Give It The 3rd Finger – here’s what Fred Irby III has to say

fred-irby-iiiGive It The 3rd Finger – here’s what Fred Irby III has to say

You probably know of Fred Irby, III. He is Professor of Music, Howard University, Washington, DC.

Principal Trumpet – Kennedy Center Musical Theater Orchestra

2009 Lowell Mason Fellow

NAfME: National Association for Music Education

The Oscars with section mates Wayne Bergeron and Chris Grey.

And all the things you will see at this page (click and new page opens).

Here’s what Fred had to say about Give It The 3rd Finger,,,

Give It The 3rd Finger for Trumpet - 101 Studies, plus Etudes and DuetsMark’s “Give It The 3rd Finger” is an excellent addition to the trumpet repertoire. It is a required text for students in my studio. I highly recommend it for beginning students and the seasoned professional.

Fred Irby, III
Professor of Music
Howard University
Washington, DC

Hi Fred, thanks so much for your comments about the trumpet study book, Give It The 3rd Finger.

Given that the 3rd finger is the one that really hangs us up, if we can smooth it out, it has a very positive affect on the rest of our technique.

If you want to develop your technique, get a copy of this book and just do one page a day and you will soon experience a terrific improvement like others have.

Here’s where to get you copy now…. Give It The 3rd Finger.

 

 

 

Trumpet Practice Books, Best Trumpet Practice Books, Best Trumpet Practice Books

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    Fred Irby, III Professor of Music has to say about Give It The 3rd Finger

    fred-irby-iiiFred Irby, III Professor of Music has to say about Give It The 3rd Finger

    You probably know of Fred Irby, III. He is Professor of Music, Howard University, Washington, DC.

    Principal Trumpet – Kennedy Center Musical Theater Orchestra

    2009 Lowell Mason Fellow

    NAfME: National Association for Music Education

    The Oscars with section mates Wayne Bergeron and Chris Grey.

    And all the things you will see at this page (click and new page opens).

    Here’s what Fred had to say about Give It The 3rd Finger,,,

    Give It The 3rd Finger for Trumpet - 101 Studies, plus Etudes and DuetsMark’s “Give It The 3rd Finger” is an excellent addition to the trumpet repertoire. It is a required text for students in my studio. I highly recommend it for beginning students and the seasoned professional.

    Fred Irby, III
    Professor of Music
    Howard University
    Washington, DC

    Hi Fred, thanks so much for your comments about the trumpet study book, Give It The 3rd Finger.

    Given that the 3rd finger is the one that really hangs us up, if we can smooth it out, it has a very positive affect on the rest of our technique.

    If you want to develop your technique, get a copy of this book and just do one page a day and you will soon experience a terrific improvement like others have.

    Here’s where to get you copy now…. Give It The 3rd Finger.

     

     

     

     

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      The Advancing Trumpet Player – Jeff Brandt says

      Mark,

      The books you have recently written, are ALL just fantastic! ”

      “Give It The 3rd Finger” has certainly turned out to be a hit with people as I watch posts about it.

      But, I have to tell you, “The Advancing Trumpet Player” book, has been extremely helpful to me!

      The combination of all the things you put in there, from all the years from many different teachers, brought back to memory all those things, and IF, IF I would just do them daily as you state, I really begin to improve quickly, and gain back many of the strengths I once had, and I improve with much less stress. Your book WORKS wonders! It is a true must for trumpet players who want to improve or maintain. It’s great Mark.

      Thanks for putting so much time, thought and effort into such a excellent resource for all of us ! You are a blessing, in many, many ways!

      Sincerely,

      Jeff Brandt
      Director of Music Ministries and Solo Trumpeter
      New Hope United Methodist Church
      Valrico, Florida

      Jeff, thanks so much for your kind words, and it makes me feel great that “The Advancing Trumpet Player” book has helped you so much.

      For those trumpeters who want to chack out why Jeff was so excited to write, here’s a link to all the trumpet books….

      http://mphmusic.com/trumpet

      And if you play trombone or sax, here’s a link for you too…

      http://mphmusic.com

      As always, my best to you —

      Mark Hendricks

      .

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        Here’s what Jeff Brandt had to say

        Mark,

        The books you have recently written, are ALL just fantastic! ”

        “Give It The 3rd Finger” has certainly turned out to be a hit with people as I watch posts about it.

        But, I have to tell you, “The Advancing Trumpet Player” book, has been extremely helpful to me!

        The combination of all the things you put in there, from all the years from many different teachers, brought back to memory all those things, and IF, IF I would just do them daily as you state, I really begin to improve quickly, and gain back many of the strengths I once had, and I improve with much less stress. Your book WORKS wonders! It is a true must for trumpet players who want to improve or maintain. It’s great Mark.

        Thanks for putting so much time, thought and effort into such a excellent resource for all of us ! You are a blessing, in many, many ways!

        Sincerely,

        Jeff Brandt
        Director of Music Ministries and Solo Trumpeter
        New Hope United Methodist Church
        Valrico, Florida

        Jeff, thanks so much for your kind words, and it makes me feel great that “The Advancing Trumpet Player” book has helped you so much.

        For those trumpeters who want to chack out why Jeff was so excited to write, here’s a link to all the trumpet books….

        http://mphmusic.com/trumpet

        And if you play trombone or sax, here’s a link for you too…

        http://mphmusic.com

        As always, my best to you —

        Mark Hendricks

        .

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          Trumpet Intensive – June 19-June 23 – with Rob Murray

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          Filed under: Events 

          Trumpet-Intensive_Classpage

          Trumpet Intensive – June 19-June 23 – with Rob Murray

          More info at… http://www.strazcenter.org/Events/Patel/Classes/All-Activities/Summer/Summer-Camps/Trumpet-Intensive

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            Here’s what Rob Murray, Professor of Trumpet, has to say about “Give It The 3rd Finger”…

            HereRob Murray‘s what Rob Murray, Professor of Trumpet at Columbus State University, has to say about “Give It The 3rd Finger”…

            I am the trumpet professor at the Schwob School of Music, Columbus State University, Columbus, Georgia.

            I have been receiving info from Mark’s site for a while and seen his materials at conferences, etc. Every year before school starts I look for new materials, particularly duets, to engage with my students. “Give it The 3rd Finger” has been on my list to purchase for some time.

            This book is great!

            I pGive It The 3rd Finger for Trumpet - 101 Studies, plus Etudes and Duetsarticularly find the duets as a sight reading experience with my students (college students and high school students) to be incredibly effective. The whole book is terrifically practical and so applicable to increasing students’ facility and ease. The etudes and duets are very musical and ‘giving it the third finger’ motivates myself and my students beyond the technical experience of performing these.

            I also recognize the clear organization of the materials – identifying the skills needed and then applying them through the etudes and duets. This has been illuminating to myself and my students some very important skills necessary for greater musicianship.

            I would, and have recommended this book to others and have told them about the strength of these materials in expanding musical skills.

            While I don’t know Mark personally, I am very impressed with the care and quality he has put into these materials.

            Rob Murray, DMA
            Professor, Trumpet
            Schwob School of Music
            Columbus State University
            Archivist, International Trumpet Guild
            Co-Founder, Harmonie del Sur
            Performing Artist, P. Mauriat Corporation, Paris, France
            Host, 2017 Trumpet Festival of the Southeast
            Host, 2016 National Trumpet Competition
            Host, 2012 International Trumpet Guild Conference

             

            Rob, thanks for your comments about the “Give It The 3rd Finger” studies, etudes, and duets book for trumpet.

            Trumpet players can get a copy at this page http://mphmusic.com/trumpet

            There is a version for trombone players called “Slide Master” – The duets can be played by Bb trumpet and trombone also – link to trombone books http://mphmusic.com/trombone

            .

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              Allen Vizzutti in Concert and Clinic

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              Filed under: Events 

              It’s no April Fools Day joke.

