students, it looks like they go up when they grip, depending on the structure of their face.
Some, it looks like they pull down. Others, it looks like they're doing this.
Now, if he's doing this, of course, that's no good. But at the same time, if you don't even get him thinking of the lip,
but work on the tongue and the air, first thing you know, it'll be gripping correctly.
Especially if you're working on Clarks, because it's a natural thing. It just has to.
But sometimes if you watch the movement, he might not be stretching as much as you think.
Because sometimes, again, like even in systematic, I hate to use theory, because when I mention in there that you grip,
and you will get a feeling like you're just gripping the mouthpiece. But too many students, they read that, and then they try to do it that way.
But that's the end result. Understand?
That's a very good question, because I've had that question asked in clinics, and I know that they get the answer.
I asked if they ever said yes, and I know that when they leave, they go right back to the old things they were doing,
and don't even remember the answer. They want the answer, but they don't let it register.
But I saw one article in the school magazine, or International Summer Guild, one or the other.
And he said that you must pull down. Well, that's the way his face does. But you might be one of these that go up.
I've seen that too. Andre.
That's right, and so just let it go. The main thing is work on the things, and the lip will take care of itself.
Now the armature, some guys play here or here, never move it if it's not completely out of reason.
If a little on one side or here, never move it, because generally that's because of the way his mouth and teeth are constructed,
and to him, that's centered.
The only thing that came to me was, you don't mind me asking?
No, no, I want you to.
Like doing your pedal studies. You cannot smile, say.
No, you can't.
That helps that, yeah. Remember, I don't know if you remember this far back, but in the clinic I always state that
I can talk on and explain hour on hour of what happens with pedal notes, but that's not necessary.
You can sum it up basically. If you do your pedal correctly, it forces the machine to work correctly, and that's it.
That's really what sums it up. And that's right, that's one of the things it does.
The other thing, if you do it correctly, it tends to push that mouthpiece up where it belongs.
That's so if they're turning their upper lip out, like some do, that's no good, because then they're substituting.
We'll get into that in detail pretty soon, because I want to make sure that you're doing them right.
If you don't do them right, it'd be better if you don't even mess with it, because then they're going to do you more harm than good.
Now then, let's turn it over and do 21. Start all over again.
That was very good. Actually, the feel was much better.
You held up on a couple of them, but that didn't mean anything. The feel was obviously better.
All right, let me hear 22 then.
Easy on the low notes. Keep those always light. Then you've got something to build on.
That was a good one. All right, now we'll be ready by this time. Let's come around here again.
Now when we get over to 23, he puts the gliss on, but he doesn't go to the octave. He adds a third.
So you've got to keep that pitch in mind. Now notice he has it up at the top and stops.
You do it that way, but when he gets up here, for some reason, he comes back down.
Now we're going to stop right there, and we'll call this one, where you go up and stop, model one.
So this will be model one. Now when you get up, after you've done that, the next week it'll say on here model two,
which will be up and down. So I'll put here model two and then put the line on all of these.
Now from there on, whatever you do, it's always model two. Model one is just for the first week.
Let's try that one. Now do the gliss first and get that in sharp in your head.
One more note. That's it. Okay. All right. Now one other thing I forgot.
The trombone book, the bass clef book, is right, but this doesn't make sense. Here and then another slur.
This should go to here. So then you go da da da da da da da da da da da da da.
In the bass clef book, it's written that way. All right. Let's try it. Not the whole thing.
Let's repeat. But breathe any time you need it.
That's right. Let's go on with that one. Take your time and let's go clear all the way with that.
That was excellent. All right. Now I'm sure you're used to being modified on that because the way it sounded when you came down.
It was a very nice tongue and I don't think you could do that if you were tonguing the other way.
Try that again and see if you notice where that tongue is tonguing. And I'll bet it's in the arched position with the tip down.
Well, I think you're right. I never realized it, but I tried to visualize it last night.
Okay. Let's try it.
Is that where it was? Could you tell? Yeah. I'm sure you're tonguing that way all the time.
It seems that it's further back than a lot of people's tongues.
On the tongue. Yeah. Which would be right back in the tip.
Do it again. See if you notice it. Do the same one you had to go through.
That's the way you're doing it. And you see, you should have no trouble, Susan, with high range at all because that's the right position of that tongue.
It's just that you've never, well, I know what happens. You're taught all your life. That's all the farther you go.
And then all of a sudden, all this high note thing hits you in the face and you say, wait a minute. But you're actually in line for it anyway because that tongue is right.
So what we're doing, when you see tongue modified or KTM on any of these, that's what I mean. That's what you're doing.
That's what I'm doing. All right.
All right. Let's keep going on the tail. And just on the model one.
Do you feel that tongue drop? Yeah, I'm not sure it ever got up there.
You got up and then the tongue let go. And then you kicked it and let go again.
Any time, remember, any time that that happens, that's a stall thing.
Any time it happens, either the tongue drop or you quit blowing. That's all that causes it.
All right. Next one.
Very good. That's the idea.
There you go. Now see that tongue was up there and it went much easier, didn't it?
Now it always will be small at first. Don't let that worry you because once the neck is there, then you'll get a big sound.
And it isn't with a big mouthpiece that makes you have a big sound. And a lot of people say, well, if you say E, you will get thin sound.
No, you won't. That's what will give you a fat sound is when you get that neck down.
So the best thing, turn your ear, stay away from trumpet players and their theories.
That's one of the most dangerous things you could get.
They have endless amount of theories with nothing to back it up. And it never works.
Okay, let's keep going. That was beautiful.
It's amazing. That will pop in and some of the lower ones won't.
That's true. See that shows you because it has a position for every note you play.
Until you have that feel, even then, there is no guarantee that once you're on top of that staff and up,
you could not bet your life ever that you can play that note without missing it.
Because no one can do that. That tongue may be off just a hair and it's gone.
You won't miss very much. But there's no such thing as guaranteeing it.
Now you might, by just positiveness, say yeah, I won't miss it and you won't.
And yet I've seen a guy, we started out years ago, I was playing in a hotel orchestra.
We were up in an Olympic hotel in Seattle. We always had big orchestras in all those hotels.
And we started the Broadway. It was one of these typical hotel bands where you go, it started out,
the trombone goes, and then the orchestra goes, you know, one of those, you've heard bands like that.
This guy never missed that note. I can't remember what it was, an E flat, a high E flat or what,
but it was a very bad note on trombone. Rangers don't know. He never missed it.
And we had a wise acre of jazz trumpet player, you know, that was putting him on.
