Trumpet Lesson with Claude Gordon teaching Susan Slaughter April 1981 - Lesson 4

The third lesson. Lesson two, part one again. Part one will be the same all that time. Now part two
is like this. It's the same thing, but you play the first note five times, the last note five times.
Take a breath after that little check is all that's left. So take it a lot.
Always that little crescendo. On the last note or on each one? On the last note.
That's it. You see what this is doing too, it'll develop you for many things, but one thing it'll
do, it'll get you to a point where you'll never lose a top ending, because the longer you hold it,
the more you're going to give it, and that becomes a habit. All right, C sharp.
Good. Okay, all right, now you go all the way. Now then, in other words, as far as you can,
three strikes out, relax your left. Okay, now the next one we turn to lesson three.
Now the first part, everything is always the same idea as what we just did. Everything.
That's the manner you go about it. All right, now this one going
and that's your long hold. Okay, no crescendo? Yes, when you when you're running out.
That's right, and don't worry about what the note does when you're about there.
All right, that's a little harder to hold up there. Then you rest, same deal, rest like you do.
Let me hear now. I hate to rush, but if we did it all, you'd never play in middle C pretty soon.
Excuse me, now the G.
All right, all right, now let me hear the pedal D.
And leave it comfortably flat, otherwise it'll break. Did you hear it break there once?
Yes. That's because you were trying to hold it a little. So, okay. Just let it drop.
Okay. All right, now. How about the pitch then, just as I run out of air, you just like.
And it'll drop the bubble or you might even flip higher or something. Once you're out of air,
anything could happen. All right, now part two. It's exactly the same as lesson two, but it's two
octaves. And I don't want a breath in the middle, so you're okay.
All right, can you go as far as you can? Excuse me. Three strikes and out. Okay.
Yeah. I'm beginning to run out of air, so go faster.
Well, when you start running out and you have to have air,
which will probably be around your C or somewhere, then you would take it there.
Oh, okay.
All right. But if I don't need it, don't.
If you don't need it, but recognize when you do need it. Never get a top note empty.
All right, now your three strikes and out, you relax your lip with the same one.
All right, that's all you do is part one and two. Now, the next lesson, we're going to do
the same one, but I want this in octaves like this.
Breath. And that's the long one.
All right. Excellent. You go all the way that way. Let me hear the F.
All right. See, again, Susan, we just do a little change each time, but little by little,
you're getting that feel of everything falling in, where if you're trying to go too fast and
do the end result, it's very subtle changes. All right. Now, part two is exactly the same.
You go the same way as far as you can, three strikes and out. Then you relax your lip.
Now, normally in the book itself, you'd rest an hour, don't rest an hour, rest a couple of minutes,
and then we're going to do part three and then take your long rest. Now this, you watch your tongue.
And about two or three times on the repeat as well.
I'm not supposed to play it low note, am I? You want me to say end in stride? I added the low note.
Oh, yeah, add it. Yeah, do add it. Yeah, you don't sense it hanging up in the air.
Yeah, okay. Actually, what I should have done is recognize that I should have put it in there.
Okay. Now, when you get up, you have seven positions, and once it starts moving,
it's hard for speed immediately. But never get it.
Well, when you get up to the seven positions, you might as well go back down.
Okay. Okay, you understand? All right, that's that less. Now, next week we're going on with four.
Four is the five, let's hear that. You go down the three, see how subtle you go down. Then you
And then you come back up, so.
Good, excellent.
All right, let me hear the sheet.
Now, see, you're going to go into the pedal and back out of it.
One more.
You like that?
Relax now.
Good job.
Now, that'll, in a few weeks, that'll take shape and you'll be going really into it easily.
Yeah.
You talked about earlier about playing the lowest to the strong.
Is this too strong or is it different?
Yeah, you keep going.
Oh, yeah.
Because you can get it.
You can try to keep it forward.
Don't worry about it.
If you're in the end, they'll open up.
Yeah.
It's the doing it that counts.
You know, one way or another, it's just constantly doing the thing.
This is like anything you do.
You finally get to it.
You don't even think of it anymore.
You just do it.
I was saying in relation to the iron spoon.
Yeah.
Where I was supposed to lighten up on it a little bit.
Yeah, right.
Now, these you want to keep about the same.
Okay.
Okay.
All right.
Now, part, you go all the way.
Now, part two.
Exactly the same with that half step again on top.
And you don't get a breath until you need it.
Okay.
Maybe you should pass that.
Or no breath until you need it.
That's better.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
And then there's just a fine job of just getting a check here because that's not where I
was thinking.
Yeah.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
That's the iron spoon.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
All right, let's try this one now, just like the other.
That's a crescendo after I play the C sharp?
Yeah.
Go right into the key and then a little crescendo.
Alright.
That's right.
Okay?
That's right.
Okay?
