Claude Gordon Brass Camp 1990 - Claude Gordon on Wind Power with Carl Leach playing range study

Breathing. Breathing is number one. Now you hear an awful lot about breathing, you know, everybody
talks about breathing, don't they? When you talk to players and everything, boy, I get so irritated.
Stop and play up the band and say, how are you doing? Oh, fine, I've been working on my breathing.
What you can't go here for? You can't get any air down there.
It's impossible. If you got air down there, you'd get sick. If you got air in your stomach, you'd get sick.
A doctor, you tell us that. Dr. Mario tells us that. You get air in your stomach, you get sick.
That's why the mothers have to put the babies on the shoulder and work them.
Because when they have food or milk or whatever, the air gets in with the food,
and the baby could get deathly ill, right? And that's what happens. You'd get sick too if you got
air in your stomach. Thank goodness for the provision that we can burp. Not use the burp, but we can burp.
Did you ever notice when you've been drinking a Coke or something, you grab your horn or
whatever and you have to play and you burp in the horn and you're going, oh dear.
That's because the gas in that Coke is lighter than the air, so you lose your pitch right away.
All right, so now you hear all this talk about diaphragm. How many have been told that you
breathe from a diaphragm? How many? Just look at that. Everybody. That's another tremendous fallacy.
Uh, just come here.
Push out your diaphragm.
Are you pushing it out? Are you pushing out the diaphragm?
His first statement was right. I don't know. Lift the diaphragm up. You lifting the diaphragm?
I don't know. I don't know. That's the thing. That's, that proves right there. There's no way possible
that you can develop a diaphragm to blow. Now most of you don't even know what the diaphragm is.
Dr. Meierly works with bodies all the time and he works with
uh, autopsies, right? He sees these things and he knows what they are. Now there's no way possible
that you could use the diaphragm or develop. The medical books, the older medical books,
call the diaphragm an involuntary muscle. And a medical doctor, I'll tell you, it's not even a
muscle. It has muscle fiber in it, but there is no muscle as such. Because the only thing that it
does is what it's put there for involuntarily. There's no way you could control it or make it
work. The diaphragm is a thin sheet of tissue. So thin, if you held it up to the light like this,
you could see right through it. And Dr. Meierly supplied us with some pictures that Larry may have
when he gives his talk this week. And you can probably see some of that if he uses it. So
I think more and more you can see why the diaphragm is a fallacy. And yet every teacher that we take
a lesson from will tell us you breathe from the diaphragm. Now I went to a college university
with a guy like that. I got a kid, I gave him his remark last night because he's teaching in
those colleges. And his remark, I'm a guy using the proof with his students. I went into a college
down in Northridge. And here where the trumpet player was laying up against the wall, they got
a broom handle in their stomach against the wall. And they're pushing this broom handle like this.
I asked them, I said, what are you doing? He says, working on the diaphragm.
Nothing you could do that would even get you to move the diaphragm. I like to get a young person
like that just came up because you ask them, move the diaphragm. So they'll push out the stomach and
said, did you move it? I don't know. Of course they don't. And you don't either.
It's a fallacy. Now if you were going to raise the diaphragm to blow, or if you're going to blow
with the diaphragm, if you could, you'd have to move it up in order to push air out, wouldn't you?
There's no way you could do it. Impossible. So how does air move?
You all know what a bellows is, don't you? You ever see those hand bellows that work to get fire going?
They have a bellows and they squeeze them and that forces you to
like that. Your lungs are a set of bellows.
Now think about that. So if they are a set of bellows, you have to squeeze, don't you?
Just like a bellows. So how do you squeeze? Now again, we have to stay in tune with nature.
You cannot go against nature. Everything we do has to stay in the laws, the natural laws of the
universe. That's how they got a man on the moon. As people, we didn't really have a thing to do with it.
They just learned how to use the natural forces of the universe, and that's how they got it to work.
A mathematician, how does he figure a problem? He uses the natural forces of the universe.
He has to figure true north and looks at magnetic north,
and then they have to work from that. They can't change that.
An airplane flies by the natural forces. I learned a lot about wind power when I learned to fly an
airplane. That was a lot of fun. I really enjoyed that. I flew all over the United States and Canada
for 20 years and air is the main thing. That engine doesn't lift you up. It just causes air
and your wings have a lift because the air goes over the top of that curve on a wing slowly.
Underneath it when it goes fast, that causes a lift. That's how you go. Now supposing that those
natural laws changed just as you got about 200 feet off the ground, it would be a disaster.
