Dan Jacobs: Writings

QUOTE: ON PLAYING THE TRUMPET
Armando Ghitalla:

"Playing the trumpet is such an intangible experience. The player is compelled to start from the beginning and build anew each day. It isn't like building a house, where we can resume building where we left off the previous day's accomplishments."

"Each new day we must rebuild the foundation of our musical structure."

QUOTE: BOBBY SHEW:

"Let your inner self or feelings flow through the horn."

"You must be willing and able to play anything, no matter how absurd it may seem to you, at the moment of conception, with no consideration of whether it will be liked or disliked, good or bad, without fear of making mistakes."

"When the lip muscles are working well for you, stop! Feel them and memorize as best as you can, that feeling."

I made real progress once I finally started to realize that it was possible if I was willing to take responsibility for the amount of work to be done."

WHAT IS A GOOD EMBOUCHURE? by Carl Saunders

What is a good embouchure? Good question. Embouchures are like snow flakes, golf swings and finger prints. None are the same. I've seen many different approaches and positions that trumpet players use to place a trumpet on their face that work. Some have the horn pointed down or off to the side. These to me are unnatural positions, but have been made to work by a lot of very good players.

In my view, the reasons for these unnatural positions are:

1.Poor or no fundamental training when starting out
2. An unnatural bite
3. Uneven teeth.

I contend that people who fall in the categories of 2 and 3 should be discouraged from playing a brass instrument from the beginning.

So what is a natural embouchure?

To me a natural embouchure is placing your lower jaw out far enough so your lower teeth align evenly with your upper teeth to make a wall where the mouthpiece can comfortably rest without tilting up or down or to either side. 60% of the pressure should be on the lower jaw and 40 & on the upper. With this position achieved, the upper lip should be free to vibrate (of course your lower lip vibrates, too) and your horn should be pointing straight out (even with the ground.) More results with less effort should ensue.

On hard and long pounding gigs one should make sure that the pressure and abuse should be directed to the lower jaw and lip not the upper. The upper teeth can't move or do anything to help the positioning. The lower teeth (jaw) can move and must be set in a position to achieve proper alignment of the teeth and take responsibility to protect the upper lip.

With your lower teeth (jaw) dropped back and behind the line of your upper teeth, your horn will start pointing down, your upper lip will be taking most of the pressure, and proper vibration is stifled. Your lower jaw has got to take care of business and that is to take most of the stress off of the upper lip.

You'll know when you’re doing this properly when you develop a little callus on the inside of your lower lip and your upper lip isn't bashed and mangled from playing hard. Your range and endurance will improve.

A lot is said about blowing air. "Blow more air, more velocity, blow harder, louder". Most all trumpet players that I have observed in my career blow too much air or over blow. They're trying to overcome the physicality of the trumpet with force. I have found that when one blows too much air, their flexibility suffers. Light and tight swinging is near to impossible and your sound and ability to play clean and delicate is compromised.

If one uses the embouchure described above, the lips should be in a position to vibrate freely and effortlessly with less air. I'll leave you with an axiom from my personal approach to playing trumpet....

"Use the least amount of air to get the job done to its fullest"

Carl Saunders

PLAY IN THE MOMENT
By Wallace Roney.

"When you get on that bandstand . . . you're playing in the moment. All that (prior study) preps you for that so you'll be right, (so) you can articulate what you're hearing. If you're in the moment, while you're playing, you don't think: "Oh, here's a C7 chord," . . . you're creating your story."

EFFICIENCY THROUGH RESONATE INTONATION
By Mark Van Cleave
©1994 MVC
The Idea of playing efficiently is one of the most sought after skills that seems to elude brass players. The whole idea of not having to work hard to produce the results you want is pervasive in every part of our society. How can I get what I want without working for it! .....or at least working as little as possible. When it comes to playing a brass instrument, the idea of how to get the best sound per grunt ratio is very important, being able to play well without paying a high price physically.


So, back to the title: Efficiency through Resonant Intonation. What is Resonant Intonation?Intonation is the player's ability to match the pitch of his/her instrument to the pitch of the instruments around them. Resonance refers to the acoustical phenomenon that occurs when the resonant frequency of an object or space (in this case: the volume of air inside the instrument) is stimulated. Resonant Intonation refers to the act of playing in tune with your instruments resonant frequency. Matching the pitch you produce with the pitch that the instrument wants to produce (because of where you have it tuned.) I like to call this the Shower Effect.


The Shower Effect is what happens when you are singing in a shower stall. You happen to find one note that really jumps out at you. When this happens you have just matched your intonation (or pitch) to the resonant frequency of the shower stall (the resonant space.) The efficiency that I am talking about is the result of being in tune with the shower stall's resonant frequency or tuning. At this point, you are not only producing a sound as a result of singing, but you are also deriving benefits from the shower stall's enhancement or resonance.

DESCRIPTION OF BOBBY SHEW'S BREATHING METHOD
By Professor John Daniel, Penn State.

Generally speaking, the system Mr. Shew showed me involved breathing for those high compression situations that come up so often with trumpet playing. In other words, this system is designed to encourage easy access to a fast air stream. I know how weird this must sound to some of you already.

As we begin the inhalation, the belly button area expands a bit (not nearly as much as singers and most brass players encourage.) This step is only responsible for about 5% of the air intake according to Mr. Shew.

As we continue to inhale, the chest expands dramatically. This is step two. Also during step two, the chest might rise and the belly button area returns to its original position. This step is responsible for about 75-80% of the air intake. On a side note, I reread Rafael Mendez's "A Prelude To Brass Playing" the other day and his description of the proper inhalation was very similar to Mr. Shew's up to this point. The next step, however, is where this method is pretty unique.

Step three involves raising the shoulders!!! Apparently this allows the lungs to fill up more freely if we do it in a relaxed manner.

Step four is to bring the belly button area in as if driving a "wedge" into the gut. We do this as aggressively as necessary for the phrase at hand.

Step five is to return the shoulders to a lower position and the last step is to exhale.

That's a total of 6 steps. It is pretty mechanical and slow at first, but after a few days of practice, the steps flow together, the whole breath can be taken in an eighth rest, and the rhythm/momentum of the whole process starts to work.

Personally, the part that has helped me the most is the added leverage my abdominal muscles have in pushing the air out when this area is not expanded as far as most people teach. Also, I used a scaled down version of this method for most of the playing I do. I know how different this must seem from how many of us were taught. All I can say is that it has been useful to me and me students, and it pretty well describes the way Doc has always appeared to breathe. I would strongly encourage anyone interested to get in touch with Bobby Shew. My apologies to him if my description isn't exactly right, but this gives everyone the general idea.

Since many of you have asked, I don't believe anyone is truly qualified to teach Jacob's approach to breathing except Arnold Jacobs. So I won't even try to compare the two systems except to say if they both work, then at their essence there must be the same fundamental principles at work. Remember, the primary application of Mr. Shew's system is to play high and loud.

HOPE THIS HAS BEEN HELPFUL!!!!!!!!!!!!!!
John Daniel
Prof of Trpt Penn State Univ.

Note: this is an exerpt from a great book entitled, "TRUMPET TECHNIQUE" by Frank Gabriel Campos. It should be a part of every trumpet players library.

EFFICIENCY: THE PRIMARY GOAL

If there is a single quality of physical skill that ranks in importance above all others, it is efficiency. It is the very hear of high-level motor skill.

Accomplished performers spend most of their practice time refining their skill in order to perform more efficiently. To refine means to separate what is undesired from what is desired, producing a product that is pure and unadulterated.

In physical performance skill, we seek to eliminate excessive tension, for the presence of excess tension separates the amateur from the expert. It is not an easy or quick process, but it is the only path to mastery.
By Frank Gabriel Campos, professor of trumpet at Ithaca College's Whalen Center for Music and is an actice performer and clinician.

(note: this is a personal email I received from Roger Ingram, phenomenal lead trumpeter player, after playing at the Maynard Ferguson Tribute Concert in St. Louis, in September 2006. Be sure to check out his website at: www.rogeringram.com)

Hey Dan,
I would like to share a HUGE win I had last night. It goes with our work together of two and a half years ago. I was asked to be one of the featured soloists at the Maynard Ferguson Memorial Concert in St Louis last night. I stood up in front of an all-star band before a sold-out crowd of Maynard / Jazz lovers at the brand new theater (beautiful hall) at the University of Missouri St Louis and played my feature of the arrangement of "Watermelon Man" (from the "Come Blow Your Horn" LP of about 1962), blew 3 chourses of jazz and ended the chart on a double D, and brought the house down! For me, getting up in front of the band and wearing the soloist hat, becoming relaxed and nailing the musical work was a HUGE achievement.

