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Отклонение от темы сайта => in English => Тема начата: Monya от 16 апреля 2008, 22:42:28

Название: John Mohan
Отправлено: Monya от 16 апреля 2008, 22:42:28
Собственно, это предназначено тем, кто читает по-английски. Интересный пост попался мне на trumpetherald.com куда периодически захожу. Переводить по-человечески, к сожалению времени нет.

вот ссылка:

Earlier this morning, I went to make a short and simple reply to someone's post in the High Range forum, and before I knew it, more than an hour had gone by and I had written another of my "masterpieces" (remember, beauty is in the eye of the beholder).  

I think the following is good, solid information for anyone out there, young or old, who truly wants to become a virtuoso level trumpet player. It starts out talking about High Range development, but it really addresses everything about becoming a great player. Get a nice cup of coffee, because it is a long read:

John Mohan wrote:
Developing a good upper register comes down to two things: the feel or knack of it, and the strength required to produce strong air pressure.

The feel or knack part of the equation refers to learning the general movement of the lips and the tongue, and how one must blow stronger as one ascends in range. Generally speaking, the tongue arches up and forward and the lips compress together and perhaps roll slightly inward as one ascends to higher notes, and the player blows harder with the muscles of the chest (rib muscles), back and abdomen to meet the added resistance caused by the tongue and to some extent the lips (Air Power).

While all this sounds simple, it usually takes time to get the feel of it, especially if one has played for a while and developed bad habits such as too much mouthpiece pressure, moving the lips in the wrong way, or arching the tongue incorrectly or not enough.

The best playing exercises ever written to develop the required Air Power are the Part 1 exercises throughout Claude Gordon's book, "Systematic Approach to Daily Practice." The player who does these exercises as written and as instructed will develop the Air Power required to play above Double C. You lift weights; you get stronger. You do the SA Part 1 Exercises; your Air Power muscles get stronger.

The best playing exercises for developing the feel or knack of the upper register (as well as the lower and middle registers) are both the Part 2 exercises from Systematic Approach and also the many Flexibility Studies that are available ("27 Groups of Exercises" by Earl D. Irons, Colin's "Lip Flexibilities", "Lip Flexibilities" by Walter Smith, Schlossberg's book, etc.) Also, the Clarke Technical Studies book when used properly, is of extreme benefit to the upper register. But it seems that hardly anybody really knows how to use the book as Clarke meant it to be used. His written instructions were meant for the extremely advanced player going through the book for the 2nd or 3rd time under his tutelage - and even these written instructions have been completely changed and distorted by some idiotic, unnamed reviser in the current Fischer publication of the book. One way to learn how to use the book correctly is to have studied with Clarke, or perhaps to have studied with someone who studied with Clarke for many years. My teacher Claude Gordon did just that. Another way would be to study with someone who studied for many years with someone who studied for many years with Clarke (hint-hint).

Anyway, I think that about wraps it up. There is nothing magic or mystical about the extreme upper register. Any person on this planet of reasonable strength and coordination can develop a good Double C and all the other facilities required to be a virtuoso-level trumpet player. What it takes is knowing how to practice, what to practice and when to practice, combined with the tenacity to stick with it until it develops without going off on some tangent and trying some wacky mouthpiece design, "no-pressure" device, buzzing exercises, or other meritless time waster.

A real good starting point for the developing player who doesn't want to spend the money to study privately with someone like me, would be to buy the book "Brass Playing Is No Harder That Deep Breathing" by Claude Gordon, published by Carl Fischer. It's available at:


Everything written in that book is accurate and is in my opinion, mandatory reading for anybody that wants to develop into a great brass player.

I think the biggest hurdle is that the vast majority don't really want to develop into great players all that much. Oh, they'll say they do, but when it comes to "writing the check", meaning spending the money on lessons with a great teacher, and maybe traveling a long way to do it, then their desires go to the back burner. I developed into a pretty good player, with a range from Triple Pedal C to G above Double C. Of far more importance than the extremes in my range, I developed great tone, accuracy, technical ability, and musicianship. This allowed me the privilege and blessing of a 25 year career as a professional musician playing all over the U.S., Canada and Europe. But it all started, when I was given the chance, and I was willing at the age of 17 to travel from Chicago to Los Angeles for a Crash Course with Claude Gordon. It cost me $500, plus the Airfare, and Hotel accommodations and restaurant food for the week. The Crash Course consisted of about 10 hours of Private Lessons, and then Claude wrote up a year's worth of clearly written Lesson to be done, customized for my level of playing, strengths and weakness. All told, the cost of the trip added up to about $1400, which in 1979 was a lot of money (about 1/5th the cost of a new Mustang GT at the time). But that didn't stop me - I was thrilled at the opportunity. And so were many others. Claude charged $50 and hour for lessons at the time (that would be like charging about $150 today). Yet he had so many students, he could only see them each once per month. When I had my Crash Course, he was teaching 5 days a week, practically non-stop from 8am until 10pm and even later sometimes. He would eat his meals as he taught. Unlike many of the other famous teachers who would pick and choose their students with the goal enhancing their reputations by the quality of their students, Claude never turned anyone away who had a real desire to play.