As far as you can go, three strikes and out, relax your lip, take a short rest, and you
do part three again, which is the same thing.
But before you do the new one, see what it says here?
First review lesson three, part four, which is this one.
So then you're doing both of them.
Forget this last one.
Okay?
Alright.
Understand?
Now, the next lesson, we do the same thing, but I want this in obvious.
Okay?
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
That's right.
Good.
That's good.
Let me hear the act.
Yeah, we'll do.
That's right.
That's right.
One, two, three, four.
Right.
Okay.
Now, then again, three strikes.
And you do this.
The same thing.
Okay.
That's right.
Two strikes.
Three strikes.
Now, then again, tree strikes, and you do this the same way on the second lesson.
Tree strikes and out, short rest, and you're part of the trees again.
Okay, now we move on.
Now, that's the last of the octaves.
Now, the five notes, and then up the arpeggio.
That's your woman.
Right.
Just try that.
Third?
And then?
You can on this.
All right.
Good.
You go as far as you can.
All right.
Now, when we do the next part of the tree, here's the exercise up here.
You'll always take a breath, always, after the tree.
Now, you have three half-steps.
This starts, this is the toddy.
Then your chord is toned, and then they have the half-steps.
So, it's like,
Like that.
Play that.
right. That's right. Remember, the only long hold is on the part one, never on part two.
There's a mistake in here where it says to do it on part two before.
So this would be all of them.
Yeah, that's right.
Now, let's start it down there with that.
That's right. Okay?
You go as far as you can, three strikes out, relax your lip.
Now, the part threes. But before you do this, you review all the others.
Okay.
And then this one. And by this time, you try to start to pick up the speed.
All right. Now, this is the same thing as you're just able to come down on the arpeggio.
About...
Great. Great, Susan. You go as far as you can.
Part two is exactly the same as five, but it spreads two octaves.
Let's try that.
Okay.
Good. That's the idea. All right. Three strikes and out.
Now, when and if you need another breath as you're going up.
Take it.
When you have to.
I think you should be okay.
Yeah. You'll like this.
All right. You relax your lip. Rest just a couple of minutes.
And then all your part three strokes.
All right. Now, seven. Now we do the whole arpeggio.
And that's the long one.
See what you're doing here?
Yeah.
All right.
See what you're doing here?
Yeah.
Keep an eye on it. All right. You go all the way down.
Now, the part two I call an elevator.
Now, why I do that is remember the elevator on the airplane?
Yes.
Where the tail goes up.
Okay.
And the airplane does this.
Right.
But then you have to do what?
And the power.
And the power.
Yeah.
So this is the same thing.
This is the elevator.
Your tongue is the elevator thing.
Okay.
There you go.
A slight kick thing.
Mm-hmm.
Pour it off.
A kick with it.
So learn that coordination too.
Let's try it.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
All right.
Good.
And just the Recee Car E.
Great.
All right.
All right.
Good.
All right.
Okay.
All right.
And go.
It has to get longer, go a little faster, or okay.
Starts the whole thing over again and knocks him up.
If it's on the left, it's still impairing the circulation.
Starts the whole thing over again and knocks him up.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
Starts the whole thing over again on middle sound.
I had a big discussion years ago on mouthpieces at the studio.
And I was telling the trumpet player, I said,
look guys, it doesn't matter about the size of the drill.
You can get higher actually on an open drill
than you can on a tight one.
And I said, I'll show you.
And I had brought a mouthpiece that Clark had shown me.
It was an old clunker.
And we had drilled it out so big that it almost came through the sides.
I said, now look. I said, it's not in tune.
You know, because it's so big.
But I went right up to a double C on it as fat as I'll see.
Just to prove the point.
And then I realized, my gosh, we're on the air in about two minutes.
So I ran to the restroom. I put the horn down and just ran.
Because I was not feeling like playing the drill for a whole hour.
So then I came running back and just as I did,
Ludd stepped up and he says, alright, let's go.
The lights came on. I grabbed my horn and we started.
And I had a lot of solos in the show and it went beautifully.
When we finished,
Don, the double player next to me says, oh man,
I'm glad that show's over.
And I says, why? He says, oh boy, look at your mouthpiece.
And they were going to play a trick on me and they had put that clunker in there.
I played the whole show on it and didn't even notice it.
That shows you how much of that is up here.
And I told him, I said, I didn't even notice.
I said, well, why didn't you, when we had an arrest,
I said, why didn't you tell me?
He said, I was afraid to mention it after we got started.
But it sure proved a point.
It shows you, you can play it in tune.
You can play anything if you're not all up here screwed up on it.
Okay, now, let's take the same thing now.
The same thing now.
Get a big breath here and then you can move it right
so you probably won't meet.
But you take a breath before you go into the catalyst here.
Good.
Okay, now, I don't want you to get sick,
so you don't have to hold them for now,
but you know when you're practicing them.
