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Good News E-mail!!!
bob...I emailed you concerned over my vanishing sound....since then my range is basically
the same I still struggle for the top Gin a tune.....top C in a scale...BUT by
trying to play your way I have been getting a much brighter sound..I seem to get an
almost unrestricted amount of air thru the horn...it feels like I have no lips or there is
any tubing just air in the bell and the bell is my lips...the notes are coming out very
very cleanly and very articulate and extremely loud....the old way I played ...in trying
to go above G I would simply lock up the air would get tighter and tighter and less and
less and the strain was un believable.....these weekend I scaled up to top C and was
playing the top Gs in tunes with so much power it felt like I could stop a bus
with them.....and it felt really easy too ...the notes above seem to be more of a
technique problem .. where as I used to feel like a strength problem.......I think its
coming together even despite the fact I broke a front tooth last week.....I don't think
realistically I am just going to suddenly start hitting top Cs I am giving it a year...but I
am seriously thinking I should of bought a sax....oh yeah I have even swapped to a
bigger mouth piece a Dennis wick 3 its much bigger and it makes my lips more
relaxed and I can feel that they touch
hope you escaped any damage to your home bob I saw the pics on tv........
.need any plasterering advice just email me.
.Alan
9/27/2005
From the maynard.ferguson.net site Forum Section:
Author Comment
UNCLEMAYNARD
Registered User
Posts: 779
(9/27/05 8:20 am)
Reply Casual Double High C -Bob
Hi Bob,
A Few weeks ago I gave in and took advantage of your "Sale". I just wanted to take a second to write every one here, and tell them about your system.
A few weeks ago, I had a solid high F and G, but could not play an A to save my life.
Working with bob's method, I have defently learned how to focus my sound, and for the last four or five days....I've been Drilling those High A's, with the correct fingerings. It's a complete change from what I was doing before.
Thanks Bob,
Matt
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mrspeedyvalves
Registered User
Posts: 108
(9/27/05 9:01 am)
Reply Re: Casual Double High C -Bob
I have heard Bob play many times. He is a talented trumpet player.
I have reviewed his method and it will help you focus sound and help with chops control.
Signed : The Old Troll
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Bob,
Received the CD yesterday. I'm not that familiar with using these things on a computer. When I open it up the screen shows icons for several movies and several PDF files. How would you suggest I proceed.
Thanks,
J. F.
Hi J.F.,
See if you can view the icons in this order on you computer.
Casual Dbl. High "C" v.1.0
Beginning.mov -1. Watch this (Longest movie)
chops.mov -2. Watch this
Rules for CDHC.pdf -3. Read this
Warm Up.pdf -4. Do this warm-up and develop your muscle memory
1a Warm Up E.pdf - Warm-up Variations save for later
1b warmup F#.pdf
2. Extended Warm-up.pdf - save for later
3. Diminished C.pdf
4. Diminished C#.pdf
5. Diminished D.pdf
6. Fourths.pdf
7. Articulated Scale Study .pdf
DEMO MOVIES -watch and listen anytime
arban1.mov
arban2.mov
blueslick.mov
bobcore.mov
bobgodfather.mov
bobsggg.mov
chops copy.mov
delicate.mov
hot canary.mov
scale, dim, violin ect.mov
Bob
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6-6-05
My name's "JC" ( from France ) and I received your CD today. So far, I am amazed with your range/power/sound ! Gotta woodshed now with your concepts. I have one question : besides the different warm-ups, are the other exercises meant to be played as a daily routine or when ?
THX
Hello "JC"
Thank you for the compliment about the range/power/sound!
First, the long tone "G" and the "F" scale warm up is where to start. Do this for a while until it becomes easy and consistent. You can do this multiple times during the day resting in between.
The next thing I add is the diminished exercises.
I later add the fourths when the diminished are flowing smoothly. I have the variations in keys in the warmups, diminished and etc. so you can include all the different pitches.
I included the extended warmup for learning how to play long lines with control and using you air very efficiently after you have the embouchure fine tuned.
Thanks for your email and please write with any other questions.
Later,
Bob Odneal
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June 1st, 2005
Hello trumpet people! I am recovering from yesterday's 5 AM alarm and trek to play my Memorial Day rehearsal and church services! I had a Sunday night gig, but an over micro-waved piece of pizza cut me out of it , but fortunately I found a sub that lived 5 minutes from the gig. I haven't done that trick since college. This time I just got the side of my mouth, but in college I would get the pizza stuck to the roof of my mouth! I do not recommend this!!