Out of the 17 featured soloists, the buzz after the show was that Eric Miyashiro, Wayne Bergeron, and myself were the hits of the 3 hour memorial. There were other great moments as well, but that one for me being a defining moment in my life for sure. There were some things about the way the event was put together and the selections to be performed (almost nothing before 1975. No Birdland Dream Band / Roulette years material) that I thought was jive. Other than that, it was a fitting, tear jerking and wonderful way to say goodbye to one of the most amazing brass players of the 20th century.

I want to thank you Dan for all your help. When I went into the rehearsals for this event on the previous day, I knew I was going to have to confront this part of my playing (jazz) but after working with you, I got myself together and had a big win!! Thought you might like to know!

Now I've got the bug! Going to get some charts together and pursue the High School / College Band soloist market. By the time I had left the stage, I DIDN'T want to leave, you dig?

Stay in touch,
Roger

http://www.RogerIngram.com
Roger@RogerIngram.com
phone: 818.679.6940

ON PRACTICE: BY PAPPY MITCHELL
"Practice slowly and carefully, speed will come unbidden."

Booker Little Metronome magazine interview with Robert Levin in Spring 1961

“I think the emotional aspect of music is the most important. A lot of guys, and I've been guilty of this too, put too much stress on the technical, and that's not hard to do when you've learned to play in school

I don't hear any notes as being wrong. It's a matter of knowing how to integrate the notes and, if you must, how to resolve them. Because if you insist that this note or that note is wrong I think you're thinking conventionally--technically, and forgetting about emotion.
You try and build your story and resolve it.”

It's taken me all my life to learn what not to play.
-Dizzy Gillespie-

QUOTES FROM MILES DAVIS:

"Sometimes you have to play a long time to be able to play like yourself"

"Without music, life would be a mistake."


"Don't fear mistakes, there are none"

"For me, music and life are all about style"

"Don't play what's there, play what's not there"

"Where words fail, music speaks"

"It's always been a gift with me, hearing music the way I do. I don't know where it comes from, it's there and I don't question it!"

"A LEGEND IS AN OLD MAN WITH A CANE KNOWN FOR WHAT HE USED TO DO. I'M STILL DOING IT"
- Miles Davis

CLAUDE GORDON: ON PEDAL TONES

He talks about pedals in his book, "Systematic Approach to Daily Practice" starting on page 8:

When done properly they will:

1. Correct your embochure, therefore, help high register.

2.Give you great command of your instrument.

3.Give you more power and fluency.

4. Aid your attack and sureness.
5. Develop better vibration.
6. Develop intervals and fluency.
7. Bigger sound in all registers.
8. Develop endurance.

MUSIC, ROUTINES, PRACTICE, IMPROVISING
By Roger Ingram

(NOTE: Following is an email received from Roger Ingram, legendary lead trumpeter. It is a email answering questions from a student trumpeter who wrote to Roger for help. The information he shares with us is invaluable. See www.rogeringram.com for more info)

To answer your many questions, first of all try to remember that you are a musician. A musician who just happens to play the trumpet, yes? Music should come first. Of course it's great to become technically proficient on the instrument, but try not to become "robot" like.

Get enough technique to be able to express the MUSIC that is inside of you. At the end of the day, no matter what style of music you play, even if you are just playing parts in a jazz ensemble or an orchestra, the main goal should be expressing music, and communicating to the listener through your instrument.

A "routine" is OK I suppose. The important thing to do though is PRACTICE. There is a big difference between doing a "routine" and "practicing". If you want to do a routine, don't get "hung-up" with it. It sounds to me (according to your description) that you are doing a very complete routine already. In my opinion you may want to branch out and "get your feet wet" in some other playing areas.

PRACTICE.............practice means going into a practice room and working on all your weak points. Work on the things you can't do. Work on the things you don't sound good on and perfect them. After you get those things under control, get a NEW list of things to work on until you get a handle on those things. Keep changing up the practice menu. This will make you a well rounded MUSICIAN. Getting hung-up on a routine has a tendency to make a player "stagnent".......meaning "staying at one level, and maintaining only that one single level of limited exercises". A player becomes a professional "practicer" at that point.

Do you improvise? Practicing jazz can be a great way of maintaining ones overall playing technique and improves ones musicality at the same time. Attempting to play jazz brings into play every aspect of technique necessary to play the trumpet at a spontaneous/musical level.

It sounds like you love playing the trumpet and and that you are doing very well. I'm happy you take such an interest! Just try to keep your musicality in perspective.

Roger
© 2007 Roger Ingram
website:http://www.RogerIngram.com
Email: Roger@RogerIngram.com
Phone: 818.679.6940

QUOTE: CHET BAKER ABOUT WYNTON

"If I could play like Wynton (Marsalis), I wouldn't play like Wynton."
- Chet Baker

IT'S ALL IN YOUR HEAD
by Roger Ingram

(NOTE: Following is an email received from Roger Ingram, legendary lead trumpeter. It is a email answering questions from a student trumpeter who wrote to Roger for help. The information he shares with us is invaluable. See www.rogeringram.com for more info)

I know what you mean about Bobby Bryant's sound. It was very distinguishable. Although most people like to chalk these things up to chops/equipment, as far as sound is concerned it's all in what you hear in your "head". Everyone has a unique sound. No two people sound alike.

There are as many sounds as there are personalities. This is what is so wonderful about "sound!" This is why music and art is such a great thing! It's very personable.

For example, if I were to switch to equipment totally opposite of the equipment I use now, EVENTUALLY over a period of time and adjustment, I would end up sounding almost exactly as I do now because I have a "set" idea of what the trumpet sounds like for ME that I've had in my head ever since I heard a trumpet for the first time.

That's why it's OK to use the equipment that is EASIEST for YOU to play. You're going to end up sounding the same anyway, so why kill yourself?

If you really want to change your sound or become a better player, change your personality!

Roger
© 2007 Roger Ingram
website:http://www.RogerIngram.com
Email: Roger@RogerIngram.com
Phone: 818.679.6940

OVERBLOWING – THE BIGGEST ENEMY
By Roger Ingram

(NOTE: Following is an email received from Roger Ingram, legendary lead trumpeter. It is a email answering questions from a student trumpeter who wrote to Roger for help. The information he shares with us is invaluable.)

There is the old saying among trumpet players; "you can't fill-up the world!" This is of course in reference to playing outdoors. What we're really talking about here I suppose is acoustics.

Webster's New World Dictionary defines the word acoustics as
1. "qualities of a room that affect sound", 2. "science of sound".

So, I suppose what we're REALLY talking about here in regards to your query is the LACK of acoustics there-of.

When I travel with various performing groups, we usually play a different venu everyday. We could literally go from a wonderful concert hall with fantastic acoustics to some type of outdoor festival the next day with either no acoustics at all, or sub-standard acoustics at best. This is all in a days work and we get used to it.

When I was a kid, I had no choice but to practice outside. I wouldn't chalk-up any benefits from having been forced to do this though. It probably was NOT good for me as I most likely got into the habit of overblowing the horn from the lack of ANY acoustics (sound bounce back) in order to "hear" myself.

Overblowing the horn is one of the BIGGEST ENEMIES for a trumpet player, and alot of players do not not know this. This is why so many players have trouble extending their register among other things.

You must remember, for your entire trumpet playing career you're behind your bell. You'll never REALLY hear just how loud your projection is. Besides the fact you are always behind your bell, you must also realize that one's sound doesn't "come into it's own" until approximately 4 to 5 feet out of the bell. These combined facts have a tendency to cause the unaware player to overblow in orer to "hear" themselves.

FAITH.......an interesting word applied to trumpet playing.......it has it's place in the trumpet world though. You must just have simple faith that your sound is getting "out there" and leave it t that. That's it! Also, try not to get "mental" so to speak about it all.

Experience in the recording studio usually teaches trumpet players how well their sound gets out there. Pre-mixed playbacks don't lie. That's why most great studio trumpet players don't play overly loud in the studio. Playing "backed-off" also helps pitch, blend, quality of sound, and flexibility just to name a few good playing qualities.

