James stamp trumpet method pdf10/30/2022
2) It keeps you balanced when you play, preventing you from puckering out too much when you are in the lower register, and from stretching too much when you are in the upper register. Thinking in this manner improves three things: 1) As mentioned in the book, it helps to keep you from playing sharp in the upper register and flat in the lower register. Before you play any note, find its location on the brick wall, and then place the note there when you play. The top brick on the wall is pedal C the bottom brick is however high you are able to play Bb, C, or A should be right in the middle. Imagine that you are playing facing a tall brick wall (if you have an actual brick wall, that will be even better). In particular, this excerpt caught my attention (from the second post in the series): JAMES STAMP TRUMPET METHOD PDF SERIESI had an “A-ha!” moment a couple of years ago while reading Craig Morris’ excellent series of blog posts Stamping It Out. Keep thinking down going up and thinking up going down. Most of us know James Stamp’s method book Warm-ups and Studies as well as the book’s ubiquitous “Basic Warm-up #3” (if you don’t know “Basic Warm-up #3,” ask my wife how it goes. It gets stuck in her head like a Disney song).Īs I see it, the backbone of Stamp’s philosophy to remain centered at all times, and the specific techniques in Warm-ups and Studies reinforce this philosophy, especially this one from page four: I don’t know about you, but as a trumpet player who strives for proficiency in all types of playing, hearing two names as different as those attached to the same set of ideas perks my ears up. Håkan Hardenberger is a fan, (see Mark Dulin’s great January 2009 ITG Journal Interview), but so is Wayne Bergeron (see Derek Reaban’s write up of a 2008 Bergeron masterclass). You can’t swing a cat without hitting a trumpet player who uses a Stamp exercise or idea in their playing, and what’s really interesting to me is that players of every stripe seem to like Stamp. James Stamp was one of the most influential brass teachers of the 20th century, and his approach to the trumpet has only become more popular since his passing in 1985. I’ve recently developed a practice tool that has helped me do a better job of putting a couple of his ideas into practice, and I’d like to share it here (more on that in a minute). Like most trumpet players, I use concepts from several different schools of thought in my own playing, but one of the people from whom I’ve borrowed the most is James Stamp. Or, conversely, if one did not play correctly it would not sound correct.Getting the trumpet to consistently do what you want it to do is a lifelong process, and there are many legitimate ways to approach playing the horn. «in-tune») thenone was doing it correctly. Perhaps the most famous Stamp aphorism was that if it sounded correct (i.e. cdp The Stamp exercises, perhaps more than other brass methods, emphasize musical principles as much as physical concepts to accomplish the desired technical results. JAMES STAMP TRUMPET METHOD PDF DOWNLOADPiano accompaniments available for the exercises as a download direct from the publisher. Includes sections on breathing, a variety of warm-ups, slurs, trills, bending, octaves, scales, arpeggios and more.
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