But they don't change. The natural laws of the universe never change. You can depend on that.
That's how doctors know when they do operations what to expect because the natural laws that
are made up will heal itself and move just the way they're intended. So it's the same thing with
with plane and air. Now how does the natural force work to make that air move?
Not up. You could blow up. There's no way besides that tissue on the diaphragm is so thin
that it could not stand the amount of pressure that's needed to force air to blow.
So how does it work? You've got your bellows like this.
Now later on when you're developed, you can feel that squeeze.
It's quite well. I take a big breath when I'm playing or when I'm playing at a heavy passage
or extreme register. I can feel those push and you'll watch by if you can watch
Carl today when we demonstrate. Sometimes you'll even kind of squeeze your a natural feel. You
kind of squeeze your arms like you're helping that squeeze. Now try to do it. You can't do it.
All of you try to try to squeeze those legs. You can't do it. No way. But it will work naturally
if you let it. But now you get all confused trying to push out your stomach and do a lot of crazy
things. You're going to get in the way and this is not going to work. Like that scientific magazine
I showed you last night. They're trying to make find out the force. Always they're trying to
find out the wrong things because force isn't what they want to know. But they're sitting there
doing this trying to get a force of air up here. It's not going to work. They're working against
themselves. You have to stand straight. Like I told you. Do you really excited today? How'd you
work? Feel pretty good. All right now as you stand up straight now when you go if the chest stays up
that's how it works. You don't have to think about it. That's natural. Now if you let the chest down
it's not going to work. So you keep that chest up. Now later on now in the book the brass plane book
there's some pictures. Tom Rosin you see his back and you can see the back when he takes a breath
the back is expanded. When he blows it's squeezed in.
That's the only way it works. Now these back muscles they're very strong all around here
up through the chest. Now Herbert Clark said in his books you play with the power generated
from the muscles of the chest and yet look at how many teachers will teach you
to push out your stomach and they never mention ever isn't it strange you never hear anyone mention
the chest and that's where everything comes from. The power generated by the muscles of the chest.
Look at marvelous trumpet player
and Ewan Racy he's been in a wheelchair most of his life
how's he going to push out his stomach and play but man that chest is that's why air is first.
Air does the work and when someone comes in and says I've been working on my breathing
ask him what in the world he's patting his stomach for.
All right so you always keep your chest up never let it down even in your uh I write on the lesson
sheets now keep your chest up in all of your activities if you're talking like if you notice
when I'm talking my chest doesn't well it used to be it used to be like this but uh if you notice
that chest when I'm talking it's not like that. It's not like that. It's not like that. It's not
what it used to be it used to be like this but uh if you notice that chest when I'm talking it's
never down if I let the chest down you couldn't go a little back in the room
like if you're giving a talk somewhere you keep that chest up now you've got some power they can
hear you you don't always need a microphone I'm giving lectures when I was in good shape and
huge uh auditorium I didn't use the mic I didn't give you back in the back and it's not a lot of
work keep the chest up on every occasion you get down to lift the case do you do this
a french horn that's awful heavy but as you go
now you've got some strength the power generated from the chest
oh every activity you do you walk from here to the administration building or you walk across the
uh campus at the uh at the fort or wherever walk with that chest up all the time actually we're
we're lazy without real life we like to walk you see a lot of colleagues give that it tickles me
it tickles me in a way although it's sad they walk along like this
you can't do that you're not even gonna feel good
chest up and boy you feel better you feel better all day uh I learned a lot when I was in sickness
last year I didn't breathe at all we're just laying there like this you're feeling bad you
don't feel like breathing now for some reason over the last week I've been starting to feel
like taking a breath again I don't feel much better you start getting your strength
now if you're going to play a brass instrument that's violent
don't worry about it on some other player so let him do what he wants you keep your chest up
and when you sit in an orchestra or a band
okay
how many times I go into a school and here's these uh got your horn
and the band director should know this and he should jump the student about it immediately
so that he can learn uh they're sitting in the band they're playing like this
how in the world are they going to play what their lungs are you should sit on the end of your chair
your back completely away from the back your feet on the floor their chest up now you got
command of this thing now you take a breath you can play it chest up always never cross
your legs or sit back lazy in the chair wind power that's what makes everything work
you have to learn to control it later but wind power is the main thing sorry about that then
girl
now then you did the 10 breaths this morning didn't you now it's the 10 breaths
now don't try to do this that's not really doing just good posture shoulders back
comfortable always comfortable then take a big comfortable breath you feel your lungs
i noticed i didn't say overfilling your nose you felt the minute you start to overfill you get like
