Dear List,
I received so many requests for the CLARKE "Expanded Studies" info., I decided to post the information to the entire list. I hope you might find it to be helpful, in some small way.
If you would like to hear the "process" demonstrated in REALAUDIO, please visit our website at:
Scroll down to, and click-on "Listening Booth". Its the second item.
Keep 'Em Flying!
Clyde
I am most imtrigued with the description of "expanding" the exercises of H.L. Clarke and Schlossberg. For this is exactly what I have done with my recordings of the above.
I suggest the following routine for Clarke's First Study: Play the first exercise, ppp, many times (slowly at first, faster as fingering skills permit). ABSOLUTE MINIMAL Mthpc. PRESSURE. When you have developed as many repetitions as you believe to be possible, continue to develop MORE.
The point is to learn, firsthand, how vital the airstream - how effortlessly this can be done! Mr. Clarke says to "keep the lips moving". I describe that process as the "silent whistle". Essential to these exercises is the compressed airstream and silent whistle.
When you have moved up chromatically, through exer. # 13, it is time to COMBINE Ex. #1 and #13 AS A SINGLE EXERCISE, within a single breath. Now - go back and treat (2 - 14, 3 - 15, 3 - 16, Etc.) in the same fashion.
When you are able to effortlessly play Ex.# 25, go back and combine nos. 1, 13, and 25 AS A SINGLE EXERCISE - within a single breath!! I believe this EXPANSION principle to be essential. IT IS NOT ENOUGH simply to play the exercises 8va!!
NOW, go ahead and GRADUALLY expand the combinations: (1 - 13 - 25) (2 - 14 - 26) (3 - 15 - 27) please notice that 26, 27, 28, etc. are NOT written out. Play them using your ordinary fingerings, so that you will "know where you are".
In my recording, I extended this FOUR way combination to exercises: #1 - #13 - #25 - #37, that is, #25 8va.
We played three versions of the First Etude - each a reflection of the principal of COMBINING octaves withing a single breath, or blow. The last version extends from F# below the staff, to C4. (An octave above "high C".
Keep everything soft!!!! - later, as your growing strength allows, you can gradually "step-up" the volume to FFF if you are so inclined.
"Follow" the shape of the moving lines with the silent whistle. The "shape" of the aperture must gradually compressed as you ascend. "Squeeze" the air ever more gradually as you ascend, in order to overcome the increased resistance of the aperture. Air - air - air - and more air (pressure). This is fundamental! The "static embouchure" (chops in your fore-arms) isn't going to "work" for these "expanded" blows.
If you are an instant gratification person, you will likely have difficulty!
IMPATIENCE is truly an enemy of ambition.
Playing the trumpet is little more than singing - using the buzzing
lips rather than the vocal chords.
If you can't "buzz" it, you can't play it! (You may be able to squeeze it out - - careful, don't loosen your teeth.)
It takes a total dedication and determination to master this most difficult
of all instruments - the Trumpet.
Thanks for listening - I hope this may be a help to someone, in some
small way.
Clyde E. Hunt