After taking several Crash Courses, over a period of a couple of years, my young wife and I moved to California so I could study full-time with Claude. Becoming a trumpet player (a working trumpet player) was the number one goal in my life. I moved across the country for it, and I practiced and practiced and practiced. That's what it takes. But I really don't see that so much anymore. Maybe it still exists, but I don't think there are as many who are as dedicated as there once were.

But, this can be viewed as an opportunity to those who do have the dedication. Claude always said, "There's always room at the top." I believe he was right about that. And furthermore, based on what I've heard in terms of playing ability of the current generation of younger players, I think there's going to be lots more room at the top in the near future. A combination of budget cuts that have caused band programs not to start often until High School age, combined with the sad fact that the current young generation has become addled with Video Games, MySpace and other wastes of time has created a golden opportunity for the truly motivated. From what I've seen and heard, the typical 16 year old trumpet player plays now at the ability level that I and my fellows students played at when we are about 11 (I started when I was 7 years old, and even my fellow students started by 5th grade). And what's more, we practiced. I didn't have the benifit of Claude Gordon's knowledge until I was older, but I did have good, decent teachers who lead me through Arbans, Colin, and other material. Though they didn't even know about or teach about the importance of the arching tongue, at least the practice routines were good and well-rounded. And we all practiced. We didn't play "World of Warcraft", we didn't text-message, we didn't waste time with MySpace. We practiced.

You see where I've gone with this? If you're young, you've got more opportunity than previous generations, because generally speaking, the rest of the kids your age aren't as dedicated and willing to do what it takes. If you can rise above the rest, and spend your time on your horns, you've got an even bigger chance to make it as a professional than anyone in my generation did. And you’ve also got far more opportunity to find out about how to play via the internet. I was lucky in that I found out about Claude Gordon through an ad on the back of my Arbans book. You can go to websites and learn tons of stuff. Here are a few good ones:








So, get with it! Read the wealth of good material available on the above Websites. Then find a great teacher (I’d recommend Jeff Purtle, Matt Graves, Eric Bolvin, or myself) and practice, practice, and practice some more.

One last plug: The next time you’re in Las Vegas, be sure to see the Danny Gans show at the Mirage Hotel. And listen to the trumpet player. Pete Bresciani has been playing that show since day one. Before that, he played lead trumpet on shows at the Sands, the Stardust, and I think the Flamingo. Basically, he’s the most successful trumpet player working in Vegas. He’s the only one I know who has been employed full time there, through all the downsizing and cutbacks, for the past 20 years. He’s also a Claude Gordon student.

Thanks for reading all this.

Best wishes,

John Mohan

Название: John Mohan
Отправлено: Monya от 16 апреля 2008, 22:43:40
Ещё - близко к теме - цитаты Клода Гордона: (особенно хорошо про семь принципов игры на медных)))

Some of My Favorite Gordon Quotes
Claude had many little sayings that he would say to the student or even stamp in his books. The following are some of my favorites and have helped me many times through the years.

"Hit it hard and wish it well!" Any time I get nervous, for instance when I have to play one of the many loud, upper register exposed passages in the musical "Cats" for which I play 1st Trumpet, I think of this one.

"Lift Fingers High, Strike Valves Hard" Although there are times when one shouldn’t apply this principal (for instance the 2nd Movement of the Haydn Trumpet Concerto), the rest of the time, this idea can make a huge difference when tackling technically difficult music with fast and awkward fingering patterns. Soon they become fast and graceful finger patterns.

"Watch the Tongue" Claude would stamp this into all of one’s flexibility and range-building material. This meant to get a feel for how the tongue arches into the "eee" (as in "sea") position to play in the upper register, and drops down into the "aaw" (as in "saw") position to play lower notes.

"Big Breath Chest Up" Another of Claude’s stamps, this implored the player to breath correctly and always fill up.

"There is no such thing as playing with ‘no pressure’ (lip pressure). Forget about ‘pressure’ and let proper practice and development take care of the amount of pressure." This is one of Claude’s philosophies that still to this day causes controversy, and I simply do not understand why. It made sense to me as a child of 14, and it certainly makes sense to me today as a full time professional trumpet player. Does anyone out there doubt for a minute that Maynard Ferguson, Wayne Bergeron, Maurice Andre, Bud Herseth, or any other successful player uses a certain amount of pressure when playing, especially when ascending into the upper register? Of course they do! It seems to me that the only ones that advocate "playing with little or even no pressure" tend to be professional teachers who don’t play for a living at all, never have and never will. Their teaching philosophies are based on all kinds of unproven theories and ideas that often result in confusion and despair for their students rather than successful trumpet playing.

"Let the Air Do the Work – Let the Air Save the Lips" Trumpet playing is a balance of several different forces. One of these forces is the tension of the lip and facial muscles and another is the air power created by the breathing muscles and channeled (controlled) by the tongue. The breathing muscles are a whole lot stronger than the lips and facial muscles, and therefore the idea behind this quote is to shift the balance of power to the bigger and stronger breathing muscles and rely less on the muscles of the lips and face. This is one of those things one "gets a feel for" over a period of time and is a little hard to explain in words.