And incidentally, this trumpet player ended up the head of MCA. Green, you've heard that name?
And he died. He was a nice kid too, but he was a wise acre, you know, always.
And he was putting him on. He says, hey, five dollars, you'll miss it.
No one should ever do that, you know?
I agree.
He'd never missed it. Oh no, okay, five dollars. He kept dealing him.
Finally we went on the air and I could see him. He never did it before.
You know, you're getting ready, and he missed it.
And by gosh, from then on, the guy missed it as much as he hit it.
I could have hit that guy right in the mouth for that.
He never would have missed it on him, but he shook that confidence in him.
That's terrible.
Like Hersteth, the story that goes around about Hersteth,
and I had a student that had studied with Hersteth and he knew him very well,
and he called him up and asked him if the story was true.
And he said, well, yes, it was true.
This conductor kept going over and over and over.
And he finally said, look, you can let the band go and we'll just keep going.
He said, I'm not going to miss it.
And that's the attitude you want to have.
You'll miss it sometimes.
I had it happen at Columbia, this son of a gun over in that right-hand picture there.
He was mean.
Lud Buskin, you probably heard the name.
He was the head of the entire Columbia network around the world, music director.
And he was a tyrant, absolute tyrant.
I worked for him for 12 years.
He never said boo to me because I would outstare him.
And when I missed, not very often, but when I did, you heard it.
And he would look the other way.
He would never look like, gently, he'd glare.
One day I missed something and he bawled out the third trumpet player.
He knew darn well who missed it, but he had to say something.
So he would do things like Christmas morning at 9 o'clock,
he called us in for a rehearsal.
We weren't doing a show that day.
There was no reason for him, but he just showed us he could make us do it.
So we came in at 9 o'clock.
And this introduction on this arrangement, I figured later he just picked it out just for that.
It was in seven sharps.
And it started one of these.
Like that, that type of thing.
We got to the end of the arrangement and he started cussing out the saxes and he says,
And we had no rest and we did it again.
He finished, he yelled some of the saxes, Top!
He did it again.
I counted 22 times.
And he did it again.
Now I'm getting a little tired.
It was a very difficult introduction.
The 23rd time, I cracked a couple of notes on the way up.
And he threw down the stick and I just looked at him.
I thought he was going to say something.
And he looked up and he says,
Well, I learned how long it was going to be before you missed one.
Take ten.
That's the only thing he ever said to me in all the years I've been there.
So your attitude has a lot to do.
Your confidence.
And if you look confidence, then they're going to have confidence in you regardless.
If you look afraid, you're not.
There's a good example of that.
We were doing, remember Sam Spade?
No, it wasn't Sam Spade, I'm sorry.
It was Orson Welles.
And we were doing, of all the shows, it was Moby Dick.
And I'd never seen the show.
So on this particular show, I was kind of interested in the script.
And Ludd always had a full-size orchestra on it.
So this one cue came up.
I turned over and went, my gosh, this thing was horrendous.
I can't remember how it went.
It was just terrible.
And I took a good look at it and we played it and I missed it.
Ludd never said a word.
And you come in, you run the cues down.
Then you come back a little later and do the balance.
So that's the second time over.
Well, we did it the second time.
I'll be darned if I didn't miss it again.
Not a word.
Of course, I'd been in the studio a long time.
He never said anything.
So now it comes up for the dress rehearsal.
And we got the dress rehearsal and I missed it again.
And so he stopped me.
He was in the booth.
He called me up and he said, is that going to be all right?
I said, Ludd, it is very hard.
I said, it's very difficult.
It's all right.
No problem.
Those are going to melt.
You got them in the sun?
Oh, I didn't notice that.
It's probably more comfortable out there.
So I said, it's just very difficult.
He said, well, let's change it.
I had a pride about me.
I've heard other trumpet players say, well, it's not very trumpet-wise.
Can we change it?
And he said, it was going to be that difficult.
I said, let's change it.
Now is the time.
And I just never would give.
And I said, no, don't worry.
It'll be all right.
He says, you're sure?
I says, I'll play it.
Don't worry.
Well, now my neck's on the trumpet block.
Because if I didn't, if I missed it, he'd have every right to fire me.
And he never even thought about it again.
And fortunately, we hit the show and then I just nailed it to the wall.
But when I finished, my legs were wrapped around.
The trumpet player on this side of me, he says, oh, man, I'm glad that's over.
I said, you didn't have to play it.
And he said, no, I'm afraid you'd miss it.
But it's that attitude you have.
That counts up so much.
But I never missed very much.
I went 52 weeks.
And we do as many as 18 shows a week sometimes.
I went 52 weeks and never missed a note.
And I thought that was an awfully good record.
But the only trouble with that is when you do miss, everybody notices it.
Like, what happens?
All right.
Now, where were we?
Okay, let's do B.
And you went above it.
Did you plant the tongue?
Did you feel where the tongue was?
Yes, it was very high.
Right up there.
Try that.
We got a little too cold.
I went too long there.
Try it just the last part.
Let's go.
And then don't just pound over and over.
You're working for the knack.
Don't tire yourself.
Once you say that's the feel, you know, all that.
That was very good.
Very good.
All right.
Now, we're ready for the last one.
The last one that we do will be 24.
Now, all of these are the same bliss as this.
Thank you.
Da-ree, da-ree, da-ree, bop, bop.
Now, I'd work it without the trill until you feel it.
Then you put the trill in.
They'd call it a lip trill, but it's a tongue trill.
The tongue is what does it.
As fast as that tongue goes, say.
So, now, I don't care how fast this is or how slow,
as long as you feel the tongue going da-ree, da-ree, da-ree,
like that, say.
Now, establish your note before you start the trill.
Finish the trill before you try to move on.
So, da-ree, da-ree, da-ree, bop, bop.
That's going to be the hardest note to get.
So, without the trill now.
Without the trill first, yeah.
You get a good book like these books.
They're so wonderful.
There's really so much in them.
If the student would just get it out.
But they don't get it out.
All right.
Let's try it.
That's the hardest one.
That's right.
Of course, it's not going to be as difficult for you as it is most of them,
because you're already using came out of time.
And that makes me very happy.
Because I don't have to worry about you going back there and working on it
without me there to make sure it's right.
Let's do it now and put the trill in.
So, without the trill now.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Without the trill first.
Don't try to go too fast, so you can go, so you feel it actually doing it in a steady
And remember that's right up front, right?
Not back here.
Don't go, not there.
Right up in the front.
Boy, eventually that little front part of your tongue there can go just like lightning.