this you couldn't talk you couldn't play you couldn't do anything comfortable big breath
that's your fault now you do that 10 breaths with the chest not dropping ever at least
five times a day if you want to do more that's even better when you do that for about the first
two weeks at least maybe a month now and we're going to work on this starting tomorrow
you should do it outside now don't do it in place because that doesn't do much good you've got to
get outside and walk and with each step you take have a nice posture you walk and with each step
take a short breath through your nose like this
so
when you're working on it now you don't go steady you don't go no it's a short breath with each step
on five you gauge it on five and once you're full it's like that now the chest is up you feel good
now walk for five
chest is still up now the next five let it out with each step
chest is still up but you're empty there and your back muscles have done this
then do it automatically don't even think about it you think about one thing only
keep the chest up like herbert clark's statement to me when i was studying he said
if you keep the chest up you cannot breathe wrong so isn't that simple you just do it naturally
all right now you're out of air the five steps your chest is up now walk empty for five
chest is still up now you start all over
so
that's easy now first after about we'll call that a cycle after about two cycles
so you stop and rest and start up again go to as many cycles as you wish but rest when you need to
chest never comes down remember if the chest is up you cannot breathe wrong so you don't have
to worry about all the little what's happening this and that keep the chest up and you don't
have to worry then you walk at least around the block if you've got a track that you worked out
on at school that's even better and it'll help you like that right now after i keep the students on
a monthly time now you don't have to try and rush this at all so after the first month
move up to six steps so you breathe in six hold six out six empty six a month later you move up
to seven steps a month later up to eight so take you 10 months now that's giving you enough time
that the body and the system will develop now if you don't do it it's nothing at all
think about it's not going to do it and yet so many students think about it but they won't do it
and then you don't keep it up every day now like one professor from northwestern university
he came out to study and says well then you mean it's got to be total dedication
i said absolutely isn't anything worth your time total dedication especially if you go to a gym
to build a muscle man does it happen in a week no you're going to work a year out of it i went
to a gym once for several years it took one year before i started noticing my arms were getting big
and and you could lift some weight if i stopped that i wouldn't without
so you work on it now you work up to 10 steps that'll be 10 months
then you start all over on five steps now you're going to start jumping same thing
it never moves but this is moving all the time it's pumping just like a billows
that's where you're going to get your power and your control which we'll discuss later
now that's in the who has the grass playing book with them
yeah i have this in the car
now this uh tonight did you all study that when i told you to it now tonight
i want you to study started on page
um
13 part two study that over through wind power
i think that's quite a bit distant over through um page 19
study that for each day and that has the
several pages there that dr milligan on the first copy of the uh background and that explains it
very well all right now then
we're about to get into the
we're about to get into the uh pedal registers today which is very misused
all right then i want you to study also the pedal register which is
page 19 keep going to page 19 up to page 21 up to the top
okay you got that written down i got all day and all night now don't just read it over get the
sense of it study okay now i wish i could play but i can't because i like to demonstrate the
pedal register is so misunderstood probably the most misunderstood thing there is and if you don't
do them right you better not to do it at all they're not going to help you if you do it wrong
and yet every you see all these young students frustrating themselves and facts them wrong
and it makes me feel sad when they do because they're not going to go anywhere
and it's very very funny the first pedal register starts on a class of e flat below the staff
treble clef stuff and it goes down from there he went down four more octaves that is not really
necessary i went down to the fourth pedal c just because that was all these guys and had to see how
to do everything so i over did everything sometimes to my own detriment and just the high
when you go higher you can go to infinity on a trumpet it's amazing you talk about instruments
that can play high a trumpet actually has the greatest range of any instrument outside of trump
or french horn these brasses the french horn a phenomenal normal range on a french horn
is phenomenal when having other instruments down in the pedals
french horn still playing right in their normal range it's a phenomenal instrument
trombone the same some of the great timbonas
they could play higher than some of the trumpet players could up in their own trumpet range
uh johnny warner was a student for a long time we had him work first trombone in my orchestra
and he'd come out we had a show tune that we'd do where we'd explain how to build an orchestra
you know and you know and i always said when you get a trombone player you want one of them
play a lot of execution and play high
because it's very uh exciting to the audience and i said like johnny wire johnny come out
and he picked up the horn into a e flat above double b flat i was like
it's just like that and it was easy he never had any trouble never missed it
