![]() ![]() Play the preceding C for one whole beat, and be conscious that you are not slightly bending the pitch up to the D before the next beat. You should not anticipate that pitch at all. It represents the fact that each pitch is individual of the preceding pitches. Now, you need to understand what the little bar symbol means. Play with exact rhythm! Using a metronome in addition to the pitch reference will help. Do it first with the mouthpiece, then with the trumpet. Playing in tune is absolutely key for this exercise. ![]() Use either a piano or some other form of pitch reference. Stamp advocated using a piano in all exercises. At first glance, this seems very doable, and it is! However, it has a purpose, and the exercise is more or less a waste of time if not approached properly.įirst off, Mr. Let's start with the basic exercise that everyone knows. To make matters worse, the recordings that come with it are appalling and not easy listening at all. Unfortunately, it doesn't always make it very clear how some of these exercises are to be done. Like the Schlossberg, it wasn't compiled by Mr. This book is actually a compilation of many techniques that he taught. I am sure that many reading this thread are familiar with the Warm-Ups book (the blue one with the big red lips). I felt like sharing this with the world would perhaps be beneficial to some. Besides developing a great friendship and learning more about the man who is behind so much of our modern pedagogy, I also learned how to apply his techniques. I studied with a student of James Stamp for about 1-1.5 years. ![]()
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