I've got guys that, I can't believe some of them, the way they trill like a river, just
like that.
And all of a sudden you'll get that knack and it'll, you might get to a point where
it'll speed up and then slow again.
And all of a sudden it'll move slow and slow.
That's good because it shows it's getting toward it.
All right.
All right.
By the time you get to that, you'll be doing seven through 24 every day, except those that
take out.
And then we'll probably, I'll probably run you another week or two just letting you do
the whole bunch like that.
And then we'll change it to something else.
All right.
Just rest a minute until I get up where we are here.
Usually at home when I'm practicing, I'll walk around.
Oh, yeah.
Jenny gets so mad at me.
Up home, here I stay right here.
But up home, I'll go from room to room upstairs.
And she says, can't you practice in one room?
And I think we're all carbon copies.
I don't think we ever do.
We walk around.
We're up that far here.
All right.
Now we're done with that for now.
Let's put that away and take Saint-Jacques home.
And these will be the order of your practice.
That'll be first and then come Saint-Jacques home.
Going to page 150.
Well, that's the first one, yeah.
All right.
Let's take this.
And I see you've got the full marks.
That's good.
Those dots.
They use dots over everything.
And it doesn't.
I think they just meant that it was to be tongued.
I don't think they meant it as a staccato as such.
So let's hear that then.
Tee ta tee ta tee ta tee.
Like that.
About that tempo.
Now this, again, you watch your tongue.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
When you rest.
That's a little tiring.
Now you can take, when you get to the double bars, both of them, you can take your horn
off and restart just to give you a breathing.
Don't make a rest out of it, but just enough so you get a couple seconds, you know.
You can use your judgment, depending on how you feel.
The breathing needs more of the rest than anything.
All right.
Now, we're going to do these with models.
Now, that's the first model.
The second model, K-Tongue.
That's K-K or Ki-Kong, right?
Ki-Kong, Ki-Kong, Ki-Kong, Ki-Kong.
Think always E on the top and O on the lower.
Some books will go into E, O, O, I, E. That's silly.
You can't think that way, and you can't tell the tongue what to do anyway.
So if you're thinking E going up and O going down, the tongue will find its position.
Now, as you get into it, put it with a metronome.
And write in the margin the tempo you're doing it.
As soon as it gets easy, step it up a notch and write the new tempo in the margin.
You'll have probably a list like that as you progress it up.
But eventually, you'd like it to be quite rapid.
So, tipa, tipa, tipa, tipa, tipa, tipa.
I have a book that I do it with already.
I've logged on time.
You did what?
I have a book I do it with already.
I logged my tongue.
Oh, do you?
Oh, very good.
So, but that's from you, Bob.
Oh, that's good.
So I'll probably do it in a signed book.
I already do it in a book.
That's okay.
Yeah, as long as you have a record of it.
All right.
All right.
Now, the next model is Double Tongue.
Let's try that.
And that should be in that K modified position, too.
Tipa, tipa, tipa, tipa.
Say it again?
Tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa, tipa.
You don't have to either, understand it?
All right.
Now, that's the first week, and I'll have that listed here.
Page 157, the first exercise, three models, and I wrote here K modified, which is your single, right?
K and double.
All right.
Now, the next one, which these are two-week periods, because it'll take you that long to get them all down and speed on them, you know.
Then in two weeks, the next lesson, you will do models one, two, and three.
Right here.
Let me hear model one now.
Don't try to go through the whole thing.
We'd be so tired by the time you got out of here, you wouldn't be able to play.
Get up maybe to the double bars, plenty.
Let me hear the K on it.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
Let me hear the K on the double bars.
All right.
Now, the next one will be as written.
And watch your tongue.
Okay, good. Now, that's the first one. Now, the next lesson, you will do models one and
two. That's four models. Now, you've got ti-a-ta-ti-a-ta, and then you've got ti-a-ta-i-a-ta-i-a.
Now, let's try just a little of that.
Okay. Now, I'll do the other one.
No, ti-a-ta-i-a goes all the way over the top. Ti-a-ta-i-a-ta-i-a.
You're slurring three at a time.
Now, that again is a tone. Let's do that far once more.
Okay. Now, the next model, two. The first one now, you put all the Gs on top, and just
play the slur as it's already written there. So it's da-di-da, and the first G goes up.
Now, then, do the same thing but put the sore on the first two.
See how that works, that tone level?
If the tone doesn't work, you wouldn't get the note.
All right.
Now, the following week, you will do models three and seven.
Now, they're exactly the same models, just an octave apart.
Let me hear a little of three.
That's t, t, t, I think, is that?
Very good.
Now, the other one.
Tone one and sore two.
All right.
All right.
Now, let's put them down.
We'll say number seven.
All right.
All right.
Now, let's put them down.
We'll say number seven.
Now, most students would overlook that model.
I don't need that.
It's low.
And you do need it.
Very much, do you?
All right.
And then you have the other one with it.
That's four models.
All right.
Now, four.
Or ti-ta-ta-ta-yi.
And the opposite.
Now then, six.
It is the same as the original in octave lower.
Let's try just a couple of measures of each one of those.
That's the idea.
And of course, you do all the models.
All right.
The next week, you'll have seven and eight.
Let me hear a little bit of seven.
Now you put the...
What did I put?
What did I say?
Well, we did seven earlier.
You want...
No, I don't want seven.
I'm sorry.
Those are the wrong ones.
We do...
What's the next one?
You did six.
You do...
No, we just did six.
It'd be five.
Five and eight.
We haven't done...
Five and eight.
That's what we do.
Five and eight go together.
Now that's tongue...
Or slur two and tongue two.
Now tongue one and slur three.
Now tongue one and slur three.
OK, now tongue one and slur three.
where three.
Now do the same two models down or not?
Good. Okay, that's the idea.
Okay, and you keep picking up your speed.
Now the last four are on the next week, 9, 10, 11, 12.
Let me hear a nine.
And that's also in the K modified position, right?
Now the next thing is put the Gs up and up.
No, put the G down. That's it.
Okay, now that's hard. It's tiring. It isn't hard, it's tiring.
All right, now with that, you double it up on 11.
Let me hear a little bit of that.
Okay, all right.
Now then in the next lesson, you turn over to the second variant.
All right, now then we do the same thing on these.
Start it with the K modified, K, and double.
That's the first lesson models.
All right, now I'm going to add more models to these.
And on the second lesson, do one through, what does it go, nine?
Yeah, do all of them, because you can space that out.
Now notice on eight, it starts with a K.
It wasn't this print. It had a T on it, but it goes KT, KT, KT, KT.