              Allen Vizzutti in Concert

              Allen Vizzutti in Concert and Clinic
              Laura Vizzutti – Piano
              Saturday, April 1, 2017
              8:00 PM
              University of Central Florida
              Orlando, Florida

              Free Piano Clinic with Laura Vizzutti
              2:00 – 3:00 PM
              Free Trumpet Clinic with Allen Vizzutti
              3:00 – 4:00 PM

              Concert at… Saturday, April 1, 2017 – 8:00 PM

               

              TICKETS
              $15.00
              $10.00 with Student ID
              Free with UCF ID

              Questions/Answers:

              Email John Almeida at: hbbja1@icloud.com

              Get great trumpet, trombone, and saxophone study and etude
              books, take a look at:

              Trumpet – http://mphmusic.com/trumpet

              Trombone – http://mphmusic.com/trombone

              Saxophone – http://mphmusic.com/saxophone

               

               

              .

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                Comments from Owen Klug about the Advancing Trombone Player

                Advancing Trombone Player-cover-shadowComments from Owen Klug about the Advancing Trombone Player

                Hi Mark,

                I am so glad to have connected with you and The Advancing Trombone Player, I really have an increased confidence level because of ATP. Thanks again, Owen Klug

                Here’s a few comments that I have that may help others…

                I had stopped playing for about 45+/- years. I gave everything away except the horn.

                After retiring, I needed something to do and my horn was the answer. I played in several bands – from concert, swing, rock…etc. I was also in the ARMY Show Band.

                I practiced and reached a level of proficiency that got me into 3 concert bands and 3 big swing/dance bands. then I seemed to plateau-out (did not get any better).

                I think I heard about you and your method books through the internet… not sure.

                The thing I’m finding the most effective about the Advancing Trombone Player book and system
                is the exercises and the amount of exercises in each lesson. And the practice time required.

                The thing I’m liking and impressed with the most is how quick I started improving again after leaving that initial plateau I was on.

                The difference is your approach, I think.  The amount of exercises and the various types of challenging exercises you provide.  This differs from other lesson types. In addition, your lesson plans require more practice time and are more demanding. This is definitely a Good Thing.

                The most obvious result I’ve noticed so far is my capabilities mature much faster and that helps and enhances my confidence level. I don’t feel so challenged when playing in bands.

                I’m happy to tell you I’ve already recommended the Advancing Trombone Player to others, telling them how much my confidence level has increased since I started using the ATP.

                One other thing, a little insight about Mark — he is very supportive and goes out of his way to help you improve and achieve your goals.

                I am so glad to have connected with you and The Advancing Trombone Player, I really have an increased confidence level because of ATP.

                Thanks again, Owen Klug

                Get your copy of the Advancing Trombone Player – click here.

                Hi Owen, Mark here…

                Thanks for sharing your comments and enthusiasm in your success using the Advancing Trombone Player method book system. I can tell you are putting in the disciplined practice time and follow the lesson plans, that the quickest way to get the most results in the least amount of time.  And as time goes by, as you progress through all of the lessons, things will continue you improve at an even quicker rate.

                Congratulations, and thanks again for sharing your thoughts.

                Get your copy of the Advancing Trombone Player – click here.

                Be Sociable, Share!

                  The Advancing Trombone Player – Owen Klug says this

                  Advancing Trombone Player-cover-shadowThe Advancing Trombone Player – Owen Klug says this

                  Hi Mark,

                  I am so glad to have connected with you and The Advancing Trombone Player, I really have an increased confidence level because of ATP. Thanks again, Owen Klug

                  Here’s a few comments that I have that may help others…

                  I had stopped playing for about 45+/- years. I gave everything away except the horn.

                  After retiring, I needed something to do and my horn was the answer. I played in several bands – from concert, swing, rock…etc. I was also in the ARMY Show Band.

                  I practiced and reached a level of proficiency that got me into 3 concert bands and 3 big swing/dance bands. then I seemed to plateau-out (did not get any better).

                  I think I heard about you and your method books through the internet… not sure.

                  The thing I’m finding the most effective about the Advancing Trombone Player book and system
                  is the exercises and the amount of exercises in each lesson. And the practice time required.

                  The thing I’m liking and impressed with the most is how quick I started improving again after leaving that initial plateau I was on.

                  The difference is your approach, I think.  The amount of exercises and the various types of challenging exercises you provide.  This differs from other lesson types. In addition, your lesson plans require more practice time and are more demanding. This is definitely a Good Thing.

                  The most obvious result I’ve noticed so far is my capabilities mature much faster and that helps and enhances my confidence level. I don’t feel so challenged when playing in bands.

                  I’m happy to tell you I’ve already recommended the Advancing Trombone Player to others, telling them how much my confidence level has increased since I started using the ATP.

                  One other thing, a little insight about Mark — he is very supportive and goes out of his way to help you improve and achieve your goals.

                  I am so glad to have connected with you and The Advancing Trombone Player, I really have an increased confidence level because of ATP.

                  Thanks again, Owen Klug

                  Get your copy of the Advancing Trombone Player – click here.

                  Hi Owen, Mark here…

                  Thanks for sharing your comments and enthusiasm in your success using the Advancing Trombone Player method book system. I can tell you are putting in the disciplined practice time and follow the lesson plans, that’s the quickest way to get the most results in the least amount of time.  And as time goes by, as you progress through all of the lessons, things will continue you improve at an even quicker rate.

                  Congratulations, and thanks again for sharing your thoughts.

                  Get your copy of the Advancing Trombone Player – click here.

                  Be Sociable, Share!

                    Comments about The Comeback Trumpet Player from Peter Flournoy

                    The Comeback Trumpet PlayerComments about The Comeback Trumpet Player from Peter Flournoy

                    Mark:

                    I am a comeback trumpet player and perform about 3-4 times per year at my church (either with piano or organ accompaniment or with the full choir). I began practicing again in late June for a church performance about a week ago and found your book to be valuable as I work to regain my chops.

                    I also especially like the warm up section, but find that I do not have the time to practice for more than about an hour per day. As such, I am taking your advice to practice parts of each lesson and alternate as I go.

                    I am finding my flexibility, endurance and range improving as I go.

                    Looking forward to working with your books and lesson plans throughout the end of this year and into next!!! I am really finding your book to be useful and helpful as I work to rebuild my chops!!

                    Thanks for providing a valuable and useful resource for those of us trying to get back in the game!!

                    With great appreciation,

                    Peter Flournoy
                    Norwalk, CT

                    Hi Peter, Mark here.

                    Thanks for your comments about The Comeback Trumpet trumpet book.

                    Sounds like you’re putting it to good use, and have customized your practice routine using the guidelines I gave you in the practice tips blogpost of alternating exercises every other day so you do get to all of them instead of just skipping around. Bravo!

                    By following the disciplined system of lesson plans you get a well-rounded approach to practicing all facets of playing in a balanced way, and you always know where to pick up again if you get side-tracked.

                    Thanks again for sharing your experience.

                    Mark Hendricks

                    You can get more info, free samples and order your copy of The Comeback Trumpet Player book at this link The Comeback Trumpet Player

                    And read practice tips and comments from other at this link Comeback Trumpet Player Tips

                     

                    .

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                      Peter Flournoy says this about The Comeback Trumpet Player

                      The Comeback Trumpet PlayerPeter Flournoy says this about The Comeback Trumpet Player

                      Mark:

                      I am a comeback trumpet player and perform about 3-4 times per year at my church (either with piano or organ accompaniment or with the full choir). I began practicing again in late June for a church performance about a week ago and found your book to be valuable as I work to regain my chops.

                      I also especially like the warm up section, but find that I do not have the time to practice for more than about an hour per day. As such, I am taking your advice to practice parts of each lesson and alternate as I go.

                      I am finding my flexibility, endurance and range improving as I go.

                      Looking forward to working with your books and lesson plans throughout the end of this year and into next!!! I am really finding your book to be useful and helpful as I work to rebuild my chops!!

                      Thanks for providing a valuable and useful resource for those of us trying to get back in the game!!

                      With great appreciation,

                      Peter Flournoy
                      Norwalk, CT

                      Hi Peter, Mark here.

                      Thanks for your comments about The Comeback Trumpet trumpet book.

                      Sounds like you’re putting it to good use, and have customized your practice routine using the guidelines I gave you in the practice tips blogpost of alternating exercises every other day so you do get to all of them instead of just skipping around. Bravo!