Believe me, when you play at about your 70% level, the horn responds better and actually sounds "louder". This also saves your endurance and helps you perform on a more musical level. That's why so many wonderful studio trumpet players still sound loud on tape. This is commonly referred to as "printing well on tape".

My best embouchure developement came from playing soft. Soft playing builds a different set of muscles. Loud playing generally tears down muscle tissue, along with "forcing". I'm able to consistently play at my 70% to 80% volume level only because I spend time playing everyday at my 10% to 30% volume level to restore my playing from the previous gig.

Roger
© 2007 Roger Ingram
website:http://www.RogerIngram.com
Email: Roger@RogerIngram.com
Phone: 818.679.6940

"In my early professional years, I had put music on a pedestal. To me music was the most important thing. I came to realize that I was wrong - the people are the most important thing." - Herb Pomeroy

A GOOD SOUND
by Robert Baca

Attaining a good sound has been the goal of brass players for generations. Although our ideas of how to produce this sound have shifted from the actual physical study of sound itself to selecting suitable equipment, most musicians would agree that when range, technique and flexibility arrive at an acceptable level, creating a good sound becomes the greatest challenge. By studying the concept of sound quality, you can increase range technique, flexibility and overall playing ease to a more optimal level — a fact overlooked by most trumpet players. Imitating a good trumpet sound involves hearing and listening, processes best achieved when we slow down our mind and focus our attention.

Full vs. Loud
A full sound generates a strong fundamental and a full compliment of overtones. When we direct warm, moist, relaxed air through the center of the trumpet, it enables the overtones to set up properly and the sound will have the clarity that was intended in the design of the instrument. At this point distortion of tone is nonexistent. This is the difference between full and loud. How can we tell how much air to use, what direction it should go, or at what speed it should travel? These questions are resolved automatically by listening to the sound coming out of your bell. Through much listening, we will notice our sound getting closer to the instrument we wish to imitate. We constantly listen and compare. A sound can be loud, but it may not be full. Compare a $199 boom box with a $5,000 audio system. The volume level of the inexpensive set has to be turned up to nine or ten to achieve a loud sound. As the dial reaches this mark, distortion occurs. The $5,000 system creates a full sound by maintaining clarity in a room when the volume level is at 2, 3 or at its maximum.

Concentration
Producing a good sound requires much concentration. With concentration, refined by our interest in studying musical sound, our mind senses, isolates and analyzes the entire sound spectrum being heard. Eventually, through repetitious practicing and listening, the trained mind will unconsciously react by instructing the proper muscle groups to respond in forming the embouchure and air support to just the right degree, thus achieving the desired full sound. The same process exists when we learn to hit a baseball, walk or run. If we are preparing to run a marathon, most of the training is spent learning to quiet our mind to let the body function in the most efficient manner.

Dynamics
Think of dynamics not as loud or soft but as sound color, ranging from dark to bright. Imagine bright as the lead trumpet voice in the shout chorus of a big band arrangement, and dark as the second movement of the Haydn Trumpet Concerto. The dynamic color must fit the ensemble medium. A forte in the Hummel Trumpet Concerto with piano accompaniment would be drastically different than a forte written in a Mahler symphony or the shout chorus of a big band chart. Dynamics are greatly affected by the sound color of the rest of the ensemble.

The Printed Page: A Blueprint
Music written on a printed page should act as a guide to what the music should sound like. The sound is the end result. Printed music is only an image of what the composer had in mind. Three years ago I had a house built. From the blueprint I could conceptually see the roof, room sizes, landscaping, etc., but not until the house was completed could I actually observe the beauty of the design from the blueprint. In much the same way, the audience receives the full emotion of the performance based on what they hear, not on what is on the printed page.

Playing in the Upper Register
From the first music lesson we are taught that one note on the printed page is higher or lower than another. This is simply not true. Higher notes are actually faster frequencies. On the beach when the wind blows through a crack in a rock we hear the pitch go up with the velocity of the wind. A clear sound is easily attained in all registers when the velocity of relaxed air rather than the stiffness of the embouchure creates the upper register. Most importantly, build all registers slowly and securely.

Reading, Rhythm and Accuracy
If we practice too fast our mind initially develops the bad habit of not picking out all the details, resulting in reading, rhythm and accuracy problems. Slow down when practicing and let your mind see all there is to see. Near my house in Wisconsin is the town of Cleghorn, consisting of a few buildings and a thirty-five mile per hour speed sign. Few passing through this town observe the speed limit. Those traveling fifty-five barely know they passed a town, those doing forty notice the big oak tree with the endless branches that cover the road and those driving thirty-five could catch a rare glimpse of the squirrel that inhabits the trees. As Tim Gallawey states in his book, The Inner Game of Tennis, "...the unconscious mind hears everything, never forgets anything and is anything but stupid." Practice slowly enough with a good rhythmic sense to notice detail, but not so as to "daydream" with your concentration. Listen to mentors perform slower lyrical pieces and instantly try to imitate that which constitutes good musicianship.

NOTES ON A LESSON WITH PATRICK HESSIONS (former lead trumpet with Maynard) by Mike Wittcom

Dan, below are my notes from my lesson with Patrick Hession.

I have been interested in studying with a professional lead trumpeter for some time. Had a one time lesson with Wayne Bergeron in 2005, and realized so much can be gained from a seasoned pro’s experiences. Discussed this desire with a local pro jazz player, Dan Jacobs. He knows and recommended either Roger Ingram or Patrick Hession. Like many of you, I am familiar with each of these two’s recorded work. After reviewing both player’s webpages, I found Patrick’s home is near where I travel for work occasionally. So, I contacted him regarding a lesson and made an appointment. The lesson took place in Patrick’s living room.

I explained to Patrick that my immediate goals were 1) playing exactly in time and 2) phrasing. I have enough range for the gigs I play, so that was not top on my list. Hope would be to work more on that after addressing the first two goals. Fortunately, Patrick’s book covers a lot about breathing and playing in time.

When I arrived, Patrick had not played yet that day, so he started his warm-up while I was there. He began with a mute in, which I thought was due to the close proximity of his neighbors. But, Patrick told me he liked the resistance during the first few notes of the day. Since I brought a copy of his book, we opened it to “Exercise #1 - Warm-Up / Breathing”. For those of you who have read or use his book, he describes how he has used the same warm-up for years. It is great to discuss with an author of a technique text what is meant by some of the content.

I have been trained to breath deeply toward the abdominal muscles, but keep the shoulders level and relaxed. Patrick raises his shoulders to allow the lungs to fill all the way to the top. Similar to Bobby Shew’s method, I was told. Believe Roger gives Bobby credit for the same. Before we began the initial breath, Patrick turned on the metronome and set it to 60 bpm. The inhale of “Exercise #1” is 7 beats (7 seconds). Always subdividing the beat into sixteenth notes. This has helped me already, since I never really planned out when to breath. Just took a big breath some time before I was required to play. Patrick knows exactly how many beats before he plays and where within that beat for each entrance he begins his breath. This technique should really aid in my desire to play exactly in time. Also, he explained air intake to be like “yawning”. I have used the syllable “ko” for years to keep my throat open. “Yawning” seems more open.

Patrick’s breath capacity is amazing! We would breath at a constant rate for 7 beats. Even though we were breathing at close to the same rate, I was completely full before 5 beats. Patrick went all the way through 7 beats. To give you some idea of the difference in our sizes, Patrick is about 5’7” medium-athletic. I am 6’6” large frame. So, I was shocked at how much more air he could intake.

Other items he stressed in the exercises were the breath attacks versus the tongue attacks. As we worked on the breath attack, Patrick demonstrated his mastery of “whisper tones”. I have heard of them, but have not witnessed a demonstration. Patrick can begin a note that is so faint it is barely audible. Hence their name. He begins these notes and crescendos to double forte and back to whisper. Tremendous control.

We covered the first half of the book; which contains: breathing, relaxation, isometrics / develop center, relaxing center, refocusing center, lip slurs, ride the air stream, and riding the center. After that, same type of exercises, but more advanced. After we got through “riding the center”, Patrick said now practice other stuff daily.

After we completed the formal lesson using the book I began asking other questions. One was regarding his students. He has some high school students who want to have range like him. He has them work on Arban’s and Clarke’s methods. After they have those books under their fingers, he will begin them on range. He plays so many different styles and gigs that he has many books, charts, and sheets out in the practice area. He played a difficult “legit” solo piece for me. He is quite comfortable in the big band and “legit” settings.

