Endurance and Loud Playing

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Here is a helpful mini-lesson I found on the blog called The Trumpet Gearhead.  The short article on endurance and loud playing is actually some instruction from non other than David Bilger, principal trumpet of the Philadelphia Orchestra.  I plan to try these out soon!

 

Editor’s note: The following excerpt is written by David Bilger and used with his permission. It describes an exercise for improving power and endurance that Mr. Bilger learned from Renold Schilke.  Mr. Bilger currently is Principal Trumpet of the Philadelphia Orchestra, and was previously Principal of the Dallas Symphony. He currently teaches at The Curtis Institute of Music and Temple University in Philadelphia.

Endurance:

As is the case with range, endurance is also a combination of many of the topics we have already touched upon, and will benefit from many of the same etudes. The two other things that will most quickly improve endurance are efficiency and loud practice.

1. Efficiency is a necessity for any brass player. Playing the trumpet is extremely physical, and efficient playing will reduce the demands on the player. Efficiency can be achieved by taking care of the following:

  • Always use a good volume of air, and high air speed
  • Always play with your embouchure set
  • Do not use excessive pressure
  • Practice upper body relaxation
  • Always think about what you are doing while you play

 

2. Loud practice is another part of trumpet playing that is often overlooked. Remember, when practicing at loud dynamic levels, always keep your sound from distorting, and never cause yourself physical pain. Do not use excessive pressure! Orchestral excerpts are a good source of loud material, as are the Brandt Orchestral Etudes. Perhaps the best resource for loud playing are the Schilke Power Exercises. Playing 5 minutes of these a day will be all you need to develop the necessary strength for increased endurance.

Mr. Bilger writes specifically about this exercise:

I had the pleasure and honor of working with Mr. Schilke for a week at the Banff Centre in 1980 when he was hanging out with the Canadian Brass who were on the faculty there. During that week he showed me the power exercises that I outlined in my master class materials. I have all my students do them!

They should be played at quarter note = 60, and with huge quick breaths after every four half notes. And most importantly, they should be played as loud as the player can control, with attention being paid to stability of sound and pitch, as well as dynamic. They are designed for developing an “orchestral” sound, but are of use to all players who want to develop additional power in their playing.

Transpose into different keys.

(right-click and open in new tab/window to get an enlarged view of the exercise)

Power Exercise-Bilger

 

 

Are Spit Valves Necessary?

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I was thinking about spit valves Thursday night, and the general surprise and slightly amused displeasure of our church choir members at the sight of brass players emptying their instruments.  After playing a choir/brass/organ rehearsal a couple days ago, I noticed the usual puddles of water by the brass players’ chairs.  It got me thinking about why trumpets simply have spit valves and other brass instruments need to remove slides more frequently and empty their instruments that way.  Is there a benefit to either method, and could a trumpet be cleaned/emptied the same way as say, a French horn? Or is there even another way to clean the instrument?

I came across this blog, The Trumpet Gearhead which gives answers to frequently asked questions about trumpets and trumpet playing.  Here is the blog author, Jim Donaldson’s answer on emptying the trumpet without using the spit valves:

 

Q: How do I empty all the water from my trumpet without using the spit valves?

A:

1. Hold trumpet as normal;

2. Tilt 90 degrees to the left (i.e., counter clockwise) so that the valves are horizontal, with the valve buttons pointing to your left;

3. Angle the bell up a few degrees;

4. Press down 3rd valve and blow (some folks find it best to remove the mouthpiece before blowing);

5. Press down 2nd valve and blow;

6. Press down 1st valve and blow;

7. Rotate 90 degrees counter clockwise so that valve buttons are pointing straight down;

8. Tilt bell downwards and lots of water runs out clearing all parts of the instrument!

This employs the the same technique used by french horn players. It really does work and can be far faster than removing slides or even operating 2 water keys.

 

Just a Closer Walk with Thee

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Jason here.  One of my favorite brass quintet arrangements is Just a Closer Walk with Thee as popularized by the Canadian Brass.  The arrangement emulates the New Orleans jazz style and divides the tune into two parts- the first part a dirge portraying the slow walk to the grave; the second part a joyful portrayal of the deceased being received into heaven (…at least that’s how my interpretation of it goes…)

I remember going to hear the Canadian Brass in the 90′s at the Academy of Music in Philadelphia with members of my dad’s brass quintet, The Jubilant Brass, and their families.  I can’t really remember if they played this tune that day, but I do remember that it was a fun concert.