Let's try that slowly.
And he's just starting to work that variation of tongue there.
That's the idea.
And that feels awkward at first, but actually gets easy.
All right.
Now then, let me get back here where we are.
Let's see, that's what, the second exercise?
Second variant.
Second variant.
Did you tell me second exercise?
No, we haven't got to that yet.
Second variant, that's what it is.
OK, now then, the following week, you do the third variant.
And you take that with the same array of K modified, triple,
and as written.
And that's listed here.
Then the following week, we're going to do the third variant.
We're on the third variant?
Third variant.
I didn't have too much written on that sheet.
Same as your poems.
Big 158, third variant.
Second variant.
And then we have the third variant, K modified, triple,
and as written.
All right?
Here's what this is.
Then we have the third variant with models one through four.
That's eight models.
I just had one missing.
All right.
Now, the following week, you will start the second exercise.
That's up here.
And that's octaves.
Let me hear a little bit of that, K modified.
OK, now, you can also do that using the same vowels.
Instead of fingering it.
I'm watching my tongue too much.
You saw what it was doing there, right?
And you notice that sometimes the movements are very slight.
And you could never say, well, it moves this much or that,
which some people try to do.
All right.
You do K modified, K, and double the first lesson.
And then on the next lesson, you do models one through six.
And there's two on each one, I think.
Most of them anyway.
All right.
Next week, you do the first variance.
And that's K modified, K, and triple.
That's not right.
There's K modified, triple.
Let me change this.
I hate to have a messed up sheet.
We don't have to.
That's how it'll be.
Now you do the first variant.
Three models.
K modified, triple, and as rip as you've got a slur in there.
All right.
Then in the next week, you'll do models one, two, and three.
All right.
The following week, you'll start the second variance,
which will be on the next page.
Let me hear that.
Still the octaves, but it's in triplets.
Do you recommend using the same vowels
or go ahead and change them?
It's much more awkward to change them.
So I think I would do about equally, do both.
All right.
Because that gets you prepared for whatever you want.
Make the bottom one lighter so the top will be stronger.
A little accent on that top.
And remember, when you're tired, you rest.
After you get fatigued, it does you no good to practice at all.
You're just destroying it.
You're tearing down.
And what we want to do is practicing to train not to tear down.
Now that's as far as I've got written to here.
Now if you go further, handle every one exactly the same way.
All right.
And if I don't get to see again before,
keep going and you'll have the pattern in your mind
and clear out all those interval studies.
Even that one on the top of the page there.
And that goes to C2 on your second, the third model.
I see.
So now that shouldn't be hard.
If the tongue is in the right position
and the wind support is up,
that should be just as easy as any of the others.
Let's try a couple of those just to see how easy it is now.
Remember, T right up in the front.
And on this you rest often.
Take it off your mouth and then continue.
That's excellent for now.
What shows your tongue is right.
We just need work on it.
Very good.
All right.
Any questions on that now?
On the whole thing that we've done?
The only question that comes to mind is
more and more I'm beginning to sense the tongue down behind here.
Are you advocating eventually that it will just,
you'll feel it resting there all the time?
Most of the time, yeah.
Or all the time, yeah.
You'll never tongue at the point.
No, I don't anyway.
But it'll not stay there.
Sometimes it'll back off.
In other words, again, you always follow the tongue.
Because if you try to, like I read a book
some guy had written the other day,
and he said, anchor it there,
well, you're going to be in enough of a trouble if you anchor it.
That tongue, here's your teeth,
and it's got to move and it'll back off.
And sometimes it won't tongue the same.
You just have to follow that tongue.
All right.
And by the time you do it, you'll start to really notice it.
Now, I don't want to just on exercises either.
So how much practicing do you do on literature every day?
Do you have a certain time, or does it matter?
I spend most of it on the orchestral literature.
I see.
And you want to do that every day, I suppose, right?
Some of your...
Oh, most certainly, I don't have to.
All right.
What I'd like to do then,
now you might have done this before,
give me the book again,
but I think it'd be very beneficial
because they are so good.
Come over here.
We don't have the part one.
I'll have to go get it.
We'd have to go back to part one.
Oh, okay.
Let me go get one.
You've got it.
Yes, I do.
I would like you to start these.
Now, the playing of them isn't going to be that big an item,
but I would like you to start just for, again,
the tongue movement and the work.
We start on page 111,
and he has a series,
I don't know if you ever did them or not.
Yes, I did.
And I would like to go through
just a couple of them a week.
And go right through.
When you get to there, I'll mark it.
Then we'll skip over to here
and start this whole series.
And we'll go through...
These are invaluable for you.
Everything in this book is tongue level.
Ta-hi, ta-hi, ta-hi, ta-hi, everything.
Ta-hi, ta-ta, ta-hi, everything in it.
You just can't get away from it.
Look at this.
Yeah, same thing.
And then, of course, here you have crown diamonds,
which you know is very pretty anyway,
and zanetta, that's kind of hard.
And then they jump, and I'll list them for you.
It jumps over to here, then, say, into this one in 10
and 11 and 12.
Have you done much work on the grupetto?
Not really.
I very seldom find...
Well, never.
I find a player that understands
what to do with a grupetto.
If you've studied the literature,
you know how that's to be interpreted.
But actually, the grupetto
has to come off of this beat.
In other words, it's never sandwiched in between.
Because if you take the grupetto out,
you would have one, two, and three.
That and must come right there.
So this would be one, teedle-da-da, and...
Is that the way you do it?
You'd understand it then.
And so many don't.
Remind me to show you one in arbens,
which doesn't explain anything,
and it's quite a well-used grupetto.
You have arbens there?
This tells you nothing.
Neither does this.
How would you do that?
Let's see.
Da-da-da-dee, da-dee, da-da-da-dee.
And you could even make it a little bit of a...
Either way.
or da-da-da-dee-da-dee.
Either way is permissible.
Either way is permissible
as long as it comes into a time figure.
Like I had one in...
Baudet, you know, the French book.
And the thing was a figure like da-dee-da-da-dee,
just like the one we did here.
And he had the example da-dee-da-da-da-dee.
And that's French.
So either one is permissible.
That's good.
As long as you understand them,
there's no problem.
I figured you would,
but I wanted to mention it just in case.
Okay, now 11 and 12,
and then it jumps over here
to 13, say.
Now again, here's your tongue level.
De-e-e-e, da-da-da-dee-dee.
That tongue is always...
That tip is down,
and then it's a slight movement,
and you've got it.
Someone would look at that and say,
oh, that's hard.