I received some questions about my CASUAL DOUBLE HIGH "C" method from a trumpet player that is working on it and I thought I would share these questions and answer with you.
Have a great Memorial Day!
1. do you practice only in soft piano pianissmo?
If I have been playing louder in groups and ensembles, most of my practice is p to ppp. It tends to get you aperture focused down in a manner which will allow to to generate the compression to play the high notes. Most people don't play this soft! If not playing in many groups I will follow my soft playing with rest and then open up the sound with more air but still keeping the aperture small and focused. I rarely practice this extremely loud, but I have been doing this a long time. For more volume, I resist the air with the embouchure and rely on more air and more intense air from my mid-section muscles contracting.
2. which other method books could I use with your "method"?
You can use the Arbans or Clarke or just about any music with this method. I am going to write some more exercises along with some technique studies soon. When you are first learning I try to have students play a lot of lyric , flowing lines without a lot of leaps to develop the idea of compression and relaxation.
3. what about your tongue when playing? Where do you have it placed in the mouth?
I try to keep my tongue as low in my mouth as possible to have the biggest sound possible. I demonstrate this by playing a "C" above the staff with the tongue high in the mouth creating an "eeee" sound and then I play the same note with the tongue low creating an "Ahh" sound which I call a "DOC SEVERINSEN" sound. (I will try to post a recording or a video of this on my site soon.) I tongue from behind the top teeth where they meet the gums for a more legato attack and I lower the tongue down for a more pointed attack and all the way down to between the teeth touching the lips for a harder attack.
Remember- "LISTEN TO WHAT IS COMING OUT OF THE OTHER END OF YOUR HORN!"
THANKS FOR YOUR QUESTIONS AND PLEASE WRITE BACK IF YOU NEED MORE EXPLANATION.
January 16, 2005
Hi Bob,
I've been working with Casual Double High C a bit and have some questions about how the exercises should fit into my daily routine.
Should I play the F, E, and F# warm-ups on different days?
I use F most of the time. Keeping things simple. I use the others to insure I have all the notes in the chromatic on the horn, such as B, G#, C#, D# (notes not in the F scale)
Should I play the C, C#, and D diminished exercises on different days?
Same as above, it depends on what note you are building to. As you get better control, it doesn't take very long to play them all!
Should I play the fourths exercise each day?
I play the fourths when I want to work on wider interval note connection.
Should I play the articulated scale each day?
I use this study to sharpen up tonguing and attacks. I don't play it every day but it does not hurt!
I've been playing the F warm-up, the C diminished exercise, the fourths exercise, and the articulated scale exercise each day for the past week. When I'm done with that, I rest for 10 or 15 minutes before practicing some of the music for the groups I play in (nothihg higher than the A just above the staff). The notes seem to come easier and are more secure than usual.
I am glad it is working for you!
***
1/20/2005
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January 11, 2005
Hi Bob!
Thanks for your kindness!
1. What about lip buzzing? Do you lip buzzing and if yes which routines / methods do you use?
2. The same I asked for lip buzzing is for mouthpiece buzzing as well.
3. What else can I do on trumpet next to your routines on the cd? Can you recommend method books?
4. Do you have special routines for reducing lip pressure?
Light grip on the horn (finger tips) practice soft and make the embouchure become fine tuned. You have to retrain yourself daily to get away
from pressure. Get away from the Louie Strong-arm Method.
1-04-2005
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12/302004
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Bob
12/29/2004
I find that people learn a lot easier with less confusion by using the ear rather than the eye, since all physical structures and equipment are different from player to player.
I think many people get confused (myself especially) when presented with too much technical information. I prefer to answer questions as they arise rather than cloud the issue. Many things will take care of themselves. I have one student who is highly intelligent and wants to analyze everything and it leads to problems
"Paralysis from over Analysis" Allen Vizutti said that I think.
The diminished exercises are a way to approach the notes in an unfamiliar way sound wise. Most people will test/practice their high notes by playing a major arpeggio.
G-B-D-G.