If you’re looking for a local group you can book for a great evening, look no further than The Jubilant Brass.  They play a huge variety of different music- from sacred, to classical, to jazz.  They even do Just a Closer Walk oftentimes, and in my opinion, my dad does an even better job with the trumpet solo than Fred Mills!  Unfortunately, no video of the Jubilant Brass performing it exists, so you’ll just have to book them for a concert to hear it (go here)…in the meantime, “make do” with the Canadian Brass.

 

 

Soli Deo Gloria

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sdg

Besides studying their music, there is a lot to be learned from the actual lives of the great composers.  I’ve always been fascinated by composers’ lives and often fantasize about being in their time, seeing them day to day, and what they were actually like.  The “Big 3″ of Bach, Mozart, and Beethoven tend to be deified to such a degree that we can’t imagine the musical world without them.  We may be right to think this way, but they were human just like us, and I think we sometimes lose sight of that fact- when we play a glorious piece by Mozart for example, that seems as though it were given straight from the heavens.  This is why I enjoy reading about their lives- it helps me understand their humanity and their strivings…what they were reaching for, and what inspired them.

Being a church musician myself, I’ve always been intrigued by J.S. Bach and the fact that virtually everything he wrote was in service to the Lutheran church.  This would be unheard of nowadays.  Sure, there are full time church arrangers and composers, but they are not generally composing on a weekly basis.  Bach managed to write new music every week for services.  Was he simply churning out pieces as fast as possible for a paycheck, or was there something else driving him?

It turns out that Bach was in fact a very religious man.  Some other composers such as Schubert and Beethoven wrote religious works and masses, but were not overtly religious themselves from what we can tell.  But Bach’s faith is evidenced by his repeated use of one simple phrase – Soli Deo Gloria.  To God Alone be the Glory.  Bach wrote this phrase on every work he completed, even non religious pieces.   He was not writing only for his church- he believed in the greater responsibility of personally giving glory to God through his music.  He even took this idea a step further with the following statement (and I believe I’m paraphrasing):  “There are two purposes of music – to give glory to God, and the refreshment of the soul.”

This is inspiring to me as I play weekly at church, as I know it is to countless others.

Just Where He Needs Me

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Inspiring words to the hymn, Just Where He Needs Me.  I’ve included a link below to a video of one of my first cornet teachers, Derek Smith.  He is playing this hymn with a Salvation Army Staff Band, one of which my dad was the principal euphonium player (New York Staff Band).

The words remind us that whatever our current situation, God goes before us and prepares the way.  We may not feel we are in the perfect location or living the life we intended for ourselves.  But God knows where we are needed in the plans He has for us.  Let’s remember that His ways are higher than our ways, and His thoughts are higher than our thoughts!

http://www.youtube.com/watch?v=hgHFHvhfcT8

 

1 Just where He needs me, there would I be,
Working for Jesus who died for me;
Thro’ disappointment or victory,
Just where He needs me most!

Refrain:
Just where He needs me most,
Just where He needs me most;
His work to do, faithful and true,
Just where He needs me most.

2 Just where He needs me! He goes before;
Just where He needs me, till life is o’er;
Till I shall see Him on heaven’s shore,
Just where He needs me most! [Refrain]

3 Just where He needs me by day or night;
Just where He needs me—into the fight,
Or wait for orders; He leads aright,
Just where He needs me most! [Refrain]

4 Just where He needs me! He knows the way,
So would I follow my Lord today;
Where Jesus wants me, there would I stay,
Just where He needs me most! [Refrain]

Academy Chorale and Chamber Society

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On Saturday, December 7th, 2013 the chorus and orchestra, under the direction of Michael Kemp, will be performing:

Lt. Kije Suite -Sergei Prokofiev
Jeux d’enfants, Op. 22  -Georges Bizet
In Terra Pax  -Gerald Finzi
Many Moods of Christmas -Robert Russell Bennett/Robert Shaw

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The venue will be:

Gwynedd Mercy Academy Performing Arts Center
1345 Sumneytown Pike
Gwynedd Valley, PA  19437

for more information, go to:  http://academyconcerts.org

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