Before now, I had heard Patrick about once a year during his 5 years with Maynard. I had to ask questions about being on the band. As we talked, Patrick would play different parts from different charts. One thing I keep noticing was how my ear seemed to “jump” each time he played G or high C. Since he hits notes so much in the center now, his horn resonates more than when I play. He also explained his horn, Monette MF, “rings like heck”. My ear was catching all the overtones. His playing in the note center was really demonstrated during one of the exercises later in his book. Exercise #17 is for “glissandos”. One of the patterns is quarter notes starting at middle C - high C - middle C - high C - middle C - high C - low C - high C- low C - double high C - low C - triple high C - low C hold. Tempo is 60 bpm in cut time! After playing it, Patrick says, the triple C is really only with his chops; not supported like it would be in a performance. Each note was on the money!

Before I left, I told him my long term dream is to play Maynard’s solo on “Danny Boy”. Patrick has recently performed this, so he took out the music and played it beginning to end. No misses or cracked notes. What a treat for me.

By the way, my ears were ringing most of the 3 hour drive home. He has serious power to use when he chooses.

Patrick’s schedule is full for a few weeks. So, I will be working on the first half of the book. After ITG, his schedule will free up a little and we will set-up another lesson then.

Looking forward to it!

Mike

NOTES from BOBBY SHEW CLINIC:
From O.J.'s trumpet page, articles and reviews.

Background:
Bobby started the clinic by telling a bit about his background as a trumpet player:
• Learned by ear, by trying
• Self taught – "one of those people"
• In a way "I had a better system" – no one said "Bobby do that" – I had to think

Students:
Students I see today are afraid to think. A lot of teaching I see (at clinics, etc.) states that "This is the way" – I am amazed – there is no such thing as "one way" to play the trumpet.

The important things I try to communicate to my students are:
• Proper listening
• Think! – Do it!
• Copycats – NO!
• Confidence – find your own voice.

How Bobby developed his knowledge:

As I said I never studied in the normal way - Arban bored me. I just started out by playing. Things worked. I got jobs in better and better bands. When I was in the Buddy Rich band there was a lead player that Buddy did not like. A sax player said "Buddy why don’t you try Bobby?" Buddy then said: "Bobby, get over there" Now, I started to get nervous, I had never practiced high notes. The song was some simple shuffle stuff and only one high F at the end. I put my knee up to get it and managed to get through it – you know I could swing – and Buddy, being a drummer wanted that. Buddy then said: "You are now my new lead player". I said to him "I have no chops". "Go home and get it – have it for tomorrow", Buddy then said. Well this was the beginning with problems for me, like muscle problems, hernias – I’ve been through a lot of problems.
I now see that students do the same I did. Man, I have to help these kids. This is no fun memories.
To find out things I decided to buy books, Maggio, Gordon, Callet, etc. There are a lot of dangerous attitude among methods out there: "Do what I say". This is the egomania or "guru-syndromes".
Remember: "The best teacher is yourself"

You know earlier I though Maynard Ferguson was "inhuman", but because of Buddy Rich I had to learn how to do this. One day I had the courage to ask Maynard behind the stage: "How do you do this". He showed me a book called "The science of breath". This was a yoga book not a trumpet book.

Later I asked Bud Brisbois to show me his system. It was very opposite of the normal stuff, like lift your shoulders, etc. I went home and tried it. I played from the back of the Clarke book, the glissando exercise, a gliss from E to high E. Suddenly I went above that high E and ended on a big fat high A. This was my first high A. With this new system I also got up to double C.
Facts versus opinions:

I have done more than 25 years of research in this field now. I have read a lot of medical books, etc. There are a lot of opinions about breathing and misconception like breathe from the diaphragm etc. I needed to know and a doctor showed me some facts. I have been talking to a lot of people. Several of my students are in medicine, physics etc. I always ask my students questions.
Some points:

• High notes = fast air, not lot of air
• Avoid over blowing
• Back off = access to upper register
• Relax – wrong word, efficiency – good word



Warm up:
Bobby Shew has an effective and quick warm-up method.

1. Flutter with completely relaxed lips, by blowing carefully with a closed mouth (sounding almost like when a horse blows through the nose). This stimulates the blood circulation and removes the milk acid, and should be done as often as possible, also in breaks during performance.

2. Do "lip buzzing", that is isometric lip vibration, as if you play without the mouthpiece. Not more than 15 - 20 seconds each time. This is also a good test on the lip condition. He said that the lip position when buzzing is not equal to the lip position when playing on the instrument.

3. Play on the mouthpiece with a clean sound.

He said that he would try to find the good feeling – "The Bobby Shew feeling" that he felt when he was playing good. This was what he was looking for and he would do 1 and 2 until the sound was good. Then he was ready.

He had discovered the flutter by watching people doing this when they where playing.

Breathing:
Bobby demonstrated his "6- step" breathing technique:

1. Intake (small), abdomen moves outward slightly, but relaxed.

2. Intake (large), abdomen moves inward (horizontally) to create wedge position.

3. Intake, abdomen holds position (not tense) shoulders lift straight up.

4. Grip (isometrically) abdomen muscles, maintaining innermost position (lock wedge tension)

5. Relax and lower shoulders to comfortable playing position.

6. Blow (as if spitting rice)

The important thing with step 1 is that it makes the diaphragm drop down.

Students with pinched sound:
Often students came to see Bobby and wanted to play difficult things right away. But he would first ask them to simply play a low C. By listening to the sound of that note, Bobby could tell right away if the student had potential for a double high C in his low note sound.
Very often students had a pinched sound that they had accepted as ok. Bobby now took up his trumpet and demonstrated how it sounded (playing with a pinched sound).
Now the first thing was to make the student aware of this by opening the sound. Bobby demonstrates, calling the pinched sound "NO-sound" and the open sound "YES sound".

He then played slowly: "YES – NO – YES – NO "

The next is to have the student play a simple ascending scale. Even if this first notes are open he often goes into a more pinched sound as he ascend.

A lot of people can hit a high note but it is pinched. Bobby demonstrates a pinched double high C – then an open one.
Do not become obsessed by high notes. The most important thing is good sound !

Tape yourself and listen closely.
Good practice habits:
Bobby did not get time to go into this subject deeply but he pointed out some important points to remember:
15 minutes 4 times a day is much better than 1 hour practice.
Why?
Because after 15 minutes you still feel good and the body remember that "peek feeling"

Try this for a couple of weeks and see for yourself.

O.J. 1999 O.J.'s Trumpet Page Articles and reviews
Clinic with Bobby Shew

IRON CHOPS by Roger Ingram

(note: this is written by legendary lead trumpeter, Roger Ingram. It is a response to a question from a student. It contains vital information for any trumpeter)

Irv,

Nobody has "iron chops". Such a thing does not exist. What some people DO have however (which is easily developed by anyone) is a sense of, and coordination of the usage of internal compression along with the absolute control of the aperture.

This combined with the development of muscle memory in regards to finding one's slots (partials), a sense of overall control of playing volume, and the right equipment, lends itself to what is referred to as "efficient playing". This is at times misconstrued as "iron chops".

Being "efficient" should always be the primary goal of any brass player in regards to the purely mechanical aspect of playing the instrument. Range and endurance are the by-products of efficiency.

You must also realize Irv, that as you said, this was the first time you had played "lead" on a big band job in quite awhile. What did you expect? Sometimes it takes awhile to get used to the saddle again. Try not to be too hard on yourself. Everyone's corners get tired at some point. I suppose a reasonable goal would be getting through a 4 hour gig without too much discomfort.

Roger Ingram
www.rogeringram.com

THE LEAD TRUMPETER: an interview with Bernie Glow for the New Yorker Magazine 1969

"First of all, the lead player has got to be able to play the instrument
with a good, big sound," Glow said. "He's got to have a good high register. He's got to have endurance. Above all, I think, he's got to understand what a melody line means when he plays it--whether it's supposed to mean some-thing syrupy and Guy
Lombardo-ish or supposed to be something gentle or something swinging. A first-trumpet player's job is to look at a piece of paper
and make it sound like music. It's a piece of paper with black dots on
it, and of itself it's not music, and if it's played by the wrong people it'll never be music. It's a matter of interpretation. There are dozens of trumpet players in New York who can play as high as I can, or higher. Or who can play as strong as I can--though, in all frankness, there are very few guys in town who can play as strong as I can or as long as I can. I never reach a point where my lip is so tired that I just can't play anymore. But what you have to do is play music. Some people play the trumpet instead of playing music. There are players who are technically marvelous but get so wrapped up in playing technically marvelously that they ignore the fact that the only purpose in playing that well is to play music.