Well, if you're not playing correctly,
it is, yeah.
But if the tongue level and the air is there,
and you play the bottom mode lightly,
the top one is stronger.
And then it goes on again.
Tongue level.
Look at it.
Tongue level.
Tongue level.
Tongue level.
you know.
And then to this one.
Now then.
Oh, how long ago was that?
Quite a while ago.
High school.
I had a teacher who,
well, maybe Max was during the Indianapolis Symphony,
and I couldn't get with him,
but he had a student who was, I think,
just passing things along.
Yeah, right.
So he took me through quite a bit of this.
That's great.
I was very fortunate.
Yes, you were.
Now, 19 is triple tongue,
so that would be done more in the time when you're doing that.
Yeah, so you have a whole section on triple tongue here,
and then 19 is on that section.
So if we get that part, skip that.
You do 20, 21, and I can list those down for you.
All right.
Then that takes you right up to here.
It doesn't look like you did these.
And these are rough.
Maybe I didn't.
Now, if you get into these,
you take that horn off and take a few seconds in intervals.
Because otherwise you get a double,
and then you're through for a while.
These get very difficult,
and you can carry them all the way through,
skipping the duets or playing them with someone,
and go all the way to the very end of both of them.
Just marvelous studies.
Here, again, is our confetto.
Almost anything that you would have to use is in here,
and nothing that you do is there
unless you've done it in some of the exercises.
The book is so well-lined out.
All right.
So I'm going to start that,
then I'll write that in in this same position.
Let me do it now so I don't forget.
At page 111, you do exercises one and two.
The reason I question it
is because I don't want to load you with so much
that you're going to get wasted.
But this won't be...
If you're doing three hours a day,
you won't have any problem.
And I just have to...
I don't want that in the magazine.
I just have to gauge it as it goes.
And always on this...
Like I have something called,
say, boy, I'm doing the whole thing,
and I'm getting pretty...
There's times you can't do the whole thing,
and I'm sure that you're wise enough
to set your practice according...
I have to keep my job.
That's right.
Some guys forget to say,
oh, I guess, oh, man, I had to work this week.
I said, wait a minute now.
You're practicing to play.
You're not playing to practice, you know?
It's true.
All right.
Now, let's get into the daily routines,
which will be the next in order.
Now, you'll notice, Susan,
that I've marked it K modified.
But you know what we mean, right?
Now, number three.
Now, this is lesson three.
It looks very simple, and it is,
but I don't want to start you at the top.
I don't want to put the roof on
before you get the sides up
from what we're working for.
But they're nice exercises.
You'll enjoy them.
Now, watch your tongue again.
These are all tongue.
Tatita, tatita, tatita,
tatita, tatita, tatita.
And as they get easier,
pick up the tempo,
but keep it metronomic.
Heh heh heh heh heh heh heh heh.
All right.
And the rest is second,
and now take it catered.
All good, cocky, cocky, cock.
Right. Okay.
Now then do it again and double tuck in the K modified position.
All right.
Now the next one is you slur two at a time.
Tahit. And that's where you pick the tahit, tahit, tahit, tahit.
Now I want to add a model. Slur two down.
Tahit, tahit.
Tahit, tahit, tahit, tahit.
Tahit, tahit, tahit, tahit.
Tahit, tahit, tahit, tahit.
Good. Okay. Now one more model.
You don't mind the
cross out do you? No, no.
Is it KT? Yeah. K-tuck. Okay.
Not K-tuck modified,
but K-tuck. K-tuck, yeah. Yeah, that's good.
Because there's quite a difference. And some don't seem to
realize that.
I'd rather ask a dumb question. Yeah.
No question is dumb though. It's something you want to know. Yeah.
Some guys, I've found that they're afraid to ask a question.
Don't worry. That's right.
All right. Now, that's the first one. Now the second one changes.
It's K-modified and it's tah-tah-tee tah-tah. Little accent on the top.
See, lighter on the bottom. Tah-tah-tee tah-tah-tee tah-tah-tee tah-tah.
Tah-tah-tee tah-tah.
Right. And you all seven positions. How long is that rest supposed to be?
One bar or longer? No, no. Actually it's just
teetah-tah-tee tah-tah. Tah-tah-tee. Just a breath
with the horn off and go on. All right. Let's check the models.
to one and three, and here at K time.
Now, the next model would be double, ta-ti-ti, ta-ti-ti.
And that's, incidentally, just the way
that Saint-Jacques has some of your triple timing,
ta-ti-ti, ta-ti-ti, ta-ti-ti.
So it's a double into the quarter.
Let's try that.
Now, then, slur, I believe it's slur two, isn't it?
Absolutely right.
I would re-attack the reverse, though.
But that was excellent.
You kicked it right in there.
Did you see your tongue?
That was excellent.
All right, now then, next week, number five.
Turn the page.
Now, it's exactly the same with the same models.
It just starts an interval higher.
So you don't have to do that now.
All right, and following, number six.
Now, you'll notice that these change every week.
All right, now, this is the same as the first one
when it's an octave.
Let me hear that one came out of that.
OK, and then you have the same model as you had before.
OK, now, turn the page, number seven the next week.
And that's that other one, up an interval again
with the same models.
All right, now, the following week, go on with, what is it?
And this is a tenth.
Let me hear that came out of five.
Light on the bottom, so you kick that top one.
Right, good.
All right, and you go through all those same models.
OK, now, turn over to nine.
Now, nine is right in the center of the horn.
So I gave you two different intervals.
You do all the models on G to C. Take a little,
I said long rest, but you take a little rest.
If I put that in the book, psychologically speaking,
if you say take a long rest, they might take a short one.
Anyway, then you do all the models on G to E.
Let me hear, and by this time, you'll
be picking them up a little bit, too.
But still watch your tongue.
Let me hear the first interval up there, K modified, yeah.
Yeah, the speed, are you wanting the speed to pick up any,
or still stay where I can visualize the tongue?
Well, you visualize.
But by this time, when you get there and you practice,
you'll be up to, oh, probably what, 16 weeks, say.
So they'll be picking up naturally.
So let them be comfortable speed.
Don't hold them too slow.
And I'm sure by this time, your tongue won't be any problem.
You'll be seeing it all the time.
Very good.
I had something to tell you.
I'll think of it.
Let me hear the same thing K now, straight K tongue.
Now, let me hear it double.
Now, let's take the, OK.
You need a rest anyway.
Well, the first barrel is the, it got slower earlier.
Now, it's getting, it's a little worse.
Now, let's take the next interval and do it slurring too.