                      By following the disciplined system of lesson plans you get a well-rounded approach to practicing all facets of playing in a balanced way, and you always know where to pick up again if you get side-tracked.

                      Thanks again for sharing your experience.

                      Mark Hendricks

                      You can get more info, free samples and order your copy of The Comeback Trumpet Player book at this link The Comeback Trumpet Player

                      And read practice tips and comments from other at this link Comeback Trumpet Player Tips

                       

                      .

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                        Comments from Dave Dennis on The Comeback Trumpet Player book

                        The Comeback Trumpet PlayerComments from Dave Dennis on The Comeback Trumpet Player book

                        Hi Mark,

                        I have found The Comeback Trumpet Player  book an effective way to renew my acquaintance with my cornet. I am practicing up on my 1941 Conn 80a after — shall we say– more than 20 years. I had it restored earlier this year.  The old horn is slowly learning to sing again.

                        Having started from liver lips I have had considerable progress. The warm up section is especially valuable. I found the “rest as you play” instruction to be encouraging, especially when I was inventing notes that do not have  a place on any scale. The reminder to go slow and play well is helpful in coordinating rusty habits as well as replacing some unhelpful ones. Previously I had not given much thought to warm-down. Exercise 16 in the opening section really ends a practice session with a sense of relaxation. Because my cornet is larger bore the number of lower tones and bottom mid-range is helping me to build a tone I like. When I bust a note toward the top of my present range the “three strikes and you’re out” teaches patience and restrains my compulsions to overdo it. I chose to start with the G tonality studies. I appreciate the major and minor scale studies. My fingers are learning to cooperate again!

                        Your assigned Arban exercises gives me additional challenge as well as something to do during rest stops. My well-traveled book has now begun to molt and keeping the pages in order require attention. Gosh, it’s not even fifty years old yet! It is truly and old friend.

                        For those thinking about or starting up again, I highly recommend The Comeback Trumpet Player. It is varied enough to keep you interested and rigorous without being discouraging.

                        Keep on playing,

                        Dave Dennis
                        Knoxville, TN

                        Hi, Mark here…

                        Thanks Dave for your comments about The Comeback Trumpet Player systematic method book for trumpet players.

                        If you’re a Comeback Trumpet Player, this will help get you on track and keep you on track for years to come.

                        Read all about it at http://mphmusic.com/trumpet

                        If you’re more advanced already, I suggest you pick up The Advancing Trumpet player (you will see it at that same webpage).

                        More about The Comeback Trumpet Player – Tips and Comments

                        As always, my best to you —

                        Mark Hendricks

                        .

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                          Comeback Trumpet Player Dave Dennis says this

                          The Comeback Trumpet PlayerComeback Trumpet Player Dave Dennis says this

                          Hi Mark,

                          I have found The Comeback Trumpet Player  book an effective way to renew my acquaintance with my cornet. I am practicing up on my 1941 Conn 80a after — shall we say– more than 20 years. I had it restored earlier this year.  The old horn is slowly learning to sing again.

                          Having started from liver lips I have had considerable progress. The warm up section is especially valuable. I found the “rest as you play” instruction to be encouraging, especially when I was inventing notes that do not have  a place on any scale. The reminder to go slow and play well is helpful in coordinating rusty habits as well as replacing some unhelpful ones. Previously I had not given much thought to warm-down. Exercise 16 in the opening section really ends a practice session with a sense of relaxation. Because my cornet is larger bore the number of lower tones and bottom mid-range is helping me to build a tone I like. When I bust a note toward the top of my present range the “three strikes and you’re out” teaches patience and restrains my compulsions to overdo it. I chose to start with the G tonality studies. I appreciate the major and minor scale studies. My fingers are learning to cooperate again!

                          Your assigned Arban exercises gives me additional challenge as well as something to do during rest stops. My well-traveled book has now begun to molt and keeping the pages in order require attention. Gosh, it’s not even fifty years old yet! It is truly and old friend.

                          For those thinking about or starting up again, I highly recommend The Comeback Trumpet Player. It is varied enough to keep you interested and rigorous without being discouraging.

                          Keep on playing,

                          Dave Dennis
                          Knoxville, TN

                          Hi, Mark here…

                          Thanks Dave for your comments about The Comeback Trumpet Player systematic method book for trumpet players.

                          If you’re a Comeback Trumpet Player, this will help get you on track and keep you on track for years to come.

                          Read all about it at http://mphmusic.com/trumpet

                          If you’re more advanced already, I suggest you pick up The Advancing Trumpet player (you will see it at that same webpage).

                          More about The Comeback Trumpet Player – Tips and Comments

                          As always, my best to you —

                          Mark Hendricks

                           

                           

                          .

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                            Give It The 3rd Finger – Amazing Progress By Young Trumpet Players

                            Give It The 3rd Finger for Trumpet - 101 Studies, plus Etudes and DuetsGive It The 3rd Finger – Amazing Progress By Young Trumpet Players

                            Mark,

                            Just wanted to give you some news on the progress of a couple of my students who I have using your books.

                            My student Travis who has two of your books will be a Senior in high school. He has decided that he wants to study Business Music and trumpet . Looks like he will be going to Shenandoah Conservatory of Music in Virginia with Chuck Seipp as his trumpet professor. He found out the cost is $30,000 per year (whew). He also found out that he is elegible for their President’s scholarship at $20,000 per year. They require a 3.7 un-weighted grade point. He has a 3.9. They also require 1200 SAT, he has a 1350. The music department also has money, so both combined will cover his cost for all 4 years. Travis, with hard work from your books, is playing a consistent high F, and a G 40% of the time. His scales are just stunning. And his all-state material is coming along really well.

                            Another student Jack, a 9th grader going to be a 10th grader when school begins, is playing  a consistent G and A. He is hitting a Double Bb about 15% of the time. And powerful. With time he will get it and above. Your material has also helped him. He finished the year at Plant Hi being 1st chair in concert band, 1st in trumpet quintet, and lead trumpet in Jazz Band. He got a Superior rating performing a grade 6 solo at district and state solo and ensemble. His most current success was to get the lead trumpet spot in USF’s summer Jazz band camp.  Your scale book (All The Notes and More) and 3rd finger book (Give It The 3rd Finger) has him playing miles above other students his age, and thus his reading, jazz and concert is superior. He decided last week that he wants to give auditioning for the All-Star Grammy Band a try.

                            With the aid of your books I have 2 very motivated young men on my hands. Thanks for what you have done.

                            And another update, the Trumpet Festival we do in Tampa is set for for October 10th. Our featured guest artists are Chuck Seipp and the sensational young player Geoff Gallente. I know both Chuck and Geoff use your books too. Chuck and Geoff are booked to do the workshops and perform on the concert that night.

                            John Baker
                            Tampa, Florida

                            Hi John,

                            Thanks for the update.

                            It’s great to hear the progress your students are making using the books I’ve written.

                            If people will actually have the discipline, by themselves as self-study or with a good teacher like yourself, they will get results.

                            For those who have the books, just follow those lesson plans and follow the instructions closely in the written materials in the books and the guides I’ve posted on the blog for each book.

                            To see all the trumpet books, see http://mphmusic.com/trumpet

                            To see all the trombone books, see http://mphmusic.com/trombone

                            To see all the sax books, see http://mphmusic.com/saxophone

                            And check the Categories column on this page to see more info on each book.

                            As always, my best to you —

                            Mark Hendricks

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                              All The Notes and More – Amazing Progress By Young Trumpet Players

                              ALL THE NOTES AND MORE for TrumpetAll The Notes and More – Amazing Progress By Young Trumpet Players

                              Mark,

                              Just wanted to give you some news on the progress of a couple of my students who I have using your books.

                              My student Travis who has two of your books will be a Senior in high school. He has decided that he wants to study Business Music and trumpet . Looks like he will be going to Shenandoah Conservatory of Music in Virginia with Chuck Seipp as his trumpet professor. He found out the cost is $30,000 per year (whew). He also found out that he is elegible for their President’s scholarship at $20,000 per year. They require a 3.7 un-weighted grade point. He has a 3.9. They also require 1200 SAT, he has a 1350. The music department also has money, so both combined will cover his cost for all 4 years. Travis, with hard work from your books, is playing a consistent high F, and a G 40% of the time. His scales are just stunning. And his all-state material is coming along really well.

