Dee's blog
Hi!
Practice diary, what practice diary? I'll be honest, if my trumpet practice lacks anything that would be a structured approach. 😂 Hopefully, that should be enough for an occasional blog (not so much a diary) about what I am working on, what I am struggling with and what insights I might have if any.
So, as a short introduction, where am I as a trumpet player? I am an adult learner. A few years ago, I decided to try ABRSM exams, aimed low enough at grade 5 😆 and passed. Apart from that my practice is mostly driven by specific pieces I wish to be able to play and record. Below is what I am working on atm. Admittedly some of the pieces in the list are well above my level and some feel just right. More details on each one as it goes.
- Hummel, 1st movement;
- Massenet, Meditation from Thaïs;
- Chet Baker, The more I see you;
- Wynton Marsalis, coda from The Magic Hour (the chill part);
Do say hi, btw.
2 replies
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Making some progress on Wynton Marsalis' The Magic Hour chill ending. I wanted to play this piece since high Bb wasn't even in the cards. I think a solid C in the staff was my upper limit back then. It makes me so happy I can at least play along through the whole piece now.
The main challenge is the phrasing as that's what makes this piece for me. Apart from dynamics that I can follow somewhat, the timing and rhythm seem rather unpredictable. Wynton starts his phrases not just off-beat, but seemingly randomly and the only reference point I can find is a strong beat towards the end of the phrase serving as an attraction point for the whole passage.
I also can't figure out the half-valve glissando to Bb. It just doesn't sound right. I tried a few half-valve tutorials online and while it seems to me I am doing what they say, the character is just not the same and glissandos aren't nearly as connected. I was wondering if it is the instrument. I mean, Schagerl for example has James Morrison models JM1 and JM2, and one of the differences mentioned is how they slot with the jazz model being more pitch flexible, but what do I know. I will blame my student Yamaha for now. 😁
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Alright, I can't blame my Yamaha any longer since I've upgraded, very excited. Learned a ton while shopping! One thing is be weary of reverse lead pipes, they don't necessarily work for everyone (talking about JM1). Another thing is hold on to your pocket when you're shopping for musical instruments. 😭
- Largely figured out the phrasing in The Magic Hour. It's more about the right tone and consistency now. A new mouthpiece is an additional challenge at the moment as still am adapting to it, but it is all coming together. I even did some test recordings and am happy with how it comes out in general, but the goal is to be able to record it in one take. Still can't figure out the glissando though. Bb in the staff => 1 octave up, trying with 3 half-valves, still no joy. Not sure how to even approach it, may record without it.
- Added Ave Maria (Gounod) to the list and actually have been practicing it for a while. A bit of a challenge with endurance towards the end as a lyrical piece with long legato notes throughout, but the classical tone I get out of the new horn is totally worth it for me.
- Chet Baker solo in "The more I see you" with a harmon mute is interesting from the practice PoV. The back pressure gives you quite a different perspective on how much air you want to move through the horn. And unlike with the old student Yamaha, the mute doesn't take a lot of energy to light up now. Makes me reconsider a few things and experiment more with the air.
So a lot has changed since the previous entry, but are thing moving forward? We may find out soon! 😁