never ever missed it all the time we had the orchestra tuning
so you can do the uh brass instruments are amazing really they they're so controllable
what you can do with them you can't do a saxophones are by the one octave instrument
that's why you have to have an alto sax a tenor sax a baritone sax because to get the full
register uh some of the players now have learned to do altissimo registers but it doesn't sound
that good but trouble to cover the whole range as well other brass instruments
okay now in a systematic approach which is actually an elementary book
and yet there'll be players picking up more than this is ridiculous you never play this
nowhere in the book does it say that you have to play that range it's written there to practice
and if you only went up to a high c if you did it right it would still do its job
then it gradually will build as the machine the tongue the air starts working in coordination
and it will build up trouble is some players want it to be tonight
tonight
no way
i keep a student now about two years to go through that book and more
and i uh and the book was originally written and intended for when you didn't have a teacher
and it kind of set up routine for you uh when you're studying i do it entirely different
i put the systematic approach with the end of a lesson and all the other technical things first
and it really works better that way but in a book you can't tell them everything
that's why in arvin saint jacob parker and then they told you the statement that was true but
that's they couldn't get into this is how you do it this is how you do it that's not
really in a book that's not for a book that's where your teacher comes in
okay all right so the first exercise it was skip ness and one that's super
we're starting with lesson two now this is actually a breathing exercise and uh
don't know college
now we're going to do part one of lesson two i noticed the first thing
carl has to do he fills his lungs with his chest up and then take this there are peggios
and there's nothing that you have to worry about reading when you look at it you know what it is so
uh
the last note the chest must still be up and you hold that note until you actually start shaking
the chest is still up you never let that chest down in fact as you start to run out of air
uh
Now notice, even at the last, he's running out of air, but that chest didn't come down.
And then he'll start shaking like that.
Do the next one Carl, and turn around. He's got a loose shirt on, I don't even see it now.
Now wait, when he took his breath, you see that back expand there? Do it again.
See those muscles squeeze in, squeeze those lungs, just like that.
Now they all get stronger and stronger.
But you know what, when the student leaves the studio, he goes home.
Right now he's wasting his exercise.
Remember what I said last night? It's how you practice that counts.
So if you don't practice it right, how's it going to do a job?
Okay, let's keep going down.
Now notice also, after each arpeggio in the book, notice there's a major rest?
Now I hate to write music, I just hate it. So I didn't put that in there just to do something.
You get that horn off your mouth and rest about as long as you play it.
You're not practicing to get tired, remember that.
You're not practicing to get tired. You're practicing to be trained.
Okay?
Now each one you do, you're going to start feeling a little better.
Well it starts to circulate and you're getting some air and you're feeling better. Right?
Really?
Okay.
I always thought it was like almost like a wave of air.
Yeah. You notice that once in a while he'll help with the push with his arms.
It's just a natural movement, it doesn't mean anything.
Okay?
Now, Carl is a great example. He's a bulldozer.
That's what I always call Carl, a bulldozer.
And he teaches the same way. So if you're in his class, don't let him scare you.
He means well for everybody. But the thing is, he's tough on himself.
And this was one of the things I used to like about Carl. I used to give him lessons that long.
He'd do every one of them. It's just amazing.
And he would do them right, just like this.
Like, I did a clinic up there one time.
I was demonstrating this and Carl came back and he made some statement.
What are we doing? Look at that old man up there. He's holding that on.
What was it? Is that Carl?
Yeah, I don't know. The jest of it was I felt like we were doing it this far.
You know, I thought we were doing it right.
And then when I saw him do it, it looked like he was going to drop on the floor.
It was like the last note he'd ever played.
That's what you've got to be. You've got to discipline yourself and do it.
Now, I bet that one of you in here has done this exercise to its full extent, like Carl's doing it.
And if you don't, it's not going to work.
Someone says, yeah, but it takes so long to get through that.
Well, of course it does. It takes you a long time to build a building, too, doesn't it?
Now, what do you do when you build a building?
Put down a foundation, don't you?
I know Dennis relates to this because he's building a beautiful building right back in the house out there.
And then what do you do next? Put up the sides, don't you?
When you put the roof up, blast. Of course.
And yet, everybody in this place of residence wants to put the roof on before they even get the foundation in.
This is your foundation. Work on it.
And you're going to work on it every day for years.
Okay?
And look at his horn positioning, his hand. Absolutely correct.
And it looks beautiful to see somebody play holding their instrument right.
Now, it would be the same. We could do all this with French horn, too.
And the thing with the French horn player is you must stand.
It's easy to sit in a chair, put your hand on a bell and hold your horn.
Stand, just like the trumpet players have to.
And whenever I talk anything about playing, I'll use the word trumpet a lot because that's natural to me.