                              Another student Jack, a 9th grader going to be a 10th grader when school begins, is playing  a consistent G and A. He is hitting a Double Bb about 15% of the time. And powerful. With time he will get it and above. Your material has also helped him. He finished the year at Plant Hi being 1st chair in concert band, 1st in trumpet quintet, and lead trumpet in Jazz Band. He got a Superior rating performing a grade 6 solo at district and state solo and ensemble. His most current success was to get the lead trumpet spot in USF’s summer Jazz band camp.  Your scale book (All The Notes and More) and 3rd finger book (Give It The 3rd Finger) has him playing miles above other students his age, and thus his reading, jazz and concert is superior. He decided last week that he wants to give auditioning for the All-Star Grammy Band a try.

                              With the aid of your books I have 2 very motivated young men on my hands. Thanks for what you have done.

                              And another update, the Trumpet Festival we do in Tampa is set for for October 10th. Our featured guest artists are Chuck Seipp and the sensational young player Geoff Gallente. I know both Chuck and Geoff use your books too. Chuck and Geoff are booked to do the workshops and perform on the concert that night.

                              John Baker
                              Tampa, Florida

                              Hi John,

                              Thanks for the update.

                              It’s great to hear the progress your students are making using the books I’ve written.

                              If people will actually have the discipline, by themselves as self-study or with a good teacher like yourself, they will get results.

                              For those who have the books, just follow those lesson plans and follow the instructions closely in the written materials in the books and the guides I’ve posted on the blog for each book.

                              To see all the trumpet books, see http://mphmusic.com/trumpet

                              To see all the trombone books, see http://mphmusic.com/trombone

                              To see all the sax books, see http://mphmusic.com/saxophone

                              And check the Categories column on this page to see more info on each book.

                              As always, my best to you —

                              Mark Hendricks

                              Be Sociable, Share!

                                Amazing Progress By Young Trumpet Players

                                John BakerAmazing Progress By Young Trumpet Players

                                Mark,

                                Just wanted to give you some news on the progress of a couple of my students who I have using your books.

                                My student Travis who has two of your books will be a Senior in high school. He has decided that he wants to study Business Music and trumpet . Looks like he will be going to Shenandoah Conservatory of Music in Virginia with Chuck Seipp as his trumpet professor. He found out the cost is $30,000 per year (whew). He also found out that he is elegible for their President’s scholarship at $20,000 per year. They require a 3.7 un-weighted grade point. He has a 3.9. They also require 1200 SAT, he has a 1350. The music department also has money, so both combined will cover his cost for all 4 years. Travis, with hard work from your books, is playing a consistent high F, and a G 40% of the time. His scales are just stunning. And his all-state material is coming along really well.

                                Another student Jack, a 9th grader going to be a 10th grader when school begins, is playing  a consistent G and A. He is hitting a Double Bb about 15% of the time. And powerful. With time he will get it and above. Your material has also helped him. He finished the year at Plant Hi being 1st chair in concert band, 1st in trumpet quintet, and lead trumpet in Jazz Band. He got a Superior rating performing a grade 6 solo at district and state solo and ensemble. His most current success was to get the lead trumpet spot in USF’s summer Jazz band camp.  Your scale book (All The Notes and More) and 3rd finger book (Give It The 3rd Finger) has him playing miles above other students his age, and thus his reading, jazz and concert is superior. He decided last week that he wants to give auditioning for the All-Star Grammy Band a try.

                                With the aid of your books I have 2 very motivated young men on my hands. Thanks for what you have done.

                                And another update, the Trumpet Festival we do in Tampa is set for for October 10th. Our featured guest artists are Chuck Seipp and the sensational young player Geoff Gallente. I know both Chuck and Geoff use your books too. Chuck and Geoff are booked to do the workshops and perform on the concert that night.

                                John Baker
                                Tampa, Florida

                                Hi John,

                                Thanks for the update.

                                It’s great to hear the progress your students are making using the books I’ve written.

                                If people will actually have the discipline, by themselves as self-study or with a good teacher like yourself, they will get results.

                                For those who have the books, just follow those lesson plans and follow the instructions closely in the written materials in the books and the guides I’ve posted on the blog for each book.

                                To see all the trumpet books, see http://mphmusic.com/trumpet

                                To see all the trombone books, see http://mphmusic.com/trombone

                                To see all the sax books, see http://mphmusic.com/saxophone

                                And check the Categories column on this page to see more info on each book.

                                As always, my best to you —

                                Mark Hendricks

                                 

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                                  The Advancing Trumpet Player – Tips #3

                                  The Advancing Trumpet PlayerThe Advancing Trumpet Player – Tips #3

                                  Increasing endurance with little time to practice, airflow and buzzing, mouthpiece placement

                                  One of The Advancing Trumpet Player book owners wrote to me and said…

                                  Any advice for the comeback player using The Advancing Trumpet Player book, with people who have some time issues. Been playing 8 (come back after 25 off) years and still some of the warm ups I do totally wear me down. All of this info on air and buzzing, I’m not sure even how to set my mpc any more.

                                  Thanks,
                                  Mark S.

                                  Hi Mark,

                                  Thanks for your question.

                                  When I was doing my comeback after 20 years of not playing, I also was frustrated with my endurance.  I remembered how I used to be able to play and play. But what I didn’t remember is the years of building up to that happened as I developed my trumpet playing. Even so, it was frustrating.

                                  So how did I solve this?

                                  I pulled out my Arban’s book, when to those old songs and started playing four measures at a time (usually one phrase). Then I would take the horn off my face and sing what I play and finger the notes. Then I would play the next four measures and then rest while I sang those. And continued this pattern to the end of the song. Then I would rest as much time as it took to sing through the entire song.

                                  Then I continued this and did two pages of those songs. The next day I would start with the second page of the prior day for a little repetition of material and my second page on day two would be new.  And on and on in this pattern to the end of those old songs section.

                                  Then I went back the first song and did eight measures, rest and sing eight, play eight, rest and sing eight, etc – and did two pages like that. Then next day, start with the second page and add the next page, etc.

                                  Voila – I was resting as much as I was playing.

                                  The problem is…. we hear people say “Rest as much as you play”, and we play and play for an hour, beat up our chops, then rest an hour, comeback to practice on beat up chops and wonder why things don’t work and we don’t improve.

                                  Mark says… Rest as much as you play DURING each practice session, you should feel fresh and good at the end of your practice sessions. If you don’t, your not practicing correctly.  It does no good to practice on tired chops, you will only be developing bad habits, not good ones.

                                  I included this “How To Increase Your Endurance The Easy Way” Special Report PDF in the Trumpet Players Sample Pack available for free at http://mphmusic.com/trumpet

                                  Now as far as air and buzzing…

                                  Let’s focus instead on sound, your sound.  It’s what people hear.  The don’t hear your air, they don’t hear your buzzing.

                                  Focus on resonating the room with your sound.  This is not echo.  This is a thickness of sound that surrounds you when you play as you fill the room with your sound, you literally vibrate the room with your tone.  And you don’t have to play loud to do this. It’s more of opening yourself up so your airstream is easily moving through your horn and filling the room with sound on each and every note.

                                  How do you practice this?

                                  Those first few warmup exercises get you going on this in the Advancing Trumpet Player book, take your time, just get into the feeling of filling the room with your sound, resonate the room. I repeat myself, but that’s what I think about… listening for the room to resonate and tell me that I am playing correctly with a full and relaxed sound on each and every note, no matter if it’s short or long, low or high, soft or loud – resonate the room with the sound concept you are wanting to have.

                                  Once you get the feeling of this it will carry over into all of your playing, if you pay attention to it. And you must on each and every note… resonate the room.