Tahit, tahit, yeah.
Now, let me hear it slurred too down.
Very good.
Very good.
All right.
Now, you move on to the next week, number 10.
You have the octave.
Same arms.
The following week, move on to number 11.
Now, you have the same situation.
You've got right in the center of the horn,
so you have two intervals, C to E with all the models
and C to G with all the models.
All right.
Then number 12.
Now, 12 goes to the seventh.
Now, 12 goes to the seventh, but you don't change valves.
Tahit, right.
Let's try that.
Big breath, chest up, light on the bottom.
Watch your tongue.
Very good.
And you have all the same models.
All right.
The next week, turn to 13.
Now, you have the octave again with the same models.
On the following week, we're going to put them all together
and you start tahit, tahit, tahit, tahit, tahit, tahit,
tahit, tahit, tahit, tahit, tahit, tahit, tahit, tahit,
tahit, tahit, tahit.
Let's try that.
And you can keep it comfortably light.
Now then, there's three of them.
And you do it all came out of it.
Sometimes you go all the way with each model.
But for now, let's just test models.
Let's go on with part B and let me hear K.
Now, that's an octave.
Now then, let me hear part C and double tahit.
It's getting easier.
It's getting easier?
All the time.
It doesn't take long.
So you can see what a stair step over, say, 40 weeks or so
is going to do.
It's both for speed and accuracy.
All right.
Now, let's go back to the top and slur two.
Now, go ahead with part B and slur two down.
All right.
Now, part C is for the whole thing.
All right, now then, that's all the models.
Now turn over, and next week we just continue those intervals
like that lesson, same models.
The next week, you do the same thing, and on that week,
we'll have A, B, C, and D because we
have that seventh in there, and the same models.
Now the next week, turn over, and it changes.
Always start with the tongue and put the slur model last.
OK, now, time is not critical on this.
It's the basic exercise.
Ta-ti, ta-ti, ta-ti, ta-ti, ta-ti, ta-ti, ta-ti, ta-ta,
like that, and you hold the last note until every bit of air
is exhausted with that chest up.
And you'll feel that when you start shaking, that's OK.
I'm surprised at how well you get your pedal.
Don't try to pull it in the tune.
Let it stay under so it's a relaxed sound.
I'll get in more into the pedals
than we do systematic tomorrow.
All right.
Now, you'll do it K modified, K, and slur.
That's all there is on that.
I think they're listed at the bottom.
Take a look.
All right.
All right.
All right.
Now, the next week...
Yeah, you write whatever you want.
Now, the next week, it's the same one extended.
Like that.
All K modified.
Very good.
All right.
Now, then, this one,
you K modified, K, double, and slur.
All right.
Now, turn the page.
And the last of this series takes you to full octave.
Let me hear that K modified.
Like that.
And you kick that top like that.
Just kick it up there.
Should I take a breath in the middle?
If you wish, yes.
Don't, I tell you, a good rule.
Should I hold the last note longer?
Not on that.
Oh wait, that is the last note.
Are we still going to the pedal?
Well, yes.
Then, still, hold it.
So I should catch, maybe, a breath.
You get a breath, yeah.
Try to follow a general rule.
Don't get below half empty.
breath. The main thing is to keep that support always there. Okay? All right, now we start
a whole new series, the next string. Let's try that.
Okay, now let me hear the next one in K-top.
Now it was K, now triple.
Would you say ta-ti-ki, or just wherever the ta?
It'll bridge in there somewhere. You think T, but let the tongue tell you.
All right.
Okay, what were you doing there? What articulation?
Triple. All right, now then do it again and slur three.
Ta-yi, or ta-yi, think E right away, but let the tongue do it. Don't you try to set it.
You did it all. Let me hear three at a time.
Ta-yi, ta-yi. That's all right, we'll do it anyway.
Right. That's okay. All right, now turn the page.
Now it's the same exercise putting another note on the bottom.
Ta-ta-ta-ti-ta, ta-ta-ti-ta, ta-ta-ti-ta. Let me hear that.
Okay. Oh, let me hear K-top on the next one.
Now then double.
Now let me hear slur two.
Okay, now let me slur four.
Okay, now let's hear the whole thing, each half.
Good. Okay, now then the next week we start the whole thing all over again, an interval higher.
So you do all the models with the triplet, right?
Now turn the page and the following week you'll do part B, which is the four again with the same arms.
The following you do part C. Now we have another added note, which makes it five.
Ta-ta-ta-ti, ta-ta-ta-ti. Let's try that.
Good. Now that's where you better get a breath in the middle, otherwise you're going to be out and you'll miss that last note.
All right, let me hear the next. Keep on going down and go through the model. K on the next one.
Okay, that's good.
Okay, that was all of that. We'll now turn the page and we start the whole thing over again, another interval up.
Let me hear that.
That's all I want to hear.
You don't have to now. That's all I want to hear. You go through all the models.
Now then the next week you have the four again. The following week you'll have the five again. Turn over the page.
Now then, the next week is the last one of that whole series, which is the full arpeggio.
There's only three models, K modified, triple, and slur. And you want to work this then to get as fast as you can accurate.
Let's hear it K modified for now.
Good. All right. Now then K, or I'm sorry, there's no K, triple.
Good. All right, now slur.
You better slow it down.
Okay, that's all of that. Now rest a minute. I'll give myself a little breather and we'll go on.
You still have your ear plugged in? No, put it in. I just want to try it again.
Feel that tongue?
Yeah, I wasn't starting, I don't think, in the E position. I just started going...
That will really give you problems. Remember that the tongue doesn't move, the sound won't move.
But I'm writing that fast, I'm bound to make some mistakes.
Now turn to page 47.
Okay, now we're going to start our major arpeggios. Now all between where you just ended and where you're starting now is the same arpeggios,
but they're done with just one octave for a student that doesn't have the range yet. So we'll jump to the advanced.
Now let me show you. I've got a new book coming out and it's going to be all the things that we discussed today,
the tongue level and the K modified and all that. But it's going to be more of a textbook and I'm going to call it,
brass playing is no harder than deep breathing. And I'm going to go into all these details and all the medical reports on the diaphragm
and all this so to clear away all these phobias. And of course, the criticisms, what's this Gordon up to now?
But it's going to be all the things we discussed about and I thought I would get some different remarks.
Would you like to write a thing like these guys did, something about it?
I won't be able to get the book to you until they have it printed and I need that earlier.
But it's just what we've been doing so you'll know what it will be all about.
How about if I try to do something tonight?
Anytime. You can even do it when you go back and mail it to me. That's all right.