But it applies to French horn, baritone, tuba, trombone, euphonium, every brass instrument, exactly the same.
Okay?
Now we come to the first pedal.
This is F on the treble, E flat on the bass button.
There's nothing to do with the first pedal at all. You just think the note and play it.
Don't think lip. The lip does not get the pedals. The lip does not change.
Play a low F sharp chord and force it flat.
That's all there is to it.
You don't change anything. That's your first pedal.
Now, you use the low octave fingering all the time.
Don't change fingers, even though there is a method out where you use different fingers.
You could never think and run chromatics, which we're going to have to do, out of the pedals and back, if you used different fingers.
Let's go ahead with another F chord, the pedal F.
The note can come out nice, just like we're working the tone, but it's not going to be that way for a while.
We're going to have to work with it.
It's going to fuss and close off and make different sounds.
You can do.... Just keep working on it.
You have to live, don't even think of it.
Think of the pitch of the note, and that's it.
You take a youngster, this is just starting.
You'd be amazed how easily he gets that pedal up.
Right now, because he's not worried about it.
He's not thinking, ooh, that's gonna be hard.
But you take the players, when playing 30 years,
you fight it all the time.
So, don't fight it.
Now the E, now everything, F, E, E flat, D, and D flat
will feel identical.
There's no slot, you'll have to think the pitch, okay?
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And you notice they're not thin. It's a big, fat sound.
And you do it right, and it works.
lá á á á eighth beat
There've be a lot of schools of props. I remember one widow said, Big mouth piece.
That's baloney. You use the same mouthpiece as you. You can use a terrible mouthpiece, a little piece you can still get up.
You would want to, but you still have to do it.
A mouthpiece doesn't have a thing to do with it. Okay?
Okay, those all feel the same. Now is where we get the trumpet.
We get to the concert B flat, the pedal C on the trumpet. Everything changes.
Now try to get the C that way without changing the C.
Let it go? No, don't let it drop. Just play it like so many guys try.
Play it wrong? Yeah.
It's hard for him to do it wrong. Actually, that's too good.
Play me an octave, Carl, and do it right. The way it will be at first.
Now in systematic approach, you look under pedals.
And it will tell you right there that when you get to pedal C, the tendency is to be very flat.
Now by very flat, I mean as much as a third or a fifth.
I'll play a low C and drop the octave the way it should be. Just drop it.
That's not a C, is it? But that's right. You work only for that open sound.
D, off. You drop the job.
Now I've had many French students, and we really haven't found them.
Because the French have a hard time saying off. They say, ooh, ooh. D, ooh.
Finally, I say, no, can't you say off? Finally, they will do it.
You go D, off. Drop the job. Don't even think of the lip. Forget the lip.
The lip has nothing to do with it. D, off. The job comes down.
I'll turn sideways so they can see that job and drop it.
All right. Now that's what you work. Sometimes I say, well, can I bring it up?
No, because the minute you bring it up, it goes into the wrong thing.
Drop it. It has to be under.
If you're studying with me, I don't care if it takes ten years.
You're going to get it under, you're not going to go anywhere.
Leave it under. Now once, and you'll start feeling well, eventually, all of a sudden,
it'll start pulling up, but the position will stay correct.
Let's try it. I'll leave it low and then pull it up.
Pull up.
That's just the way to work.
Now you've got a pitch and you've got a big open sound.
Now you keep going on. Let's go a little further. Down to D, D flat.
Now the air will move up faster. Don't let that surprise you.
You've got a big open.
Actually, you go down as far as you want and it'll all feel exactly the same as that C or concert D flat.
That's important. If you don't do it right, it will never develop.
I had a teacher at large. Really nice guy. Good player. Played in the symphony.
And we went a whole year and I kept telling him, hit that C under.
He'd come back, I'm hitting too.
Okay, that's it. Wrong.
It was absolutely wrong, just like he was playing the other pedal.
After one year, I told him, now look, Tom, are we really going to do it right or not at all?
So we're going to start all over.
After one year, he lost that whole year because he just wouldn't discipline himself to do it right.
So do it right from the start.
Why wait? And in a few weeks, a few months, it's going to start feeling pretty good.
There's no mystery if it's done right.
And yet, did you remember in the thing you read where Curl was playing and the critic said that even Curl doesn't know how he produces these pedal notes?
He knew. And he just didn't tell anybody.
It was old-timers, they did it.
And he was such a phenomenal player. We'll hear him before the end of the week on tape.
And his teacher told him to throw the horn in the lake in Chicago.
