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:
http://www.claudegordonmusic.com/ 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:
http://www.claudegordonmusic.com/ http://www.purtle.com/jeff.html http://www.purtle.com/jeff_articles.html http://www.trumpetguild.org/itgyouth/masterclass/Purtle.htm http://mattgraves.netfirms.com/trumpet_related.htm http://mattgraves.netfirms.com/claude_gordon.htm http://mattgraves.netfirms.com/john_mohan.htm 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
http://mattgraves.netfirms.com/john_mohan.htm