The playing of the instrument is not the end. To me, that's the basic difference between a great musician and a good one. There are musicians in New York who do pretty well because they never hit clams-- you can't put anything in front of them they can't play. They have all the qualifications. But they just don't have any musical sense. They never sound as if they understand what they're playing. They play it perfectly, but somehow it just doesn't add up. All those perfect notes don't add up
to a song.

"Beyond this, there's a certain attitude that's necessary for the
lead player--toward the men he's working with and toward the leader. A man can't be a good lead player if the fellows he's working with don't respect him. If they don't respect him, they're not going to cooperate, and you can't browbeat people into playing music. Music is not that sort of animal. You shouldn't , ordinarily, have to say a word to the other guys if the music is fairly well written. They should listen to you and play with you. Your interpretation is definitive. Of course, sometimes the music is not plain enough. Or sometimes arrangers will mark phrasing on the music that turns out to be the opposite of what is required to make it fit with the rhythm section. When this happens, the lead player will ignore the markings, and nine times out of ten the arranger will look up and say, "Gee, thanks. Beautiful. It's just what I had in mind."

Worrying about such niceties as making one's perfect notes add up to a song is a luxury of a few. Most people who try to play the trumpet find that their problems with it are as much physical as musical, the instrument evidently having been designed for maximum discomfort, annoyance, and a pain to the player. With a sensible instrument such as a clarinet or a saxophone, the sound is produced in part by the vibration of a reed. But in the case of the trumpet, the player must vibrate his lips, which are tightly pursed and and then buzzed against a metal mouth-piece. During long performances, the muscles of the lips and face tire, and the lips may eventually give out and refuse to
buzz. Playing in the high register of many instruments is largely a mechanical matter--pressing a different key or combination of keys, for instance. To play in the trumpet's high register, the player must press his lips tighter and tighter as he ascends, and provide more and more air pressure, supported by his diaphragm and by muscles in his back and elsewhere. This pressure further tires the mouth, and can also bring on leg and back aches. If the pressure is incorrectly applied, from the abdomen instead of the diaphragm, it can apparently cause a hernia. Normally, though it will produce nothing worse than dizziness and blackouts--the phenomenon discussed in the March 14, 1959 issue of the British Medical Journal, in the article by the late
Dr. E. P. Sharpey-Schafer, who was professor of medicine at St. Thomas' Hospital, in London, and Maurice E. Faulkner, a professor of
music at the University of California in Santa Barbara. "The effects [of playing the trumpet] on the circulation," they wrote, "are those
of a formidable Valsalva maneuver [a hard nose-blow with the nostrils
and mouth blocked]: peripheral venus valves shut and blood accumulates distal to them. The effective cardiac-filling pressure, stroke output, and mean arterial pressure fall off rapidly. After about 7 seconds the slight rise of arterial pressure indicates onset of reflex constriction, which persists, after cessation of blowing, during the overshoot. Since the brain is not protected by venous valves the
supply pressure across it falls so that the cerebral blood flow may
become inadequate during the period of blowing. More usually dizziness or blackout is maximal immediately on release of intrathoracic pressure...."

Dr. Sharpey-Schafer, who made the observations while Faulkner played
the horn, reported that Faulkner reached a mouth pressure of a hundred and sixty millimeters of mercury (about three pounds per square inch) while playing a high D. It would have been interesting if he had made similar measurements during a performance by a "commercial"--that is, a jazz or dance-band player, such as Glow, to compare with those of a "legitimate," or symphonic, player, such as Professor Faulkner. In the past twenty or thirty years, the commercial players have extended the range of the trumpet far beyond it's textbook limits: today they play in a register that the legitimate player would never attempt, and with a brute force that he would never employ.

(Editor's note: The above is not entirely true. Whereas, the so-called "legit" players did not have to play in the upper register continuously (as a matter of course) as modern day demands, Herbert L. Clark finished a number of
solos on a high "F", and the old St. Jacome books have exercises up
to and including a high "F", albeit with disclaimers. The old Ernest
Williams book has exercises in the upper register among others of the
old school...now back to the Whitworth article) The range of the
standard B-flat trumpet was once considered to be roughly from the F sharp below the staff to the high C above the staff. Commercial
players are now expected to be able to play F's and G's above the high C all day, and some of them occasionally will play as high as the double C (an octave above high C), and even beyond.

(Editors note... I once had a record of Doc Severinsen's on which he finished a piece with a very nice double E, but have forgotten the name.. If anybody knows the record or piece, please let me know.. at morriek@halcyon.com) Trumpet

Glow is unrepentant for having strayed into jazz and studio work. "It's really been fun," he says, "I'm a guy who's making a good living doing something he'd rather be doing than anything else in the
world." He still remembers the sting of the blackboard point, though, and he rarely misses a note.

Reprinted from the Dec. 10, 1969 issue of The New Yorker Magazine

QUOTE: LOUIS ARMSTRONG

"“You blows who you is." -Louis Armstrong"

GOALS IN MUSIC
Tom Harrell

"That's one of my goals, for the music to communicate to people and for them to feel the emotions that I feel, in terms of the music. I'm blessed that I can play music that I love to play and people enjoy it. It really makes everything worthwhile."

"Music is a religion and it can structure your life and provide order in the universe. If my music makes people feel better and hopeful, then it gives me meaning and hope."

-Tom Harrell

WHAT MAKES A TRUMPET WORK?????
By Brad Goode

Many people believe that the trumpet is a megaphone which amplifies the sound of the mouthpiece or the buzzing of the lips. This can be disproved very easily. First try this; as you are playing a note, hold the horn with your right hand and hold the mouthpiece stem with your left hand. Now, while still playing the note, gently remove the mouthpiece from the horn. Is the mouthpiece buzzing? If it is perhaps you are playing very loudly.

Next, try this; put the mouthpiece back in the horn. While holding the horn with your right hand, tap the mouthpiece gently with your left palm, and try different fingerings. You should hear distinct tones.

These demonstrations should serve to illustrate that buzzing does not create the tone. Although mouthpiece buzzing CAN be an effective practice technique for developing the embouchure,(I do it daily) it usually requires more force than is used in playing the instrument. In fact, it has been proven that the sound is produced by vibrations of the air column within the instrument. Simply put, this means that the slower the air, the lower the note. (Or the faster the air, the higher the note!)

Armed with this knowledge, it would seem that a great part of our practicing should be devoted to controlling the speed of the air stream. (Hitting the right notes!)

(note: this is a short excerpt of a very long and informative article on every aspect of playing the trumpet by Brad Goode entitled "SCIENTIFIC TRUMPET PLAYING". For the complete article, scroll to the bottom of the page, click on "Trumpet Stuff" in the file below and you'll find the article)

ON PRACTICING TRUMPET – Q & A with ROGER INGRAM


QUESTION:
I'm finding my single largest obstacle now is just playing/practicing on a regular basis. What can I do?

ANSWER:
If that's your single largest obstacle - you're doing well and dealing with the same thing every professional deals with. Everyone (students and pros alike) is aware of the fact that making any significant progress as a trumpet player depends a great deal on how often one plays.

QUESTION:
When I practice now, I get better, but it's hard to keep the
desire to practice when I don't have anything in particular to play for...

ANSWER:
If there are any other musicians AT ALL in your area that you like and get along with, I would suggest starting your own band - whether it be a quartet/quintet, 10, or 15 piece big band. Believe me, this will keep you busy and bring your interest level up.

QUESTION:
However, I'm sure that will change eventually, and it is fun seeing the improvement in my playing. The other issue I seem to have is not getting too tense when playing in the upper register.

ANSWER:
Well, this is good. You don't WANT to be too tense when playing anywhere on the horn. ;-) Ahhhh,... just playing with you.... I think what you really meant to say is you feel you ARE too tense playing in the upper register. As I showed you in our lesson, where you create compression (the point at which "the wedge" is applied and one's facial corners) should be tense and firm spots.