                                  Okay enough of resonate the room 🙂

                                  Mouthpiece placement…

                                  Play a second line G with a full resonant sound with a comfortable mouthpiece placement, not too far left or right, not too far up or down… just make it feel good and sound good.  Let that be home base for a while. Build everything from that second line G.  Later on you may want to use top of the staff G for your setup, but that’s for later.  Get your in the staff sound resonating first.

                                  Some more thoughts and things to do for mouthpiece placement…

                                  A little more for mouthpiece placement….

                                  Get a 8×10 mirror and put it on your music stand so you can see yourself

                                  Start with directly centered under your nose and in half and half upper and lower lips left/right in the middle, even if feels lousy at first

                                  Then just play 2nd line G, half note, half note, whole note – horn off lips and rest that much

                                  Reset and do the same 10 times – Mezzo Forte – but resonate the room

                                  Just try that setup and see where it gets you.  Try it for at least 5 days like this — practice other stuff too after doing this and don’t think about placement so much, it will carry over. After the 5 days, you will probably used to it.

                                  You may then experiment with tiny adjustments up down left right to find the spot where your chops resonate the room the best – let the sound be your guide not so much the feeling of the chops — your chops will build the embouchure to support the sound you discover that resonates the room when you play.

                                  Slow and steady and a little of this every day, and let it carry over to your other playing.

                                  Once this 2nd line G starts resonating for you they way you like, then do the first Full Range Study that is in The Comeback Trumpet Player book, The Advancing Trumpet Player book, and the Full Range Studies for Trumpet book. Be sure to play each valve combination slowly, take the horn off your face between each one and rest as much as you just played.  Make sure you don’t slide note to note, make your chops work and resonate well on each note. Only go as high as it is easy, with the mouthpiece placement you are not trying to build range with this exercise, but rather just get things working well in the staff. You don’t need to go higher than top of staff G for this.  And your chops should feel good after doing this, if they don’t you didn’t rest enough or you went to high.

                                  If you don’t have these books, get the free Trumpet Players Sample Pack – this first exercise is in the Full Range Studies sample PDF, just do that first page and extend the pattern up to top of staff G. Get the sample pack at http://mphmusic.com/trumpet

                                  Remember to resonate the room as your guide to whether you are playing correctly.

                                  Listen to the sound of the room, more than the sound of your trumpet.

                                  Hope that helps!

                                  Mark

                                  To get a copy of The Advancing Trumpet Player, click here

                                  To get more Advancing Trumpet Player tips and info, click here

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                                    The Advancing Trumpet Player – Tips #2

                                    The Advancing Trumpet PlayerThe Advancing Trumpet Player – Tips #2

                                    How To Improve the K in Double Tonguing

                                    One of The Advancing Trumpet Player book owners wrote to me and said…

                                    Hello Mark,

                                    I am working in the ATP book and trying to work on K tongue and TK. It is horrible! The slow tempo sounds so bad that I do not see how it can progress. Is this what I should expect until the K sounds like T?

                                    Thanks for any help,

                                    Tony

                                    Hi Tony,

                                    The idea and goal is to get the T and the K to sound alike.

                                    Okay, so how do you do that?

                                    Here’s a few things to do…

                                    Days 1-2:

                                    – Only play second line G
                                    – Set a metronome to 92
                                    – Play two half notes and a whole note with a T attack, no separation, just let your tongue touch the airflow
                                    – Get the feeling of that airflow with the tongue just articulating with the T – more like Tuh – think about filling the room with your sound, resonate the room, do this four times
                                    – Now play two half notes and a whole note with the same airflow and start the half notes and whole note with the K attack, more like Kuh – think about filling the room with your sound, resonate the room – do this four times
                                    – Just stay on that G, reduce this down to only having to deal with the K (kuh) articulation

                                    Days 3-4:

                                    – Only play second line G
                                    – Set a metronome to 92
                                    – Play four quarter notes and a whole note with a T attack, no separation, just let your tongue touch the airflow
                                    – Get the feeling of that airflow with the tongue just articulating with the T – more like Tuh – think about filling the room with your sound, resonate the room – do this four times
                                    – Now play four quarter notes and a whole note with the same airflow and start the quarter notes and whole note with the K attack, more like Kuh – think about filling the room with your sound, resonate the room – do this four times
                                    – Just stay on that G, reduce this down to only having to deal with the K (kuh) articulation

                                    Days 5-6:

                                    – Only play second line G
                                    – Set a metronome to 92
                                    – Play eight eighth notes and a whole note with a T attack, no separation, just let your tongue touch the airflow
                                    – Get the feeling of that airflow with the tongue just articulating with the T – more like Tuh – think about filling the room with your sound, resonate the room – do this four times
                                    – Now play eight eighth notes and a whole note with the same airflow and start the eighth notes and whole note with the K attack, more like Kuh – think about filling the room with your sound, resonate the room – do this four times
                                    – Just stay on that G, reduce this down to only having to deal with the K (kuh) articulation

                                    Days 7-8:

                                    – Only play second line G
                                    – Set a metronome to 92
                                    – Play four quarter notes and a whole note with a T attack, no separation, just let your tongue touch the airflow
                                    – Get the feeling of that airflow with the tongue just articulating with the T – more like Tuh – think about filling the room with your sound, resonate the room – do this four times
                                    – Now play four quarter notes and a whole note with the same airflow and use the alternating Tuh-Kuh-Tuh-Kuh-Tuh… for the quarter notes and whole note – think about filling the room with your sound, resonate the room – do this four times
                                    – Just stay on that G, reduce this down to only having to deal with the T-K-T-K-T (tuh-kuh) articulation

                                    Days 9-10:

                                    – Only play second line G
                                    – Set a metronome to 92
                                    – Play eight eighth notes and a whole note with a T attack, no separation, just let your tongue touch the airflow
                                    – Get the feeling of that airflow with the tongue just articulating with the T – more like Tuh – think about filling the room with your sound, resonate the room – do this four times
                                    – Now play eight eighth notes and a whole note with the same airflow and use the alternating Tuh-Kuh-Tuh-Kuh-Tuh… for the eighth notes and a whole note – think about filling the room with your sound, resonate the room – do this four times
                                    – Just stay on that G, reduce this down to only having to deal with the T-K-T-K-T (tuh-kuh) articulation

                                    Here’s what you’re training yourself to do…

                                    – keep the air moving
                                    – articulating the airflow with double tongueing articulations
                                    – keeping the resonance of tone to fill the room with your sound
                                    – keeping your mind focused on resonating each tone you play

                                    You may also want to practice this with a softer attack of Duh-Guh-Duh-Guh-Duh.

                                    Always keep the airflow and resonating the room the thing you think about, just articulate the airflow with your T-K.

                                    After doing this for 10 days, you’re ready to speed this up, keeping all the basics in place. You can also use different notes, starting with F#, then G#, then F, then Ab… and only use one note at a time like you did with the second line G to begin with.

                                    Once you can do it on one note down to low G and top of staff G, then start doing the double tongue studies in the Arban book.

                                    Always focus on resonating the room, get the sound out there no matter what you are playing.

                                    Here’s a video that someone did that’s pretty good on more advanced double tongue development after you do the above.

                                    http://mphmusic.com/blog/trumpet/how-to-improve-your-trumpet-double-tonguing

                                    Hope that helps,
                                    Mark

                                    Get a copy of the Advancing Trumpet player at this link

                                    Get more Advancing Trumpet Player tips – click here

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                                      The Advancing Trombone Player

                                      Advancing Trombone Player-cover-shadowThe Advancing Trombone Player

                                      Get your copy of this trombone study book today…

                                      It’s a complete step-by-step system that includes everything you need to build your embouchure, tone, technique, flexibility, tonguing, endurance, range, and musicianship. Written for those trombone players who are ready to achieve the highest levels of playing their horn.

                                      The “ATP” system consists of four sessions per day: warm-up, tonality study, Arban’s book studies, and endurance/range/musicianship studies. This will take approximately two hours per day divided into four sessions, with breaks in between. Don’t try to play all of the assignments in one session, you really do need the rest to keep your embouchure fresh all day and ready again for the next day.

                                      If you cannot commit to two hours per day, then go with one hour per day and play every other exercise in the lessons on day one, then on day two play the ones you skipped, on day three alternate back to the ones you played on day one, and so on back and forth throughout the week. And spend two weeks on each lesson instead of one week, or longer if needed, when using this pattern.