He said, get out of your car. Throw it in the lake.
You'll never be a player for not to be one of the greatest.
So you see, it's not what your attitude is, it's your desire to work and do it right.
All right. Now, part two.
Now in the book, it'll say rest 15 minutes.
If I revise the book, I take that out of there.
I'll tell you why I put it in the book.
If there's no teacher, the average student will be told to rest 15 minutes.
He might rest 15 seconds.
So that's why I put that in there.
Actually, you just get it off your mouth, I'll start part two.
Now part two is different.
You notice part one was slurred.
Part two is tough.
And a little brighter.
Crescendo and stop.
Now, when you first do it, do it like when you first do it.
The pedal C will be very flat.
So test the E before you start an octave.
Yeah, now that's your second note.
Your pedal's going to be away on that.
He's got the E in his mind now.
So try it.
In other words, you left the E coming to him.
But test it before he's tired.
Because if you don't, you're going to flounder all over it.
All right.
Now, let's walk across.
I'm going to see right when you look now.
After you develop...
Crescendo to a sleigh hold.
To a crescendo over.
All right.
Now C sharp.
So I'm going to say, why practice pedals?
You never use them.
If you do, you'll find them in the studios.
I wrote pedal register a lot when I was there.
One conducted them one time.
He said, yeah, I won't forget that.
That would be flat D.
And he said, is that a C in there?
Is that all right?
I said, I'm sorry.
I never thought.
I just wrote it in.
And I said, well, that's not supposed to be what I said,
but for you.
I used to love to do things like that.
So he was very happy about that.
Also, I played Brassman-Tepkin last year,
and I had a pedal C.
Which one?
There was a Brassman-Tepkin piece.
I don't know what it was, but it actually had a pedal C.
Yeah.
A lot of your symphonic literature will have pedals.
What am I on?
Now, you notice that this bell has a lot of dings in it.
But that's done so when it gets under the lights of a flash.
It's all those quick mute changes.
Never quite make it to the bell.
You notice the chest?
Yeah, we're down.
I haven't mentioned it.
He just says, that's the way he plays.
He's subconscious to it.
Naturally.
Now you're at the pedals.
That isn't so bad, is it?
I'm going to take two more.
Now F-sharp.
Like a lot of methods will smash long, long, long, long.
These are the closest to long tones I ever will teach.
Because long tones can be stiffening, very detrimental.
I never practiced long tones, ever, after I started to study.
I did as a kid.
Never got anywhere.
But this is not just straight long tones.
It's moving.
Everything has to move.
Okay?
Get it?
Where's Evans?
Did he sleep there this morning?
No.
He was up.
Okay.
Did he have a really nice exercise today?
Yes.
All right there.
He was there.
Oh yeah, he was there, wasn't he?
He was there.
Very good.
We've got him over at Isamada.
He sleeps over there.
So the rest of the camp is safe.
Oh really?
Now some of the early players, early young students, maybe they won't get any further
than that.
All right.
Go only as far as you can.
It's written wherever you don't see.
And you'll get there eventually, but it'll take a time.
As you go up, you notice you go a little stronger.
The air does the work.
You go a little stronger.
The other one's a little louder.
You never blast.
So many get the wrong idea.
See how loud they can play these notes.
The low notes you play lightly.
The top notes you play strong.
Save it on the low notes that was down on the upper.
Now as he gets up here now, he's starting to think E on the upper notes.
Ta, ti, ti, ti.
Now some methods will say you think ta, tu, ti, eh.
No.
You can't think that many or can you place it?
When you come out with a ta, you think ti.
Let the tone find where it's going to go.
Natural.
Okay?
Ah.
Ah, ah, ah, ah, ah.
Ah, ah, ah, ah, ah.
Ah.
Ah, ah, ah, ah, ah.
Ah, ah, ah, ah, ah.
Ah.
Ah, ah, ah, ah, ah.
Note those attacks sound nice.
And there's a reason for that.
We're going to get into that tomorrow.
Ah, ah, ah, ah, ah.
How often do I do these?
The up and the down routine?
Yeah.
Part one.
Not this exercise.
I do this exercise like if I've been hurt or missed a few days
just to do something that has kind of a small movement in it,
you know, an optic movement.
And I'll just run it for a few days.
But I mean, I've gone through that about two, three times.
Yeah, the whole routine.
No more than once a day.
That's too much.
And that's the reason, of course, they've got other commitments
and that's stupid.
Every day.
Ah, ah, ah, ah, ah.
I know it's looking like they're restraining my brains.