Without watching you and seeing you, I'll go out on a limb and make an assumption: perhaps because of the lack of consistent playing, you may be using additional parts of your body to create the necessary compression needed to play easily and well in your extended register. This can all be corrected by bringing up your playing desire and getting involved in a group, as this will keep you playing more, and keep your mind off mechanics and more on music :-)

Sometimes we all get a bit "mental" about it and miss the forest for the trees. There is no "perfect" player or "perfect" playing/development situation. One's WILL-DESIRE however can and will conquor all :-)

QUESTION:
I keep working on letting that air get out, sort of like the diagram that Bobby Shew uses (think "AAAAAHHHHHHHHHHH"). Sometimes my chops and upper body tense up, causing breaks in the sound. Any tips for that? Letting old bad habits die?

ANSWER:
Plan a nice funeral and say good bye forever (bad playing habits, that is. ;-)

QUESTION:
I'm hoping our paths might cross at the end of the year at some point. I'll be in Nashville in June, Southern California in January.... Otherwise, I'm stuck in SW Missouri! :)

ANSWER:
Southwest Missouri isn't such a bad place. I happen to know there are quite a few good musicians in Columbia MO (Alan Beeson for example.) Sometimes a person needs to be creative and make do with what they have. As I said earlier, get involved with a band, and if there are no bands, create one. It's a fantastic learning experience to be a band leader, putting together music, rehearsing charts, and finding gigs. Try not to get down on yourself. You have a lot going for you. You are a sensitive musician, and through my correspondence with you, I've learned that you love playing the horn more than most professionals do. Enjoy the journey, enjoy life, and be kind to yourself.

It would be great to cross paths with you again! Keep an eye on my schedule, and hopefully we'll meet up for either a lesson, or just a hang.

Stay in touch,
Roger

email: Roger@RogerIngram.com

HERBERT L. CLARK: ON JAZZ

I have never heard of a real soloist playing before the public on a Trumpet. One cannot play a decent song even, properly, on it, and it has sprung up in the last few years like "jaz" music, which is the nearest Hell, or the Devil, in music.
Herbert L.Clarke in a letter to Elden Benge Jan. 13th 1921

HOW TO GET A GIG
By Stan Mark

As Stan always said it took four things to get the gig.
1. People have to know you.
2. You have to know people.
3. You have to have a great reputation.
4. You have to be a great player.

You have to have the first three in order to get the opportunity to demonstrate #4.

As told by Alan Wise

WHAT WE PLAY
by louis armstrong

"What we play, is life."

ON RETIRING:
by louis armstrong

Musicians don't retire; they stop when there's no more music in them.

(note: I was asked this question by Buck Vandeermer many years ago after I finished my tour of duty with the U.S. Navy Band in 1966)

A vintage Jacobs quote.

Question from Buck:
What were the most important things you learned in the Navy?

Answer from Jacobs:
Clearly the meaning of discipline, dignity and respect.

Discipline doesn't just mean to punish. It means the ability to act in a professional way even in a difficult or stressful situation; it means to maintain order and leadership to obtain a desirable result in spite of difficult circumstances.

The Navy teaches men to lead.

All of the big bands of the jazz era had good players. The ones that achieved greatness had the best leaders.

I learned to have dignity and respect for all people and I learned the importance of always conducting myself in a manner consistent with the integrity of a Navy Musician.

TRUMPET IS LIKE A COBRA
Doc Severinsen

I saw Doc Severinsen back stage at Disneyland and he discussed with us the difficulty of playing a trumpet and likened it to a Cobra that can turn on you at anytime.
- Jack Kanstul

I AM HUMBLED by the trumpet

By Bobby Shew

"I am humbled by the trumpet every day."

MILES DAVIS: QUOTES

I'm always thinking about creating. My future starts when I wake up every morning... Every day I find something creative to do with my life.
Miles Davis

Don't play what's there, play what's not there. - Miles Davis

I'll play it first and tell you what it is later. - Miles Davis

If you understood everything I say, you'd be me! - Miles Davis

It's always been a gift with me, hearing music the way I do. I don't know where it comes from, it's just there and I don't question it.
- Miles Davis

Sometimes you have to play a long time to be able to play like yourself. - Miles Davis

The thing to judge in any jazz artist is, does the man project and does he have ideas. - Miles Davis

HOT OFF THE PRESS:

"BLUE AFTER HOURS" by jazz trumpeter, DAN JACOBS hits the TOP TEN best selling smooth jazz CD's on CDBABY.com

Check it out at: http://cdbaby.com/top/76?skip=40

MUSIC IS NOT SIMPLY A PRODUCT
by Pat Harbison

Jazz is process oriented. Music is not simply product. It is life itself-or at least the footprint of one living that life. Our educational system is a product oriented one built on the industrial model. An educated person is "assembled" in a certain sequence according to a timetable that is imposed by "experts". I know of no jazz artist who developed in such an incremental and scheduled fashion.

In every improvisation class I have taught I have had to acknowledge the uniqueness of each student and accommodate differing backgrounds and learning styles. No one formula works for all and everyone must grow at their own pace. No one can teach someone to be an artist. That is a personal internal process. It is not a process that lends itself to absolute measurement. I think the only fair and practical thing we can do in jazz education is grade the measurable-the mastery of craft and the successful completion of assigned learning tasks and activities.

This material was originally presented by Pat Harbison at the 1997 IAJE Conference in Chicago

QUOTE: ON LIVING LIFE

"Sanity, happiness and power are a direct consequence of living a life of simplicity, truth and worthwhile purpose."

daniel w. jacobs
(c) 2008-2020, all rights reserved

LUIS GASCA: CREATING YOUR OWN MUSICAL IDENTITY

In order for a musician to create his own musical identity Gasca believes he must always surround himself with musicians and he must open himself up to all forms of music, which involves the act of humbling oneself.

Any good musician who is inventive and creative has to search persistently before coming to their own musical identity.

YOUR SOUND IS YOU
Clark Terry

"I believe that regardless of how many people you’ve listened to or emulated over the years, your sound is you and what you really feel inside."

Clark Terry

Arturo Sandoval

I have to play every day in order to keep absolute control over my form

Blow your life through your horn.

To rise above the crowd, you must discipline yourself unceasingly to the strict demand and realities of your ambition.

I know that I haven't invented anything myself, that I am only a mixture of countless influences, and thanks to that I am able to find my own style of playing.

It's so important to listen to music, to listen again and again. Eat, sleep and drink music.

Allen Vizzutti: QUOTES ON PLAYING
TRUMPET

* There is no such thing as no pressure playing.

It is possible to improve your trumpet sound almost immediately by working on the mouthpiece.

Keep in mind that 99% the music and 90% of the money in the professional world is made below high C.

TOM HARRELL: QUOTE

The hardest part of playing the trumpet is the physical act of making the sound.

THE KEY TO SUCCESS
by daniel w. jacobs

“Practice, practice, practice.” Ask any professional about the key to success in music and you’ll usually get this answer. Of course, this is correct, but incomplete.

Success requires a combination of at least five factors separate elements:

Practice (learning by correct repetition) is vital to get your skills up to a level where you can participate in a very competitive game.

Patience (calm, sensible perseverance) is crucial, as only a step-by-step approach will provide the necessary building blocks to achieve greatness and effortless competence.

Persistence (determined continuance in spite of everything) is vital as success is a pipe dream without it.

Professionalism (skill, competence and character) is essential to compete at the highest levels.

Promotion (making something known and well thought of) is an ongoing activity that requires boldness, courage and audacity - without which your talent and genius will go unnoticed.

PRIORITIES
What you've got to say artistically is always more important than your technique.

Practice as much as necessary to gain sufficient technique to deliver your musical message.

Practice delivery of your artistic message as much (or more) as you do your technique.

Practice to increase technique when it becomes necessary to the delivery of your message.

Desire to deliver your message to people.

The volume or quantity of outflow (performances, promotion, etc.) is more valuable than inflow of money when you're starting out.

Focus on the quality of outflow when the promotion begins to bite and you see that you're getting some attention.

Seek out ways to monetize the activity to secure viability when quantity and quality are operating without constant attention.

LONGEVITY in the ARTS
A solid foundation of core human values.

A compelling desire to communicate your art broadly.

A willingness to take responsibility for the effects that you create with your art.

A recognition of the joy of creating and a desire to share this with others.