Let me hear the F now.
Good.
Now, when you get to the C,
I don't want you to put an octave on top.
In other words, you'll go up like you did here.
So you'll probably need another breath right about there.
And then come down, you'll add the octave,
which I'll be dabbling in the second C.
So it's taking you to the second pedal, right?
Yeah.
In other words, you're on the first pedal here.
So you go one more octave.
Right, okay.
Right.
Now, you came down four full octaves.
That's good range.
All right, now, this is also an elevator.
So you're handling it the same way,
but it's fast, it never changes,
and there's no pedals in it.
So you go...
There you go.
That horn off.
It's okay, it makes sense.
That's good.
Now, there's left out,
all the mistakes in this one,
there's a C-sharp left out,
and we're just staying in the chord.
This is like the B-sharp, it should be F-sharp.
This is like the B, it should be a G.
Now, let's put it into this one.
If you need a breath, take it.
If you need a breath, take it.
If you need a breath, take it.
Now, let's put it into this one.
If you need a breath, take it.
I thought you had that F-sharp.
Now, this time, just think of the tongue, and that's all.
Now, sometimes you can overdo the tongue, too, you know.
That's why you have to find it.
Let's look.
Okay.
Well, you have the F-sharp touched in there.
All right, now then,
you go on, you take a little rest,
and you're thinking of one and three, two and three,
one and two, and if you feel like it,
go on the first, second, and oh.
Okay.
All right, and you relax your lip,
and then you go all the way back
to those part threes.
Say, relax.
Uh, no, it doesn't.
But remember, after the register,
you always do it.
And then these, you understand.
Okay, now,
the next thing, the part one is
exactly the same only Tony got that done.
So I didn't write it out.
You can use this one.
Part two,
you take a breath here,
and that's all.
This is the same as this one we did back here.
Right.
But it's two octaves.
All right, you go as far as you can,
and then you relax your lip,
and now all those threes again.
Now, this is going to happen.
If it gets too tiring, just don't worry about it.
And that's all of that series.
That's that.
Now, the next one,
lesson ten, let me see what we got.
Five,
seven, eight,
nine.
Now, on lesson ten,
we won't use this now.
Instead,
we use lesson eight, part one, again.
But you tongue
each note of the arpeggio twice
like eight notes.
Let's try that.
Let's see.
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...
Right. Now, let's stay on the part ones.
Now, on the next lesson,
your part one will be the same thing,
looping up your lesson number eight, part one,
tongue each note of the arpeggio
three times as triplets.
Let's try that.
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Okay. Now that's the part one. Let's go back to part two now. We go on ten. Now ten is
a continuation of this one that you did. They're going to do, put the five notes on each octave
and you take your breaths there. Light on the low. Let's try that.
Okay. Now that's the tone dropping. You have to hold it right there because it'll drop
because the wind will push it down. Try the last arpeggio. Great breath.
Now if it should be bothering you, you can stop there every time and leave off the last octave.
Then when you get clear to hear D, S or D, C and put the octave in, that'll give you more work if
you only do two or three of them, you won't get much out of it. So if you remember this,
knock that last octave off, but you may not have to. You have the way to get there.
And then go all the way around without the last octave, then come back and do it with the octave.
Okay. It's on part two, right? Right.
All right. Three strikes and out. Relax your lip. Now we'll come back. This is straight chromatic,
F sharp to F sharp and back down again. Start light and see if you can go twice in one breath.
Right. And then you go up G, A flat, A, B flat, B, up to C. Twice in one breath.
On the second week, you can increase it to three times if it feels good.
Okay. All right. That's all of that. Now we did the part one. We're not going to do this part one.
That's on, uh, we were doing, uh, two times on this instead of that.
All right. Okay. In other words, you go by this, we'll go by that. Right. All right. All right.
Now your part two is another elevator, but this time it keeps coming clear off of the
pedal C every time. I don't expect you to be able to do that yet.
Let's take a breath here.
You can take it there.
Okay. You understand that? Now we come to a part three that you can use as the relaxer from here on.
In other words, just forget the other one and use as relaxer. Right. Now this is the elevator
going the other way. Let's try that. Just a few.
Right. And then you just go all the way. All right. After you get to that,
rest a couple of minutes. Now we have part four of the same chromatic scale, four times in one breath.
All right. Now we move on to part 12. Now you're doing the lesson eight telling the arpeggio four
times. So we won't do part one on this lesson, but you do part two. Now this is starting off the
second pedal C. So you get your breath after the first pedal in here. Those are the two best places
to breathe. Let's try it. Now when you're starting this test, C, C, and C, so you're going to want to
Okay.
That's four octaves.
Oh yeah, that's pretty good. Now when you take your breath, you're going to lose your mind.
It'll be all right. All right. Now then, the next lesson. Now we're going to start lesson 12,
part one. Now this is an interesting, excellent.