I want to get as far as I can get busy.
Ah, ah, ah, ah, ah.
And then it wouldn't sound the same on that trumpet, you know.
You know, it's a nice fat sound.
Okay.
Once again, that's number five.
That's the fifth form that came off of the factory.
It's about more now than it grew.
Yeah, almost.
Not too much left of it.
It's got a nice groove to it, where my hand is.
Actually, those days of the bell come from four new notes in the trumpet.
Nice new brass, shiny notes.
Come on.
Okay.
The air.
I noticed how Bruce looked at this corner and said,
What's going on?
Carl, when you get to the double C, hold it a little while,
so I can get a picture of that.
Yeah.
What amount?
G.
Okay.
No point in playing that.
Okay.
Okay.
Okay.
Okay.
Okay.
That sounded good.
Made up of B flat.
And the lip.
You didn't think of the lip at once.
The lip doesn't do it.
So notice that scientific magazine last night.
Now, that's science that manages to measure the pressure
and all this stuff.
It's never meant to play.
Not at all.
All right.
Notice the chest never came down.
And even when you play soft, the chest stays up.
You don't play soft by stopping the air.
It is just as much support, wind support, to play soft
than you do loud.
And you notice he never blasts.
Never did he blast.
Just nice little sound.
Never play softer than you can get a good, sure sound.
The soft control comes much later.
Too much, let's stop it.
No, you play soft.
No, you're too loud.
Play soft.
You get that sound out of there.
Always make it a big, fat, round sound.
But that's not blasting, is it?
It's just a big, round sound.
Thanks, pal.
Have a nice day.
Thank you.
Do you know how to do that?
Oh, yeah.
After every one of those pop exercises
where you use the routine going around,
there will be tension in your face.
So we have to relax that tension and get it off of there.
And you do that by coming down the arpeggio
a few times into the pedal seat.
And you'll notice that tension will come off.
We call it a lip relaxer.
That's just the name.
It actually takes the tension off of the face.
Go ahead.
I haven't seen that.
I haven't seen that.
Where?
All the way.
It's an honor to do it right there.
Every day.
If he was a student and he had to play something out,
how to exercise, how long would that be?
Generally, you can work that out by how you feel.
When you come back, you should feel like,
oh, I feel good. It's great.
But don't start back unless it feels good.
No two people are exactly alike.
You might want to put it down properly
and put it in a place where you're ready to go.
So it's hard to set the time.
I used to say, rest at least an hour.
If I revised the book, I'd take that out.
But it takes an hour.
So you have to, again, use your judgment.
Find out what is the best for you.
Because there's no two people alike.
Now, if you start tired on the next routine,
it's not going to be any good.
You can practice up to eight hours in a day
if you rest often.
I used to practice eight hours a day,
but I would rest periodically.
At the end of eight hours, I wasn't tired at all.
But if you let yourself get to that absolute point of fatigue,
you're through from the game.
And you're better than you could practice anymore.
Okay?
Anything else there?
Any questions?
Now is the time to ask them.
Yeah?
But when you did those eight-hour practices
and you felt pressure being put down,
you felt okay at night on the game.
Right.
And of course, for a long time, I would try to get to,
when I first started playing the band,
I was still studying with Clark,
and I would try to get on a band playing third-pillars.
So I could practice all day.
It wasn't always possible.
Then I'd have to regulate that practice outside.
So Carl's big problem.
It used to gripe him to death
because he had to play the job,
and he interfered with his practice.
I used to tell Clark,
Carl, you're practicing the play.
You're not playing the practice.
And it took him, what, a couple of years over there at Vegas
where you finally learned to cut your practice down a little bit
than the problem.
But he still wanted it.
He still wanted it.
Because he was very strict with himself.
And he figured that I'd actually do it, regardless.
But then the next day, sometimes,
you don't feel too good about it, Carl.
Okay, yeah.
Tell us about the magnetic seal
around your lips.
About what?
The magnetic seal.
The seal around your lips.
Oh, yeah.
I know.
You heard that.
Forget it.
I used to sound like a steam engine.
I'd feel embarrassed sometimes.
I'd feel like there was a guy next to me, a towel.
That's just something to worry about.
It means nothing.
It's something to teach.
If a teacher doesn't have something to teach,
how can he collect his money?
So if he doesn't have something, he'll manufacture something.
Like, what was it the teacher told their partner
that they had to work on the face mask?
Ridiculous.
That's something to worry about.
I'll tell you a story.
I had a student come to me up north.
He called me.
He said, gosh, I'm in trouble.