If you want to think about it. Whatever you think. I'm not going to influence you.
No, no. That's what I have to say. That's what I think.
Right. Otherwise it would be worthless. So if you want to do that, and I want to see if Frank Catarabic might want to too.
What's his name? He used to be in Boston. I'd like to get the symphony player.
Catala. He might because he's always been so effervescent and complimentary whenever I meet him. So I might ask him too.
Okay. Now, you've got those basic five notes.
You get on the job. You start with the chest up and then you don't worry about anything. You just play.
Don't try and carry that off to the job.
Now, try to get your breath, Susan, so you don't take it between the body and the chest.
Now, try to get your breath, Susan, so you don't take it between the bottom pedal.
All right.
Because then everyone would have a tendency to go D dot and then change around.
All right.
So if you do it before that, you can't change.
D dot dot.
Then you have to go right in.
All right. Next one.
Now, and that's awkward.
Now, the only thing while I'm thinking of it, too, you practice on this into the pedal register
because too much pedal practice can be as detrimental as too many high notes.
So I don't want you sitting around trying to play pedals all the time.
Do just what's assigned and forget it.
Now, the D flat.
All right.
Ready for C.
That's a C now?
All right.
Now, turn over there and notice on the C there's no optional on the next page.
On the last one.
There's no optional.
So you go all the way to the C.
All right.
Now, as you get on into the book, that optional will start dropping off.
Like, pretty soon D flat won't have an optional.
And then D won't have one.
So you'll be adding the octave sooner.
All right.
Let's go ahead and hear the C.
You want these fingerings?
E, G?
On the pedals, yes.
Use one and two on the pedals.
All right.
You don't use alternate sound.
You could, but I'd rather you didn't.
Now, the one thing that was really pretty about that, or beautiful about it, I should
say, is that you're not, some guys try to turn that lower lip out to get there.
And you're doing it correct, D, C, C, C.
The lip does not change.
And I'll show you, let me finish this, and I'll show you what St. Jacombe's has to say
on that.
Are you getting tired?
You know, dry, it's just, I think, me and Redhead probably, skin dries on the side.
Well, that's tendency out here at this time of the year, too.
Guys like to wipe it off.
You know it's for me all the time.
Is that right?
I'm always, I have such a habit of that.
I hate that feeling.
You know?
It's like Kate Dawn.
Chapstick or something.
Something like that.
Do you use Chapstick or Blistex?
I use something called Vaseline.
I like Blistex.
Have you ever done it?
You ever tried Blistex?
Yeah, but not for a long time.
I like it because it gets into the skin, it doesn't coat over.
I like it.
Yeah, here it is.
I'm not certain it's in my book.
Or is it?
Or is it in the book?
Is it in the book?
It's in the book.
Where is it?
Yeah, here it is.
I'm not certain it's in my book.
Yeah, it is.
Is it?
If you've got part one.
It's just that it's so easy to overlook it.
It's there, and this was written in about 1860.
Notice, existing on the cornet to be obtained without moving the mouth or left alone.
So they all used them, but it was very difficult to say police it, a student, that he was doing it right or wrong.
So the best thing he could say was do it without moving the mouth or left alone.
Now, I tried to make it more clear because these things become more necessary as our demands have become more, you know.
The register from pedal C down has a tendency to be very flat, especially at first.
Do not let this worry you.
Strive to develop the feel first and then pull it up to pitch as you improve.
Now, I'll show you.
Tell me there's some funny things.
When you get into lower notes sometimes, you might think it comes up and you find it goes the other way in those pedals because it's all controlling that air stream.
Now, when you first get your pedals...
No, let's go the other way.
Especially guys that buzz the mouthpiece with practice, they will invariably go...
That's not a pedal.
Then there's in their rush to hurry up and do it.
And then the other way is they go...
Then turn that over.
Both of those are a no-no because like, say, jacombe without moving the mouth.
So it's...
You drop the job.
Now, if you try to bring it right in tune, you'll do that and then you're moving the mouth around.
That's what you're not supposed to do and it's not even a pedal.
So what you're doing is right.
But leave it a little under.
Because if you do...
Not just a hair under, rather than trying to pull it in tune, it'll be big and open.
And eventually...
There's nothing to it and it's a beautiful sound.
That's why I say let it be under if it wants to be.
But you can play it in tune so you don't have to worry.
But let it be under.
So if it's not in tune, okay, but if it's in tune, fine?
It's okay, too.
As long as you're not struggling around.
Don't blow something off your nice.
This isn't being major.
No kidding.
Now, what you can do, when you get up, you take a breath, take your horn off.
That's going to be manufactured.
And I don't know whether King or Ben is going to do it or someone might be doing it.
Oh, okay.
That's great.
I'm still used to doing the others.
Yeah, that's right.
All right, all this will change.
Okay, you don't have to play it.
If it ever comes out...
If it ever comes out, what have you done to it?
Oh, it's completely different.
The tape is all different.
According to theory, it wouldn't play with a darn.
But theory doesn't always make it.
It's a tremendous instrument.
So they played it every week.
When's that horn coming out?
I've got to have it.
It's very open.
Very free, yeah.
It just goes...
All right.
Now, you understand that about the pedals, right?
Don't quote me as to whether it's going to be built by anybody.
Because that's all in stages now.
I'll just wait until I see it.
Yeah, right.
Then you can discuss it all you want.
Seems believing.
All right.
Now, let's see.
Where were we?
Okay, now, in the following lesson, you turn over to page 49.
Now, we take the same arpeggio, but break it up.
Ta-ta-ti-ta-ti-ta-ti-ta, like that.
And watch you get your breath.
Never be empty on a top note.
Let's try it.
And slow down coming into the pedals.
Ta-ti-ta-ti-ta-ti-ta-ti-ta-ti So that's very accurate, too.
All right, let me hear the beat.
Right, now never let anyone tell you to use different fingers on the pedals. There are methods out with different fingers for the pedal register,
and it means nothing because then you're dodging an issue. You can get it on different valves easier, but that doesn't develop anything.
And then if you had to use them, you'd really go crazy trying to play a chromatic with all different fingers.
All right, now was that K? No, that still came out of time. Let me hear K on the next one.
Right, now don't worry about them. They'll all come out of time.
Right, now don't worry about them. They'll all come out of time.
Now don't worry about them. They'll all fall into place with practice.
All right, now that's your first two. No, we have one more model. Double top.
Let's do that on A.
Right, and see where it came out low? Leave it low.
All right, that's the first lesson, those three models.