The willingness to allow others to contribute to your well-being and to contribute to theirs through your art.


SURVIVAL in LIVE PERFORMANCE GROUPS
Appreciate the contribution of other group members.

Remain in communication with others in the group.

Establish and maintain an agreement on the goals of the group.

Recognize and respect the leader of the group.

Do everything possible to support the overall survival of the group.

Take responsibility for your part in rehearsals and performances.

Recognize that you are in the entertainment business.

Practice for yourself. Rehearse for the group. Perform for the audience.

THE BUSINESS OF MUSIC
Remember that there are two words in “music business” music AND business. Success in music or the arts requires competency and professionalism in both areas.

You must have at least a conversational knowledge of the business of music to avoid painful pitfalls and expensive contractual arrangements.

Finally, recognize that you’re always a student. Being involved in the arts means a continuing pursuit of perfection. This is elusive because you are always finding new ways to express yourself with more efficiency, less effort and greater focus on your message.

daniel w. jacobs
© 2008-2020, all rights reserved

THOUGHTS ON MUSIC
by daniel w. jacobs

The secret glue of music lies in the welcome anticipation of the next note.

The love of music engenders the music of love.

Music should provide both familiarity and surprise . . . but not too much of either.

Melodies, harmonies and rhythms heard but not played provide the most sublime pleasures in music.

Good music has the power to awaken the soul, stimulate the mind, energize the body and remind us that we are still alive.

daniel w. jacobs
(c) 2008-2020, all rights reserved

MUSICAL HYGIENE
by Quincy Stewart

The greatest hygiene a musician can practice is to keep the pipe that leads from the soul to his or her fingers clean and free from the deteriorating effects of the ego.
- Quincy Stewart

"The spirit then, is not a "thing". It is the "creator" of things." - L.Ron Hubbard

Cathy Segal-Garcia, jazz singer and educator, Los Angeles

www.cathysegalgarcia.com

COMMUNICATION
By Bobby Shew

Communication is the key ingredient in music of ANY type. It really doesn't seem sane to play to oneself of to the music stand or wall. So the person(s) at the receipt point is as important to the experience as you are. It's the emotional reaction to your creation that completes the action. The emotional communication takes precedence over style and technique. You need plenty of technique, but only enough to execute what you hear and feel. S0, study emotions ; it'll intensify your playing.

Another area of communication that's very important is in your ability to communicate with the other guys in the band. In fact, if you have trouble with this, it'll show up in your playing. You're in a sense "rapping" with people when you play. If the entire band maintains a high level of communication, the affinity will be high for each other, the "vibes" will be right, and the band will swing: It might be worth mentioning here that lots of people apparently misunderstand communication in thinking that they must just talk, talk, talk, when in reality, the art of listening is super important and can help to smooth out your relationships with other people. This then will increase your ability to listen in the section to your lead player of the rhythm section or Whatever. Do you see the point? It all fits in together and the picture starts to clear up end make sense.
- Bobby Shew

My Lesson w/Roger Ingram
By Tony Gambaro

Had a very cool hang w/Roger yesterday for a few hours in a room upstairs at Proctors Theater that must have been 100 degrees! We started out just shooting the breeze and name dropping! He dropped many more names than I did.

Then we got right to it. He asked me what I was looking to gain. He said you've worked steady for twenty years blah blah blah, what you want from me. I simply told him that I don't have it figured out and I want to figure it out!

He then started to play some octaves from low C to High C all The way to double C. Very cool and loud in a brick room that measured 10 x 10. Great sound by the way and he does use some pressure! He did that because while giving a lesson the day of a show he also has to do his thang!

He asked me how I warm up and I told him middle G soft, maybe some chromatics, about 10-15 minutes depending on stiffness. He said No No No No!

Here's what we did. He had me flapping my chops gently at what he described as 8 flaps per second. Stop, let the blood begin flowing. Flap some more… Stop; let the blood flow and so on for about 3 minutes on and off. Then a light free buzz on any note. Flap some more after then buzz again. Flap again then do some arpeggio buzzing. Flap some more the maybe some slow tonguing while buzzing.

Next, take just your mouthpiece and buzz on any note that's comfortable. Flap some more. Buzz the mouthpiece again doing some short gliss'es up and down! Flap some more… Insert mouthpiece and then a middle G softly lipping it up and down (Sharp and flat) until finding its center. Once you find the center add a nice hand vibrato… Flap some more. Then some light chromatics from middle C down to F. Flap some more then some more light chromatics up and down to middle G. Done! Warming up is simply getting blood flow to your face and the lactic acid out.

From this point we went into breathing… He had me stand up to watch my profile while playing just chromatics up to high C and down softly. He asked me why my shoulders were staying down. I told him that I am trying to keep them relaxed and that that has been pounded into me like a senseless beating for 30+ years! He replied, NO NO NO. First off, look at old pictures of Maynard while playing… His shoulders are so high they almost cover his ears. He mentioned some other high profile catz and when you really look at their bodies while they played, there shoulders were up. Basically, why keep your shoulders relaxed where they can be a burden to the top of your lungs! Utilize your entire lung then use your diaphragm up and in twice as much as your use to for compression. Do this for all volumes. Make's sense. Actually doing it was another thing, but I made some positive strides and yes there was difference in stability. My stomach did hurt in the beginning so I was using a different set of muscles…

Chop set, the most important aspect of playing the trumpet. We got out the visualizer. And he wanted to see what was going on in all registers. My aperture was for the most part pretty tight and I thought that that was the idea…. NO NO NO NO. First off he said I was not using enough pink! When he showed me with the visualizer his chops were rolled out and you could drive a bus through his aperture while he was blowing! Unbelievable to me… He said the more pink you can use the more cushion you create. More cushion = much much more endurance. That's how me and the rest of us, BergeronMy Lesson w/Roger Ingram
By Tony Gambaro

Had a very cool hang w/Roger yesterday for a few hours in a room upstairs at Proctors Theater that must have been 100 degrees! We started out just shooting the breeze and name dropping! He dropped many more names than I did. Then we got right to it. He asked me what I was looking to gain. He said you've worked steady for twenty years blah blah blah, what you want from me. I simply told him that I don't have it figured out and I want to figure it out!

He then started to play some octaves from low C to High C all The way to double C. Very cool and loud in a brick room that measured 10 x 10. Great sound by the way and he does use some pressure! He did that because while giving a lesson the day of a show he also has to do his thang!

He asked me how I warm up and I told him middle G soft, maybe some chromatics, about 10-15 minutes depending on stiffness. He said No No No No!

Here's what we did. He had me flapping my chops gently at what he described as 8 flaps per second. Stop, let the blood begin flowing. Flap some more… Stop; let the blood flow and so on for about 3 minutes on and off. Then a light free buzz on any note. Flap some more after then buzz again. Flap again then do some arpeggio buzzing. Flap some more the maybe some slow tonguing while buzzing.

Next, take just your mouthpiece and buzz on any note that's comfortable. Flap some more. Buzz the mouthpiece again doing some short gliss'es up and down! Flap some more… Insert mouthpiece and then a middle G softly lipping it up and down (Sharp and flat) until finding its center. Once you find the center add a nice hand vibrato… Flap some more. Then some light chromatics from middle C down to F. Flap some more then some more light chromatics up and down to middle G. Done! Warming up is simply getting blood flow to your face and the lactic acid out.

From this point we went into breathing… He had me stand up to watch my profile while playing just chromatics up to high C and down softly. He asked me why my shoulders were staying down. I told him that I am trying to keep them relaxed and that that has been pounded into me like a senseless beating for 30+ years! He replied, NO NO NO. First off, look at old pictures of Maynard while playing… His shoulders are so high they almost cover his ears. He mentioned some other high profile catz and when you really look at their bodies while they played, there shoulders were up. Basically, why keep your shoulders relaxed where they can be a burden to the top of your lungs! Utilize your entire lung then use your diaphragm up and in twice as much as your use to for compression. Do this for all volumes. Make's sense. Actually doing it was another thing, but I made some positive strides and yes there was difference in stability. My stomach did hurt in the beginning so I was using a different set of muscles…
Chop set, the most important aspect of playing the trumpet. We got out the visualizer. And he wanted to see what was going on in all registers. My aperture was for the most part pretty tight and I thought that that was the idea…. NO NO NO NO. First off he said I was not using enough pink! When he showed me with the visualizer his chops were rolled out and you could drive a bus through his aperture while he was blowing! Unbelievable to me… He said the more pink you can use the more cushion you create. More cushion = much much more endurance. That's how me and the rest of us, Bergeroyne, Arturo, Maynard, Cacia etc, can blow like this all night long… As awkward as this was I was able to play a middle G then a low C that just slammed. Then he had me go to middle C then E – G – C - E – G Dubba C… It worked, while the tone was suspect as well as being very uncomfortable for obvious reasons. I understand it. I will dedicate 15 minutes a day to this and the breathing and he said after awhile it should work it's away in to your everyday playing!