If you don't help me out, I don't know what I'm going to do.
Because I've been playing up here, mostly jazz trumpet.
Because I've been playing for a long time
and I've made a living at it.
And he says, I can't play.
I said, all right, come on over.
Let me look.
Now, you can look at the student.
If you know what you're looking for, in 10 seconds,
you can tell every problem he's got.
Is that obvious?
So I went to play.
I said, look, what have you been doing?
He said, well, I didn't want to be just a jazz player.
So I went to college and took a course in symphony playing.
And the instructor had watched me play.
And she said, now, that's wrong.
And she said, what's wrong?
She says, look in the mirror.
You stay away from a mirror.
You put every mirror in your house.
There's death there.
Don't ever look in the mirror.
All right, now, he looked in the mirror.
And she said, now, do you see what's there?
I said, no, I don't see anything.
And she said, look at your nose.
So I played again.
And as he went up higher, his nose pulled to the side.
That's just the facial structure of this particular guy.
And she said, now, that's wrong.
And we're going to work until that nose stands still.
A month later, he could not look.
He was trying to watch in the mirror.
He was trying to watch that nose.
And I told him I was sorry.
I cracked up laughing.
So anyway, we got to work.
And it took him about a month or two.
And he came out.
I was fine.
Now, he laughs about it.
Watch your nose.
Any other choice?
I'm going to get a stamp that says, watch the nose.
Does the nose still move?
Oh, no.
Probably more than ever.
He plays with it.
You don't know what these muscle structure in your face
is like or what your teeth are like or anything else.
Like Dr. Miller, he's become an excellent trumpet player.
And you'll hear, I hope he's been practicing
because his dad died and all might affect him.
And I hope he's practicing.
Generally, this guy, you know what a doctor's day is.
They have no time for anything.
He'll get two, three hours on that trumpet every day,
regardless.
And he's got a little pocket trumpet
when he's driving to work and everything he's playing.
So he gets it in.
And I use this as an example.
When the college student comes home and says,
yeah, I just got time to practice.
Well, only you can find time to practice.
So double C's to him are nothing.
That's part of his range.
Then he plays it.
He's called up.
And always, he never has any problems.
He's called up a month or two ago.
Just scared, devastated.
I can't play it.
I can't play it.
Well, gee, what's happening?
And I said, well, what have you been doing?
Nothing.
Just like I always do.
And I got to question him on what he does.
He broke the chip off his teeth right here.
So that there's a little corner there.
Changed the whole feel.
And it didn't feel the same.
The vibration went the same.
And he choked out.
And yet, you will find article after article telling you
to go a dentist and get a chip taken off your tooth
and you'd play back.
Absolutely not true.
My teeth are separating now because I had a big tooth pull
here a few years ago.
And they used to be flat together.
And now there's this little space between them.
It doesn't mean a thing.
You grow with whatever you do.
Leave your teeth alone.
We had one of the Japanese students here last year.
And his teeth were going everywhere.
He should have heard his high register.
And that's all he wanted to play.
He'd go around all day showing off his high notes.
And everybody would just sit like that.
And his teeth were everywhere.
Now, if he went to a dentist and had them straightened,
he'd probably have trouble.
But it wouldn't feel right.
Not that he wouldn't come out of the trouble.
But it wouldn't feel right for a while.
Just like Dave had all this dental work done this week.
It doesn't feel right.
And it might not for a while.
But your teeth have very little to do with it.
But you start messing with them and it feels different.
So when you read those articles and hear these guys
telling you, look, separate your teeth,
or get a chip, put your finger up there.
That's where your mouth needs to be.
Put your finger there.
What do you feel under the lip?
You feel teeth, don't you?
All right, then how is the air going to get in there
and affect any vibration?
If you stop and analyze it, it's a stupid theory.
Your air is going to come up through those teeth
and now comes out through between your lips.
So making holes in your teeth or chipping chips off of them.
One of the best players that you'll ever hear is
at the start of this.
Mike.
Mike Paulson.
He was a student for a long time.
He played balance around double F. Balance.
He amazes everybody.
He's got a chip off of one corner and one tooth.
Very obvious.
Everybody said, well, that's why he does it.
His brother studied for a long time, too.
Two great big front teeth right together.
He played the same range.
So the teeth had nothing to do with it.
But you get that in your head.
Don't cause me problems.
Forget your teeth.
Forget your lip.
Those things will all disappear themselves.
Okay, now you've got your application class, right?
Yeah.
Tom?
Oh, thank you.
Well, we're going to do it, son.
We're going to do it.