                                      The Advancing Trombone Player has additional emphasis on multiple tongue articulations in the tonality studies that builds more strength, endurance, and agility all over the horn. The ATP is really designed for those who really want to step up their game and master all registers of the trombone.

                                      Get more info, sample pages, and order your copy of The Advancing Trombone Player now at:

                                      http://www.MPHmusic.com/trombone

                                      Best,

                                      Mark

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                                        The Advancing Trombone Player – Tips #1

                                        Advancing Trombone Player-cover-shadowThe Advancing Trombone Player – Tips #1

                                        I received this note from one of our customers, and I thought others may benefit from my answers too…

                                        I have been making some progress through the lessons but my practice time has been somewhat restricted lately. I am concerned that I will spend one session warming up and then have little to no time for further lesson progression or just practicing music. Is there an expedited warm up regimen I can use. I have seen 20 minute plans and others.

                                        Second what should I use as a metric or success before I move on through the parts of each lesson? No mistakes/perfect tempo, 1,2,3 mistakes? My concern with some of the Arban’s and even your practice lines is I might never play it perfectly. Or do you just play the lines once through ignoring mistakes and work to correct them the second time around?

                                        Hope these questions make sense.
                                        Any advice is appreciated.

                                        Thanks, L.

                                        And my note back to him…

                                        Hi L.,

                                        Try this for the warmup routine.

                                        Do all of 1-5. This is basically a warmup. Get the lips vibrating, get the air moving, sound clearing, embouchure responding to tongue and slur, and some flexibility too.

                                        Then for the other exercises (which are a daily routine to cover more areas of playing), do lines 1,3,5,7 one day, then line 1,2,4,6 the next. This assures you are covering all of each at least a few times during the week, and shortening the time.

                                        As far as progressing through lessons week by week….

                                        It is really at your own pace, and how picky and tough you want to be on yourself.

                                        I’d rather have you play things slower, with a great sound on every note, and not necessarily the whole exercise meaning you can divide it up into doing a line at a time, etc – and piece it all together over time).

                                        For the tonality studies (section 2), this works fine, because after the first 3 months you will be doing one tonality a day as improvement and review … and your sound, playing, and technique will be improving continuously.

                                        For section 3 (Arbans) – same things, slower with great sound and accuracy is better than fast and bad. This approach yields the best results in the shortest period of time.

                                        A lot of what we do when we practice is build the automatic response systems required to play, and we really must slow things down to do it – kind of like a kid learning to ride a bike – lots of wobbling and falling at first, but once the balance and memory response is developed, away they go.

                                        And just as they learn to keep their balance, and pedal and ride faster, so will you in speeding up the exercises that need to be speeded up … but always, even at quicker speeds your sound must clearly resonate the room. Each and every note.

                                        You can read more about how to use the book at this link: Advancing Trombone Player

                                        To get the book and see more, click The Advancing Trombone Player book

                                        Best,
                                        Mark Hendricks

                                        .

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                                          The Advancing Trombone Player – Tonality Studies Commentary

                                          Advancing Trombone Player-cover-shadowThe Advancing Trombone Player – Tonality Studies Commentary

                                          Here’s some tips on each of the exercises in the Tonality Studies, kind of the what, why, and how to practice each.

                                          The most important rule – it’s better to play slow and correct, than fast and bad. If you practice playing incorrectly, you will only reinforce incorrect playing.

                                          An interesting thought on these tonality studies – all of the commentary below applies to each of the tonalities, but what you will find is in each of the tonalities, each of the exercises will present different challenges due to range, fingerings, intonation, aperture, tongue levels, etc.

                                          #1 – Believe or not, this is an interval study. Yes, the interval you on working on is the chromatic 1/2 step. Strive to have each and every note resonate clearly. Blow through the valves and out into the room. Get your tone to match on each note. Take your time, don’t rush. Think of this as a long tone study and move the air through the whole exercise. When tonguing, connect each note to the next, leave no space between the notes. Full value notes, not staccato. It’s all one long tone, your tongue is just articulating the beginning of each pitch.

                                          #2 – Play with a full sound, not loud, just full. Once again this is all one long tone. Be sure you are not sliding between notes to get to the next note, it’s either one note or the other. Minimize the movement of your face and jaw as much as possible, use the beginning note as the homebase for your embouchure as you move through this exercise.

                                          #3 – When first learning the scales, it’s okay to play one measure and the downbeat of the next. Then play the 2nd measure and the downbeat of the next, and so on. Once you have that, then you can string all of the measures together as written. Keep the air moving, don’t stop the air at the valves, resonate the room with your tone. End the first half of the exercise with a full tone note, let it really sing. Practice using all articulations, never staccato. Connect each note to the next, keep the air moving, your tongue is only there to start the next note, there should be no separation. As soon as possible, commit all scales to memory, close your eyes and play the scales. Get to the point where you see the key signature, the starting and ending notes, and just play.

                                          #4 – Practicing these slowly is good, focus on getting your slide to move quickly and smoothly at the correct time. You may wish to repeat each two bar phrase. Make sure to keep the air moving past the values and resonate the room with each note. Match the tone quality on each note.

                                          #5, 6, 7 – When first learning the scales, it’s okay to play one measure and the downbeat of the next. Then play the 2nd measure and the downbeat of the next, and so on. Once you have that, then you can string all of the measures together as written. Keep the air moving, don’t stop the air at the valves, resonate the room with your tone. End the first half of the exercise with a full tone note, let it really sing. Practice using all articulations, never staccato. Connect each note to the next, keep the air moving, your tongue is only there to start the next note, there should be no separation. As soon as possible, commit all scales to memory, close your eyes and play the scales. Get to the point where you see the key signature, the starting and ending notes, and just play.

                                          #8 – When first learning the two octave chromatic scale, you may want to play the lower octave up and back down. Then play the upper octave up and back down. Use all articulations indicated. Then once you have that, put it all together as a two octave chromatic scale. Keep the air moving, stay relaxed as you ascend, there is no need to tighten up, just let the notes come out.

                                          #9 – Play with a full singing style sound. Make this study as musically beautiful as you possibly can. Resonate the room with a full and relaxed sound.

                                          #10 – Each note needs to speak clearly. Don’t make them too short, each note should resonate. Be sure to play this one three times, and get it to sound great the first time through it.

                                          #11 – Once again, think of this as one long tone, it’s one stream of air, but the pitch changes each beat. No separation between notes, no sliding between notes. Listen closely to your intonation, know ahead of time the pitch center of the note you are about to play, then play that note right in it’s most resonant center. Use all indicated articulations so you learn to come into the notes from every which way.

                                          #12 – When you first learn this one, practice it single tongue to develop the tongue and finger coordination. Then play with the double tongue articulation. It’s okay to slow down the double tongue to make sure your T and K tone quality matches. You must keep the air moving through the T-K that is going on, don’t back off the air flow on the K syllable. Each note should resonate and speak clearly.

                                          #13 – Each note should flow into the next one. You may want to also practice this all slurred so that you get the feeling of it all being one long tone, then go back and add the slur-two tongue-two articulation. Make this sound effortless.

                                          #14/15 – Play full value sixteenth notes, don’t try to play them short, they’re already short. Connect each note to the next, with the tongue only activating to define the beginning of the notes. Use all indicated articulations.

                                          #16/17 – Practice this slowly and memorize it. Get the feel for the free air flow up and down the arpeggio. Make it sound easy and effortless. Stay relaxed as you ascend and descend. Use all indicated articulations.

                                          #18 – When you first learn this one, practice it single tongue to develop the tongue and finger coordination. Then play with the triple tongue articulations. It’s okay to slow down the triple tongue to make sure your T and K tone quality matches. You must keep the air moving through the TTK and TKT that is going on, don’t back off the air flow on the K syllable. Each note should resonate and speak clearly.

                                          #19 – Playing these slowly is just fine. You are after accuracy and tone quality. You can learn these by playing two beats at a time ending on the next downbeat, then start on that note and do the same, two beats and end on the next downbeat. Then go back and put it all together. Use all indicated articulations.