This is a familiar sound and you know where the top note is, but the leap to the top note is the largest in the arpeggio (a perfect fourth D-G). All the other notes are closer G-B major 3rd, B-D minor 3rd and then D-G a perfect fourth the largest interval and the most adjustment. The diminished arpeggios' intervals are equidistant, all minor thirds. Practicing these exercises train your ear to hear differently than just major and minor and they make you learn where the note is though ear and muscle memory. The advantage is that each note is the same distance to the next no matter where it is in the arpeggio and there are only 3 diminished arpeggios to learn as any note could be the root. C-Eb-F#-A-C C#-E-G-Bb-C# D-F-Ab-B-D. You can respell them in-harmonically to make it easier if you wish. This is the way I teach people to find the illusive double high "A"!
I came up with another approach the night before last to train the ear and make all notes lock in, doing 13th chords!
Notice the last interval to the target note is a minor third. C 13#11 = C7 chord with a D major chord above it!
The Casual Movie is a demonstration of a multiple tongue lick from low C to high C. I am going to repost it on my site as soon as I can find out what bug it has in it for PC or I will rerecord it. It works fine on Mac. It is not really instructional, but just a demo of what can be done.
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I had a conversation with my friend Chester Farmer about the importance of not pulling the corners back and for some, keeping the corners forward, like you were trying to hide the chops behind the mouthpiece in order to keep the aperture round. This is something some may want to try. As you go higher, push the corners slightly forward and see what it does for you. It works for some, but we are all different. Just a thought, more later!
NO LIP BUZZING FOR ME!
Some mouthpiece buzzing, but limited. Only do restricted mouthpiece buzzing! (This is what I call holding the mouthpiece with the thumb and the forefinger and partially covering the end with the little finger in order to create the proper resistance feel (like playing the trumpet would create) or using a B.E.R.P. Only do this after you have everything closed down to the tiny aperture and if you need to open up, feel inflexable or when you need to work on connecting notes in a piece of music. It really works well for note connection.
You do not want to buzz open or so much you get the chops spread out! We are trying to go in a different direction.
You can work on anything, but remember, what Doc Severinsen says,
"when done asking questions, try consistent, intelligent daily practice”
I like to do Clarke Studies (sencond study if my memory serves my correctly), but I don't start below the staff, I usually start on 2nd line G and work both directions. I am putting together my routine on my Clarke Study Variations which gets you away from the plain old major
and opens up the ear and works the third finger. Being a lead trumpet play can lead to third finger retardation, see as you only used it for an ocasional A flat!
I like the Earl D. Irons 27 Groups of Exercises. I think that is the proper title, I am very tired at the moment and still recovering form the Doc Severinsen Destino Day and hanging with the Doctor for three wonderful days. Charlier is good and of course the Arban! Practice playing songs by ear or playing melodies so you can sound like a singer. Listen to great sound models in your rest periods. None better than Doc Severinsen! You will start to sound like the people you listen to.
Or do you have special practice routines?
My routines vary depending on what kind of work I have coming up, but I try to cover all bases. (tonguing, slurring, low, high, lyric,
multiple tonguing, tone, range)
I replaced the pdf file with a jpg. Pdf would not show on some computers, like mine at work.
Download an Articulated scale Study without the typos!
Thanks Ole, for pointing out the typos!
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Mouth Corners
I used to be very aware of my corners when I played, but now I am more aware of the aperture and control of keeping it focused and keeping the sound right. ( tiny and pppp
if warming up, clear and full if I am playing) If I do these things the mouth corners will take care of themselves. If I do think about the mouth corners, I think of Not pulling them back or I think about pushing them forward toward the center of the mouth. When I push my bottom lip up against my top, I feel the corners going into action on their own, and I go from there
LISTENING TO WHAT IS COMING OUT OF MY HORN!
When I push the bottom lip up, and resist it with the top (like dynamic tension) I can feel the lips become solid like a flexed muscle. This is what helps develop endurance. A solid platform on which to place the mouthpiece. In the old days, I knew I was done when I felt the lips collapse and could feel them being crushed between the mpc and the teeth. With the solid flexed muscle, you can overcome that crushing feeling when you resort to pressure (less and less as we work through CDHC) and we will all resort to pressure when we pass our endurance limit, but we want that to be as far down the playing session road as possible if at all. When I was very young (8th grade) I met the great AL HIRT. There were lots of trumpet players around talking and I want to say something but I was really scared. I said,"That Dizzy guy has some kind of cheek problem doesn't he?" Al glanced over, smiled and said, "It's what comes out of the end of the horn that counts!"
LISTEN TO WHAT IS COMING OUT OF YOUR HORN!
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