"Don’t worry about High Notes. High Notes are inevitable if you are practicing correctly." I was always worried that I wouldn’t develop the extreme upper register that I wanted. And Claude said the above quote over and over. He was right.

"Don’t worry about getting your chance, worry about being ready when your chance comes." Claude was SO right about this one. I was always worried about getting my chance. In retrospect, I wasn’t ready when my "chance" came. Fortunately, I got even more "chances" down the line! Which leads me to the next quote I will write:

"There’s always room at the top. There’s always room at the bottom. It’s the middle that’s overcrowded." Show me a player of Arturo Sandoval, Wynton Marsalis, or Maurice Andre’s caliber who isn’t working. I don’t think you’ll be able to. There is nothing special about them. They are human beings of flesh and blood just like the rest of us. Well, there is something special. They are among the most intensely dedicated human beings on this planet. I firmly believe that for any and all of us, our potential as trumpet players is only limited by how much we choose to put into our practicing and playing. And that’s exactly the way it should be.

And my final Claude Gordon quote, as heard on the end of his Selmer-Produced Video, "The Seven Essential Elements to Brass Playing":

"Practice, Practice, Practice, Practice, Practice, Practice, Practice, Practice, Practice…."

Thank you for taking the time to read this. I feel truly blessed to have had the opportunity to study with Claude Gordon. Something he often said to me was to pass on what he taught me. His words were, "As Herbert Clarke said to me, don’t stop where I left off, but strive to go even further." Up until now, I have been pretty much wrapped up in playing and haven’t gotten around to teaching what Claude taught me. Eventually, that will change.

Название: John Mohan
Отправлено: Monya от 16 апреля 2008, 22:46:39
И ещё - кусок первой статьи, переведённый автоматически (ещё раз прошу прощения) - но уловить основную мысль можно. Довольно актуально, кстати..

Стать труба игрок (рабочий труба игрока), является целью номер один в моей жизни. Я перешел на всей территории страны для него, и я практиковал и практиковали и практикуют. Вот то, что он принимает. Но я действительно не вижу, что это гораздо больше. Может быть, она по-прежнему существует, но я не думаю, что есть, как многие, кто, как, посвященная как раз там были.

Однако, это можно рассматривать как возможность для тех, кто имеет самоотверженность. Клод всегда сказал: "Там всегда найдется место на самом верху." Я считаю, что он был прав, говоря о том, что. И, кроме того, на основе того, что я слышал в плане играет способность нынешнее поколение молодых игроков, я думаю, есть будет много больше возможностей на победу в ближайшем будущем. А сочетание сокращения бюджета, которые привели к полосе программы не начинать до тех пор, пока часто High School возраста, в сочетании с печальным фактом, что нынешнее молодое поколение стало addled с видеоигры, MySpace и других отходов времени, создала уникальную возможность для действительно подоплеку. Из того, что я видел и слышал, типичный 16 лет труба игрок играет сейчас на уровне способности, которые я и мои стипендиатов студенты играли на когда мы около 11 (я начал, когда мне было 7 лет, и даже мои сокурсники начата 5th марка). И кроме того, мы на практике. Я не имею благо Клод Гордон известно до тех пор, пока я был старше, но я действительно хорошие, достойные учителя, которые привели меня через Arbans, Колин, и другие материалы. Хотя они даже не знают о или учить о важном значении щий язык, по крайней мере, на практике процедуры были хорошими и хорошо округленные. И все мы практиковали. Мы не играли "Мир Варкрафт", мы не текстовые сообщения, мы не тратить время MySpace. Мы практиковали.

Вы видите, где я пошли с этим? Если вы молоды, у вас есть больше возможностей, чем предыдущие поколения, потому что в целом, остальные дети вашего возраста, не столь самоотверженной и готовы сделать все, что он принимает. Если вы можете подняться над остальными, и тратить свое время на ваши рога, у вас есть даже больше шансов сделать это, как профессиональный, чем кто-либо в моем поколения сделали. И вы также получили гораздо больше возможностей, чтобы узнать о том, как играть через Интернет. Мне повезло в том, что я узнал о Клод Гордон через объявление на спине моего Arbans книги. Вы можете вернуться на веб-сайты, и узнать тонн сырья. Вот несколько хороших:

Название: John Mohan
Отправлено: Monya от 16 апреля 2008, 22:47:31
и точная ссылка на этот пост

Название: John Mohan
Отправлено: vaser от 16 апреля 2008, 22:47:58
Господа!Ну это ж перевести нужно ж!А то для чего же ж! :roll:

Название: John Mohan
Отправлено: Monya от 16 апреля 2008, 22:49:43
Вперёд - у кого есть время. В общем и в основном всё написано по делу, ересь как таковая вообще отсутствует.

Название: Re: John Mohan
Отправлено: Monya от 16 апреля 2008, 22:57:27
2vaser :
Собственно, это предназначено тем, кто читает по-английски.


Название: Re: John Mohan
Отправлено: jeff_purtle от 02 декабря 2008, 03:33:21