                                          #20 – Just as in the two octave chromatic study, when first learning the two octave whole tone scale, you may want to play the lower octave up and back down. Then play the upper octave up and back down. Use all articulations indicated. Then once you have that, put it all together as a two octave whole tone scale. Keep the air moving, stay relaxed as you ascend, there is no need to tighten up, just let the notes come out. The whole tone scale will force you to hear the center of the next pitch so you can resonate the tone as soon as you play it.

                                          #21 – Learn these augmented arpeggios one measure at a time, play a measure and end on the next downbeat. Start on the second measure and end on the next downbeat, and so on. Get the sound of these augmented chords in your head so you know where you are going with the pitch of each note so it resonates the room when you play each one. Once you have this, string the whole study together as one. Use all indicated articulations. Keep that air moving, it’s all one long tone. And resonate the room with every note.

                                          #22 – Take your time, play it slowly. Rest between each section. Go for a full and beautiful singing sound, each note is clear and resonates the room. Match the tone quality of one note to the next, each note connects without break to the next. Use all indicated articulations.

                                          If you don’t have a copy of The Advancing Trombone Player book, get full details here:

                                          http://mphmusic.com/trombone

                                           

                                           

                                           

                                          .

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                                            The Advancing Trombone Player – Warmup Routine Commentary

                                            Advancing Trombone Player-cover-shadowThe Advancing Trombone Player – Warmup Routine Commentary

                                            Here’s some tips on each of the exercises in the Warmup Routine, kind of the what, why, and how to practice each.

                                            When you first start using the book, in the first session (the Warmup Routine), just play exercises 1-4 and 17 the first week. Then the second week add one more exercise (ie 1-5 and 17), then the third week add one more exercise (ie 1-6 and 17) and continue in this pattern until you are playing exercises 1-17 of the Warmup Routine daily. If at any time the additional added exercise is not to your liking (still difficult) at the end of the practice week, then stay with that routine for another week or so until you it becomes easier for you.

                                            #1 – The breath attack on the first note F of each set is to let your lips know that when you release the air stream you really want your lips to vibrate and instantly create your sound. Be sure to have your air pressure in place before starting the sound, the sound should start instantly. Exhale, inhale, release, resonate the room with your sound.

                                            Match the tone color of the fingered notes to the open F sound. As you move your way down and up the scale, match the tone quality of each note to the others. Because you are using different valve combinations the tone quality will change, it’s up to you to make minor adjustments to get the tone quality to match note for note. Make sure to not slide the pitch from one to another, the pitch of each note should happen instantly. Keep the air moving through the valve changes. Always fill the room with your sound. Resonate the room.

                                            Take the horn off your lips after each fermata. Rest as long as you just played. Note that each line of this exercise gets longer in length, learn to regulate your air flow, in and out. After you’re done, rest at least two minutes, more is good.

                                            #2 – Now we add the tongue attack (T) on the notes. Get those first two eighth notes to resonate the room, they should not be staccato, just a full eighth note. By resonate the room, I don’t mean loud, rather get the feeling that you are filling the room with your sound to all the corners of the room and you can hear it coming back to you. This is not echo. It is you exciting the air in the room with your playing. Always, no matter what you are playing, resonate the room.

                                            In measure two, three and four, connect the notes, do not slide between the notes. The note pitches are one or another, little notches of tone. Keep the air moving, think of everything as one long tone. Rest as marked.

                                            #3 – Match the tone quality of each note, the lower neighbor tone, the slur up, the lower neighbor tone, the slur up, the upper neighbor tone, the slur down, the upper neighbor tone, and the slur down and hold. Keep the air moving, it’s all one long tone, just the pitches you play are different. Resonate the room.

                                            #4 – Going from note 1 to note 2, it’s either the B or the G#, there is no E in the middle (same on the other slide combinations on the first two notes). Then keep the air moving and slur down and up without sliding from note to note. Listen to yourself closely, each note has it’s pitch and tone quality, match them and smooth out any glitches. All one long tone, resonate the room.

                                            #5 – Go for a full singing sound as you play this one. Keep the open, relaxed feeling of the low notes as you ascend to the higher notes. Keep your concentration up after the top note and descend gracefully all the way down and hold. No sliding between notes.

                                            #6 – Get the tempo of the sixteenth notes in your mind before you begin. Play the first two notes with a resonate sound even though they are eighth notes. Play the slurred sixteenth notes evenly and smoothly, no sliding allowed. When you land on the half note it should be stable and steady with a resonate sound holding it full value and then slur down without sliding to the next note and then slur down without sliding to the next note and hold, then rest.

                                            #7 – It’s all one long tone, you are just changing pitches along the way. Match the tone quality pitch to pitch, especially the top note of the sets, keep the air moving all the way up and back down. No sliding, each note counts, each note resonates the room.

                                            #8 – Get the tempo of the sixteenth notes in your mind before you begin. Play the first two notes with a resonate sound even though they are eighth notes. Play the slurred sixteenth notes evenly and smoothly, no sliding allowed. When you land on the half note it should be stable and steady with a resonate sound holding it full value and then slur down without sliding to the next note and then slur down without sliding to the next note and hold, then rest.

                                            #9/10 – Once again, it’s all one long tone. Keep the air moving in a steady flow from first note through the last note. There should only be the notes heard that are written, no little extra notes when you slur up between notes 3 and 4. It’s okay to practice this slowly to get the feeling of the air flow, and the continuous resonating of the room with your sound. Give a little special attention to the next to last note of the phrase, it’s a little “curve ball” thrown at you to get you to change your valves quickly and have the note speak clearly, still with the same tone quality as the other notes.

                                            #11 – Get the tempo of the sixteenth notes in your mind before you begin. Play the first two notes with a resonate sound even though they are eighth notes. Play the slurred sixteenth notes evenly and smoothly, no sliding allowed. When you land on the half note it should be stable and steady with a resonate sound holding it full value and then slur down without sliding to the next note and then slur down without sliding to the next note and hold, then rest.

                                            #12 – Go for a full singing sound as you play this one. Keep the open, relaxed feeling of the low notes as you ascend to the higher notes. Keep your concentration up after the top note and descend gracefully all the way down and hold. No sliding between notes.

                                            #13 – Wow, look at all of those Cb notes. That 7th position is the longest your trombone gets, and it takes a little more concentration to get your horn to speak compared to other notes, and it’s up to you to make this happen. This study helps you learn how to match the tone quality going from longest to all the other slide positions too, plus make it happen over a few different overtone partials. Be sure to do all of the articulations, this assures you are approaching this issue from every which way to get your chops working efficiently. And remember, it’s all one long tone. Oh, and… resonate the room.

                                            #14/15 – Full length sixteenth notes, don’t try to play staccato, they are already short notes. Resonate each one, every note counts, no fluffs accepted. Match the tone quality each note to the others, listen closely to the intonation of each note so you are playing the middle of the pitch when you attack the note. Keep reminding yourself that it’s all one long tone, the air keeps moving all the way from the first note through the last note.

                                            #16 – Once again, it’s all one long tone. Keep the air moving in a steady flow from first note through the last note. There should only be the notes heard that are written, no little extra notes when you slur up between notes 3 and 4. It’s okay to practice this slowly to get the feeling of the air flow, and the continuous resonating of the room with your sound. Give a little special attention to the next to last note of the phrase, it’s a little “curve ball” thrown at you to get you to change your valves quickly and have the note speak clearly, still with the same tone quality as the other notes.

                                            #17 – Go for a relaxed and resonate sound. Fill the room with your sound, not loud, just resonate.

                                            If you don’t have a copy of The Advancing Trombone Player book, get full details here:

                                            http://mphmusic.com/trrombone

                                             

                                             

                                             

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                                              The Advancing Trombone Player – Quick Start Guide

                                              Advancing Trombone Player-cover-shadowThe Advancing Trombone Player – Quick Start Guide

                                              First of all…

                                              Congratulations on your purchase of The Advancing Trombone Player book!

                                              You’re embarking on a great journey complete with challenges and rewards… frustrations and fun too!