Can't do without that.
Oh, no, you'll get it. I didn't see it. You're probably both getting a little tired.
These are the hands that goes first, don't they?
All right. Now, same vinyl now.
E.
Kick that E every time, and this is
Let's try it.
Let's try it out.
No, you went too far. Just one.
Good. Now take a look at it and try it again.
If this you're going to do well on, you're going to like it.
It's really going to throw that tongue up into position too.
Very good.
Very good.
All right. Now that's as far as you will get in the book.
Now if you're going to go on, you know, then you would start and now they continue together.
Part one and two in every lesson.
Say that again.
Well, from here, see we haven't been doing part one at the same time.
We've been doing another class.
But here, after you finish where as far as you get here, then if you want to go on,
you do everything with the same exact format, the idea.
But from here on, you would do one and two just like it's written.
And so forth as far as you go.
All right. So you wouldn't have any trouble there.
All right. Now then, on the next lesson.
Your part one will be 12, which would just be every lesson that follows.
All right.
Okay.
So again, go by this and you can't go on.
Now we're going back to part two.
Now, I want you to do it in this manner.
You add a C sharp octave and octave.
Ah, be, dee, dee, dee, da, dee.
Let's try that.
All right. Short move.
E, da, dee.
That's it. All right.
The next one.
Good.
That's exactly right.
Go as far as you can again.
All right.
Now you're doing part 12, part one for your first one.
All right.
The following week, you do the same as last lesson, all slurred.
Okay. What we just did with slurred.
Right.
Let me hear one of those.
You keep going up.
That's right.
You'll get used to it.
Don't worry.
Don't get frustrated ever now.
Now, by this time, look, you're jogging five steps.
So everything has increased all this time.
Very slightly.
All right.
The following week, you're still doing lesson 12, part one.
Now we'll turn to lesson four.
Now, and I want you to do the same thing as you just did, but it's two octaves.
Now, this one, your half step's already there.
All you have to do is add the two octaves, but no slur.
Okay.
Now, this is no real chance.
All right.
Right.
Now, there's two places you can take a breath, and I'm glad you didn't take anywhere else.
After the fourth note or after the bottom note.
Okay.
Never between the last note.
Or both, if you need it.
Next one.
Right.
And, of course, you go as far as you can go.
Same rules.
Now, the next one, same as last lesson, all slur.
Let's try that again.
Right.
Okay.
That's as far as you go.
That'll be your 38th week.
Now, after you finish that, and you're ready to go on, you did, you've done both this and this.
Yes.
But forget that, we don't need that.
Okay.
So then you would continue on with 13.
Just in case you do, let's see that, because this format is pretty general with just additions, say.
It just keeps increasing like that.
Okay.
So let your breath where I have it mine.
You can take one here if you need it, and you can take one there.
Okay.
As you come up there, you'll need that breath.
As you come up.
And a little more air.
Okay.
A little lighter than at the start.
Otherwise it'll drop.
Okay.
A little faster on the chords.
Oh.
Dee, dee, dee, dee, dee.
Okay.
Right.
That's right.
Now, when you start your part two, if you go this far.
Okay.
Now, you'll have your part two.
Right.
That's right.
Now, when you start your part two, if you go this far.
Okay.
Now, you'll have your arpeggio and back straight chromatic.
No breath.
No breath.
You should take a breath.
Tenuto, a slight old.
Okay.
Let's try it.
And coming down, then you go dee, dee, dee, dee, dee, dee, dee, dee.
When you get to here, slow down.
Okay.
All in one breath, right?
After that.
Yes.
No, you can take all the breath you want.
Oh, all right.
Okay.
All right.
Slow down a little more on the pedals.
Once more.
That was good, though.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Okay.
Right.
Slow down a little more on the pedals.
Once more.
That was good, though.
Right.
Now, remember, Susan, when you're tired, you rest, right?
Mm-hmm.
Don't overdo it.
Okay.
That's as far as you'll get.
And that's excellent.
Okay.
You just caught on to everything very well.
I don't think you have any troubles at all.
Just let it go.
go. Don't be over anxious now. There's no one can say how soon that upper edge is
going to pop in. It'll, as soon as that tongue finds it, it'll be there.
Amazing how that's been such a secret for so long. Everybody tells you when on the
lip, you get that lip strong. Like I get a kick and say you get a strong enough
lip you can get high. You can have a strong enough lip to lift a piano and
not get out of a little low seat. I don't really consider myself weak. No, you're
not. You're an excellent player.
I'm just going to go look through these and see if I have any questions. Yes, do that.
Had you originally set up this book to, for the lesson, each lesson to be a week or?
Basically, yeah, but I mentioned in there they could spend more time if they need
it, yeah. And I found out that it works much better if you give it just two
weeks to build on. One week is kind of fast.