And again, break them up, split them up for the two weeks.
All right, now on the next lesson, we will do...
Do you have these models? I have them listed here, yeah.
On the next lesson, you will do models one, two, and three, and they're on page 51.
And you apply it to the arpeggio.
And memorize these models, because when the chords get rough, like augmented,
if you're trying to think of a model and a chord both, you have a number of trouble.
All right, let's hear that first.
That's very good.
You read it over to a player, that's all.
You read what's there instead of letting them throw you.
Okay, now the second model. Let me hear that one.
You can see, you can probably visualize,
how the structure has got to build.
It can't do anything else.
The way the models are, you're putting this board up, you're putting this one,
and first thing, you've got the structure.
All right, now that's all.
On the next lesson, you will do models four.
Now we make triplets out of the same thing.
And the way you do that is,
so let's try it from a model. Now we have two models,
singletongue, which is K-modal time.
All right, let me hear it.
First of all, K-modify or singletongue.
I have to ask you a question.
Would you go tee, ta, tee, tee, ta, tee, tee, ta, tee?
Right, but when you get up, the ta is never pronounced.
Again, you think that, and when you get up here, it'll all be tee-tee.
It'll change on its own. When I was studying with Clark,
I'd try to get every little thing. I'd say, well, when do I start that?
One day he'd say, I don't care when you start it!
Anything else?
There it is.
I guess that's my question. When I get up higher,
it's all right.
Yeah, I'm not saying my question right.
Let's look at the duple a second.
This is easy.
Now with the triplet, the obvious tee-ah-tee-ah is gone.
Sometimes it sure is hard to put a question.
It's too bad.
The original Hebrew language,
I understand that one word would have a whole meaning to it.
It was very complex, they say,
a better language. It was a perfect language.
It was a perfect language, but it conveyed the meaning
of one word, which now we have to have all kinds of words to try to get one thought.
That must have been very wonderful
to be able to speak and communicate that well.
We'd probably have one heck of a time trying to learn it.
Let me do the triplet.
Always remember, whenever you're in trouble, slow down.
That was the idea.
All right.
That's as far as you'll get,
which is quite a lot of work.
That'll be the last of that.
Get tired?
You know what time it is, can you guess?
It's five o'clock.
The only thing that's gotten tired was the breathing.
As far as the lips, they didn't really get tired.
All right, now I'll tell you what we've got yet to do.
We've got Clark and Systematic Approach in order to finish everything up.
That you can do tomorrow. I think you've just had about as much as you're going to take today.
Pretty soon you get foggy. You've done so excellent on it.
We didn't have the part one, but let me show you what I've done here in St. Jacome.
I didn't get to stamp it, but I marked them.
You have the ones we did, and then the little etudes.
That goes all the way to the end.
What I've got here is 38 weeks.
That's pretty close to getting close to a year.
That'll carry for a long time.
In some weeks you might not get it in there either.
Here's your order. You've got the irons, then there comes the St. Jacomes,
then the daily routines, which will build up to where you are now.
Then there's Clark, which we'll get into tomorrow.
Then the last of every day will be the Systematic Approach where I'll put SA.
Daily routines I just put DR.
We'll get into the Clark and the Systematic tomorrow.
If we spend this much time, we'll finish it up well. Clark is a lot of work.
Now on the breathing exercises,
you're going to work up
from five steps, right?
Then you work six.
You don't want to go too fast, because then it just gets exhausting.
You need more time on a certain number before moving to the next one.
You've got five and five, then you move to six and six,
seven and seven and so forth until you get up to ten.
Then you start all over jogging instead of walking.
Start over with five, six, and that's as far as we got here on the 38th.
But you keep going, you don't know what to do then.
Now then,
also we will finish iron somewhere around
the 20th week.
Then you carry it over for two more, just the whole thing.
I'll give you a new one, which I'm going to call tongue level, which irons is too, tongue level.
I'll give you those tomorrow. We've got to go through 14 of those.
Those will just feel lovely after you get the iron.
What I want you to do tonight, we've covered everything up on here
through the Clark, and we'll get at the Clark tomorrow.
I think maybe you better take your books then, all but the Clark,
because we're getting to that tomorrow, and tonight if I have time I'm going to start writing in the Clark.
We've got to cover the whole book, eight studies we're going to cover.
You take your books and you check each lesson sheet
with your books, down as far through A through C.
Make sure you understand every page of what we've done.
If you have any questions, write them down so we can get them.
Now, if you want a binder for these,
you go up Sherman Way right here, past your hotel.
Keep on going. You'll come to railroad tracks across Sherman Way.
Look on your left then. Be careful, watch your traffic because it's heavy.
Watch on your left, and right after that Kenoga, you'll see Kenoga Stationery on your left.
They have binders like this, but for four-ring legal size.
They're the cheapest. Some of these places want $27, which is absolutely ridiculous,
but I think they want in the neighborhood of $8.
Then you've got them all in a neat package.
Next time you come out, you just bring them out and we'll keep adding on if you get back.
Here, I'll give you a little thing you won't have to...
Kenoga Stationery.
Right up Sherman Way past your hotel.
Then when you get it, you'll have to turn around anyway and just come back to your hotel.
Okay, right. I want to ask you one question
because you're talking to the gentleman on the phone about the Brandenburg.
I can't put that on for next year. We have a
line in our contract, our master agreement, that says nobody has to do a solo if they don't want to, etc.
All about six or seven years ago they did it
and they didn't let me know too far ahead of time, like four or five months,
and I had never tried to do that.
There's one thing to fool around with it and there's one thing to sit down and seriously get ready to prepare it.
I learned a lot about what I didn't know
and I made a mistake in agreeing to do it in such short notice.
I was just...
You can't really tell where I might be in 32 weeks,
but I wonder if I should agree to do it again or just let it go this time.
Tell them what I would do until you're absolutely sure. I would tell them,
but let me coast as to telling you when.
Think they'd go for that?
They would probably want to know by the fall.
I might know by then too.
You take several months from now, about three months from now, you'll know how you're feeling pretty well.
If you improve as much as I can see in you this week,
I don't think you'll have any trouble, because you know it anyway now.
You might just be able to surprise them and say, sure, I'll do it.
If they were to press me for an answer, it would be an absolute no right now.
Oh, certainly. Never stick your neck out. Never.
A thing Clark told me years ago,
always play under your ability. Then you're never going to have to worry or feel tight.
That's pretty good. I've never heard that before.
My, it's just a pleasure working with you.
You're doing so well.
Well, I think you'll have a lot of fun.
That's all you need.