                                              Here’s a few tips on getting starting using the ATP book:

                                              1. Read the written materials in the front of the book during your rest time within your practice sessions, let the information there really sink in (read it many, many times).

                                              2. When you first start using the ATP book, in the first session (the Warmup Routine), just play exercises 1-4 and 17 the first week. Then the second week add one more exercise (ie 1-5 and 17), then the third week add one more exercise (ie 1-6 and 17) and continue in this pattern until you are playing exercises 1-17 of the Warmup Routine daily. If at any time the additional added exercise is not to your liking (still difficult) at the end of the practice week, then stay with that routine for another week or so until you it becomes easier for you.

                                              3. Always rest as much as you play DURING your practice sessions, not just between your practice sessions. You should still feel fresh at the end of the practice sessions, if not then rest more during the session. You don’t get better by playing incorrectly on beat up chops. Always strive to practice correctly. When you perform or rehearse with others, just play (your correct practice habits will be with you).

                                              4. It’s really okay to play the tonality studies S-L-O-W-L-Y. Go for air flow (think of each exercise as one continuous long tone of air), resonant sound on every note (fill the room with your sound, no matter the length of the note), clean attack and articulations, etc. What you are wanting to do with slow practice is to give your body a chance to learn to coordinate all of the “moving parts” of trombone playing so that it becomes second nature (subconscious reflexes) and carries forward into the study when you incrementally speed it up to quicker tempo.

                                              5. Practice all of the articulations notated (ie S, T, K, TK, TTK, TKT, Breath). This will get your embouchure learning to play each note in every which way and whatever direction.

                                              6. When playing from the tonalities section, or the Arban’s studies section, or any other thing you practice… it’s okay to practice one measure at a time, or even two beats at a time, or whatever. You can always string things back together and play longer stretches of music as you get better. It’s more important to play correctly for short periods, than incorrectly for long periods of time.

                                              7. In the fourth session of the lessons, play as musically as you can. Those short little songs in the Arban book are full of twists and turns that really can give your chops a good workout and get you playing with finesse, and if you do them as I prescribe, your chops will feel fresh at the end of that session. Follow the instructions in the fourth session on how to alternate in the full range studies a few days a week also.

                                              8. Always strive to play with the best tone possible. That’s what people hear, so why not be aware of it all the time when you practice. If you really sound great, chances are you are playing correctly. Always be thinking to resonate the room, not just the horn. This is not loudness volume, this is resonance. You will hear the room “feed back” the sound to your ears when you get it right. This is not echo. It is more of a thickness of your sound in the air that resonates while you play.

                                              9. Always strive to make your practicing sound musical – make music, that’s the ultimate end game, so do it all along the way too.

                                              10. Consider taking some lessons, either locally with a good instructor, or with me via Skype (yes, it really does work well, and I am very, very good at coaching you along your ATP trail).

                                              11. Contact some local ensembles and get going on playing with others (see this page for ideas).

                                              12. Have fun and enjoy the ride!

                                              You’ll find some other ATP tips here.

                                              As always, my best to you —

                                              Mark Hendricks

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                                                The Advancing Trumpet Player – Tips #1

                                                The Advancing Trumpet PlayerThe Advancing Trumpet Player – Tips #1

                                                I received this note from one of our customers, and I thought others may benefit from my answers too…

                                                I have been making some progress through the lessons but my practice time has been somewhat restricted lately. I am concerned that I will spend one session warming up and then have little to no time for further lesson progression or just practicing music. Is there an expedited warm up regimen I can use. I have seen 20 minute plans and others.

                                                Second what should I use as a metric or success before I move on through the parts of each lesson? No mistakes/perfect tempo,  1,2,3 mistakes? My concern with some of the Arban’s and even your practice lines is I might never play it perfectly. Or do you just play the lines once through ignoring mistakes and work to correct them the second time around?

                                                Hope these questions make sense.
                                                Any advice is appreciated.

                                                Thanks, L.

                                                And my note back to him…

                                                Hi L.,

                                                Try this for the warmup routine.

                                                Do all of 1-5.  This is basically a warmup.  Get the lips vibrating, get the air moving, sound clearing, embouchure responding to tongue and slur, and some flexibility too.

                                                Then for the other exercises (which are a daily routine to cover more areas of playing), do lines 1,3,5,7 one day, then line 1,2,4,6 the next.  This assures you are covering all of each at least a few times during the week, and shortening the time.

                                                As far as progressing through lessons week by week….

                                                It is really at your own pace, and how picky and tough you want to be on yourself.

                                                I’d rather have you play things slower, with a great sound on every note, and not necessarily the whole exercise meaning you can divide it up into doing a line at a time, etc – and piece it all together over time).

                                                For the tonality studies (section 2), this works fine, because after the first 3 months you will be doing one tonality a day as improvement and review … and your sound, playing, and technique will be improving continuously.

                                                For section 3 (Arbans) – same things, slower with great sound and accuracy is better than fast and bad. This approach yields the best results in the shortest period of time.

                                                A lot of what we do when we practice is build the automatic response systems required to play, and we really must slow things down to do it – kind of like a kid learning to ride a bike – lots of wobbling and falling at first, but once the balance and memory response is developed, away they go.

                                                And just as they learn to keep their balance, and pedal and ride faster, so will you in speeding up the exercises that need to be speeded up … but always, even at quicker speeds your sound must clearly resonate the room.  Each and every note.

                                                You can read more about how to use the book at this link:  Advancing Trumpet Player

                                                To get the book and more, see The Advancing Trumpet Player book

                                                Best,
                                                Mark Hendricks

                                                .

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                                                  The Comeback Trumpet Player – Tips #3

                                                  The Comeback Trumpet Player The Comeback Trumpet Player – Tips #3

                                                  I received this note from one of our customers, and I thought others may benefit from my answers too…

                                                  I have been making some progress through the lessons but my practice time has been somewhat restricted lately. I am concerned that I will spend one session warming up and then have little to no time for further lesson progression or just practicing music. Is there an expedited warm up regimen I can use. I have seen 20 minutes plans and others.

                                                  Second what should I use as a metric or success before I move on through the parts of each lesson? No mistakes/perfect tempo,  1,2,3 mistakes? My concern with some of the Arban’s and even your practice lines is I might never play it perfectly. Or do you just play the lines once through ignoring mistakes and work to correct them the second time around?

                                                  Hope these questions make sense.
                                                  Any advice is appreciated.

                                                  Thanks, L.

                                                  And my note back to him…

                                                  Hi L.,

                                                  Try this for the warmup routine.

                                                  Do all of 1-5.  This is basically a warmup.  Get the lips vibrating, get the air moving, sound clearing, embouchure responding to tongue and slur, and some flexibility too.

                                                  Then for the other exercises (which are a daily routine to cover more areas of playing), do lines 1,3,5,7 one day, then line 1,2,4,6 the next.  This assures you are covering all of each at least a few times during the week, and shortening the time.

                                                  As far as progressing through lessons week by week….

                                                  It is really at your own pace, and how picky and tough you want to be on yourself.

                                                  I’d rather have you play things slower, with a great sound on every note, and not necessarily the whole exercise meaning you can divide it up into doing a line at a time, etc – and piece it all together over time).

                                                  For the tonality studies (section 2), this works fine, because after the first 3 months you will be doing one tonality a day as improvement and review … and your sound, playing, and technique will be improve continuously.

                                                  For section 3 (Arbans) – same things, slower with great sound and accuracy is better than fast and bad. This approach yields the best results in the shortest period of time.

                                                  A lot of what we do when we practice is build the automatic response systems required to play, and we really must slow things down to do it – kind of like a kid learning to ride a bike – lots of wobbling and falling at first, but once the balance and memory response is developed, away they go.

                                                  And just as they learn to keep their balance, and pedal and ride faster, so will you in speeding up the exercises that need to be speeded up … but always, even at quicker speeds your sound must clearly resonate the room.  Each and every note.

                                                  You can read more about how to use the book at this link:  Comeback Trumpet Player

                                                  The Comeback Trumpet Player book – click.

                                                  Best,
                                                  Mark Hendricks

                                                  .

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