From: B-FLAT MUSIC PRODDUCTION
Date: Sat, 26 Oct 1996 10:24:05 -0400
Subject: Re: Clarke Tech Studies for range, endurance, musicality.
James Sowinski wrote:
> Mark Minasian sent this out a while ago. Since people are asking about
> and the Adam students currently corresponding don't want to say to
> here it is. I don't think you will find any magic here. It is a
> basic routine with pretty much standard things in it.
> CHROMATICS (Clarke's Technical Studies, First Study)
> Start with exercise 13 and expand into the higher and lower
> The pattern is 13, 12, 14, 11, 15, 10, etc. Play the exercises at mf
> f and repeat as many times as comfortable. REST after each
> Don't extend any of these exercises to the point where you are
> out of air and tension creeps into your chest.
While I have not had the pleasure of meeting Mr. Adam, I am a bit puzzled by
the reluctance, as expressed via this list, to discuss Mr.Adam's approach to
playing. Having carefully read Mr.Minasian's description, I can certainly find
no "snake oil" involved in any of the descriptions - just sound musical
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
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
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
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
Clyde E. Hunt
PS - Further clarification is available is you will email privately.