We got into gear. As you all know I play the Stage 1 California Light… He played it and critiqued it. First off it's a medium large and that's too big. He thought the build quality was excellent but would have liked some standard bracing… His as most of you know is a Schilke S-42… Not quite, not even freaking close… He's had the horn for 10 years, 50 modifications in the process mainly lead pipe and brace placement… He will be building his own horn not with Schilke but with a another gentlemen and I do not remember his name… Small and tight!

Here it is in the nut shell. Because you can drive a bus through his aperture, the smaller and tighter the gear the easier it is. He was really passionate about this subject! His mouthpiece throat is a 30…. He looked through mine and said what the hell are you doing???? His sound is pretty big and focused obviously! Tight Mouthpiece and horn with a big bell...

He also said that at times depending on the theater he's playing in the guys in the band say they can't hear him… He tells them, I'm not playing for you, I'm playing to the back of the room… This business with having sound around the front of your horn is for the dogs! A trumpet is built to project forward not around you… Leave it at that!

In closing: He said, look: I'm not trying to push my ways on you! Today I simply told you what works for me and went down the line with name dropping all the biggies of our sport and said he got it from them! He said quite comfortably, why do you think we work all the best gigs and have to turn down work! He told me he would only like to see me again if I chose to apply what he showed me…

End!!!

Oh Yeah, the show was great and the other guys could blow as well.

Thanks for reading,

Tony
√, Arturo, Maynard, Cacia etc, can blow like this all night long… As awkward as this was I was able to play a middle G then a low C that just slammed. Then he had me go to middle C then E – G – C - E – G Dubba C… It worked, while the tone was suspect as well as being very uncomfortable for obvious reasons. I understand it. I will dedicate 15 minutes a day to this and the breathing and he said after awhile it should work it's away in to your everyday playing!

We got into gear. As you all know I play the Stage 1 California Light… He played it and critiqued it. First off it's a medium large and that's too big. He thought the build quality was excellent but would have liked some standard bracing… His as most of you know is a Schilke S-42… Not quite, not even freaking close… He's had the horn for 10 years, 50 modifications in the process mainly lead pipe and brace placement… He will be building his own horn not with Schilke but with a another gentlemen and I do not remember his name… Small and tight!

Here it is in the nut shell. Because you can drive a bus through his aperture, the smaller and tighter the gear the easier it is. He was really passionate about this subject! His mouthpiece throat is a 30…. He looked through mine and said what the hell are you doing???? His sound is pretty big and focused obviously! Tight Mouthpiece and horn with a big bell...

He also said that at times depending on the theater he's playing in the guys in the band say they can't hear him… He tells them, I'm not playing for you, I'm playing to the back of the room… This business with having sound around the front of your horn is for the dogs! A trumpet is built to project forward not around you… Leave it at that!

In closing: He said, look: I'm not trying to push my ways on you! Today I simply told you what works for me and went down the line with name dropping all the biggies of our sport and said he got it from them! He said quite comfortably, why do you think we work all the best gigs and have to turn down work! He told me he would only like to see me again if I chose to apply what he showed me…

End!!!

Oh Yeah, the show was great and the other guys could blow as well.

Thanks for reading,

Tony Gambaro

It's the way you play that makes it . . . Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.
-- Count Basie

I'm always thinking about creating. My future starts when I wake up every morning... Every day I find something creative to do with my life.
Miles Davis

QUOTE: Ornette Coleman

“Musicians tell me, if what I’m doing is right, they should never have gone to school."

ASSUME THE POSITIVE
- curt wilson

“Approach each individual you encounter whether professionally or personally with the attitude and viewpoint- they are going to prove themselves worthy, they will do the right thing or do the job well.
Always assume the positive of and in each person. You will be proven correct more often than not and besides, its exactly how you would want to be approached and viewed- Positively!” - Curt Wilson

Carefully designed and executed experiments can reveal the Laws of Nature -- Cary Kilner

ON CRITICISM (an email exchange)

--- Mon, 6.30.08,

Dan - Thanks for the feedback – You’re right that the difference between destructive and constructive may lie in the perception of the critics' intent, and to some extent benevolence.

The contract of understanding must be shared if the artist is to bend to criticism trusting that it will lead to improvement.

Cheers, Samuel

--- On Sun, 6/29/08,

Samuel - I find nothing to disagree with in your writing which is as good as the message, which is excellent.

My suspicion is that you assume or intuitively know that it the underlying intention that determines whether the criticism is perceived as constructive or destructive.

As creative individuals, we have all experienced the effects of constructive criticism just “for our own good" that left us feeling that we should just pack it up and find another line of work. I know I have.

On the other hand, if I sense that the unspoken intention is to help me in some way, then no matter how bitter the pill of criticism, I don't get that same feeling of
having the wind knocked out of me.

The words may be the same, but somehow the carrier wave of the communication allows me to perceive the underlying intent of help and act or react accordingly.

d. jacobs


---6/19/08,

Too much constructive criticism becomes destructive – however – what sort of Beatles would we have had if George Martin hadn't taken a constructive hand in recording and producing - I'm certain he critiqued them
constantly in arranging their songs. What would Scott Fitzgerald's books have looked like if Schribers and Sons hadn't put their editorial chisels to his rough diamonds in order to create the gems?

Unbridled talent is great - but learning and training in the arts – Music, Ballet etc - is predicated on constructive criticism leading to acquisition of skills - and only after acquired mastery of disciplined skills can the real talent shine through

List or Frederick Chopin vs. ...say.....
Bruce Hornsby, I believe the gratification era we live in, with Pop Art reigning supreme -
leaves us wide open as a society to superficial values replacing cultural roots with a very small elite commercially packaging entertainment for appreciation by consuming masses who are required to have little taste knowledge aptitude or any real esthetic.

Where is the Bob Dylan of today - or the Beatles of any single talent that transcends the crap?

Amy Whinehouse? Christine Aguillera? - Great singers but cultural pioneers? Bluesey followers with producer boyfriends. 'Madonna? An entertainment pioneer but can you please hum for me one of her songs? Let alone sing it to your friends' kids -(would you want to?) Janis was unbridled - so was Jimi - some art needs no constructive criticism, but that's the exception. Clapton probably practices his ass off. - Miles was a student all his life - Did you see the movie La Vie en Rose ?? - Edith Piaf – Her talent was formed by a
mentor - even if it flamed out quickly -

True artists know to use criticism wisely - and conduct their own criticism as a form of self-discipline - Like an athlete, accepting nothing but performance excellence measured on its own merits. Popularity is not an excellence.

Samuel

BRING PURPOSES BACK TO LIFE
by Curt Wilson
CENTERLINE COACHING

If you find yourself fearful, apprehensive or fainthearted about some part of your life, it is simply because you have allowed your purpose in that area to be shaken and invalidated.

You need to find and restore that purpose to its full luster.

You can do this by remembering when you first created or decided on that purpose and why.

Then start working to achieve it newly. The purpose will come back to life and the fear, apprehension and faintness of heart will disappear.

Curt Wilson
www.centerlinecoaching.net

VALIDATE WINS
by Curt Wilson,
CENTERLINE COACHING

Remember that every win or triumph you pull off, gives you a bit more of living.

And the reverse is just as true- every loss or lose is a piece of death.

Find ways to gain little pieces of triumphs and wins in the game of life no matter how small and validate that they occurred and that they exist. I think you’ll find yourself living more, sooner than you imagine.

Curt Wilson

BY THE SCRUFF OF THE NECK
by Curt Wilson
We all have a scruff of the neck. I say you use it as often as it takes. That is, taking yourself by your own scruff of the neck and get going or doing something in life. It’s a very neglected and often forgotten tool of the trade in this game we call life. Take it out of your toolbox more often and use it. I think you may find it works.